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EDDIE LANDSBERG
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All about Rhythm and Feel

"...Feel is ALL about rhythm... Yet how rare it is for people to teach the theory behind different feels and grooves. Ironic, because its the most important thing !"

Basic Concepts...

  • There are two elements to any "groove", "pocket" or "rhythm":
    1. The pulse
    2. How it is interpreted.
Also keep in mind:

The "interpratation" of a pulse is called the "sensibility" of the tune. Another word for sensibility is "feel", "style" even "rhythm" - - Always remember this ! ! !

  • All forms of music have a basic sensibility... this is to say a concept of how the beat is approached.
  • Aesthetic Sensibilities are often derived from cultural traditions and perspectives...What makes American music so great is the unique sensibility to be found in its afro-American roots... Regardless of your race, creed or style, if you are playing any type of music, it is very important to understand and appreciate its cultural roots... This is not for "history's" sake, but to be able to put yourself in the "mindset of the feel." Related to the above point keep in mind that Charlie Parker didn't grow up listening to bebop nor John Coltrane to modern Jazz, yet their ideas had to come from somewhere - - most musicians of that era definitely had "church" and "the blues" in them, just as most of todays gospel players came up listening to a lot of Jazz !
  • The authenticity of a player is based upon his or her ability to enter into the aforementioned "mindset of the feel". If he can create the feel naturally and understand it, then the music will feel authentic. If he (or she) is merely imitating it without understanding, it will lack authenticity.
  • Music, in Afro/Afro American and many world cultures serves a purpose that is not common in classical European music. This is worship through dance and body movement. All musical rhythms are closely tied in to how people move their body, from waltzes, modern Jazz drummers studying Afro and Latin Rhythms to "holy ghost" walks in Church.
  • It is essential when studying any form of music to have a sense of how it makes you move your body... This does not mean that to be a musician you have to be dance or even study dance, but it is important to to have a basic sense of body movement... in Jazz and gospel the tapping of the feet and appreciation of the upbeat (via clapping, snapping, subtle body movements) is very useful if not almost essential.


Very few teachers of non-rhythmic instruments focus strongly on feel and groove, but really alongside harmony and melody, it is part of the golden triad of music... and the good news is, I've found that combined with adequate motivation and listening, it is very much teachable and I work hard on it with my students!

Picture

​Eddie Landsberg, MA, Ed.M, B.Mus

An internationally respected music theorist and performer, Eddie was born and raised in Philadelphia and began classical piano training at the age of 5,  starting Jazz Studies at Philadelphia's famous Settlement Music School in his teens.  Switching to Hammond Organ in his mid 20's, he received his first organ lesson from the legendary Shirley Scott then studied Jazz composition and performance with Blue Note Recording artist Big John Patton.  He also received guidance from Austin Mitchell (a favorite accompanist of Ella Fitzgerald) and began performing alongside Byard Lancaster and other "old school" Philly and East Coast Jazz and R&B legends.  After recording several CDs which received national air play ( NPR, WBGO and hundreds of radio stations across in the U.S), Eddie became one of the original factory demonstrators for the original Nord Electro, touring Europe to promote their product.  Shortly after, he moved to Japan where he spent almost 20 years teaching, leading bandstands and running his own venue which was featured on NHK and in magazines throughout the country.  While there, he also did vocal and performance coaching for Victor Records, and was involved in promotions for Yamaha Motorcycles and the Mori Building (celebrating the opening of the famous Roppongi Hills Complex.)
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Eddie currently resides in Astoria, Queens and is creator of the "7 Secrets of Jazz and Soul" Jazz improv series.  


Education: BA in Music, Thomas Edison State University MA Liberal Studies (focus onEthnomusicology and Critical Jazz Studies), Rutgers University (Capstone with Honors) Ed.M, Rutgers University, specializing in Adult Education
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Recordings | Publications | Interviews 


エディ・ランズバーグ、MA、Ed.M、B.Mus
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エディ・ランズバーグは、国際的に尊敬される音楽理論家兼演奏家で、豊かで多様な音楽的背景を持っています。フィラデルフィアで生まれ育ち、彼はわずか5歳のときから音楽の道を歩み始め、クラシックピアノのトレーニングをスタートしました。ティーンエイジャーの頃、フィラデルフィアの名門セトルメント音楽学校でジャズスタディに没頭しました。そして20代半ばでハモンドオルガンに転身し、伝説的なシャーリー・スコットから初めての指導を受けました。その後、ブルーノート・レコーディング・アーティストであるビッグ・ジョン・パットンの指導のもと、ジャズの作曲と演奏の技術を磨きました。  エディの音楽的旅路は、エラ・フィッツジェラルドのお気に入りの伴奏者であるオースティン・ミッチェルなど、著名なアーティストからの貴重なアドバイスで彩られました。彼は「オールドスクール」のフィラデルフィアや東海岸のジャズとR&Bのレジェンド、バイヤード・ランカスターなどと共演し、音楽シーンに不朽の足跡を刻みました。 エディの創造的な旅は、全米で放送されるなど、高い評価を受けたCDの制作につながりました。彼はまた、革新的な楽器であるノードエレクトロのオリジナルファクトリーデモンストレーターの一人として、ヨーロッパツアーを行い、製品の宣伝に貢献しました。 その後、エディは日本への大きな転機を迎え、ほぼ20年にわたり教育者、バンドリーダー、独自の名門会場の経営者として活動しました。彼の仕事は、NHKでの出演や国内の多くの雑誌での取り上げられ、広く認知されました。この期間中、彼はビクターレコードのためにボーカルとパフォーマンスの指導を行い、ヤマハモーターサイクルと森ビルディング(有名な六本木ヒルズコンプレックスのオープニングを祝う)のプロモーションにも貢献しました。
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現在、エディ・ランズバーグはクイーンズのアストリアを拠点にし、「ジャズとソウルの7つの秘密」ジャズ即興シリーズのビジョナリーです。
学歴:
  • 音楽学士号(B.Mus)、トーマス・エジソン州立大学
  • 芸術修士号(MA)リベラルスタディ、ラトガーズ大学(エスノミュージコロジーとクリティカルジャズスタディに焦点、優等でキャップストーン)
  • 教育修士号(Ed.M)、ラトガーズ大学(大人の教育を専門とし、特別研究で優等)
エディの録音、出版物、インタビューを通じて、彼の驚異的な音楽の旅に深く没頭してください。

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