Best known for his ability to put a bass through its paces without pausing for a breath, Michaels has a natural affinity for bass playing... but where nature left off, dedication and exposure take over. Michaels has been honing his skills as a bassist for more than twenty years. In a given week, he has been found anywhere from a posh hotel lobby to a smoky jazz club, at a state fair backing a country talent competition, and in the studio recording blues and adult contemporary demos. Adept at improvisation, he has played progressive originals in clubs and backed a Hebrew choir at a local synagogue, while his reading skills have enabled him to master even the most challenging Broadway show books. His credentials include a stint with the U.S. Army Field Band, recording two albums and touring extensively throughout the United States, Puerto Rico and Canada. "Hired gun" performances over the years have included Bob Hope, Bob Newhart, Clint Holmes, Al Martino , Bobby Rydel, Damien, Fabian, The Coasters, Ronnie Dove and Mike El. Soundtrack and filming credits are his for a jazz club scene in the 1992 Paramount picture, "He Said, She Said." In May of '96, Michaels was called to fill the bass chair when "Joseph and the Amazing Technicolor Dreamcoat" made a stop at the National Theatre in Washington, D.C. His proficiency in the slot made him first call when the show reopened on the road the following September. Cast members gave him a standing ovation when he was introduced during the first rehearsal. That same year, Michaels joined creative forces with noted pianist Kraig Greff on a myriad of noteworthy projects. The duo's premier release, a modern jazz collection titled "Rowhouse Sessions," earned them the headliner slot at Baltimore's Artscape festival and secured their position in the lineup of soundtrack artists for Discovery Channel International, prompting a studio project with percussionist Ron Powell. For the past two years, Michaels has been on tour with the stage show "Les Miserables." His current holiday break was booked when "Fosse" came to town, and his competency at playing a split upright/electric book quickly became indisputable. Although his diverse exposure to the stage and the studio gives Michaels a powerful front-and-center presence, you won't find him out front without an invitation. Destined to join the ranks of his influences, studio legends Duck Dunn, Lee Sklar, David Hungate, Neil Stubenhaus and the like, it is his devotion to the art of bass playing - laying down the ultimate rhythm track - that will undoubtedly draw the attention Michaels deserves. Please, listen for yourself.