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Perhaps your teacher was encouraging you to play across the bar line more? Say you have an ascending phrase: across the bar line, the line's harmony would change, but its upward trajectory would be preserved. Very nice effect, and it demands that you think about music as always moving.
Maybe a good exercise would be to construct a solo made entirely of whole notes. Then half notes. You would then be thinking about the chorus as a melodic whole, and you would have a grasp of its entire territory in consonant tones. Then with this underlying structure in mind, you could improvise phrases within it.