Posted by David Bloom on Tue, Feb 21, 2012 @ 10:55 PM
Rock musicians sometimes carry this ethos around that they don't need to know their craft, just bang it out. "All you need are three chords and some balls" as the saying goes. Or when you're tuning up "close enough for rock n roll". But realistically that gets pretty boring, pretty damn fast. And so you're left with the same old slog of rock that is as worn out as 12 bar blues in a south side Chicago bar on a Tuesday "jam" night. In my opinion musicians should always strive to understand and integrate other forms of music genres and bring what you learn back to your plate. In Jazz music, I feel that you find the widest range of palate, color and nuance. You can hear how jazz was brought back to blues and rock and funk and so much more. From Gershwin’s to Kenny Burrell, BB king to Les Paul, Duke Ellington to Stevie Wonder and so much more. Jazz in its purest form is like surfing to me. And it’s almost as dangerous because if you crash and burn riding the B locrian mode it can be as ugly as a wave spanking your ass on ocean beach. But I digress. The thing I've learned when working primarily in rock n roll as a genre, is that even if you are only using three chords, you can make them more interesting. Play inside of them, depending on which mode your in, and when you start to take that risk, you're stepping squarely into a space that is greatly informed by some flavor of jazz.
My music coach and teacher Dave Bloom (Bloom School of Jazz) was a huge help in giving me new colors for my musical palate. While I was in various studios in Chicago, LA, NYC and Vegas last year finishing my new band's debut recording, (The Ex Senators on HeatShield Records Ltd, release June 2012), I would go through these exercises from Dave that leverage so much of the soul food found in jazz music. Some of them were difficult, forcing you to rethink how you play, and think about music; writing the same song in every mode and every key, playing solos against changes that shifted through modes and around the circle of 5ths; breaking down chord structures, and hearing the subtle shift in sub5, melodic or harmonic minor. And then being back in with my band working on a new song, I'd find these colors on the palate that weren't there before. Hearing changes that could slide and slither and still rock but giving more twists for a guitar lead or a vocal melody. Kyle Woodring was a world class drummer who took also took lessons from Bloom School many years ago and had worked with everyone from John Mellencamp, Dennis DeYoung and Styx to George Jones, Deanna Carter and WIllie Nelson. He was also my best friend and taught me one huge lesson about music. You're never done learning. Whatever you're listening to there's something to learn from it. Something you can pack up and take with you. Its a gift to play music for a living or for your own enjoyment and each time you listen to someone or learn something, it grows and becomes something brand new. Once you've learned it and its time to play, then play with reckless abandon. Cause THAT is ROCK AND ROLL!
Dmac
The Ex Senators
February 21, 2012, Chicago
Posted by Phil Bruni on Fri, Dec 16, 2011 @ 08:29 PM
Here's to Life! This celebration of music showcases some of the school's talented vocalists, in an enjoyable atmosphere with food, drink, and friends. The songs reflect the depth of the human spirit and the journey through this gift of life, that we all make it through, one way or another! Come out on this brisk Sunday afternoon, join in the festivities, and toast... Here's to Life!
WHEN: Sunday, January 8th 2012 3:00 PM DOORS - 4:00 PM START
WHERE: Mayne Stage, Chicago IL 1328 Morse Ave. Chicago, IL 60626
773.381.4551 (phone)
The Band:
Geoffrey Lowe - Bass
Sam Pincich - Drums
Jim Sellers - Piano
Vocalists:
Tracye Smith
Al Colley Jr
Jerry Johnson
Ingrid Oscarsen
Cameron Heinz
Toni Callahan
Tyler Callahan
Jim Grant
Max Hornung
Instructor/ Host: Spider Saloff
Instructor: Jim Sellers
Instructor/producer: David Bloom
TICKETS: BUY TICKETS HERE
The mission of the Bloom School of Jazz is to stimulate and nurture expression, imagination and individuality through music.
Posted by David Bloom on Wed, Nov 23, 2011 @ 01:32 PM
One problem you may be noticing during live performances is a lack of respect for the show. Each tune should be considered a chapter in a suspense novel, not a series of short stories with no cohesiveness. With my 40+ years of intensely studying the greatest jazz performers of the last century, I've discovered core values and practices that make the live experience of jazz infinitely more interesting and exciting for the audience.
It is my strong recommendation that each show you play be set with these rules in mind, for yourself and more importantly, for the people offering their time and money to be entertained by YOU.
Bloom's Laws
1. No fewer than eight tunes per one-hour set.
2. No duplication of tempo, mood, or groove per set.
3. A ballad should never be more than three choruses long.
4. Do not repeat the order of the soloists.
5. Everyone should not solo on every tune.
6. Every tune should be arranged.
7. No tune should last more than ten minutes.
8. Do not duplicate arrangements.
9. Do not repeat tunes.
10. Vary the intensity from chorus to chorus.
11. Neither ego nor machismo should override musical sense.
12. Not every tune has to include improvisation.
13. No sheet music on the bandstand.
Posted by Phil Bruni on Wed, Oct 26, 2011 @ 11:33 AM
The Bloom School of Jazz is happy to present David Liebman... Musicianship and Beyond. Mr. Liebman will discuss music, life, musicianship, mastery, and much more.
Don't miss out on this golden opportunity to be inspired, ask questions, and intimately listen to a veteran jazz master.
David Liebman is considered a renaissance man in contemporary music with a career stretching over forty years. He has played with many of the ma
sters including Miles Davis, Elvin Jones, Chick Corea, John McLaughlin, McCoy Tyner and others; authored books and instructional DVDs which are acknowledged as classics in the jazz field; recorded as a leader in styles ranging from classical to rock to free jazz; founded the International Association of Schools of Jazz; a multiple Grammy nominee; an inductee into the International Association of Jazz Educator's Hall of Fame; the recipient of an Honorary Doctorate from the Sibelius Academy in Helsinki, Finland, as well as the Order of Arts and Letters from the French government. He has consistently placed among the top finalists in the Soprano Saxophone category in the Downbeat Critics Poll since 1973 and has to his credit over 100 recordings as a leader/co-leader including several hundred original compositions.
Space is limited for this clinic. All are welcome to attend. If you have a group, please RSVP.
Admission: $20.00 at the door
Date: Saturday, October 29th
Time: 10:00am-12:00pm
Location:
The Bloom School of Jazz
417 N Ashland Ave
Chicago, IL 60622
The building is located on the SE corner of Ashland Ave. and Hubbard St. The entrance is in the first alley off Hubbard St. through the blue door.
See you soon!
David Bloom
Posted by Phil Bruni on Wed, Oct 05, 2011 @ 03:01 PM
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"I came to the Bloom School trained in the very different tradition of Indian classical music. I wanted to understand various elements of jazz, from the basics of harmony and rhythm, to nuances of improvisation within the context, subtleties in composition and expression, to building a deeper appreciation of what I listen to. All of the with no training in Western music and armed only with a keen ear. David works with me within my framework of musical understanding. He never imposes a canned method or rigid way of thinking, giving me only the mantra of aiming to produce the highest level of aesthetic as I express who I am. Within a short period of time on this journey at the Bloom School, I have picked up skills and knowledge in the jazz language and have surprised myself. There is a genuine interest in the students growth... that's a rare gift in a teacher."
-Satya Gummuluri
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Posted by Phil Bruni on Fri, Sep 16, 2011 @ 11:30 AM
Our new recording project course is filled with some VERY talented individuals and I'm excited to showcase the Jazz Vocals talent with a full rhythm section this Saturday at the school. The concert is free.
RSVP if you can by Friday evening. This is a great opportunity for anyone interested in attending the school for any course to visit the school and see what the results look like.
See you Saturday!
All the best,
David Bloom
Perfect Set Jazz Vocals Concert! 
The Perfect Set Recording Project has been developed for serious instrumentalist to elevate their music to a professional performance and recording level. In this one-year course students learn how to: choose or compose appropriate repertoire (10 tunes), arrange or collaborate on the arrangements, improvise, rehearse the band, record the band, and are involved in the mixing session. At completion of the course each musician will have a one-hour set of music that is fully arranged, notated (books for each instrument), rehearsed, and professionally recorded, ready to be performed anywhere. This experience will take students to a professional level of insight, preparation, musical judgment and performance. This procedure will become the model for the way that all subsequent sets and recordings will be produced.
read more
Concert Details
SATURDAY SEPTEMBER 17th @ Bloom School of Jazz
FIRST SET: 12:00pm - 1:30pm
SECOND SET: 2:00pm - 3:30pm
Bloom School of Jazz 417 N Ashland Ave
Chicago IL 60622
Note: The building is on the SE corner of Ashland Ave and Hubbard St. The entrance is in the first alley off Hubbard St through the blue door.
Posted by Phil Bruni on Wed, Sep 07, 2011 @ 11:24 AM
Chicago Jazz Magazine Bloom School of Jazz Article by Mike Jeffers
If you have seen a live jazz performance in Chicago, then most likely you haveheard one of David Bloom's students in action. David Bloom, the owner and founder of the Bloom School of jazz, has influenced the way musicians have created music in Chicago since 1975. I had heard about the school, played with musicians that had attended the school and spoken with David Bloom many times by phone and in person, but had never studied at the school. When the idea came about to put an article together about the Bloom School's 36th year I wanted to do something different, something that would give readers of Chicago Jazz Magazine an inside look into David Bloom's philosophy of music and performance, to gain an understanding of why so many of Chicago's top jazz musicians have come through the school. Go To Article...
Posted by David Bloom on Mon, Aug 22, 2011 @ 01:29 PM
Consider these five things when choosing a jazz school:
1. What you expect to get out of it? Do you want to be a jazz artist, a band director, and teacher or just want to learn without any economic benefit?
2. What is your relationship with jazz? How many hours a week do you: listen to the masters, practice effectively by yourself, play with others and just think about jazz? What have you done to demonstrate your love for jazz? What do you think a jazz school will do for your career?
3. Do you need a jazz school or just a mentor teacher? Often just having a knowledgeable inspirational teacher will accomplish what you need.
4. Do you want to study jazz composition and arranging? Then go to a school that offers those courses so that you can hear musicians play what you’ve written.
5. In jazz history, much of jazz instruction has been in bands led by; Art Blakey, Miles Davis, Horace Silver and others. That kind of personal mentoring is not done in schools. Most serious jazz schools, of which there are very few, can teach you many of the techniques, help you to transcribe solos, and help develop your ear. But what they can’t do is to develop your own personal concept and expression. Don’t expect a jazz school to create a new jazz star.
What a jazz school can do is give you a context where you are constantly thinking and working on your music. Practicing and playing all the time is mandatory in becoming a successful jazz musician. Great jazz is the sound of passion, commitment and whole lot of work.
Posted by Phil Bruni on Fri, Jul 22, 2011 @ 09:03 PM
If you live far from Chicago, and would like greatly improve your musical knowledge and expression this summer, you can! The Bloom School of Jazz now offers live Skype Video 1-on-1 classes from Chicago (you can be anywhere in the world!). Get the full benefit of a real private session, in the comfort of your own home. The assignments are the same, the curriculum is the same, and the philosophy is the same - and you never have to leave your home practice space. Technology can make learning jazz quite convenient!
To set up an appointment, begin by requesting to share contact details with bloomschooljazz on Skype (note the "of" is not included!). We will then contact you shortly about setting up an orientation video chat!
Even better, Skype is FREE to use. If you don't have a copy, simply choose what kind of computer to the right, follow the link, and download it today.
Click here now.
Posted by David Bloom on Wed, Apr 27, 2011 @ 02:45 PM
Escaping Yourself to Be You (Part 4)
For civilians and musicians alike, I suggest a one week test: turn off the TV and computer games, use the phone only when it's necessary, and spend the rest of the time doing things that make you think, feel, emote, create or anything that shows an active involvement and appreciation of you life. In one year the average person watches about 1200 hours of TV. Think of what could be learned in 1200 hours in one year. One could become competent in an instrument, learn a language, learn a sport, and take courses or whatever. It's staggering. No one has ever felt or developed pride by watching TV.
When all the outside diversions and distractions are removed then you get down to the real journey. Exploring curiosity and imagination to find and define whom one really is. In a week there are 168 hours. Most people work about 40-50 hours and sleep fifty to sixty hours. That leaves over 50 hours of discretionary time. How many hours a week do you escape yourself to be you?