Jazz Improvisation Institute
June 20 – July 1, 2011 

An applied research project funded by the Smith Institute for Applied Research

at Johnson C. Smith University

What was this project?

The Jazz Improvisation Institute just finished a two-week intensive applied research investigation that focused on the art and discipline of jazz improvisation. This project, funded by the Smith Institute for Applied Research at Johnson C. Smith University, investigated the
overarching research question: “What expands improvisational abilities for students at various levels of knowledge, skills, and experience?”

Initially, areas of inquiry for the researchers included the effects of

• A collaborative learning environment that promoted self-efficacy
• Focused coaching, teaching, and demonstrations by master musicians
• Listening to, observing and interacting with other musicians
• Specific practice strategies, especially with attention to one area of desired improvement at a time

Who was involved?

The Institute involved 14 participants selected from the Charlotte area as well as Monroe, Waxhaw, Greensboro, NC and Rock Hill, SC. They ranged in age from 14 to 30 and served as informants throughout the research. Participants were chosen because they had prior experience in some combination of jazz camps, private lessons, school and community jazz bands, and they had demonstrated at least basic knowledge of and skills in jazz improvisation. The Institute provided participants a modest stipend and an MP3 player/recorder and will send them an Institute report and DVD.

Frank Parker, Board Chair for the Jazz Arts Initiative, served as project director. Barbara Edwards, Board member for the Jazz Arts Initiative, directed the research. Ashlin Parker (trumpet) member of the Grammy-winning New Orleans Jazz Orchestra and part-time faculty member at the University of New Orleans, provided instructional leadership, supported by Dr. Chris Weise (electronic music, Johnson C. Smith University), jazz clinicians: Delfeayo Marsalis (trombone), Ocie Davis (drums), and Will Campbell (saxophone, UNC Charlotte), as well as body work clinicians: John Hook and Hardin Minor. The project was supported by 10 student-assistants from Johnson C. Smith University who were majoring in Music Business and Technologies.

What kinds of activities were there?

Initial planning for the Institute involved three decision areas:

1.  type of data-gathering for both daily planning and qualitative analysis of results;
2. which overall areas to emphasize, such as
   • developing metacognitive awareness through self-reflection and sharing of the
   • typically “hidden” processes and practices of musicians;
   • demonstrations and direct teaching, followed by application through playing, and
   • then individual and group coaching;
   • emphasizing importance of self-directed learning in jazz;
   • applications of jazz theory; and
3. how to balance the implementation of planned activities with more immediate responses to participants’ communication of emerging challenges and concerns.

The particulars of each day were influenced by participants’ reflections that told us what theywere learning that was important to them and what changes they wanted to make next. The three main areas of activities became centered on

•  coaching for specific improvements (e.g., playing solos by studying original recordings rather than relying on the Real Book, slowing down when learning a new tune, practicing “small,” applying knowledge of chords and scales quickly);
• concentration through listening to other musicians and through reducing interference (especially negative self-assessments); and
• artistry and inspiration through improving communication and collaboration with others, immersing one’s self in original recordings by jazz greats, expanding one’s listening repertoire of artists, and observing live jazz in both jam sessions and rehearsed concerts

 In essence, the Improvisation Institute embodied principles of improvisation itself – it was based on pedagogical theories of self-efficacy, best practices of ontological coaching, and the ideas and experiences of master teachers and musicians; and it changed directions based on the communication and collaboration among all participants.

What did we learn?

We have much data to analyze before we can begin to describe the full extent of our learning about these participants and their learning. We have responses on pre- and post-questionnaires; videotapes of pre- and post-improvisations; videotapes of demonstrations, activities, and discussions; daily plus-delta reflections; and a videotape of their evening concert; as well as reflections upon their practice regimens, their own growth, and where they want to focus next to move forward in their own development. These analyses will yield valuable information to share with participants and others interested in teaching and learning jazz improvisation.

However, we will share some preliminary findings. To complete the institute, participants responded to the question: “What actions should I take in the next 6 months to 3 years to improve my jazz improvisation?” Using a modified concept mapping technique with sticky-notes and large chart paper, they identified six categories that captured their multiple individual statements:

1.  personalizing meaningful and effective practice strategies,
2.  expanding knowledge (in a wide variety of areas to be broken into sub-categories),
3. improving communication (with other musicians),
4. achieving balance with other activities (especially a body discipline),
5.  immersion in rich jazz resources (including places, recordings, and people), and
6.  linking emotions, body, and improvisation.

What's Next?

Project staff will now analyze the data in order to develop written reports and DVD compilations of illustrative moments to use in briefings and presentations for the participants, faculty development through the Smith Center for Applied Research, the Johnson C. Smith community, and the larger community of musicians and audiences concerned with promoting and preserving jazz.