Gratitude: A Compelling Conversation For Creatives
An Honest Look at Post-Graduation Life with a World-Class Jazz Musician…
Introduction:
“Post Graduation Blues” is searched more than “Post Graduation Business Degree” on Google.
Facts.
This year, search results have grown as recent grads are facing a world that no one could have prepared them for.
Jazz Pianist and Composer Isaiah J. Thompson, talks to me about his post-graduation journey, managing cancelled tour dates for his latest album and an unexpected injury.
We discuss facing fears of teaching and finding mental clarity for his next body of work.
On Graduating:
“Adversity never comes at an opportune time”.
Simi:
Congratulations on your Graduation and album release! Not many students can say that at the same time.
Isaiah:
Thank you — it really has been quite the year. Juilliard is a phenomenal school and its coloured my world through different perspectives on music and life.
Simi:
Who else is on the album?
Isaiah:
We display Buddy Montgomery’s work, and I played alongside Willie Jones III on Drums, Philip Norris on Bass and Daniel Sadownick on Percussion. I joined a new band — The John Pizzarelli Trio — with plans to go on tour this year.
As you can imagine, it wasn’t the best news to hear about Covid19. I also suffered from an unfortunate injury which forced me to take time away from my instrument.
Simi:
I’m sorry to hear about your injury. How do you keep the ball moving?
Isaiah:
No doubt man — its a stretch.
When you’re in a structure of students, teachers and departments, it’s difficult to understand what’s possible, based on the world around you. You might only see what’s relevant right now, rather than what’s intrinsically valuable.
So when you leave that space, it’s on you to make the connections and see what you can use to make those jumps. That thinking process might not come naturally to you, and when the possibilities are endless, it can be daunting.
In a way, it’s been a blessing to have time to think clearly and make decisions with confidence. One of my teachers was an avid promoter of mental practice, so I got my hours in and made time to work on my compositions despite the injury.
The catalogue is underway, and I love that I can still cover ground without being limited by my body. Music is directly channelled to the ear, through the mind from the Soul.
Maybe I can give my hands a break.
Simi:
I used to play the piano at university to take my mind away from Philosophy, and I wasn’t so great — I mainly accompanied my poetry.
I got the impression that practice has its ceilings — What questions came to you when you were away from the instrument?
Isaiah:
Quiet Fears…
I’ve always withdrawn from teaching music — I think I was afraid of struggling to explain certain concepts.
Music isn’t always so easily translated — which makes teaching more than it seems.
Covid made a compelling case for us to learn more about themselves and I’d already overcome more significant challenges.
Life’s been hard for everyone — not just musicians, so being able to do meaningful work and love working is a serious win-win.
Simi:
I love that transformation process.
There is no sign that the caterpillar will become a butterfly. Yet it always does.
Isaiah:
I teach roughly three times a week now, and I’m challenging myself to think broader, in terms of my role as an educator to my students.
Sometimes “music teacher” comes with limiting beliefs.
Race needs so much more discussion and I think an overt approach is necessary at times.
As a young black musician, I can shape my teaching and introduce more diverse perspectives to start the conversation.
Positioning great black musicians earlier on, on the continuum of Jazz is a fantastic opportunity. They’ll carry that for the rest of their careers.
Being a teacher and a musician helps me see what I could teach and how I could teach it. I can communicate values using analogies and stories to better explain the language that is Jazz.
I’m sure as a poet, you understand?
Simi:
Yeah, definitely. Giving context to Art helps capture the listener/reader and analogies and metaphors add fountains of colour.
How else is your teaching material responding to social interests?
Isaiah:
My Julliard experience was rich with opportunities to help me nurture my potential.
Applying that to my curriculum, I’m aiming to provide a holistic perspective on music. Coaching musicians, in understanding societies pain, is just as important as sharing musical knowledge.
