Creative processes are inherently uncertain collaborative engagements that need, at different times, different degrees and kinds of organization in time and space (e.g. Long Lingo and O’Mahoney, 2010). Attempts at organizing creative processes often make use of virtual and physical spaces that enable encounters among creative actors and, possibly, their audiences as a basis for idea development. Often, such copresence is equated with colocation and distinguished from the absence of interactions. In this paper, we aim to go beyond such a binary conception towards understanding copresence first as a context for interaction and second as a perception of mutual entrainment (Campos-Castillo and Hitlin, 2013) which can be mediated in different ways. Using a practice-based approach we ask how practices of organizing temporary copresence in music production contribute to developing and implementing ideas. Empirically, we conduct a multi-sited ethnographic case study of local, independent jazz musicians in Vienna (Austria). Initial findings highlight that organizing copresence in the form of open rehearsals and jam sessions, concerts, event series, live-recording sessions and workshops is a core practice used by Viennese artists’ collectives to create opportunities for musical production and navigate different kinds of uncertainties (concerning e.g. resources, quality, likely market potential, reputation or know-how). Aspiring jazz musicians (have to) carefully align themselves in relation to these collectives, which they do through founding, joining, contributing to, promoting, using, separating from, referring to and ignoring them. We argue that different forms of perceived and organized copresence are fundamental to creative processes for the development of artistic practices, as well as for positioning in a creative field (Bourdieu, 1983).