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BRIAN TATE

JazzLab The Music of Synergy

Everything we do is music. Everywhere is the best seat.

—John Cage

Making Your Own Music

A large group of participants enters a ballroom. Rather than taking their usual seats, they form two large concentric circles around the perimeter of the room. They are about to become musicians for the rest of the morning. Following a brief introductory talk on how to make music (breathe, stay loose, jump in, have fun), rhythm and groove are quickly established with clapping and rapping, growing magically from a single pattern to two parts, and then to four parts. Then comes the moment everyone has been anticipating: playing the rhythm instruments they have made themselves from instructions sent prior to the event. Shakers, drums, scrapers, bells, and woodblocks are readied for the debut of the “artistic, mystic, synergistic mass rhythm orchestra.” Within minutes, an entire room full of self-described nonmusicians is in the groove and having a great time. Everyone is discovering a new way of listening, getting “in synch,” experiencing diversity in action, and creating organizational synergy—where the whole is indeed greater than the sum of its parts (figure 1). They are now musicians for life.

What Is JazzLab?

JazzLab is an exciting, enlivening, hands-on experience, using music making as a way to transform your organization. From an hour-long workshop to a daylong intensive, participants become musicians, composers, conductors, and improvisers—and no musical experience is required! It emphasizes working together, having a great time, and making music that sounds wonderful. JazzLab uses music making to address vital organizational questions such as:

Figure 1. Combining Instruments and Rhythms Creates Synergy

• How can we listen and communicate better?

• How can we create effective teams yet still retain autonomy?

• How can we better foster creativity and innovation?

• How can we encourage diversity?

• How can we create effective structures, but not be bound by them?

• How can we think better on our feet?

HOW DOES JAZZLAB WORK?

JazzLab is based on the premises that:

1. Everyone is musical, whether they know it or not.

2. Making music is an excellent metaphor and training tool for whole-system thinking.

3. Rhythm and percussion are quick, easy, and effective ways for people to make music together.

JazzLab begins with clapping and keeping a simple beat. A single, shared pattern divides into two, then into four parts. Voices are brought into the mix with a rap song in four parts. Then the rhythm band is formed, with each group of instruments given their own part. Participants then get to conduct or play in an improvised symphonic “movement” with the large ensemble. Smaller groups are then formed, with participants creating and performing their own original compositions. Finally, “improv trios” are formed, where three players sit facing each other with an array of instruments and create a two-minute free improvisation on the spot.

THE FOUR ELEMENTS OF MUSIC

The foundation of JazzLab is rooted in four primary elements of music, all of which interact simultaneously. As participants begin to feel these elements flow together, it becomes apparent that they are also the foundation of a holistic, healthy, and vital organization.

1. Listening: Deepening and widening your listening. Our average listening span in conversation is remarkably short, yet while playing music, we can listen deeply for long periods of time. Making music provides a framework for deep listening, the foundation of all effective interaction.

2. Being “in synch”: Getting in the groove. Following a common beat together is akin to having a common purpose and vision. Not everyone needs to play the same part or play the same way, but hearing and synching up to that common beat is essential. Once the group is unified this way, effort and struggle can then relax into groove and flow.

3. Diversity: Having everyone’s contribution matter. In life, we tend to naturally gravitate to the familiar—those who look, act, and think like ourselves. In music, however, we naturally seek out variety and diversity. Every part is important. The wider the mix of instruments, the more interesting texture and overall sound. A mix of skill sets, personalities, and backgrounds usually makes for a wider knowledge and innovation base.

4. Synergy: The whole is greater than the sum of its parts. Synergy as a concept can be difficult to grasp. In music, however, we can instantly hear and experience the power of synergy. Listen to the rhythm section of a band—the keyboard, guitar, bass, and drums all have interesting parts by themselves, but when they come together, something wonderful is created that surpasses the mere combination of parts.

IMPROVISATION: THE FINAL FRONTIER

The essence of jazz is improvisation, a concept that often frightens people. Yet, every day we are improvising all the time. We call it conversation. Think about it: You may have an opening line to initiate a conversation, but after that you respond to each other on the moment, building on what is being said, and creating a dynamic exchange. That is improvisation! Another way to look at day-to-day improvisation is in how you “play” your day. You may have a structure to your day, but chances are you will make many additions, revisions, diversions, and other changes that are appropriate to your situation. That too is improvisation, and it is what gives life and meaning to the structures around it. In JazzLab, musical improvisation demonstrates powerfully that we can trust our intuition—that improvisation does not lead to anarchy and chaos, but rather allows for new structures to emerge, structures that are dynamic and alive.

Table of Uses

About the Author

An award-winning composer as well as an accomplished and versatile musician and facilitator, Brian Tate ([email protected]) attributes the success of his multifaceted career to a love of working with people and a passion for the arts. Brian received his Bachelor of Music degree from the University of British Columbia and went on to further music studies in London, England, and Toronto. His love for music of many kinds has led to a diverse career that includes orchestral and choral conducting and performance; West African drumming; jazz piano and vocals; musical theatre; and composing music for film, television, stage, and the concert hall. As a facilitator in the area of business and education, Brian takes the elements of creativity, process, chaos, and discovery found in the performing arts and transforms them into powerful, interactive group experiences toward developing leadership, authenticity, innovation, and systems thinking.

Where to Go for More Information

REFERENCES

Davis, Miles. Kind of Blue. CD-ROM. Sony, 2000.

Nachmanovitch, Stephen. Free Play: Improvisation in Art and Life. Los Angeles: J. P. Tarcher; New York: St. Martin’s Press, 1990.

Nisenson, Eric. The Making of Kind of Blue: Miles Davis and His Masterpiece. New York: St. Martin’s Press, 2001.

Suzuki, Shunryu. Zen Mind, Beginner’s Mind. New York: Walker, Weatherhill, 1970.

ORGANIZATION

Brian Tate—www.briantatemusic.com