"Leading From the Back of the Room"

While reading Derek Sivers' blog yesterday, I was amazed at his presentation on leadership. Recently, he gave a talk at the TED 2010 Conference and received a standing ovation for his presentation.

His comments reminded me of a book, "The Tao of Leadership", that I started reading back in the 1980's when I was living in Washington, D.C.  I say, started reading, because it's one of those books you never actually completely finish. A book I can read over and over. This is one of those books that I like to read at least 1-2 times a year. As my life changes, my perspective about the book is always in flux.

Many years ago, I read a reveiw of "The Tao of Leadership" by Dr. John Hanley (Lifespring). Hanley stated that the taoist style of leadership (explained in the book) is to "lead from the back of the room."

Derek Sivers Blog Site

Derek post - "Leadership Lessons from  Dancing Guy"

John Hanley's review of The Tao of Leadership

TED

TED 2010 Conference

2/6/10

Learned something about myself last night. Something about going back into the past.

Several years ago, I wrote a block of songs about a life experience of mine (throat cancer). Maybe 5 years ago, I had an opportunity to record those songs in Tokyo. After I released the CD, we performed those songs throughout Japan for about a year. By that time, I just didn't want to have anymore to do with those songs.

Was informed a couple of weeks ago that I would need to do those songs for a gig last  because we were being video taped for TV in Japan. I felt kind of irritated for 2 weeks about the gig. Didn't want to rehearse the band. Haha..even lost the music (my copy) 2 days before the gig. Got to the club last for the soundcheck/rehearsal. Wow...talking about avoidance!

My point is I don't like to go backward. I want to live now, experiencing this moment and creating something based off of the experience.

2/2/10

Sometimes I get so busy in the doing (and kind of lose myself in THAT place) that I forget to step and do things like this (write in a blog).

It's nice to have a flow going. Not feeling the need or the desire to stop and analyze.

It is good to be able to pull up and take a break for a minute just to make sure the "boat is still on course" though. The "drift" is strong and sometimes deceiving.

August 22

Ever play a tune or a classical piece and notice that there is a spot in the music that you always feel kind of uncomfortable? During your improvisation you ever feel there are a few measures that you always feel awkward or confined? But, you've been playing this song for months or even years. Why are you still feeling restricted in the same place? Have you avoided isolating that spot and spending days or weeks working that spot out? Technical studies could easily be created and practiced to eliminate the awkwardness. My real question is why do we avoid the problem areas? Even when we are completely aware (and most likely everyone around us knows as well) of the problem area, we continue to avoid it. Why don't we attack that area? That small place in the music seems to take on a power of it's own. Maybe we completely avoid playing the whole piece of music just because of a few measures. How can fear be created like this in our heads?

August 21

Noticing that there is a major distinction between creating ideas and doing the necessary execution to bring the idea into reality.

I'm wondering if there could be a right-brain left-brain connection problem. People that are great creating ideas seem to have trouble sometimes with the step by step methodical execution of the idea/plan. The "grunt" work involved in making the idea into a real thing appears to be boring for some.

There's really nothing creative about sitting in a room [for hours, days, weeks, months, years] and practicing scales/chords and technical studies. That is a very left-brain kind of activity. However, it's quite necessary if one has any hope of being able to do the execution required to bring out that idea that's floating around in the inner ear.

August 19

http://sivers.org/desperate2

A follow-up post by Derek on the question of the effectiveness of desperation as a potential plan of attack on the road to success.

Desperation conjures up images of fear for me. Scarcity....
For me, it might cause me to do negative things with my energy. Actually, becoming like a black hole instead of projecting good energy out onto the project.

August 18

http://sivers.org/desperate

In this post, Derek raises an interesting point about setting-up the context
that you operate from on your way to finding success for yourself. I'm not sure (after reading the post) if desperation is the word for Branson's style of forging ahead. I'm more inclined to use the word commitment. His level of commitment to his projects is extraordinary. Playing as if his life depends on it.

August 17

http://sivers.org/steps

Derek highlights a very important point. I've noticed for years in Japan while in the company of people studying Japanese and/or English. Some seem to really enjoy learning a new language, never really speak about the difficulty and progress rather quickly. Others are always talking about how hard it is to learn the language and how much time it takes. Consequently, they never seem to make much headway.

August 14

http://en.wikipedia.org/wiki/Terrence_McKenna
http://deoxy.org/media/McKenna

My buddy Curtis turned me on to McKenna today. Woke-up, came in and sat dow at the computer and there were the links sitting in front of me in a chat box.

August 13

Am currently involved in "Japan Music Week" and the Jinnan Jazz Festival. Already, the creative juices are starting to flow. Feels good!

Search for Japan Music Week on FACEBOOK for more info.

August 12

Haven't posted on this blog for 12 days after doing 72 days in a row.

It's called "hitting the wall."

August 10

Effortless Mastery Message #004: What Musical Depth is Really About Inspirational message from Kenny Werner

Many people are trapped in the delusion,
"Music is important. I am only valid if I play it correctly."

Because of this misconception many musicians live and die
and never know the true joy of music in their lives.

Many jazz players feel that there is an experience in
improvisation that they are not having, or not having enough of.

Classical musicians also report "dryness" in their renderings
of the great composers.

It's like the priest who secretly has no love for God.

The customs are observed, but there is no true feeling.

If the lamp is not lit, music can be as dreary as anything else.

Along with the desire for a deeper experience
comes an intense drive to be a better player.

These aspects often work against each other.

There is only one true purpose to music.

It exists for our enjoyment and enrichment only.

I think a hint that reveals this is the fact that
the verb to commit the act of music is "play."

How serious is it supposed to be if we're supposed to "play?"

It's very hard to let go in the combat of performance,
but the Effortless Mastery exercises will help you
to claim music for your own pleasure.

This realization liberates performers
from the tyranny of the wrong note.

Instead of sweating their performance,
they look forward to it with delicious joy.

After all, it is the performer's "guilty pleasure.

We will talk more about this in subsequent emails.

For now, just understand that:
The greatest performers in any game are the ones
who experience the pure joy of playing more
than the responsibility to play it correctly . . .

"Music can flash through the musician
like lightening through the sky . . ."
if it is unobstructed by thoughts.

Therefore, the elimination of thoughts is a very relevant issue.

That's why the first step in the book
is practicing the elimination of thoughts.

So...
Can you witness your hands moving on your instrument,
your club or your tennis racket without being attached?

Can you throw a dart, pitch a ball or shoot a basket
without caring about hitting the mark?

Can you focus on your breath
without being attached to how well you play?

Thank you for being here
as part of our Effortless Mastery Community.

Kenny Werner
and
Dr. Andrew Colyer

P.S. How are we doing?
http://clicks.aweber.com/y/ct/?l=Ie.0J&m=1q3hs9dV2_7vP1&b=6Zr_aAIbKd6A9nP3ooUK6A

Dr. Andrew Colyer
ConsciousWorldMedia.com
86 Quarfelt Road, Clinton Corners, NY 12514, USA

August 8

"When you play jazz, you have to live it. You know, those notes mean something. They don't just come from your brain, they come from your heart and soul too. So I think in order to have that heart and soul, you have to experience life. So I relate my music to my life and my lifestyle. You can't separate the two."

Woody Shaw interviewed by Louise Gilbreth 106.7 Jazz Masters WRVR

Listen to the Woody Shaw interview here

August 7

Can't say enough but, don't want to say too much about this interview. Lawrence says some priceless things. I would put some quotes here but, there are simply too many. Young creators really should listen to this (many times) and older creators should listen to get "re-grounded" into the things that drew them into the creative world in the beginning.

Lawrence Williams Interview (video

Art of Lawrence Williams

August 6

http://kennywernerlive.com/effortless-mastery-reminders/madame-chaloff-and-the-secret-of-music-your-effortless-mastery-reminders-015

Kenny Werner says so much in 7 minutes! Love what he says about the "creativity of the last note."

I've been thinking so much lately about some of things I heard in the video this morning. Maybe I'm not crazy..hahaha. This idea of free jazz..free improvisation...what is it? Werner says that when we are playing tunes with chord changes, we're not free until we "master" the chords/scales. I believe that. It's not about the chords or the scales, it's playing the tune a million times and mastering those aspects of the tune until we become free. We are not free to really improvise until we pass through that stage. I've had so much trouble the past few years to get my groups to even memorize the music before gigs. It's such a common problem, I've recently started to think maybe I'm foolish. Learning to play the tune seems like a logical first step (with music or learning by ear). Next I want to memorize the tune/chords/scales. Listen to different versions. Play the tune in different keys. Memorize and sing solos of others that have recorded the tune just to understand how they perceived the structure and learn vocabulary. Maybe even learn the tune on the piano, slowly playing the chords, singing the chords, singing bass notes, singing the melody. These are all small steps towards gaining freedom "inside" of a tune.

August 5

"If you don't know history, it's like you were born yesterday."

Howard Zinn

August 4

Lightning in a Bottle: Creating, Presenting, and Preserving Jazz

A great performance by Odean Pope and his Trio followed by an hour of discussion about the creative process and improvisation. Odean makes some special comments about inspiration and the role that plays in his improvisations and compositions.

Philoctetes

"The Philoctetes Center for the Multidisciplinary Study of the Imagination was established to promote an integrated, interdisciplinary approach to the understanding of creativity and the imaginative process."

Philoctetes - Home

At 1:34:00, Shoenberg and Pope talking about the composition process.
__________________________________________________________

Listening to Pope's band, I'm reminded of my experiences teaching at summer jazz camps and/or beginning improvisation classes. Over the years, I noticed time and time again young students of improvisation become paralyzed and unable to play because of their fear of chord changes. Some of the most successful ensembles I've had were started by playing "free." I might have the bass player play a pedal note or ask the drummer to start playing some kind of a groove. It's always amazing to see/hear how creative these young people are. I want them to get a taste of creating, to get the experience (without limitations) of improvising. It's possible later to slowly introduce songs that incorporate chord changes/scales and more complex harmonic language.

That being said, I often play with musicians who've been playing for years and dislike or feel uncomfortable with "free" improvised music or "free jazz." I think that is part of the reason that young players are afraid to enter the world of improvisation. The "educational system" in the world of improvisation seems to throw a lot of rules and complex ideas at young people that don't have a clue. The result: fear.

Recently, taught an ensemble of young players. They are a few years into the "indoctrination process of chords/scales and learning the bebop language. I happened to have a book of some of M.C. Escher's works in my horn case. We spent a few minutes looking at some of Escher's work and I asked them to improvise one of his designs. They seemed a little apprehensive. So, I asked them to imagine that we are in the studio and doing a soundtrack for a documentary on Escher's life and work. We have been handed a copy of this design and the producers want us to come up with some music to put behind this scene....NOW. It was amazing how creative this ensemble became. I was in shock. In that class we played some standard jazz and funk tunes but, when they created this free improvisation of a design by Escher, it was by far the most beautiful and sensitive playing they had done in weeks!

August 3

Went to Miyakojima in Okinawa last year. Maybe it's just about time to go there again. Miyakojima is a tropical paradise, actually closer to Taiwan than the main southern Japanese islands. I didn't see any evidence of over-development there. Lots of wide-open spaces, sugar cane farms, beautiful white sand beaches and quiet. I'll have to say, in the past few years, except for my occasional trips to West Virginia or west of Tokyo to the Japanese alps, I felt the most inspired to create while on Miyakojima. I just love nature. That's it. Period. Very difficult for me to feel inspired living in the city. I guess I can create anywhere and under a lot of different conditions. But, if I had my preference......

August 2

The Power of Nightmares
(parts 1-3)

Another documentary presenting more ideas on the process in which "the system" has guided our thinking and perceptions of society and the world around us. With this constant attack on our senses and thinking, I wonder how the growth of creativity is stunted and/or limited?




http://www.archive.org/details/ThePowerOfNightmares

August 1

"Trumpet player Clark Terry summarizes the creative process as "imitate, assimilate, innovate". Listening to other musicians can give you ideas you may wish to develop further, and being able to successfully duplicate what they are doing is one step toward being able to express yourself. Next, you must understand why the things you are playing sound the way they do, so that when you want to create a particular sound, you will know how to achieve it. The theory presented in the following sections can help you structure your thoughts, and can also help you identify the sounds you hear. However, analytic processes are an aid to the creative process, not a replacement for it. Two analogies, one with language and one with mathematics, should help make this clear.Trumpet player Clark Terry summarizes the creative process as "imitate, assimilate, innovate". Listening to other musicians can give you ideas you may wish to develop further, and being able to successfully duplicate what they are doing is one step toward being able to express yourself. Next, you must understand why the things you are playing sound the way they do, so that when you want to create a particular sound, you will know how to achieve it. The theory presented in the following sections can help you structure your thoughts, and can also help you identify the sounds you hear. However, analytic processes are an aid to the creative process, not a replacement for it. Two analogies, one with language and one with mathematics, should help make this clear."

Jazz Fundamentals - Marc Sabatella
http://www.outsideshore.com/primer/primer/ms-primer-3.html