Jeff Helgesen, Reporter

John McNeil, long regarded as a master improviser and highly respected jazz educator, subtitled his presentation “How To Be More Creative When Improvising.” Though his presentation was shortened due to a late start, McNeil entertained the audience with his trademark wit. Accompanied by Jeff Jenkins (piano) and Ken McLagan (bass), McNeil based his presentation on the concept that there is too often a wide gap between the approaches used by “free” improvisers versus those used by “chordal” or “changes” players.

McNeil proposed that the improviser make the best of both worlds and adopt the best characteristics of both to advantage; not to tie oneself to one approach or the other. McNeil demonstrated characteristics of chordal playing containing a clear sense of harmonic content as a “free” improviser. He did this in a fashion that provided a sense of flow to the listener. Conversely, the spontaneity that is characteristic of free improvisation could be used to create interest and diversity for the listener.

Before moving on to specific musical examples, McNeil identified improvisation as an act of self-expression; that a solo is essentially a narrative about the improviser (e.g., how she is feeling), and that since we as humans are complex, it is beneficial to have as many expressive tools available to best present that narrative.

In the first musical example, McNeil made use of a simple harmonic device used over static harmony to demonstrate harmonic movement applied to free improvisation (playing over the key of C minor, he improvised rapidly through the different key areas of B minor, B-flat minor, A minor, and A-flat minor before resolving back to C minor. He suggested that applying a harmonic model in this context (as opposed to “random outness,” selecting notes at total random) helps to provide direction and a sense of organization. He then applied the same principle with accompaniment in a free improvisational context to demonstrate that the identical technique could be used outside of the boundaries of pulse and static harmony.

McNeil’s next example made use of the Charlie Parker composition Confirmation, chosen for it’s many conventional changes. He demonstrated an improvised solo adhering to and carefully reinforceing the harmonic changes. To contrast, he then played a free improvised solo incorporating a melodic shape but no harmonic reinforcement. Returning to the point he made at the beginning of the presentation, he suggested that soloists seeking to play more interesting solos might adopt techniques which otherwise might not occur to them; that is, apply a shape-based model of solo to the harmonic structure of Confirmation. He demonstrated this with the rhythm section, improvising the same shape while still respecting the underlying harmonic structure.

McNeil introduced the concept of using motivic development by taking a six and five-note pattern and developing it over, first, the chord changes to Confirmation, and second, over a free harmonic palette. In addition, he offered insight into a technique used on his newest recording where pieces were constructed using fragments of melody as inspiration for improvisational raw material. McNeil finished the abbreviated presentation with a brief free-improvised piece in which he applied most of the techniques he had discussed.