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Thread: George Russell's Lydian Chromatic Concept

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    Senior Member millionrainbows's Avatar
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    Default George Russell's Lydian Chromatic Concept

    Would anyone like to discuss this? This is George Russell's approach to music theory, specially for jazz players. George Russell was a pianist, composer, band leader & educator, and put out several super-excellent jazz albums in the late 1950's, 1960's, and on up.

    I have had his book, an early ring-bound "workbook" version of it, with numerous graphs and scale charts. It was sold to me by a disgruntled jazz piano player.

    After years of trying to decipher the true meaning & purpose of the Lydian Chromatic Concept, I finally gained some insights (from You Tube videos, no less) and I think I have a basic grasp on the purpose of it, although by no means do I have a complete working knowledge of it. In fact, Russell himself was working on refining the Concept right up to the last days of his life.
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    http://www.jeff-brent.com/Lessons/LC...repancies.html

    It was probably useful system for some jazz musicians back in the day (liberating the minds of the players out of the cliche chord progressions and licks), but it is basically renaming some popular pitch collection (while missing many important scales) without bringing anything new to the table. The Lydian premise and vague tonal gravity theories are nonsense.

    It is interesting that so many "jazz" books (I remember the Schillinger (teacher of Gershwin) book, Levine book, many jazz arranging books that I've seen over the years) are somewhat unsophisticated and packed with errors.
    Last edited by BabyGiraffe; May-19-2018 at 10:30.

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