Most “jazz piano lessons” are classical lessons with a couple of ii–V–I exercises bolted on. This isn’t that. I’m a working Chicago jazz musician, and from the first lesson we work on the things that actually let you play: voicings that sound like the record, comping that grooves, and improvising that feels like talking instead of guessing. In-person at the studio in Ukrainian Village, or online via Zoom.
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So we start by playing. Bring a tune you love, a standard, a Bill Evans ballad, a Herbie tune, something off a record you can’t stop hearing, and we reverse-engineer what makes it work: the voicings, the rhythmic feel, the harmony underneath. You leave the first lesson able to play something that sounds like music, not like an exercise.
From there we build the real toolkit, at your pace: rootless and shell voicings, how to comp behind a soloist and behind yourself, hearing and outlining chord changes, and the scales and patterns that matter in context, not as homework for its own sake. Whether you’ve never improvised a note or you can read anything but freeze when the chart says “solo,” that gap is exactly what I love working in. It’s very fixable.
Adults and serious teens. The most common student here is someone with real musical history, classical training, a few years of childhood lessons, a sharp ear from years of listening, who never got taught how jazz actually works. We just point what you have in a new direction.
Total beginners are welcome too. Jazz is a great first language when it’s taught as play rather than theory drills. Lessons are private, 50 minutes, Monday through Thursday, 3 to 9pm. Pricing runs from a single lesson ($125) up to the Semester Pack ($1,600 for 16); the most common starting point is the 4-Lesson Pack at $450.
Taught by Nick Olynciw, a DownBeat Award-winning pianist and organist who gigs around Chicago. The studio is a real working musician’s room, Hammond B3, Rhodes, and an acoustic grand, not a practice closet with a keyboard.
No. Plenty of jazz players read very little. We build the ear and the hands first, and bring in as much theory as actually helps you play, no more.
Yes, and you’ve got a head start. Your technique and reading transfer; what’s new is harmony, feel, and improvisation, which is the fun part. It’s one of the most common moves students make here.
Perfect. We start so small it isn’t scary, two notes over one chord, and build from there. Improvising is a skill, not a talent you’re born with.
“He always provides repertoire that matches your current level while still challenging you to grow technically and musically. Excellent at guiding students through improvisation in a way that feels approachable and rewarding.”
“He’s done an amazing job at building my skills and understanding from the ground up. He paces what I am learning very well so that it can feel challenging but doable.”
“Nicholas was my daughter’s voice teacher. He’s very perceptive at quickly getting to know a student as a unique individual.”
The studio holds 24 weekly lesson times. When fall enrollment opens, the list hears first, before ads, before anyone else.
One or two emails before fall. No spam, ever.