Four Approaches to Jazz Improvisation Instruction

Four Approaches to Jazz Improvisation Instruction David Schroeder New York University and New School University This article will investigate underlying processes of improvisation using pianist Bill Evans as a model. I will also compare and contrast four master teaching styles that follow Evans's methodology. These artists, though diverse in their teaching approaches, show a commonality of focused thought and structure at the core of their craft. It is at this juncture that artist interactionwith students is most significant. Like any complex subject, jazz is difficult to teach. One of its great challenges, and one that makesjazz educationunique, isthatthesuccess of a jazz musician lies in the ability to improvise. How does one teach the ability to be spontaneously creative "in time"? In academia, the ability to improvise is taught in the context of abroadliberal arts educationwhichgives students an overview of materials rather than a strong musical foundation. Withoutanadequatemusical foundation, students can only approximate the improvisational process. This creates confusion rather than developing a vehicle for creative expression. Jazz improvisationislimitedinitsapproach when expressed merely within the context of a style or genre. Such views can hinder the understanding and appreciation of improvisation as a vehicle for exploring other types of music. Ratherthanfocusingon stylizedcharacterizations ofmusicusingcultural, social, orpoliticalmodels, Bill Evans recommendstiiinkingofimprovisation as a process rather than a style. He believes that the essence of jazz is the creative process. Comparing jazz to classical music, he explains thatcomposers suchas Chopin,Bach, andMozart improvised spontaneously. In order to "permanize" their works, they used shorthand such as figured bass and eventually notation of complete scores. Such permanization eventually led performers to interpret music rather than to improviseonit.' Jazzimprovisation, likethework ofthese classical composers, should be viewed as a spontaneous conversation based on developments in the moment rather than as a prepared speech. Within the academy, curriculum restraints do not leave timeto assimilate the developmental principles ofmusic before the student is allowed to move forward. Unaware that they have been approximating the process of improvisation, students and teachers can become satisfied with their musical ability, unaware that their lack of mastery has caused them to become mired within the developmental process. Evans believes that those who approach improvisation through approximation, ratherthanbuilding from its most basic elements, cannot successfully achieve the essence or freedom found within improvisation. Attacking each musical problem systematically offers much more satisfaction for the improviser, while vague approximation can create greater confusion and frustration.2 The 1999 Banff Summer Jazz Workshop offered an artist-based model for jazz education focused on developing improvisational skills. Representing a broad spectrum ofjazz styles at the workshop, saxophonist Joe Lovano, bassist Dave Holland, trumpeter Dave Douglas, and pianist Kenny Werner are internationally acknowledgedartistsand composers. Joe Lovano has distinguished himself as a modern jazz icon who developed his distinctive improvisational approach while working with Paul Motian, Mel©Philosophy ofMusic Education Review 10, no. 1 (Spring 2002):36-40. David Schroeder 37 Lewis, Elvin Jones, and John Scofield. Dave Holland is recognized for developing a contemporary approach to the jazz bass while working with Miles Davis, Jack DeJohnette, and John Abercrombie. Dave Douglas is one of today's most versatile trumpeters and composers who has worked with Horace Silver, John Zom, and Joey Baron. Pianist Kenny Werner has performed with, among others, Charles Mingus, Toots Thielemans, Archie Shepp, and Kenny Wheeler. His book, Effortless Mastery? offers a unique approach to understanding the technical and psychological aspects ofmusic. The artists lectured on specific techniques for developing improvisational approaches to formal, rhythmic, intervallic, and psychological aspects of music, including ear training, composition/improvisationaltechniques,advanced concepts inrhythm, advancedharmonicpractices, and cadences developed within form. Classes in musictheorycoveredjazzharmony,melody,time, and rhythm. Psychological aspects of performance, such as self-actualization, relaxation, spiritual andemotionalawareness, and self-reflection, were addressed. As with Evans' approach, all these artists were specific about pinpointing musical problems. Although theif approaches differ, they affirm the same objectives: address and define the foundations of music with a clear and focused purpose. Formal Approach to Improvisation When asked if he could teach people to improvise, Lovano responded, "No, I can't teach people to improvise, but I can teach them how to teach themselves."4 Central to Lovano's 'hands on' approach to teaching is the...