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The Best in the World

by Charles H. Green on Saturday, February 3, 2007 (post #64)


I took my son, a flute player, to see Sir James Galway, arguably the best flautist in the world.

He and his wife spoke informally before the concert.  They said the US under-achieves in international competitions relative to its raw talent. Why? The competitive emphasis we put on technical virtuosity.

The fundamentals are forgotten, they said.  To be great, you need to work on scales and tone.  His concert included two “simple” pieces amidst the virtuoso pieces—to lead the students in the house by example.

His website speaks to his generosity—financial and spiritual.  He talks about the fundamentals of music, and of being human.  It says, "My scales are my prayers; my concerts are the answers."

    Years ago, I took a week’s solo lesson with arguably the world’s greatest pedal steel guitar player (and surely the best teacher), the late Jeff Newman—in a little A frame house at the top of the hill on Jeff’s land 20 miles east of Nashville.

We spent the first half-day tuning.  Tuning.

Once we spent an hour with him leaning back in a chair, strumming 3 guitar chords while I played three steel notes over and over.  He’d grimace at some notes, smile at a few. “If you cain’t make me cry with just three notes, Charlie,” he’d say, “what the hell good are all the rest?”

Once I got frustrated with technique on the volume pedal.  “Charlie, you got to stomp that sucker,” he said. “Either you’re going make that hunk of metal sing for you, or it’s gonna kick your butt. Which is it gonna be?”

Between songs, he’d tell stories.  Like the time Jimmy Day finally played Steel Guitar Rag dead flat perfect, looked up and realized the joint only had 23 people in it—all drunk, and not one who gave a damn.  “You don’t play for perfection,” he said, “you practice, then you play for love—perfection’s just a little gift you get once in a while.”  Jimmy Day, he said, had a cable linking his foot and his soul.

Or the day John Hughey, Conway Twitty’s old steel player, put away his steel for good after Conway retired, despairing of ever again getting gigs for his old-style of playing. Only to get a call later that day from Vince Gill, who featured him in the front of the band, and started a whole new career for Hughey.

Occasionally Jeff would sit at my instrument and just noodle.  Incredible sounds, blending jazz chords and pipe organ tones with Bach-like complexity.  “Why don’t you record some of that, Jeff, that’s absolutely gorgeous, unique,” I’d say.

“Why don’t I record it? I’ll tell you why.  Only four reasons to do it.  One, for the money—I don’t need it.  Two, for my students; but it’d just intimidate them, not help them.  Three, for my ego—again, I don’t need it.  And four, for your ego—but that’s your damn problem, not mine!  I ain’t doin’ it.”

The best in the world often sound like this. They are self-assured but not arrogant. They are technically great, but see technique as a means, not an end.

Their emphasis is on the basics, and on the result. Technique in service.

What are the basics in business?  I suppose quality, integrity, customer focus.  Commitment.  Willingness to give to others. Trust.  Stuff like that.

What are the business analogues to musical flash and technique that  get in the way of tone and soulfulness?  Perhaps systems and measurements; esoteric strategies; clever incentive schemes; complex financing; sophisticated diagnostics and skillsets?

We all need technique.  And complexity is a fact of life.  But the ends are still supposed to be the reason for the means; the means aren’t self-justifying.

It don’t mean a thing if it ain’t got that swing.



Charles H. Green, author of Trust-Based Selling and co-author of The Trusted Advisor, is a consultant and speaker on trust issues for some of the world's best companies. He has written about trust in business relationships at Trust Matters since 2006. Read more...


posted in Building Trusted Advisors, Trust-based Selling, Trust in Leadership Development and Strategy

12 Trackbacks

trackback url: http://trustedadvisor.com/trackback.php?id=98

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8 Comments

will said

I have a friend who went to India, and was learning vocal technique there.

In Indian music, someone learning vocal music makes use of a drone maker, a tanpura, which has that 4 strings mostly tuned to just 2 notes.

Once, he was playing it and he managed to tune it so the sound seemed particularly clear and vibrant.

excited he went to see his teacher. His teacher said, "There are seven levels of tuning, and you've reached level 3"


posted on Sunday, February 4, 2007

peter vajda said

"What are the business analogues to musical flash and technique that  get in the way of tone and soulfulness?"

For me, greed and speed, in their various ways, shapes and form, for two....which often detract from focus, flow and presence that drive a deeper, inner  purity, meaningfulness and purpose of work .

"Jimmy Day, he said, had a cable linking his foot and his soul.

And so in the throes of everyday business — doing, doing, doing — where is the link to our greater, higher, authentic self? One can, if one wants to, bring one's "soul" to work — be it music or anything else — but....only if one chooses. The $10 question is why so many consciously choose not to?

posted on Sunday, February 4, 2007

Maureen Rogers said

http://www.pinkslipblog.blogspot.com/

Lower down the business food chain - I probably wouldn't use the word "soulfulness" with respect to marketing - flash and technique getting in the way of tone happens quite often in marketing communications, collateral, web sites, that are more focused on making a creative "statement" than on conveying anything informative or useful.

One of my favorites was a brushed-aluminum clad brochure one company I worked for made. It looked quite beautiful, but the content was gibberish and, oh yeah, it weighed too much to mail out AND if you ran your finger over the edge you got cut. (We called this piece the "Full Metal Jacket.") Still, it sure did look pretty...

posted on Sunday, February 4, 2007

Ian Welsh said

www.agonist.org

My (less interesting) version of this was learning house painting.  Brush technique.  I was living with an old German guy, Peter, who was the handy man's handyman.  He could lay bricks, do plumbing, had wired his own house, etc...  But he was getting old and his health was failing and he needed help around the house.  So he'd tell me what to do and I'd do it.

When it came to painting he showed me how to hold the brush, he showed me how to lay down the strokes, and he told me this "I don't care how long it takes you.  Don't try and do it fast.  Do it the way I showed you no matter how long it takes you."

It was painfully slow.  But I eventually became very fast.  Most painters, for example, need to put up masking take when edging - I didn't.  I could edge them without the tape.

Learn to do it right first, the speed will come later.  And if you never learn the proper technique, you'll never be any good.

When I was teaching students how to write, or teaching them life insurance minutaie, I used to say the same thing.  "Don't try to be fast.  Do it right.  The speed will come.  But if you don't learn the basic technique now, you'll never learn it and while you might be decent, you'll never be really good."

posted on Sunday, February 4, 2007

Brett Rogers said

http://www.beatcanvas.com

Another great post. You know, "standards" aren't really discussed much in the business world. But that's kind of what you're talking about. Jeff had standards for the basics and nothing less would do. What standards do we hold for ourselves? For our business?

posted on Tuesday, February 6, 2007

Shaula Evans said

Via the Singer's Blog Carnival, I just found and read this tremendous article on The End of the Great Big American Voice, and this passage jumped out at me:

"American vocal training has long been bruited as the best in the world and is supposed to be better than ever. Yet there has been no commensurate rise in great new talents. (...) Yet in the upper echelons of this fractious field, the one thing people seem to agree on is what's going wrong. In dozens of interviews with singers, teachers and administrators around the country, the same complaints emerged again and again. Young singers are not being taught the fundamentals, in particular, the proper use of breath."

(my bolding added)

Whether we're talking performing arts or business, I wonder how much of a preference for flash vs craft (which can be recast as short term vs long term payoffs) is a cultural issue?

I'm sure you've heard the (true) stories of how in Japan aspiring sushi chefs spend the first several years of an apprenticeship learning to cut a daikon radish in a transparently-thin and continuous spiral.  When I worked in Japan, I was surprised to learn that this approach applied to ALL fields, not just sushi.  My first big cultural conflicts were about me wanting to "jump in" and do the job I was hired for, when my office's expectation was that I would take at least a year of doing clerical and administrative tasks (and sitting around) before I had absorbed enough of the office culture to be in a position to make a contribution. 

My experience of working in various locations in Europe, East Asia, and North America has been that American culture tends to be the most focused on short term rewards, often regardless of the cost.  This might make a great driver for "entrepreneurial spirit," but it doesn't seem to foster the kind of dedication and commitment needed for mastering techniques, or long term thinking.

posted on Friday, February 9, 2007

Charlie (Green) said

www.trustedadvisor.com/blog

Shaula, how cool that is, an eerie similarity.  And Will also points out another musical example.  And Ian's brush technique is in the arts field too.

Maybe it's more obvious in the arts, but I'm with Brett and Peter too in that business needs to emulate the arts in this regard.

posted on Friday, February 9, 2007

Ian Welsh said

Another issue is the "why". One of the most frustrating things for me at my last job were the number of people doing it who knew what they were supposed to do, but didn't know why they were doing it that way.

Works fine, until something unusual occurs and then they were completely lost, because they couldn't reason from first principles. And since they didn't know why, they didn't know which things were really important, so when they cut corners (and let's face facts, at some point we all have to cut corners) they would often cut the wrong corners.

One day when the coach was on holiday I was approached to keep the new hires busy. So I asked them, "do you know how insurance works - why it lapses, how it's costed, and what the various values mean?"

They'd been there for over a month - not one of them did. So I went around to people who had been hired even before that group, told them I was teaching a class on how insurance worked, and wound up with 10 people clustered around while I explained it, including people who had work to do they'd have to make up later.

It wasn't even that they didn't want to know - they did - but they'd never had a chance to learn.

posted on Saturday, February 10, 2007



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