This may be the first time anyone has ever tried to link two such disparate practices as jazz and Public Relations, but bear with me a bit and I think you’ll see that the comparison is useful and revealing.

The first principle of jazz is: “mean what you say”. If you cannot commit yourself completely to a musical statement, if you cannot breathe yourself fully into your sound, your solo, your story - then you will fail as a jazz musician. You have to believe in yourself before others can believe in you.

Now this principle runs directly counter to the popular notion of the public relations practitioner as a ’spin doctor’, i.e. as a shill, a sophist whose duplicitousness is a given and whose silvery speech and sly strategies are sold to the highest bidder without ethical consideration.

I’m not going to argue that such spin doctors aren’t real. Obviously they are, and I despise them as much as any citizen should. But I will argue that there is another model, an emerging model, for public relations practice, that is aligned more closely to the core principle of jazz expression: “mean what you say”. I will even go so far as to argue that in the era of instant access to all information, this emerging model should be considered a ‘best practice’ in the PR industry.
The model I’m referring to is one based on the understanding that stories define a business organization. The stories that are told by employees to each other about their company, that are told by customers to each other, told by management to staff, told by marketers to the public, told by executives at conferences, told by the media - a company’s reputation, its business objectives, its brand, its products and services, its recruiting and much much more, are all deeply bound up in this matrix of living stories that are told by and about a company. Someone needs to be thinking about those stories - as coherent meaningful forces and not as shallow fragments to be manipulated - within an organization, or else this vital factor shaping the success or failure of a business burns like a wild fire out of its control.

In other words, every organization needs a Chief Storytelling Officer who considers how stories work their way through an organization’s ecosystem (internal and external, top to bottom) and ensures that their impact is as positive as possible. And in this age of unprecedented transparency and global communication that means ‘not bullshitting’, i.e. not relying on spin, not trying to fool people with phony promises or silly distractions or lame excuses. Because people see through that today. As a professional culture, employees today are too empowered as communicators (with our blogs, emails, TVs, phones, etc.) and too media savvy to be easily taken in by old-style PR. Unless you ‘mean what you say’ your stories will be dismissed as bumpf and your business will suffer on many levels.

People want to be given the straight goods. And they know when they aren’t. And increasingly, they aren’t taking it any more. They are talking back, through the countless channels available to them. And any business that thinks those conversations don’t matter is just plain dumb. And as more and more young workers who have grown up expressing themselves and sharing information without restrictions enter the workforce, expectations of transparency will only increase.

Because the No Logo folks have it wrong. Kids by and large aren’t against branding, against logos for life. They just want to know that the brand is honest, that it is what it claims to be in its marketing. And they won’t give their allegiance to brands that can’t walk the talk. Nor to employers. “You must mean what you say,” is pretty much their motto. And it’s not a bad one either.
So what I’m suggesting is that the emerging role for public relations is that of an individudal or profession charged with managing the stories that shape an organization, and ensuring that they accurately reflect the life and purpose of the business. Which means that to some extent this person becomes, rather than a dishonest spin doctor, an ethical watchdog (to borrow a phrase from my colleague Stephen Heckbert) who actually works to see that the stories that are peddled (i.e. we are a customer-centric innovative and creative company) are not bogus pap but are actually standards to which an organization can and must aspire. And in so doing he (or, of course she) gives those stories legitimacy, the company ‘means what it says’ and as a result wins on numerous fronts. (Hey, we really are customer-centric and innovative now!).

So once again, jazz comes to the rescue, offering a model for progressive and profitable business practices. Once again, The Talking Shop explains how to make meaning, make media and make money. See ya next time!

I spent much of my life immersed in jazz. Playing it, studying it, living it. Eventually my explorations in jazz led me into deep studies of the nature of communication itself. But my jazz roots still inform everything I do today. In particular, my approach to social media is profoundly influenced by lessons I learned about public communal expression from jazz musicians. A while back I inventoried those lessons and realized just how relevant they were in a business context. So with this post I’m beginning a series of posts called Talking Jazz in order to share some of those lessons.

Luckily, in talking about jazz these days, we have an extraordinary new tool available to us: YouTube. Yes, for jazz lovers YouTube is a godsend. In fact I’ve found jazz videos on YouTube that I couldn’t find in the National Library of Congress in Washington! So as a starting point for talking about jazz and social media I encourage you to check out this extaordinary archival video featuring Billie Holiday alongside many of the greatest legends in jazz.

This video was made in 1957, just a short time before Billie Holiday died of a heroin overdose in a New York hospital while under house arrest. Among the giants performing in it are some of the greatest sax players ever, including Ben Webster (Big Ben, the first sax player to solo) and Billie’s all-time musical soulmate, the exceptionally fine and mellow Lester Young (The Prez, who blows second). Sitting in front of the drummer is a guitarist named Danny Barker, with whom I once had the good fortune to spend an afternoon drinking lemonade at his home in New Orleans. Other players include a very young and skinny Gerry Mulligan on baritone sax, Roy Eldridge (Little Jazz) on trumpet, and Vic Dickenson on trombone.

The point of recommending this video, apart from sharing its beauty, is to encourage viewers to pay close attention to how this group of individuals manages the group conversation that is this song. Unlike written music, this song is completely improvised around a very loose blues structure, and yet without any apparent effort, the players know exactly how and when to make their entirely individualistic musical statements so as to support the coherence of the group. They speak in their own voices, utterly unadulterated, and yet they also mesh seamlessly with each other to form a larger whole of singular power.

What does this have to do with Social Media? Well, imagine if corporate bloggers used the same conversational approach as these musicians. What if they were able to express themselves as individuals but in doing so kept in mind the business objectives of the organization for which they work? What if a community of speakers could manage their interactions this seamlessly and supportively? Exactly!
These jazz musicians know when to support the group by playing and by not playing. When to solo and when to lay out. When to be part of the backup chorus and when to unleash a wild riff that propels the entire group forward. Above all they know how to make room for each other without feeling threatened. They know this because they understand how to converse responsibly. They listen, assess the need for sound, and supply a solution that in turn provides yet another opening, for a conversational response.
In fact, jazz is nothing but an endless series of networked conversations creating ephemeral public communities, (sound familiar?) In future Talking Jazz posts I’ll go into more detail about the structure of those jazz discussions and communities, and how they might be profitably adapted to the networked sphere. But in the meantime, stay cool, cool cat!