Students
who have worked with Michael in
"THE JAZZ CLASS"
(click names for complete quote in a PDF file)

Steve Pearson (pro drummer)
"I'm a professional drummer, but new to jazz.
My private drum lessons started to get my technique
converted to jazz, but Michael was really great at
helping me understand fundamental jazz approaches
relative to what I was already familiar with. Actually,
I had quite a mental block about jazz being hard.
But Michael is very good at assessing each student
individually, easing you into things,
while challenging you at the same time.

We analyzed each piece in detail
(melody, harmony, rhythm) as well as how
to accompany better. We worked intensively
on different soloing approaches for each piece,
how to arrange them, and then put it all together
with a recital at the end. This class kicked my butt
(in a good way) and I ended up fitting in with the
rest of the more experienced students in his class!
I learned a huge amount and considering
the time and energy that Michael puts into
the class, the pricing is very reasonable."

Charity Goodin (pro vocalist/songwriter)
"I found the jazz class to be informative, challenging
and NOT comfortable. GREAT!
Not being in my comfort zone is exactly
what I needed to grow.
Singing jazz within certain parameters
(which at first seemed entirely contrary
to the idea of jazz) actually allowed me a new
and more informed freedom with a
"safety net" for singing.
Along with the pretzel logic I just described,
your class prompted me to take up music theory
from where I left off many many years ago.
It will help me to converse much more intelligently
with other musicians and make my own compositions
more easily understood."

Mike Greenfield (pro electric bassist)
"I'd have to say that THE JAZZ CLASS has been
the best music education value I've ever encountered.
I found that the class compelled me to actually
DO the Steps for learning the tunes
from the inside-out, rather than just reading about it.
While explaining the Steps to my friend,
I was surprised at how well I understood them
and why mastery of them leads to
such a thorough understanding of each piece.
Being able to think in more musical terms
has enhanced my ability to "feel" music,
both in the mechanical and emotional sense.
Once in a great while the Universe gives one a plum.
In meeting you, I was given a whole bushel!"

Richard Vogel, Ph.D (vibraphonist)
"...as a psychologist, and aspiring musician-student,
I value the unique contribution that Michael Smolens
is providing for people like myself.
[Through THE JAZZ CLASS] I learned
what it means to feel content with with
my playing and overall musical experience..."

Alan Wick (clarinetist)
"Michael has been able to detect my strengths
and weaknesses quite specifically and
pinpoint ways for me to improve.
His approach is systematic and a good mix between
technical and artistic. I'm planning to
continue taking THE JAZZ CLASS from him...."

Teerth Gonzales (pro drummer/percussionist)
"Thanks Michael, a very positive experience—
having new ways to solo on the drum set and
different approaches for different songs and styles.
I loved the interaction with the other musicians
(especially getting to play with you) and
witnessing everyone's growth as the class progressed.
I also enjoyed reading charts again and, very importantly,
demystifying the 'harmonic universe' in jazz.
(Being on the vibes for the first time and
getting to solo on it was great).
I look forward to the repeating The Jazz Class
as well as trying your VOCAL FLIGHT class."

Dee Ouelette (guitarist)
"Michael Smolens' JAZZ CLASS was so valuable to me
as a musician and as a guitarist. The method
for learning tunes really gets them in your body and
I was constantly challenged to
step out of my comfort zone as a player."

Daniel Tuckman (pianist/vocalist/composer/arranger)
"As an aspiring professional musician,
many aspects of this class helped me to improve,
including being exposed to the
coaching of other instrumentalists, which helped me
open my ears to what other band members
are playing, or struggling with.

Focusing on just one improvisation technique per tune
helped me branch off and develop those various
improv tools separately, so that they are
available to me as I'm improvising.
It made soloing feel less like being 'lost at sea',
and more like creatively developing
a particular idea.

My private instruction with Michael
allowed me to deepen my experience in
voicings, soloing, and arranging.
He encouraged me to do a vocal arrangement for
the bossa-nova "Agua de Beber" and added a dash of
chromaticism to my improvisation on
McCoy Tyner's "Contemplation",
both of which felt beyond me until he skillfully
guided me through them.
And his studio rocks — everything's right there!"

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