Even though the practice of traditional jazz has been operated by great jazz musicians for a long time. However, it needed time for an emergence that will be used in new interpretations of classic jazz and other criticism. This happened in the 1980s. With the beginning of the post-modern era in jazz, a contemporary glance back to the old eras of jazz led the musicians to interpret this music and make use of it. This was a movement of ‘conservative’ (not in a bad sense, at all) jazz. Classic jazz, aka traditional jazz, was the core of jazz sound that emerged in New Orleans, USA. However, a considerable amount of artists refused to be a part of this movement. These musicians weren’t fancying on ‘looking back’ and ‘remembering’ the jazz tradition.
They defended that artists should experiment with more contemporary approaches without seeking and worrying about “losing the core”. This was the dispute between ‘neotrads’ (seekers of the tradition) and ‘antitrads’ the opponents. Some essential ‘neotrads’ like Albert Murray, Stanley Crouch, and Wynton Marsalis believe the maintenance of the jazz tradition is necessary to stave off cultural mediocrity, social degeneration, and the destruction of the music’s African American core.
If you are interested in this great jazz dispute, don’t forget to check out our previous series analyzing neoclassic and classicist jazz in the 1980s!