Escape From Excellence

OK, we all know by now that the US economy has evolved over the past few hundred years from agriculture, to manufacturing, to technology, and now to creativity. Apparently, even in this tech-driven era, so much technology work and innovation can be outsourced or replicated globally, that our sustainable core competitive advantage, our national Dynamic Essence, is being labeled “creativity.”

Creativity is challenging because, like math, many people think it’s a specialized skill or, worse, a talent we’re either born with or we’re not. Many people hear, “Creativity Economy,” and think, “Uh-oh, I’m in trouble. That’s not me.” Often their bosses don’t help much, simply saying, “OK people, get creative! Let’s see those ideas!” But while some people are born with an extraordinary capacity for non-linear thinking, most people can learn to be creative. And jazz masters, those masters of our own national home-grown music, can teach us a lot. In fact, if sustainable U.S. prosperity requires us to be creative, then our own jazz musicians are the first place we should look for guidance. Here’s why:

Jazz musicians improvise. They compose on the spot (innovation), play what they hear as soon as they hear it (agility), respond to thier immediate situation (market conditions), listen to what it going on around them (culture and competition), find and express thier own unique voice (branding), do it in a team setting, i.e. a band (organization), and must reach and move a listener (customer). They are walking creativity, always channeling what’s inside into something new. What they do is both extremely creative, and also not unlike what people working to succeed in a creativity economy must do. (By the way, blues, country and rock musician’s also often improvise, but they are less defined by it, and they do it in a less complex context. So let’s stick with the jazz example.).

Here’s how: The best jazz musicians, the real masters, first achieve excellence. Then they escape from excellence.Jazz students first apply the Five Virtues of Excellence, and put out ceaseless effort (I was not unusual in practicing under a masters guidance for 6-12 hours per day for many years, and I make no claim to mastery, yet). They display proficiency, expertise, and commitment. They display acumen in seeking out teachers and playing situations, allocating practice time, and navigating the complex shifting harmonies and rhythms they must improvise within. Eventually the excellence trap kicks in; they face the same limits, corruptions and costs. So they seek mastery. Fortunately for them, there is a strong mastery tradition in jazz. Many of them make the Five Shifts to Mastery. When they do this, they soar, and creativity becomes a way of life. It’s ultimately not about talent, and not even about skill. It becomes like talking. They think (or hear) something and they immediately say (or play) it. They create. And people listen, because it’s moving, true, pure. They “plant thier feet and testify.” They “represent.”  Charlie Parker said two very profound things in this context. He said, “if you don’t live it, it won’t come out your horn.” And, “Learn all this stuff, then forget it.” He know that skill isn’t the point, although his own skills have never been surpassed. He know that there was a level beyond excellence. And many jazz musician’s have followed his lead. We can learn from them.

 Closing point: jazz is really big in Europe and Asia, and most jazz players make their living touring and teaching abroad. That is a lost opportunity for business. They are teaching their lessons to whoever will listen. We should be listening, and emulating. Now.

Categories: Creativity Economy, Excellence Trap, Five Virtues of Excellence, The Excellence Trap, innovation, leadership mastery | Comments RSS | Leave a response | Trackback |  Email This Post |