Andrew Schiller

Associate Professor
Affiliated Departments

For media inquiries, please contact Media Relations

Andrew Schiller is a bassist, composer, and educator, and a recent transplant to Boston by way of Brooklyn, New York. His initial attraction to music occurred in junior high school when his friends urged him to pick up the bass guitar and join their punk rock band. While his musical style has since varied, he still aspires to create and teach music in a way that replicates the gusto, fearlessness, and communal enjoyment that he experienced as a young boy playing songs by the Clash in a friend’s garage.

As an active performer, Schiller has played around the globe with a multitude of ensembles, both as a bandleader and a sideman. His formal training is in jazz and improvisation, but he can frequently be heard performing avant garde, classical, rock, and popular music on either the double bass or electric bass. As an educator, he enjoys exploring this variety of musical mediums in order to engage and connect with a broad range of human emotions, cultures, and pedagogies. He's currently working towards completing a Doctor of Musical Arts degree at the New England Conservatory, focusing his research on interactive and contrapuntal jazz bass accompaniment styles of the early 1960s.

Career Highlights
  • Bassist and composer
  • Leader of three New York City–based ensembles: Sonoran Quintet, JoggerKnot, and Filament Trio
  • Released two albums as bandleader, Sonoran (2019) and Tied Together, not to the Ground (2017), featuring original compositions
  • Led bands at iconic venues such as Cornelia Street Cafe, 55 Bar, and Jazz Gallery in New York City; Blue Whale in Los Angeles; Jordan Hall in Boston; and the Jazz Showcase in Chicago
  • Performances with jazz musicians such as Joe Lovano, Benny Golson, Tony Malaby, Ralph Alessi, and Michael Kocour, among many others
  • M.M., New England Conservatory, jazz performance, 2014
  • B.M., Arizona State University, jazz studies, 2012
In Their Own Words

"I believe that ear training, as with many components of musical practice, is best learned as an applicable and creative tool for the contemporary musician—not solely as a regimented series of technical exercises. I want students to be aware of the ways in which the skills they'll acquire in these classes are relevant to their personal artistry and how each lesson can help them progress on their musical journey."

My passion for ear training stems from a background in jazz and improvisation. Whether on stage or in the studio, I am frequently called to react on the fly, oftentimes without the help of a written score—meaning I rely heavily on my ears to navigate each performance."

"Understanding, identifying, and generating music independently of sheet music is vital for developing one's personal sound, and my experience performing in many genres has shown me that ear training is relevant in all styles of music. I find it most productive to tailor lessons and examples to fit the musical tastes and goals of each person, which encourages students to develop a strong, lasting connection with the craft."