Where work and life meet

-
When I was teaching, I had to constantly consider the balance between work and life. The scales were always tipping in the wrong direction - I was living to work, rather than enjoying my life. Certainly, in the last few months the balance was impossibly skewed in favour of the hours I was dedicating not to teaching but to satisfying the bureaucracy. But that's another story.

Now I find myself unable to tell the difference between the work I do and the life I lead. I choose to write more often than choosing to socialise. In fact, I enjoy socialising with the people I work alongside.

Of course, it's partly influenced by my decision to stop drinking. Not entirely a free choice, but rather dictated by the ridiculous strength and number of drugs I'm having to take to get through my shoulder injury. It's saving me a fortune and giving me so much more time to live.

I am honestly blessed with my clients. They don't necessarily pay me the most money I could get elsewhere, but they give me the freedom to write and to interview some exceptionally interesting people.

Turns out, the easiest way to get the balance right is to enjoy your work.That's when life gets really good.


Posted via my iPad

Comments

Post a Comment

Popular posts from this blog

Big Wade - 'Piano Man' out now

-
Image
Big Wade and Black Swan Theory collectively blends funk, soul, jazz and everything that fills the cracks between those genres: his new album -  Piano Man - on all major streaming platforms ahead of the Piano Man Tour 2024 , which has dates across the US. Piano Man  brings a selection of original and covers, including a stunning version of Autumn Leaves , which reinvents the song as the funky, electronic Autumn . Big Wade's voice takes the song's melody and improvises around and around, with backing vocals and a deliberately sparse arrangement underpinning the song. Similarly, on Children of the Ghetto , the lead and backing vocals blend in with the soulful musicians of Black Swan Theory. Electronics are used with dexterity, often expanding the vocal lines, as in the ethereal and ghostly opening of Don't Let Me Go . However, the tools never dominate - simply adding depth and layers to the funk. Never more than when Big Wade enters a new world in Interludes , including vocals...
Read more

The Darius Brubeck Quartet live at Jazz Cafe Posk

-
Image
My first visit to Jazz Cafe Posk in London's Hammersmith coincided with the 60th anniversary of Posk - The Polish Social and Cultural Association - and the first performance in the club by pianist and composer Darius Brubeck. Photo credit @ Hilary Seabrook Darius was 10 when he joined his father on a historic tour of Poland. The Dave Brubeck Quartet toured Poland from 6 to 18 March 1958, just three years after the communist regime's ban on jazz was lifted. Without a doubt, this was the biggest jazz event in post-war Poland, with the archetypal and hugely successful outfit of Dave Brubeck (piano), Paul Desmond (alto sax), Eugene Wright (bass) and Joe Morello (drums). Sixty years later, in  2018, Darius took his own quartet - the same one he brought to Posk in May 2024 - to Poland for a significant tour, recorded and released as the Live in Poland album. Several of the tracks from this album were in the set at Posk and this quartet displayed in depth the benefits of playing to...
Read more

‘Memory in Motion’ with The Jazz Defenders

-
Image
A packed Pizza Express in London’s Soho was blasted by The Jazz Defenders as they unleashed their new album on the world - celebrating International Jazz Day 2024 in style. The Jazz Defenders Memory in Motion is a great album, out now on Haggis Records , with touches of Horace Silver and tinges of Herbie Hancock. There was something slightly disconcerting about an electronic keyboard sitting on top of the wonderful Dean Street Steinway and George Cooper handled them both with a dexterity and panache that made it all make sense. A talented bunch, The Jazz Defenders take their influences from wherever they choose, including some of the other ensembles in which they strut their stuff.  Horns are courtesy of Jake McMurchie (tenor sax) and Nick Malcolm (trumpet) and they are as much at ease on stabbing and intricate lines as they are on solos through the tracks. A solid rhythm and added excitement comes from Ian Matthews (drums) and Will Harris (double bass and bass guitar). Matthews ...
Read more