So, as mentioned in the last post I spent some time with a number of old friends last week, and several of those I also count among the more creative people I’ve had the privilege of knowing over the years.
Today I’d like to be a bit more specific about this… and take the opportunity to talk about something I haven’t really touched on yet in these pages: collaborative creativity.
In many ways I am a fairly solitary creator much of the time, but as a performing musician I also find myself in collaborative situations quite frequently. Moreover, I have maintained a number of highly fruitful long-term associations with particularly gifted and creative musicians. One of these is my friend Ed Roman.
I visited Ed last week and we spent two days in the studio laying down some tracks for his new album. Although my involvement in the project ended a bit prematurely (due to a dental emergency), it was productive and inspirational and drew my attention to a few aspects of collaboration that seem worth exploring here…
I am writing this on a train, around the midway point on a journey from Montreal to Toronto. Trees and farms whiz by my window, accompanied by the familiar sounds (clickety clack! clickety clack! And an occasional whistle blast…) and the gentle back-and-forth movement.
I love traveling by train and do a lot of it in my adopted home of Germany; less so here in Canada, as there are fewer places to go by train and life seems to be organized much more around cars. We don’t even have a car in Berlin, in fact we’ve never even considered having one there.
Actually I love traveling just about any way – trains, planes (I’ve waxed nostalgic elsewhere about the magic of looking down on clouds), boats (especially sailboats), on foot, by bicycle, or even by car – I like a good road trip as much as the next guy/gal. I’ve even ridden elephants and camels when the opportunity presented itself; more on that shortly.
I suppose I have traveled more than a lot of people, though that has never been a goal per se; certainly I am a featherweight by the standards of someone like Chris Guillebeau. But compared to most people that grew up in the small Ontario town I did, or others like it all over the world, I’ve seen a few places (I’m up to 25 countries or so now, some extensively). And of course I have made my home for over ten years in a country and culture far from my own.
Has this impacted my creative life and work? Undoubtedly. Has it made me more creative? Or has my natural inclination towards the creative worldview also predisposed me towards making the most of travel opportunities? Hard to say. In any case it is part of my creative life… More
I have spent the past week at a family reunion: my parents have been hosting their four children, four grandchildren and associated partners at their country home in Nova Scotia. It’s been a lovely, if somewhat hectic visit, and has kept me away from the writing table for the most part…
However, in pondering what aspect of creativity I might like to tackle next in these pages, it has occurred to me (as it often does) that my immediate circumstances might offer some inspiration. More precisely, I have been wondering about how my family, both immediate and extended, may have influenced my creative development, as well as the ideas and thoughts about creativity that are the subject of this blog.
And of course this isn’t just about me – as always, I don’t think I’m particularly special or unique in this and likely the same kinds of influences are operating in your life as well, whether or not you consider yourself particularly creative. I want to think about this in a more general way, starting from my own experience and extrapolating from there.
I bought a new keyboard recently. And I don’t mean the one I’m typing on – which could certainly use an upgrade, to be sure, but I’m referring to a much bigger one with black and white keys that makes music. It’s quite a serious one, a real professional tool with bells and whistles, not to mention buttons and knobs and flashing lights, galore. Oh, and the whole thing is fire-engine red, and made in Sweden. If you’re a serious keyboardist like I am, this is something to drool over – and in fact, I’ve been wanting one for years.
So why am I doing this now, rather than years ago? Well, for a number of reasons really, which I’d like to explore here as a kind of framework for investigating the third type of creative commitment: to the tools and techniques that take our work to another level. We have to be committed not only to the idea of creativity, but to the reality of it as well, and this often requires investment in money and time that may not return directly for years or decades to come.
While I am a self-confessed gear nut and can get pretty ‘into’ music technology, amongst a number of other varieties, I have been on a low-acquisition kick lately and have have been pulling away from this kind of thing for a while. This has been educational, to be sure, and liberating in a number of ways, but due to a confluence of factors – first, I landed a steady gig for next winter (not the one I auditioned for last month, but in the same vein) for which I will need a solid reliable and professional unit; and second, I found this one about to go very, very reasonably on eBay. So I jumped.
It’s not the first ‘serious’ keyboard I’ve owned, of course. I’ve been buying and selling gear on some level most of my life, and in and of itself on a purely monetary level I can confirm that it has been a disaster of an investment strategy. However, not all ROI (Return On Investment) is measurable in purely quantitative terms and if I start to think about how all this gear has affected my creative journey over the 25 or so years I’ve been pursuing music as my life’s calling, a very different picture emerges. More
I played an audition last week. For a gig that would really smooth over some bumps in our financial stability, at a big (actually I am told it’s the biggest theatre stage in the world!) and ultra-professional stage show. In all honesty it is artistically not my highest goal in life, but there are not so many solid jobs left for musicians and it’s an opportunity I’m not in a position to blow off.
However, that’s really not what this is about. What’s it about then? In a word, confidence.
It’s been a while since I did one of these auditions and I wasn’t sure how I was going to handle it. I should clarify that I rarely ever get any kind of stage fright when actually performing; after thousands of times in front of audiences ranging from rather small to very big indeed, I generally don’t let that particular breed of anxiety get the better of me.
Auditions, however (and exams, though they are likely a thing of the past for me now) have always been a different story. They have always brought out the worst in me, all the self-judgment and second-guessing that this blog is all about transcending. In performance, the feeling that everyone is picking apart your work looking for flaws is largely imaginary; in an audition, it’s entirely real – in fact it’s the whole point. And it’s been an Achilles heel for me as long as I can remember.
This time was different: I found myself with an unexpected feeling of confidence, and I’m interested in uncovering where it might have come from. Let’s break it down. More
note: this post is reprinted from my previous blog, Cliffjump!
I spend a lot of time with my little boy. He’s pretty great, and everyone tells us he’s their favorite toddler (obviously he’s ours), but I’m pretty sure he’s exactly as special as every other almost-three-year old, which is to say amazingly, unimaginably special. I figure he probably does much the same stuff they all do. Which is to say, he plays. And I play with him, as often as I can between the dishes and the laundry and such. I also watch… and learn. Here are a few pearls of wisdom I’ve distilled from observing (usually in jealous awe) his effortless, totally un-self-conscious creative play.