In most classroom settings, it is typical for one teacher to spend an entire semester with a group of students, speaking from his or her one perspective on his or her field of expertise. But Juilliard’s Institute for Jazz Studies challenges that long-held tradition by inviting a different practitioner each week to teach the jazz improvisation class. The idea behind this approach, explains Victor Goines, the Institute’s director, is for students “to get as many different views about improvisation and performing as possible. That means that we invite as many different people—all with strong philosophical beliefs about how and why they play—to come into the improvisation classes, observe the students, listen to them play, give them recommendations, and then come back at the end of the semester to give them a follow-up about their progress.”

Saxophonist Erica vonKleist performs a solo at the recent debut concert of the Juilliard Jazz Orchestra on October 30. Pictured left to right are (back row) Justin Kaisor, Jumaane Smith, Brandon Lee; (front row) Diron Holloway, Michael Lucke, Ms. vonKleist, Jennifer Krupa, and Ryan Redden. (Photo by Nan Melville)

The students are unanimous in their appreciation of this unique approach. Alto saxophonist Erica vonKleist observes: “I like having different musicians coming in to teach us because it forces us to be independent as far as their suggestions go. We have to decide what we want to take away from all of the different approaches. I try to internalize everything and look at myself as an improvisor. What can I take away from these different teachers and fit together into my own personal way of playing?”

Ulysses Owens, a drummer in the program, agrees with his band-mate. “I look forward to improvisation class every week because I know there is always going to be someone different. A new outlook every week is really enriching, and I think every school would benefit from this approach.”

Each week, for two hours, the jazz students get an opportunity to learn from and interact with some of the most important jazz musicians of the last 50 years. Several of those include tenor saxophonist Jimmy Heath, pianist Mulgrew Miller, drummer Jimmy Cobb, and trumpeter Wynton Marsalis. All of these performers take different approaches to teaching. For example, notes Ms. vonKleist, “Jimmy Heath was geared more towards making us improvise better than focusing on specific aspects of the music. He dictated a set of unorthodox chord changes to us, and it really made us think about how to improvise, instead of playing on the same progressions that we are accustomed to. That was very helpful, because we had to take an objective stance on improvising.”

Wynton Marsalis, long a professional educator, took a more hands-on approach with the students by stressing the urgency of the swing rhythm in jazz—how it can never be compromised, no matter who is playing and what the musicians are trying to express through their solos. “Wynton really made us think,” says Ms. vonKleist. “We had a long discussion and he asked us questions that we were not able to answer immediately, such as, ‘Why do you play what you play? What makes jazz different than any other kind of music? What is improvisation?’ He focused on each person’s role in the band, and he was very thorough in his analysis of what we played.”

Mr. Owens learned an important lesson with Mr. Marsalis’s visit as well. “Wynton told us, ‘You need to make people dance. If you are the only one feeling what you are feeling, it doesn’t matter.’ He said, ‘The best feeling is swinging and then everything is right with the world.’”

The opportunity to play with these great musicians in such an educational and encouraging environment is another benefit of the improvisation class. On several occasions the practitioners demonstrated principles on their instruments while dropping the jaws of many of the students. Says Mr. Owens, “All of these great artists who come in to teach us are people we have been listening to for a long time. Now I get a chance to play with them. I am so spellbound by what they are doing.”

The students feel they have grown quite a bit as musicians since the beginning of the semester. Trombonist Jennifer Krupa says, “Having guests who are rhythm section players brings a different perspective—particularly for the horn players. Generally, when the horns are soloing, we don’t listen to the ride cymbal or the way that the piano is playing accompaniment. Having them point these things out opens up your ears to having a conversation with people instead of just playing by yourself.”

Drummer Ulysses Owens says he has been similarly enlightened: “The musicians who affected me most were non-drummers. I like people who give me musical advice because, when you get to a certain level, there is only so much you can learn on your instrument. They have reshaped the whole way that I play. My approach now is a lot more clear and musical. I think less, and I play more musically and more lyrically. Through this class I have gained a better approach to my instrument, not just to improvising.”

The unique vision of Mr. Goines for the Jazz Institute has created an unprecedented course of study for the students, as well as for the growing field of jazz education. The students will continue to benefit from this improvisation class as, next semester, the scheduled guests include pianist and Juilliard faculty member Kenny Barron, tenor saxophonist Charles McPherson, and master drummer Roy Haynes.

Carolyn Appel is an assistant in the Jazz Studies office.