Not every facilitation gig goes great. The kind of work I do – and this is probably true of many of you – is usually novel. It is new to the organization I’m working with and often times new to me too, because every organization’s context is different and we design to what is needed.
This means that I often find myself involved in processes that folks have never done before. Moreoften than not, if we’ve done our preparation work well and folks are well invited to the gathering, the process is fun, engaging, powerful and results in good outcomes.
And sometimes it doesn’t. Sometimes we get lost, don’t know where to start, flounder and find ourselves surprised. And at times like that I think about Tommy Flanagan.
Tommy Flanagan was one of the best jazz pianists who ever lived. His discography includes 40 solo recordings and some of the seminal jazz recordings of the 20th century: Sonny Rollins’ Saxophone Colossus, Kenny Burrell’s Swingin’, and numerous albums with Ella Fitzgerald, Coleman Hawkins, Milt Jackson, and JJ Johnson among others. Famously he appeared on John Coltrane’s 1959 album Giant Steps.
Now Giant Steps featured as its title track a now-classic tune of the same name which is diabolical in nature. Coltrane plays it very fast, and the chord progression is something that no one had ever seen before – embodying Coltrane’s radical approach to jazz harmony – with hardly any time to think between changes.
When Coltrane introduced the song to Flanagan a couple weeks before the recording session, he played it slowly so Tommy could get a sense of how the changes worked, and this left Flanagan with the impression that the tune was a ballad. Ballads are played at 60 beats per minute. When the band stepped into the studio to make the recording, Coltrane played it at nearly 300 beats per minute. Flanagan wasn’t prepared.
On the recording, you can hear Coltrane’s soaring solo of 11 choruses, before he drops and lets Flanagan comes in. Tommy Flanagan has five choruses to solo on and he starts scared and gets progressively more and more lost until by the fifth chorus he is just comping out some chords and probably thanking his stars he survived it.
His solo is perhaps the most famous example of a top jazz musician who tried something and failed. Lost, bewildered, out of ideas, but gamely getting through it.
Some days are like that. Folks loving using jazz as an example of what happens when teams of people really cook together, but they never seem to bring up Tommy Flanagan’s solo. Facilitation is like that sometimes too. You know you’re stuff, you are good at it, and then you find yourself in a context where things are not what you expected and you dry. It doesn’t mean you’re not good at your job. But, Coltrane’s recording of Giant Steps is perhaps the most relatable moment I can describe listening to jazz masters play.
Flanagan, by the way, had more than the last word on this piece of music. After Coltrane died he recorded a lovely version of it on a tribute album that has a solo that rivals Coltrane’s and is maybe even better for its lucidity and cohesiveness and swing.
Today, I was working with a client designing a one-day conference for their members. As always, my focus was on the chaordic stepping stones as a way to design, which defers decisions about structure, agenda and logistics until after we have focused the groundwork of the event.
Participatory events are not highly engaging without tapping into the group’s urgent necessity and a clear sense of purpose for the gathering. From that point, design becomes easier, and invitation becomes alive.
Today, we focused on necessity and purpose. I kicked us off by asking, “What is happening that makes this gathering important? What conversations are you expecting to have?” in this sense, the question places people at the centre of the participant experience. Immediately, they feel the emotions of the gathering and connect with the obvious sensations present in the current context. That helps them to find the language to invite others into a gathering that will address the energy of the current moment.
For the second exercise, I had them tightly constrain their purpose statements for the gathering. I asked them to give me one word describing the purpose of the gathering given the context conversation we just had. Each of the six people typed a single word into the chat and we went around and had each person describe what that word meant and how they saw us doing that at the conference.
This led to a set of really focused insights on what we should be doing and how, and it helped to flesh out some of the other stepping stones: the outputs, architecture of implementation and some of the preliminary structure.
As I considered this technique, I reflected on how I study jazz language. I love learning licks and phrases of melody that people use to express different things. On their own, licks are just the building blocks of bigger phrases of meaning (although some licks, like the Salt Peanuts lick, convey A LOT of information). But a lick opens up possibility. It suggests something else, it even recalls past experiences. It comes from what your fingers or voice has done before, what is natural, what is top of mind.
The point is that licks are small units of language that an improviser can use to expand upon. Starting small and simple is incredibly helpful. From a one or two-bar phrase, you can develop variations and different kinds of tension and release. Writers know this from the prompts that are used to stimulate creativity. No one gets activated staring at a blank page. But give me a prompt, and we’re off.
In our meeting today, starting from a one-word purpose helped develop a grounded rather than abstract purpose for the conference. After an hour and a half together, we had a lot of good material for an invitation, some ideas for how to be together and the stuff we would create together, and the beginnings of a structure. It was a lovely improv session.
My Epiphone Emperor Joe Pass guitar upon which I am learning…leadership? Read on!
It’s a cliche as old as time, one I have been guilty of using occasionally too. Leadership is like jazz, where the members of an ensemble support each other in improvisation. We listen carefully, respond to what each other is doing, offer creative responses and make something amazing together.
Yes. Leadership is way more about improvisation than, say, following a step to step guide to assembling IKEA furniture.
But there is another set of metaphors from jazz that I have never seen talked about, perhaps because it needs you to understand a little about music theory, but that is leadership as jazz harmony.
My pandemic project was, after forty years, marrying my love of jazz with my love of guitar playing. My musical life hasn’t been the same. It has felt like starting over again. I have been learning jazz guitar with a teacher and with online tools now since late 2020. I’m focusing on learning how to play jazz standards, mostly solo, which means learning how to make chord melodies while also trying to do interesting things with improvised lines, over chords. I had to learn the fretboard in new ways, had to learn new techniques for voicing chords and playing lines from scales to which I had never given much thought: the harmonic minor, the altered scale, the Lydian dominant. I am getting to the point where I am learning to say things with jazz, but I feel like a baby. One reason for that is that there is SO MUCH TO LEARN from technique to theory to language to repertoire.
Of course with all new endeavours you have to learn a bit of theory to understand how it all works. While I know basic music theory, I have also had to take a deep dive into jazz theory because at its core, jazz is a structured, logical music that provides a harmonic and rhythmic container for improvisation and all the tools one needs comes from the specific ways jazz theory works. When you are playing on guitar, especially comping the lush and colourful jazz chords that accompany other players, your goal is to be as sparse as possible while still implying the harmony so that the melodic lines that the soloists are producing make sense. To the untrained and cynical ear, jazz sounds like “the wrong notes” but in the hands of skilled guitarists, jazz harmony has a number of different characteristics that are interesting.
First of all, in good jazz guitar playing, we try to make arrangements where the chords change only one or two notes at a time, and most often to notes that are just nearby. This is called “voice leading” and has been a feature of Western music since harmony was invented. In fact it probably was the origin of harmony, as two independent voices singing together will produce different notes. Sometimes these notes will sound pleasing and consonant and sometimes they will clash and sound dissonant. However, the point of voice leading is to guide the ear gently from one chord to another through the changes. As long as I have have loved music I have loved voice leading. I spent hours just voicing chords on piano as a kid without knowing what I was doing. But when you play a chord and change one note you discover that you are somewhere else entirely. Your next move from there is constrained by where you are now, and there are patterns of logic and harmonic tradition that are yours to follow or break as you wish.
Because guitar is a weird instrument – six strings played with four or five fingers with the same note appearing in different places all over the neck – jazz guitarists are very fond of stripping chords down to only two notes, to play their essence. In jazz we call these “guide tones” and they are the 3rd and the 7th notes of the chord scale. For example if I’m playing in the key of C and I need a C major 7 chord, I need only to play an E and a B (C-D-E-F-G-A-B) to imply the chord. Guide tones, along with the context of the chord – what comes before and after it – gives you enough information to work with to create a solo that sounds good. Guide tones are connected to voice leading. Playing a standard jazz chord progression like a Dm7 – G7 – Cmaj7 (the well-known “ii-V-I”) with guide tones produces smooth voice leading: Notes go like this: F-C, B-F, E-B. You can see that in each chord change, only one note changes, but when it does it produces a very different sound. We get led by one notes that wants to stay stable (the third) and one that wants to go somewhere else (the seventh). Together these two notes contains the essence of tension and release.
Jazz harmony is all about tension and release. In most of the music I have ever played on guitar, chords are just blocks of information. I might have a chord progression that goes C-Am-F-G (I-vi-IV-V) which is very common in pop and folk music and while certain chords want to go to other certain chords, the most tension is with the G chord, the five chord, which wants to go back to a C. End a song on a five chord, and your audience will be left in suspension. Go listen to the end of The Beatles “For No One” and you’ll see what I mean. You get left there. What happens next? This is the most basic tension and release. When most of us are learning guitar, we learn 7th chords and understand that these always lead us back to the tonic. D7 goes to G. A7 goes to D. C7 goes to F.
In jazz working with tension and release is a high art and there are many, MANY, more things you can do with chords to make jazz lines flow from one chord to the other, but the essence is that a little bit of suspense makes for a satisfying resolution. So we take those guide tones and start adding notes to them, and this is where jazz theory gets really arcane. You can add a sharp 11 or a flat 13 or a sharp or flat 9 to give you some tension and dissonance. Or you can add a 9, 6 (or 13) to give some lush colour to a more stable chord. You can play different scales over different chords. You can keep suspense and tension alive for a long time, or just imply it and bring it home. In Western music tension and release is such an important aspect of the musical experience that it is essential to understand for both composition and improvisation. Music with no tension of release is just a drone. Everything else in music is textured around moments of discomfort and anticipation and moments of relief and stability.
So if you want to see all this in its glory have a watch of this old Ed Bickert recording with his trio. Ultimately all of these tools are helpful in aid of creating a container inside which you make coherent choices for expressing yourself. And THAT is why jazz harmony is like leadership.
Extending the metaphor
I’m writing a lot on containers right now, so my attention is guided toward how containers – contexts for meaningful action – are structured and how we create them. In complex situations, leadership is about creating these contexts for action and interaction, and there are many lessons from the world of jazz harmony that apply here. Here are a few, in case you haven’talrady sussed them.
Theory matters. It really does. In jazz, there are reasons why something sounds “jazzy” and reasons why it doesn’t, and the same is true in working with containers and people. There are things you can do as a leader that will have better chances of certain outcomes than other things. Learning theory, especially working in complexity – like why managing to targets is less effective than managing to a direction of travel – will help you create experiences for people that get better results over time. If you want your tem to be more creative, there are things you can do that will help. If you all want to learn some new things together, knowing what they are and how learning works makes a big difference to how effective you will all be.
Small changes make a big difference. Voice leading in jazz has taught me that changing one small thing can have a powerful effect of taking you somewhere else. We think of “change” in organizations as a big planned thing, but in reality the constant change that arises from interactions between people creates all kinds of new situations. Leadership is about working with existing stability – for better or worse – and making small adjustments to see what can be done to take you closer to your preferred direction of travel. And making small changes means that, as you are improvising, you don’t over commit to an idea that has no future. Instead you are trying to open up new pathways to explore – called affordances in complexity – that are coherent with what is already happening, but might offer a better way to be.
Start with where you are. In jazz if you are playing in the key of B flat major, you should not play a line from the D major scale unless you really really really know what you are doing. One of the biggest lessons I have learned from complexity theory over the years is that the current state matters so much that any attempt to just show up and create something new in a workshop or a retreat with no regard to context is almost guaranteed to be a failure. In complexity, change happens along affordances in the current context, and fruitful change-making and leadership understands that. That is not to say that you cannot create completely new things out of the blue, but there are all kinds of reasons why this entails a massive energy cost to individuals, not the least of which relates to just how much tension and release people can take.
Tension and release helps us move from one place to another. Our work lives are full of moments of tension snd suspense followed by moments of release and stability. Cognitively, we can only stay in this so long and we all have different tolerances. Just like your endurance for listening to a free jazz piece that seems to have no release of stability at all – I love Cecil Taylor but your mileage may vary – folks at work will have a hard time staying in a state of constant tension, or indeed, constant stability. And even though good leaders give their teams and organizations a sense of stability over time, ignoring the changing context of one’s work can render a team irrelevant or ineffective, and in some cases, an entire company can find itself no longer in business. So as a leader, it’s a developed practice to dance with the paradoxes of challenge and rest, creativity and stability, outside thinking and standardization. Human beings live this journey and it is what helps us grow and evolve and form and break our identities and try new things and generally give meaning to our lives. That is a high art of leadership: to create what I’ve heard Jennifer Garvey Berger call “life-giving contexts.”
So there you go. The next time you meet someone who just cavalierly throws around the “leadership = jazz” metaphor, go a bit deeper. And I encourage you to really listen to great music to hear all these things at play. Knowing a bit about how music works helps us to understand why it matters to you, why you like what you like and why and how you are moved by it. Just like everything.
My friend Marcus Jenal published his latest weekly newsletter in which he muses over a few questions related to complexity, strategy and taking a stance. He doesn’t have a comments section enabled on his blog (hint! hint!) so I’m going to respond a bit to what he wrote here and we can have a conversation in this space.
Too often, I fall into the trap of questioning every new insight I have and asking myself if that insight goes deep enough. Every insight is still biased through my cultural coding, my upbringing, my context, etc. Yet by the very nature of being human we will never reach a place of ‘pure’ unbiased understanding. So we need to strike a balance between self-critical reflection and believing that we found some ground that is solid enough to step on and move forward.
It’s like the metaphor of crossing a river on foot. We make a careful step to check if the next stone is stable enough to step on or not. If it is, we make the step and then check which direction we can go from there. If we get stuck, we move a few steps back. But if we never trust the stability of the next stone, we will not move at all. And yes, sometimes we might fall into the water but that’s ok. We can pick ourselves up and start again.
This is one of the biggest blocks I see with folks who are new to complexity work. There is a tension – a polarity even – between needing to move and needing to know. I think that tension is generated by standard problems solving practices that begin with the Cynefin framework’s Ordered Systems formula of “SENSE – ANALYSE – RESPOND.” You start by gathering information you can about the system, have an expert analyse the data and tell you what to do, chart out a path forward and then execute. That is what most problem solving in business and organizational life looks like and it permeates design thinking and action practice.
When I’m teaching people to work in complexity, it’s good to use tools and metaphors that draw on their own experiences in the rest of their life. I am firmly of the belief that human beings are innate complexity workers but our organizational life squishes those capacities out of us, or relegates them to the sidelines of our non-work lives, to hobbies, games, parenting, gardening, cooking, art, and other activities of daily life. In places where we are safe to fail, we can try all kinds of things at our own pace and comfort. We are not paralysed by the fear that someone will yell at us for getting it wrong, or worse, we will be fired, demoted, or thought less of. So many organizations and leaders I work with are paralysed by fear. Ofet they figure out how to download that fear on to their teams and always have someone else to blame if things go wrong. That’s a lot of the work we do when trying to open up leadership practice.
“Why are we stuck?” ask many leaders. “How do you reward failure?” I ask in return. And thus begins the conversation.
These days I just point people to this EXCELLENT Liz and Mollie cartoon to illustrate this:
So yes. We need to act without information. We take up some, have a sense of where we want to go, and then move and the cycle begins.
That leads to the second part of Marcus’s post:
I am re-watching the two conversations between Nora Bateson and Dave Snowden on ‘When meaning looses its meaning’ (Session 1, Session 2) together with a group of friends who are both interested in Nora’s and Dave’s work. We are having fabulous discussions after watching bits of the conversations. While Nora and Dave try hard to agree with each other, of course they have their differences. And these differences are somehow reflected in my own thinking about how to be and act in the world, which I’m expressing in my weekly emails – particularly the dilemma of if/when/how to act. In very strongly simplified terms, Nora advocates for broad, open, purposeless spaces to make connections and relationships that will then sprout into change in whatever way, while Dave sees the possibility of catalysing certain attractors and shifting certain constraints in a more intentional / purposeful way so that new, more desirable things emerge (he calls this ‘nudging’ the system). While it is more obvious with Dave, both have an idea of how a more desirable world would look like: more people would accept that ecological and complexity thinking are better ways to engage with the world than industrial linear thinking. Both, Nora and Dave, take a stance, which allows them to become thought leaders.
It has been lovely watching Nora and Dave dance together and as Marcus rightly identifies, the differences, held in a generative tension, are the interesting bits. I think the tension about direction of travel that Marcus has seized on here is an important polarity to navigate in complexity work.
Direction of travel matters. Call it a moral compass, call it a shared purpose, a shared vision, or a sense of what is right and good, but INTENTION, as Alicia Juarerro will tell you, matters. It serves as an attractor for action and so if you are planning to move, you better be aware of your intention, especially if you think you are just hanging out in a purposeless space. In complexity, there is no space that is free from context. If I am just hanging around with a soft gaze waiting to explore something, that is not an empty space of thinking. My eyes and ears and heart are conditioned and constrained by my history. And that is why Nora’s ideas of “warm data,” as I understand them, are helpful. It helps to populate the purposeless space with enough diversity and possibility that it can be intentionally purposeless.
I learned that a long time ago when I was thinking about Bohmian dialogue in the context of alos developing my practices of invitation. Bohmian dialogue is intentionally open, and, as Harrison Owen once said, “Whatever happens is the only thing that could have happened.” That is true and it is alos true that there is always intention in the invitation, and whoever comes has arrived there by virtue of the history of connections that led them to discovering and responding the the invitation. Spaces can be open, but they are never unbounded. Awareness of the boundary conditions is helpful for understanding what is possible and why what happened was “the only thing that could have.” Complex systems have history and that history matters.
So I think this difference that Marcus has found presents us with a nice space to manage within when we are working in complex systems. A range of openness of direction of travel from broad to narrow. At a certain point if you treat the direction of travel like a target you have drifted into the complicated domain in Cynefin, which is fine, if that is truly what you are doing. But targets are not the same as vectors and they inspire very different patterns of behaviour.
Oh and on Marcus’ last question…
PS: I’m not 100% sure what the difference is between ‘taking a stance’ and ‘taking a stand’. Even English native speakers could not really explain it to me consistently.
…I answered him by email saying essentially that a “taking a stance” is a position that you take to prepare for action, and you optimize your ability to engage well to whatever is coming. It’s preparing to move. “Taking a stand” is getting ready not to be moved, to dig in and resist whatever is coming. One could even say it’s another way of thinking about the resilient vs. robust form of dealing with change.
Lots of good stuff coming through the pipe lately. Here are some links for your attention:
AI is running our lives and we need to find ways to deal with it.
- A conversation with LamDa, an artificial intelligence, and the implications of this transcript. The stuff seems like science fiction, but so much of our lives are starting to be mediated through AI bots. We are heading for a reckoning with our ethics, and I’m not entirely sure that the folks with their hands on the technology levers of power are equipped for the job. Make philosophy and ethics a required part of STEM curricula? Please?
- Perhaps as an antidote, or a vision of what could be, Harold has a nice piece about managing in complexity and the need for what he brilliantly calls “permanent skills.”
- And because Harold is such a must-read much of the time, here’s another piece on how he navigated information wars and expertise during the first two years of the pandemic. Paying attention to signals and having well curated streams for receiving good information is very very difficult, and not something that most of us have the time and experience to do. And so we are preyed upon by single viewpoints that have a lock on our dopamine production, feeding confirmation bias and disconnection. Harold’s writing, as always, seeks to bring the most brilliant human capacity of sensemaking into this work.
Being a better facilitator
- Nadia and Corinne remind us of the power of invitation. I have blogged about this stuff for decades, but I never tire of reading simple,well thought out pieces on this. Share them with your clients and groups you are working with, because they help to spark the conversation that will lead to designing good group process.
- Beth Cougler Blom dusts off her preparation protocol for in person meetings and finds that it needs an upgrade. Useful to me as I have been quite slow to return to in person work, and I’m mostly okay with that. So that means I need to be really conscious when preparing space for in person meetings, and reports from the front line are welcome!
Geek out on some sports and complexity theory
- Some of the most exciting work to me in applied complexity is happening in the sports world. This is a truly OUTSTANDING twitter thread from Phillip O Callaghan charting hours worth of reading on nonlinear pedagogy and constraints led approaches to sport, which has implications for all the ways in which we teach complexity in complex settings. Honestly, this is a course syllabus.
- Here is a really good piece on how the former Australian cricketer Greg Chapelle managed his cognitive load and attention to enable himself to make decisions in a environment that required both hear and wide situational awareness. Fascinating discussion on how we find strategies for managing ourselves in novel cognitive environments, and how so much of the tools we need are already available to us, to be exapted from other parts of our evolutionary journey.
And I leave you with a lovely quote shared by Euan:
[People] go abroad to wonder at the heights of mountains, at the huge waves of the sea, at the long courses of the rivers, at the vast compass of the ocean, at the circular motions of the stars, and they pass by themselves without wondering.
– St. Augustine
That’s probably enough for you to get stuck in for a few weeks.