Do You Want To Be
Good At Music?

How Just Few Minutes A Day Can Dramatically Change Your Playing

You mind if I ask a quick question?

triangle-bulletDo You Want To Be Good At Music? Good at playing jazz?

triangle-bulletWould you like to be able to play by ear? Learn by ear? And play what you hear?

triangle-bulletWould you like to be more confident in your playing? Feel good, play well and sound good at jam sessions and gigs? And have fun doing it?

triangle-bulletWhat if I told you that there’s a pretty good chance you’re doing it wrong? That you’ve got things backwards? That playing by ear, musical confidence and playing well will stay out of reach until you turn things around.

triangle-bulletAnd what if I told you that it’s not your fault. Because just about everyone has it backwards these days. The whole world of music education seems to have things backwards.

And this fact is causing many unnecessary problems and obstacles in your playing.

Again, not your fault. But it is your responsibility now.

Over the next few minutes I want to share with you the single most important musical skill of all. Why most cats are dreadfully lacking in this area and what you can do about.

In fact in Just a Few Minutes A Day you Can Dramatically Change Your Music…For The Better. There’s no secrets or magic here. It’s just a matter of doing things right.

If you’re reading this page, you already know who I am.

You probably know I’ve played with a lot of great cats here in Boston like Joel Yennior, John Lockwood, Charlie Kohlhase, Timo Shanko, Steve Fell, Jeff Galindo, Garrison Fewell, etc.

You know I’ve studied and attended many master classes with many great teachers like Pat Martino, Joe Lovano, Jeff Watts, Hal Crook, Kenney Werner, George Garzone, Rashied Ali, Ian Froman, Dave Liebman, Danilo Perez, etc.

And of course You know that I’m completely obsessed with musical progress. I’ve made it a mission to discover how to help cats like you achieve your musical goals…and to do it faster.

Wanna Know The Reason I’m So Obsessed With Your Musical Success & Progress?

  • I Struggled Too

    Simply put I struggled for many years with my own playing.

  • With Slow Progress

    I worked hard as hell. But it took me seemingly forever to finally get my playing together.

  • And The Same Mistakes

    In hindsight I realize that I made every damn mistake in the book. And my progress was unnecessarily slow and frustrating as a result.

Did You Ever Experienced Anything Like This?

If you've ever doubted your musical abilities or struggled to get better and improve you’re not the only one. You and I have got that in common for sure. You see, for much of my time learning jazz, things were a struggle.

triangle-bulletMy progress with jazz was slow and unpredictable

triangle-bulletI could spend all day in the sheds practicing my butt off and then have no idea what to play when it came time for a session or rehearsal.

triangle-bulletMy practice sessions were unusually boring as hell and often even painful…I used to wrestle with back problems and wrist problems associated with overuse and unnecessary tension in my body.

triangle-bulletI lacked confidence in my musical ability, especially on the bandstand.

triangle-bulletI would get lost on tunes just about every time I played a session or gig. Embarrassing!

triangle-bulletI couldn’t play the way I wanted to and I doubted I ever would.

triangle-bulletWorst of all I think, is that I didn’t feel like a real jazz musician, I didn’t feel like I really belonged in the ‘jazz club’.

Eventually it changed for me of course. And if any of that sounds familiar I’d like to help you change it.

I got my ass kicked by my teacher Hal Crook. He threw me out of an ensemble I waited 3 years to get into. And it shook me loose. That’s when I began to realize that I was doing it wrong. That my fundamental approach to jazz was completely turned around.

About a year later I started studying privately with Hal Crook. Yeah, the same cat that gave me the boot. I’m a glutton for punishment I guess. But studying with Hal started to change everything for me.

I Started Hearing Hal Say Things Like:

  • "The Best Players Are The Best Listeners"

  • "Record & Critique Your Music Daily."

  • "Listen and learn from records - from the tradition"

  • "It's All About Your Ears! You don’t need to be a better instrumentalist. You need to be a better listener."

It’s funny. I never heard him say anything about spending many endless long repetitious hours in the shed working out of books or on patterns, permutations and mechanical practice.

But he did say to listen. A lot.

Over time I realized that, as a musician, there is nothing more important than your ears.

Not a thing.

But it’s deeper than that.

Your ears are a force multiplier. Meaning that if you improve your ears everything else you do in the practice room becomes more effective - your musical productivity will multiply. And everything will come more easily for you with better ears, too. Chops, form, time feel, odd meter, vocabulary, harmonic control,  new styles, learning tunes…and it'll make music fun!

Even Just A Few High Quality Minutes Of Listening & Ear Training Practice Per Day Will Have A Dramatic Effect On Your Playing

Improving your listening skills and your ears is THE GREATEST POINT OF LEVERAGE YOU HAVE AS A MUSICIAN.

Does that make sense? Better ears automatically makes you better at just about everything else with music.

I’ve since scene this sentiment reinforced by jazz luminaries like Gary Bartz:

“The Ear Has To Come First. Nothing Comes Before The Ear”. Good advice indeed.

Mr. Bartz points out that, to paraphrase from memory, many modern players and students have their ears locked up.

  • They’ve learned music backwards.
  • They can’t really hear.
  • Their playing is mechanical and theoretical.
  • They sound like cookie cutter musicians.
  • Just pushing buttons…not playing meaningful and expressive jazz.

You must trust your ears.
You must LEARN to trust your ears.

Locked ears means less innovation and less creativity.

Your ears have to be wide open…like antennas that are receiving the music.

Jazz improvisation is really jazz composition in real time. It's not by luck or chance. It's not random. The music comes from your inner ear, your musical memory, your aural imagination your musical instincts, your listening skills.

But everything nowadays is turned around.

You see the old timer's had no choice - there were no music schools for them to learn jazz.

Consequently everyone learned in a personal way...by ear…by going to gigs, checking out older cats and listening to the records.

Today cats learn the technique, the theory and the mechanics first. Usually from a book.

That's fine, but a musician needs great ears. So now’s the time for you to shift to a more listening/ear focused approach to your playing. Ya dig?

You see when you shift your practicing to being ear-centric…to putting priority on your ears…you can dramatically change your musical path.

triangle-bulletSuddenly your progress with music will happen faster.

triangle-bulletSoloing and letting your ear guide your solo will become normal – you won’t ever be at a loss for what to play.

triangle-bulletWhen you engage your ears in the practice room and tap into that musical memory your time in the shed will fly by.

triangle-bulletNo more boring hours of mindless mechanical noodling.

triangle-bulletAs your ears get better you will naturally become more and more confident in your playing.

triangle-bulletYou’ll never get lost on your solos anymore.

triangle-bulletYou’ll begin to play music the way you want it to sound.

triangle-bulletAnd eventually this will all lead to you getting more respect and appreciation from the other cats.

When you make your ears numero uno things change.

When you make it a priority to hear what you play and play what you hear you open up a whole new world of musical appreciation, joy and opportunity.

The good news is that it’s never too late for you to make this shift from mechanical, thinking music to creative, expressive ear-centric music.

And I’m very excited to announce that my very good friend and musical partner Joel Yennior has decided to tackle this musical challenge head on. More on that in a second.

But first, you probably already know Joel. He’s the creator of Playing the Changes: A Whole Brained Approach and more recently The Real Jazz Method: Building Blocks Of Jazz Vocabulary.

Joel and I have done a number of records and a ton of gigs together. Here’s a few bars of Joel killing it on the trombone on one such recording: Faces In The Sand by Joel Yennior With Joel on Trombone and Chris Cooke on Drums.

Here's What A Few Of
Joel's Students Have To Say

Charlotte DumontCharlotte Dumont, Bassist - Stoneham, MA

"With little more understanding of music than I could remember from high school band, Joel’s straight-forward teaching style quickly provided me with the foundation I needed.

Joel’s easy going demeanor paired with his obviously extensive knowledge base was a perfect fit for me. I really appreciated how Joel  balanced the theory (which can be challenging) with anecdotes from the jazz world such as the one above, and the times he insisted we all bring our instruments so that we could apply what we were learning right then and there."


Zuo WangZuo Wang, Jazz Pianist - China/Boston

"Joel is a wonderful, responsible, experienced jazz teacher and has a great personality - I really admire him!"

osiah ReibsteinJosiah Reibstein, Jazz Tubist and Composer - Lexington, MA

"When I joined New England Conservatory Prep I began taking lessons with Joel, and he could not have been more helpful.

As a virtuosic trombone player, he is also able to explain the methods behind his own playing and impart them on his students.

He can also play piano well which was extremely helpful during lessons in terms of understanding harmony, and he has a comprehensive knowledge of all styles of music, theory, and ear-training."


Cindy Goodof, Jazz Pianist - Needham, MA

"Joel's course forever changed the way I think about, play, and hear both classical and jazz music. Joel is a wonderful teacher -- I found him really motivating and inspiring.

Joel uses clear language and simple examples that are well-sequenced. The course content is really easy to understand. It includes many examples and ideas for practicing on your own instrument, so you can immediately apply what you are learning in the course!"

Please Allow Me To Introduce...

Jazz Ear Training Workshop

Jazz Ear Training Workshop

Hear What You Play
Play What You Hear

The Jazz Ear Training Workshop Is an online multi-media jazz course featuring over 38 videos and over 3 and half hours of ear training gold.

And it’s all available instantly in the LearnJazzFaster Dashboard.

Let’s take a closer look-see shall we…

ETW-Unit-1Unit 1: Developing Your Listening Skills

  • How to improve your listening skills so you can recognize song form, musical patterns and harmonic & rhythmic devices by ear.
  • Discover what to listen for, what to listen to and how to listen so you can appreciate music on a deeper level, learn while you listen and develop your own unique style.
  • Learn the critical questions to ask while listening so you can expand your musical awareness and notice more in the music.
  • 5 ways to maximize your listening sessions so you learn & improve as much as possible
  • How to avoid the pitfalls of listening in a post-modern digital era.

ETW-Unit-2Unit 2: Musical Building Blocks

  • How to internalize and master the building blocks of music so you can learn melodies by ear, sight sing new music and recognize chord tensions by ear.
  • How intervals work, how they sound and how to practice them so they become completely familiar to your ears
  • How to practice the most important 7ths chords so you can easily spell them, sing them and hear them.
  • How to use simple solfege syllables to master the building blocks (Like they teach at Berklee)
  • Discover how you can use the building blocks to compose and even transcribe by ear (with no instrument!)

ETW-Unit-3Unit 3: Melodic Ear Training

  • Learn how to develop your musical memory so you can learn and retain melodies – tunes as well as language that you dig.
  • How to play what you hear and hear what you play – connecting your aural imagination to your instrument.
  • Discover how to expand your creative reservoir so you never run out of musical ideas again.
  • How to commit a melody to memory and appreciate the subtle nuances like tone and emotion.
  • How to use a simple audiation technique and the ‘Ran Blake’ exercise to feed your musical memory and shape your music the way you want it.

ETW-Unit-4Unit 4: Developing Listening Skills

  • Discover how to develop harmonic control so you can have more flexibility, more confidence and never get lost on the changes.
  • How to develop the ability to ‘hear ahead’ on the changes.
  • How to simplify improvisation down to the point of easy so improvisation can become a regular and natural part of your musical activities.
  • Multiple play along tracks so you can listen as well as practice your harmonic control over a backing track.
  • Discover how to utilize natural tension/release of guide tones to create forward motion in your solos.

Now, this is a brand new  LearnJazzFaster course.

So Joel’s decided to make this Jazz Ear Training Workshop even cooler for you. There’s more awesome step by step ear training exercises,  content and tips for you, in this one course than most cats get in 4 years of music school!

But there are two other areas that most cats struggle with besides Ear Training: Rhythm & Transcription. So, here's what else you're getting with The Jazz Ear Training Workshop:

ETW-Unit-B1Bonus: Rhythmic Ear Training

  • How to use simple practice techniques to help you internalize rhythms and increase your ‘beat awareness’ (so you swing harder and never get turned around)
  • How to play, hear and transition between the different levels of rhythmic subdivisions so you don’t get stuck playing the same rhythms and feel over and over again.
  • How to practice improvising at different rhythmic subdivisions so it becomes natural for you to ‘mix it up’. This will add great variety to your solos and go a long way to help you shape your solos.
  • Discover how to practice, play, hear and master rhythmic displacement so you can create forward motion, tension & release and interest in your solos…and so you become VERY secure in the form.
  • Discover 20 essential jazz rhythms as well as additional syncopated rhythms you can add to your own vocabulary. Do you feel like you lack on the rhythmic side? Not anymore!

ETW-Unit-B2Bonus: How to Transcribe

  • 8 Ways to Get Started With Transcription Even If You’ve Never Done It Before
  • Discover the Sing Test So You Know When You’re Ready To Start Transcribing the Solo
  • How to Use a Notation Pitch Map To Make Transcribing Easy and Doable
  • Discover 3 Powerful Transcription Tools You Can Use To Help You Transcribe Now
  • Use the ‘Listen & Play’ Technique to Capture Some of the Intangibles From the Records

When you get The Jazz Ear Training Workshop today…you’ll get all 6 units – including the 2 bonus modules Rhythmic Ear Training and How To Transcribe.

  • Course Videos

    That’s over 38 jazz wisdom filled videos and over 3 and a half hours of content.

  • Audio Tracks

    You also get audio tracks of every lesson so you can listen in your car, on the bus or however you prefer.

  • Play Along Tracks

    You also get play along tracks so you can practice over real chords changes.

  • Echo Tracks

    You’ll also get the interactive ‘echo tracks’ you will use to practice and develop your ears.

  • Course PDF's

    You get all of the course worksheets and practice checklists.

  • Instant Access

    It’s all available to stream right on the web, instantly. (It’s also ALL Downloadable)

Just $97

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Now here’s the best part. You can try the entire course out for 30 days. You can take your time and go through the material at your own pace. You could actually dramatically change your playing over the next 30 days using this musical ‘force multiplier’.

And if for any reason during the next 30 days you don’t feel that this was some of the most helpful, useful, beneficial teaching on playing jazz then you can get your money back.

100% Money Back Guarantee.

  • I won’t make you talk to anyone on the phone.
  • I won’t make you fill out a survey.
  • I won’t make you jump through any hoops, what so ever.

You just email us and tell us you want your money back. And we’ll do it. No questions asked. No hard feelings.

I’d Love To Hear Your Success Story!

Charlotte DumontCharlotte Dumont, Bassist - Stoneham, MA

“There is no doubt that taking Joel’s course was key to the fact that I was able to start gigging within a couple of years time. Recommendations Joel made during his course still figure into how I structure my practice time.  In other words, I definitely apply what I learned five years ago directly into my playing today.  Joel’s course has enriched both my ability to communicate musically and also to listen to music in a deeper way.”


Zuo WangZuo Wang, Jazz Pianist - China/Boston

“I remember that on our first piano lesson, Joel asked me to improvise, but I could barely play. Now I feel I can improvise melodically and not be frustrated like I used to be. I recently played with some other students at a jam session, and everyone said I sound so good!”

osiah ReibsteinJosiah Reibstein, Jazz Tubist and Composer - Lexington, MA

“It is safe to say that I am a better player and improviser today because of Joel and that studying with him led to my acceptance at Conservatory and a decision to start a career in music.

Now, as a gigging musician, we still keep in touch as colleagues and I consider him a great inspiration and mentor.”


Cindy Goodof, Jazz Pianist - Needham, MA

“I am a classically trained pianist who has tried to dabble in jazz improvisation through the years, but my attempts always ended in frustration. The jazz language is a very different paradigm! …After taking his course, I can easily read and play jazz chord symbols, sit at the piano and improvise, and identify jazz progressions by ear. Basically a new musical lease on life! I highly recommend Joel and his course.”

So...If You're Ready...

triangle-bulletSo, If you’re ready to progress faster with your playing.

triangle-bulletIf you’d like to never wonder what the heck to play on your solos.

triangle-bulletIf you’re ready to have fun in the practice room and appreciate music on a deeper and deeper level.

triangle-bulletIf you’re ready to become a more confident player and jazz musician, stop getting lost on your solos and play the music the way you hear it in your head.

triangle-bulletAnd of course if you’re ready to get more respect from the cats on your scene

Then I hope you’ll consider joining us in The Jazz Ear Training workshop. Hear What You Play. Play What You Hear.There is nothing more important for your music than your ears and your listening skills. Period.

Click the button below to put your ears first and dramatically alter your musical path for the better.

I’d like to thank you for taking the time to read this page.

I’m Chris Cooke…And I hope to see you on the other side.

Go ahead and click the button below. I’ll see you on the inside.

P.P.S. And Listen. If you’re ears are already killin’ then this might not be for you.

And even if you just want to take a stab at it yourself, just promise me one thing. Make your ears your first priority in music.

Unlock your hearing, tap into your creativity and have more fun playing music than ever before.

You can work out the path yourself. You can figure it out through trial and error. You’ll probably get it together with enough perseverance and discipline.

Or you can go down the path that others like Joel have already blazed for you. And save yourself a ton of time and frustration in the process

Click Below To Do That Now.

I’m Chris Cooke. Dig It...

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