Compass Recalibration

I recently had the pleasure of a conversation with Jazz musician Su Terry. She joined me on zoom from her hand-built home in the Andes. On one social media platform (where I connected with her) she goes by the username "Temple of Artists". Fitting, my first impression of Su was that of a High Priestess lounging in her sanctum. She sat proud with her musical instruments, books and newspaper clippings. When Su agreed to a conversation with me I have to admit to some nervousness. Her blog posts had me hunching that she would understand the project I have undertaken. But my ability to articulate the aims of my project remains unproven. I did my due diligence and read every page of her website and clicked on all the links, reading those as well. I grew more nervous with each page. My encounter with Su's accomplishments had me thinking I was out of my depth.

During our conversation, Su asked me who else I had interviewed. It struck me that I didn't know I was conducting an interview. Of course, Su is familiar with this sort of exchange from her life long career making music in high circles. Her question reminded me of my initial reasons for dropping the whole interview thing. I am still struggling to understand what it is I'm writing about. So I found myself feeling aimless and lost during the conversation. But I managed to squeak out enough coherence during our discussion. Su reassured me that what  she was hearing from me made sense. I noticed I wasn't sure who was interviewing who. I asked Su about her feelings on Kanye West. Sometimes questions serve as emergency exits.

Maybe I'm exaggerating for effect because I did ask some better questions: "What do you do with music when no one is listening?". A large bamboo flute was pulled into frame. Like a proud girl at show and tell, Su described how this flute has only five holes. And that it is required to be in a meditative state to play it. I asked her to play a little and she obliged. Even from the screen, I was entranced. I was then treated to a crash course in the instrument's history. I learned how the instrument has some notes that play more quietly than others. "Background notes" she called them. Such depth from a hollow tube of bamboo. We also discussed how and when music decoupled from spirit. This transformed into a discussion of music as used by shamans.

I asked for her advice, "should I interview other musicians?". She recommended a book called "The Music Lesson" . She suggested I reach out to the author, Victor Wooten as he would be able to "go in that direction" - the one I'm going in with my project. But, she added, not many musicians can "go in that direction". I was surprised at how this reassured me. First: this means the direction I'm going in is uncommon among musicians so it follows that it is distinct. I like that. Second: I've struggled with feeling alien to my peers. Perhaps it is less a failure of mine, less my incoherence that is to blame. The new simply appears alien on first contact.

I'm currently reading "Divine Comedy". This classic work is a travelogue with Dante as the "hero". But he portrays himself as bewildered, uncertain, lost. Until he speaks with his guide, who with a few simple words re-calibrates Dante's compass. So that the hero may continue his grand exploration. Su Terry taught me I should be secure in my project. It's a lesson I am committed to learning completely.


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