Jane Miller

Berklee alumna Jane Miller is a guitarist, composer, arranger, and author of Introduction to Jazz Guitar. She is a contributing editor to Acoustic Guitar magazine, and was a monthly columnist for Premier Guitar magazine. Miller has presented master classes in Argentina, Chile, and around the United States. She has taught at Berklee for more than 20 years.

The Jane Miller Group has released three albums. Her fourth, Three Sides to a Story—which was her first solo guitar recording—was released in June 2013.

  • Career Highlights
    • Guitarist, composer, arranger, and author
    • Leader of the Jane Miller Group, with three CDs on Pink Bubble Records, all with national radio play
    • Guitarist with the Miller-Clark-Miller Trio, a chamber jazz trio featuring saxophonist Cercie Miller and bassist David Clark, for which she contributes many compositions
    • Performances in clubs, concerts, and festivals regionally and nationally with singer/songwriter SONiA disappear fear
    • Solo guitar recording Three Sides to A Story released in 2013
    • Contributing writer for Acoustic Guitar magazine, Classical Guitar magazine, Premier Guitar magazine, and the online magazine Guitar Sessions
    • Contributing editor to Acoustic Guitar magazine
    • Former jazz columnist for Premier Guitar magazine
    • Author of Introduction to Jazz Guitar
    • Featured in The Great Jazz Guitarists: A Complete Guide by Scott Yanow
    • Many regional radio and television appearances
    • Awarded Massachusetts Arts Lottery Grant for performance of original compositions
    • Private lessons with Mick Goodrick, Emily Remler, Rich Falco, and Mark Marquis
  • Education
    • B.M., Berklee College of Music

In Their Own Words

"One of my favorite things to do in private guitar lessons is to play a tune or read a little bit of music together and improvise to see what that brings up. After we play, I'll talk about what I liked about it and what I noticed that could use some work. I like to take the required material and plug it right away into a real-life context so students can hear what it's used for. So if we're working on a particular scale, I'll show them how it works in the tune we just played."

"I love to tell stories and make them apply to what we are working on. I'm still gigging a fair amount, which gives me stories to tell about things to beware of. For example, if I'm doing jazz brunches, I talk about how careful I have to be with my hands so I don't get muscle strain from playing so early in the morning."

"In the labs I teach, the class chemistry feels to me very much like leading a gig or running a show. In this case, it's the students rather than the audience giving me the energy exchange; there's a definite back and forth going on."

"I want my students to take away a sense of confidence after studying with me—trusting themselves as players. Knowing what's going to work; knowing how to think on the fly, especially as improvisers; and trusting their own sense of taste and style. I also want them to develop a sense of discipline—to put the time in to make music work for them and get things happening."