‘The one thing that all the greats did was never let go of who they are, never turn away from who they are and their experiences – because your experiences, and what you’ve been through in your life, make you sound the way you sound.’
Robert Glasper

I recently watched Sophie Huber’s fine documentary ‘Blue Note Records: Beyond the Notes.’ It tells the tale of the seminal jazz label from its founding myths through to the present day.

Blue Note is crazy chords, taught rhythms and truthful testimony. It is bop and hard bop, soul jazz and fusion; unapologetic, fresh and vital. It is sharp suits, narrow neckties and button-down shirts; clouds of cigarette smoke in darkened rooms. It is the founding spirit of Alfred and Frank, the recording genius of Rudy Van Gelder, the graphic art of Reid Miles. It is Lee Morgan’s ‘Sidewinder’ and Hank Mobley’s ‘Soul Station;’ Wayne Shorter’s ‘Speak No Evil’ and Horace Silver’s ‘Song for My Father.’ It is Herbie Hancock on his ‘Maiden Voyage,’ Art Blakey ‘Moanin’’ and Sonny Clark ‘Cool Struttin’’. Blue Note is Thelonius Monk, Sonny Rollins and Grant Green. It is struggle, hope and, above all, it is freedom.

The documentary weaves together Blue Note’s history with insights from the titans of its golden age and observations from its current crop of talented artists. Jazz musicians seem such an intelligent, articulate bunch. There’s a great deal that anyone working in a creative profession can learn by reflecting on their words.

Learning from the Founders 

1. Follow Your Uncomprehending Affection

Alfred Lion and Francis Wolff first heard jazz when they were boyhood friends growing up in 1920s Berlin. 

‘My mother bought a record home. I was very impressed by what I heard. Not knowing that it was jazz or what it was all about, but I got very interested in the record.’
Alfred Lion

Fleeing Nazi oppression, Lion and Wolff both settled in New York in the late ‘30s. They followed their passion and set up Blue Note Records in 1939, initially recording in rented studios. 

 2. Pursue Quality, Not Success

Lion and Wolff had a slow start and for years made little money. Their releases focused on traditional and hot jazz, boogie woogie and swing - artists like pianist Meade Lux Lewis and saxophonist Sidney Bechet. They were happy to record musicians that other labels did not consider commercial. Thelonius Monk’s sound was thought incredibly challenging at the time. But Blue Note nurtured his talent. They were pursuing quality rather than sales success.

‘Any record we ever made we weren’t really figuring on a hit. If later on it became successful, it just happened to become successful.’
Alfred Lion

3. Trust the Creators to Create and the Managers to Manage

Lion and Wolff were fans, not musicians. They were sufficiently self-aware to engage saxophonist Ike Quebec to spot upcoming talent. Soon the label roster also boasted drummer Art Blakey, pianist Bud Powell and trumpeter Clifford Brown. 

When it came to recording, the founders trusted the creators to create. 

‘I never got a sense of pressure from them to create in any particular way, other than whatever might come out of me.’
Herbie Hancock

Blue Note’s faith in its recording artists set it apart in a cut-throat industry. 

‘All the record companies were white – cheap, cheap white too. They was a bunch of scoundrels. I should name them, but I won’t. But not Alfred. Alfred was not like that. He just let us do what we wanted to do.... And he didn’t bother musicians.’
Lou Donaldson 

Trust worked both ways. Once recording was complete, the artists were happy to let the producers take over.

‘At the end of the session everyone said that’s the good music, including the musicians. That was the end of the musicians’ involvement. They trusted Alfred, who trusted me. And that’s how it went.’
Rudy Van Gelder

4. Creation Needs Craft

Rudy Van Gelder was recording engineer on most Blue Note releases between 1953 and the late sixties. Up until 1959 his studio was the living room of his parents’ home in Hackensack, New Jersey.

Van Gelder knew that creation needs craft. He employed cutting edge equipment and recording methods. And great consideration was given to establishing the right environment. Musicians were paid for rehearsal time - unusual in those days - and recording sessions were scheduled for the early hours of the morning, after late-night club venues had closed. 

‘Prestige was alright. Savoy, they liked jazz. But they didn’t press it and put it out like Alfred. The sound was better. The musicians were better.’
Lou Donaldson

In 1959 Blue Note moved to a new state-of-the-art facility in Englewood Cliffs, New Jersey. Designed by a student of Frank Lloyd Wright, the studio had very high ceilings and was often mistaken for a church.

 5. Though Product Is Paramount, Presentation Has a Critical Role to Play

Joining the label in 1956, Reid Miles designed almost 500 Blue Note record sleeves in 15 years. 

Miles gave the label a coherent look that matched its sound. Blue Note sleeves had tightly cropped photography (employing candid shots taken by Wolff), with abstract colour blocks and bold typefaces set at rakish angles. They were audacious, modern and cool. 

Though product was paramount at Blue Note, presentation played a critical role in the label’s success.

Learning from the Musicians

1. ‘Never Let Go of Who You Are’

Blue Note sought first and foremost to articulate authenticity of individual experience.

‘What they were searching for was to get the heart of the individuals creating the music, to have a platform for expression. And the heart is effected by the times, because we were living in it.’
Herbie Hancock

The golden age of Blue Note coincided with the height of the Civil Rights struggle. The records were not politically explicit, but they were politically charged. The music consistently communicated strength and determination, hope and freedom.

 ‘A lot of this music has to do with how we feel about America. And how we came from seeming to progress, to going back to an era that we fought to get away from.’
Marcus Stickland

2. ‘Make Uncertainty Your Ally’

Improvisation is a central part of jazz culture and working practice. Blue Note artists recognised the creative value of doubt and vulnerability; of risk and uncertainty. Improvisation enables innovation.

‘It takes some kind of courage and fearlessness. And the challenge to be vulnerable is a challenge itself.’
Wayne Shorter

‘The more you challenge yourself to muster up the courage, the more the uncertainty becomes your ally.’
Herbie Hancock

A key to successful improvisation is abstracting yourself from extraneous concerns and ‘submitting to the now.’

‘The feeling that I get when I’m really improvising with other people who are really improvising is … something that always feels like it’s a step, or a half step, away from me… I know that you get closer to it by not living in the past or the future – just sort of submitting to the now.’
Ambrose Akinmusire

3. ‘Be a Leader Who Trains Leaders’

 ‘You can’t hide behind your instrument.’
Art Blakey

Art Blakey was a natural born leader. When in 1954 a Blue Note All-Star line-up was booked to play New York’s Birdland, he slipped the announcer Pee Wee Marquette a couple of notes, and Blakey was introduced as the head of the band.

And yet Blakey also encouraged others to lead. Throughout his career he urged band members, like Wayne Shorter and Horace Silver, to graduate to marshalling their own outfits. He was happy to manage fluid ensembles and to accommodate the occasional loss of knowledge and skills.

‘Art Blakey was a university to himself. And a lot of musicians that came through his band actually became leaders. He was a leader who trained leaders.’
Kendrick Scott

Jazz ensembles are often informally led. They accommodate, and even embrace, tension and discord, because these qualities contribute to the entity’s unique energy.

4. Creativity Is Incomplete without an Audience

Of course, music is nothing without an audience to hear it.

‘What’s contained on the record itself is incomplete. Because it doesn’t include the process of the person listening to it and how it effects them.’ 
Herbie Hancock

But audiences and industries can be fickle. In 1963 Blue Note recorded a significant hit with the title track of Lee Morgan’s ‘The Sidewinder’ album, and Horace Silver did the same the following year with ‘Song for My Father.’

Perversely, distributors then put pressure on the label to come up with similar successes. Lion and Wolff became exhausted with it all and in 1965 they sold Blue Note to Liberty Records. Lion, who disliked the corporate environment, retired in 1967. Wolff stayed on, but passed away in 1972.

5. ‘Work on Your Humanity as Well as Your Creativity’

Blue Note continued. And in the ‘80s and ‘90s it had something of a renaissance when hip hop artists recognised it as a kindred spirit and made extensive use of Blue Note samples. 

‘I found out looking at my royalties.’
Lou Donaldson

The documentary features interviews and performances from today’s Blue Note All-Stars. As this new generation collaborates with Herbie Hancock and Wayne Shorter, they observe the special dynamic that is at play.

‘I saw how each individual relinquished the leadership and, being in a band situation with Herbie Hancock and Wayne Shorter, I immediately want to relinquish it to them. But they’re waiting for me to do something. They want to see what you have to offer. And to frame that picture for you.’
Kendrick Scott

On the one hand, since jazz is all about finding authentic individual expression, it is a supremely egotistical art form. On the other hand, it involves the integration of the individual within the collective. It demands selflessness.

‘It’s something that’s very important in a jazz group is that everybody has a voice.’
Kendrick Scott

Aware of such paradoxes, the contemporary Blue Note artists come across as reflective and spiritual.

‘It all comes down to managing the ego in a way that allows the music to really come out. People like Wayne Shorter and Herbie Hancock, they allow the music to flow through…They work on their humanity as well as their music.’
Marcus Strickland

I left the documentary concluding that modern business could learn a great deal from jazz: about the integration of individuality within a coherent community; about improvisation as a force for innovation; about more fluid leadership styles; and developing a proper engagement with risk and uncertainty. 

We often think of jazz as rather intellectual and po-faced. These artists are certainly serious about their craft. They are obsessed with consistently delivering to the highest standard and constantly pioneering new frontiers. But they also display natural informality and disarming humour.

In a moment of downtime Herbie Hancock enters the studio with an awkward shuffle. He calls across to Wayne Shorter.

Herbie: Hey, Wayne, who’s this?

Herbie shuffles some more.

Wayne: That’s Frank.

Herbie: If you played and Frank was dancing that was the take. If he wasn’t dancing that was not the take. A little shuffle – it had nothing to do with the beat.

'Blow me a kiss from across the room,
Say I look nice when I'm not.
Touch my hair as you pass my chair,
Little things mean a lot.
Give me your arm as we cross the street,
Call me at six on the dot.
A line a day when you're far away,
Little things mean a lot.’

Dodo Greene, ‘Little Things Mean a Lot’ (E Lindeman / C Stutz)

No. 327