General admission tickets: $18 per show. All day pass: $25
Preferred Seating: $25 per show. All day pass: $30
4:30 pm concert line-up
- Jim Barbick
- Raf Beof
- Curt Bley
- Phil Bruni
- Toni Callahan
- Pat Fleming
- Jeff Fortin
- Laura Hoffman
- Jerry Johnson
- Tim Keenan
- Geoff Lowe
- Michael Luttrell
- Chris Maheu
- Carol Mycio
- Michael O’Donnell
- Isabelle Olivier
- Sam Pincich
- Steve Ramsdell
- Jim Sellers
- Matt Tate
- Niku Tseng
- Audrey Wageman
- Mark Yonally
7:00 pm concert line-up
- Nino Arobelidze
- Raf Beof
- Marc Colby
- Tim Fitzgerald
- Geoff Loew
- Jeff Mack
- Matt Nelson
- Vance Okraszewsk
- Isabelle Olivier
- Rob Parton
- Sam Pincich
- Steve Rodby
- Spider Saloff
- Peter Saltzman
- Jim Sellers
- Jewel Tancy
- Martha Larsen
We are very happy to announce that Steve Rodby, 13-time Grammy winner and Bloom alumnus, has joined our faculty. Steve is teaching bass (electric and upright) as well as music production and video editing.
Acoustic and electric bassist, editor and producer Steve Rodby was born in Joliet, Illinois. Steve began studying classical orchestral bass at age 10, and quickly developed an intense interest in jazz and pop music. A graduate of Northwestern University with a degree in classical bass performance, Steve studied with Warren Benfield (Chicago Symphony Orchestra), renowned jazz bassist Rufus Reid and jazz guru David Bloom. Steve has performed with numerous jazz greats, including Joe Henderson, Roy Haynes, Tony Bennett, Teddy Wilson, Milt Jackson, Art Farmer, Sonny Stitt, George Coleman, Ira Sullivan, Zoot Sims, Lee Konitz, Jackie McLean, Eddie Lockjaw Davis, Kenny Burrell, James Moody, Johnny Griffin and Monty Alexander.
In addition to being the bassist in the Pat Metheny Group for 3 decades, Steve has conducted orchestras, recorded with many other artists in both jazz and pop, and lately has spent much of his time producing and editing, both audio and video.
His work as a producer includes Oregon In Moscow (Oregon's recording with the Moscow Tchaikovsky Symphony Orchestra) which was nominated for four Grammy awards, six records by Eliane Elias - including Dreamer, Something For You, Bossa Nova Stories - and numerous non-PMG projects with Metheny, including the Jim Hall & Pat Metheny duo record, two Pat Metheny Trio records, the soundtrack for A Map Of The World and the Grammy winner One Quiet Night. He also did extensive production on two Michael Brecker recordings, Nearness Of You and the Grammy winner Pilgrimage. In all, Steve has won 13 Grammys.
Steve edited the video and audio for the Pat Metheny Group's DVDs Imaginary Day Live and The Way Up - Live, as well as other music videos, and several full length concert specials for broadcast on PBS and DVD release, including Anúna's Celtic Origins. Steve produced and edited both the audio and video for world famous classical marimba star Nancy Zeltman's latest productions, music by Messaien arranged for marimba and clarinet.
More recently, Steve worked as a producer on legendary jazz bassist Charlie Haden's Rambling Boy, performed on tour with singer/songwriter Boz Scaggs, and did production work on Maria Schneider's Grammy winning Sky Blue, as well as Pat Metheny's most recent recordings Orchestrion and Unity Band, and Grammy Award "Best New Artist" Esperanza Spalding's 2 back-to-back Grammy Award winning albums Concert Music Society and Radio Music Society.
This last year Steve produced 3 albums: Bloom mentee Ryan Cohan's The River, Eliane Elias' I Thought About You, and Internationally Recognised Aliens by The Impossible Gentlemen, a band that Steve has been touring with.
Isabelle has been a professional musician for more than 20 years, performing and recording with many great international musicians such as Peter Erskine, Norma Winstone, David Linx, Didier Lockwood, Louis Moutin, Eivind Opsvic in more than 20 countries.
She recorded 6 albums of her own compositions in France, in Germany and in the United States and a DVD. She composed music for theater, film scores, exhibitions, poetry, dance and puppet shows. She has been nominated for the French Victory of Jazz for "Year Revelation" and received an "Outstanding Musicianship"award from the Berklee School of Jazz in Boston.
She studied with Pierre Jamet - the great harp master who performed with Claude Debussy, Maurice Ravel, Igor Stravinsky and all the famous composer from the 20th century.
Teacher in Master Classes all over the world: France, Italy, Switzerland, Poland, Belgium, Germany, England, Canada, Bulgaria, Mauritania, Senegal, and Spain. Member of Paros Jazz Academy and Bloom School of Jazz.
" What sculpture is to a block of marble, education is to the soul ". Joseph Addison
"From beginners to advanced levels, I love teaching to share artistic experiences together around the magical harp. Technique is important, music is fundamental and soul is the most important. How to breath, to sing, to explore rhrythm, harmony, to develop your own personality is a part of our lesson."
"I love to combine interpretation and improvisation, oral tradition with classical techniques. I'm open to all styles from classical to world music from jazz standards to free jazz impro, pop and rock style. I teach composition, music theory and combos with other instruments and artists like dancers, painters, actors."
"I organize Harp Circles - gatherings of harp students and friends,
and we have 2 annual public Harp Class Concerts with others artists."
Over 30 instumentalists, vocalists and composers will perform on Mayne Stage Sunday November 24. The concert will feature original compostions written by Bloom School of Jazz current students, alumni and teachers. More information soon
Chicago, Illinois- August 23, 2013- Yesterday's musical epiphany has become today's great music as students, faculty, and musicians associated with Chicago's Bloom School of Jazz came together to record both video and audio for the original tune, "When You See Me."
Inspired by the recent events related to the Trayvon Martin tragedy and subsequent trial and acquittal of George Zimmerman, the song was written by vocalist and instructor Spider Saloff. The resulting audiovisual representation is sure to spark plenty of conversation.
Saloff hopes to get a message across- one of accepting, understanding, and celebrating the differences among our fellow Americans."We don't have to have incidents like this, if we can just learn to see each other," said Saloff about the meaning of the song.
For the recording, David Bloom chose two BSJ vocal students to join her, representing a diverse range of age, race, and stage of life: Jewel Tancy, and Max Homung.
Cameras captured the recording of "When You See Me" at Rax Trax Chicago for posterity. Saloff contributed the lyrics and melody; David Bloom arranged the tune and produced and directed the project, which featured Pat Fleming(guitar), Chris Cameron(organ), Khari Parker (drums), and Tony Brown(bass).
The result of the efforts of all these musicians is a socially relevant piece of music. It is a plea for reason and tolerance, and a remembrance of a life cut short so senselessly, backed by the rare sound of real people, playing actual instruments.
Other contributors to the recording include cameramen Eric and Justin Woods and engineer Rick Barns. The tune will be released, as will an accompanying video, with one mission in mind: fostering a rational and long-overdue conversation in this country about race, stereotypes, and how to move forward in a positive way.
Chicago, Illinois, Aug. 1, 2013- The recent trial and acquittal of George Zimmerman in the killing of 17 year old Trayvon Martin has sparked a firestorm of media coverage and public reaction. For Spider Saloff, acclaimed jazz singer and vocal coach of more than a decade at Chicago's Bloom School of Jazz, the underlying issues of the tragedy are much more important.
Saloff is an award winning, internationally known actress, lyricist, and playwright. To her students, she's a beacon of talent and accomplishment, having performed everywhere from Chicago to St. Petersburg, Russia. In the wake of the tragedy, however, she is just another citizen, left with many questions.
"I was moved and shaken by the tragic loss of this young man's life," Saloff said. The subsequent trial, along with a speech made by President Barack Obama in response to the verdict, solidified the gravity of the events in her mind.
A telephone conversation with the school's founder, David Bloom, was the flashpoint for Saloff's lyrical musings. Bloom asked aloud, "Why Don’t you write a song about Travon?" The question stuck in Saloff's mind, manifesting itself in the song, "When You See Me."
Speaking on why she wrote the song, Saloff is contemplative and somewhat optimistic. "How can we stop something like this from happening again? What can we do as people? Well, first, we have to see each other."
Saloff's musical talents abound, but she also brings perspective on the tragic event. She hopes the song can inspire people to let go of their outdated, stereotypical views of each other, in order to learn the truth of who people are as individuals.
Music, as with the other fine arts, has a way of reaching people that surpasses the impact of mere rhetoric. Saloff wants to touch the hearts of all who hear "When You See Me." Her philosophy going forward is simple, yet profound. "We don't need to have episodes like this, if we can just see each other."
Spider Saloff is the winner of five MAC Awards (Manhattan Association of Cabarets and Clubs) including Best Female Jazz Vocalist, as well as the recipient of the Chicago Gold Coast Award for Excellence in Live Performance and also of a special citation from NARAS (The Grammy's). This World Class artist has taught vocalists at the Bloom School of Jazz for over a decade. As a concert jazz vocal artist, actress, songwriter and playwright with 8 national recordings, Ms. Saloff has been acclaimed world wide. She was featured with Chicago Jazz Orchestra's tribute to Ella Fitzgerald at Millennium Park to an audience of over 26,000. Saloff's Gershwin tribute The Memory of All That headlined in St. Petersburg, Russia. Her concert venues include: Auditorium Theater, Smithsonian Institution, Wilmington Grand Opera, Wallingford Symphony, Illinois State Symphony, Castro Theater, and New York's Town Hall and Lincoln Center.
Tyler Callahan. Perfect Set Recording Course Student.
It's important to first determine what kind of session it will be. A live jazz session is different than a pop session and is recorded differently. But to start with I will be talking about rock or pop sessions.
1. Unless you're rich, do not go to the recording studio until you are well-rehearsed and ready to play. The studio is not a place to get stuff together. It’s a place to document music ready to be recorded. If you're very rich and you want to go in the studio with a bunch of new players that you've never played with before and just see what happens, by all means try it, but I don't recommend that for getting anywhere close to a professional result. With the tech stuff available today you can get a clean recording in your living room just to show you if your music is on the right track, so to speak.
2. If you are doing a pop recording the 1st recording should be laying down the bottom of the music, the rhythm section. As it is being recorded it’s important to have the vocalist sing a scratch track vocal so the musicians can respond appropriately. It may be just an upright bass and maybe bass, drums and piano or whatever. But this is the foundation of what your song is going to be and without it anything that you put on top of it won't work. The bottom must be solid in everyway; timing, tuning and groove. Now if you have a problem with one of the instruments, you can overdub even one note, if you need to, provided you have discrete tracks for each instrument.
3. Do not use friends who aren’t good musicians. Many groups sacrifice a professional outcome for friendship. It’s great to have friends and I wholly recommend it but just because someone is your friend it doesn’t mean they can play. If it’s okay to not sound good than by all means use players that can’t play well.
4. If a player has a performance problem that lasts more than ten minutes move on and come back. It’s very important to keep the spirit right in a session.
5. If a click (metronome sound in your headset) is necessary, okay. If it’s a jazz session, I recommend not using it. Most jazz music tends to accelerate. So to have it artificially held back can have a bad effect on the natural building of the music.
6. Make sure to plan double the time it took to rehearse the song correctly, in your studio session.
More soon db
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!
The Ex Senators
February 21, 2012, Chicago