David Bloom | |
---|---|
Origin | Chicago, Illinois, United States |
Genres | Jazz |
Occupation(s) | Educator, composer, arranger, producer |
Instrument(s) | Guitar, flute |
Years active | 1975–present |
Website | BloomSchoolofJazz.com |
David M. Bloom is an American guitarist, flautist, composer/arranger/producer, educator, author, and director. Bloom founded the Bloom School of Jazz in Chicago where he continues to teach. Notable musicians who have attended the Bloom School include Alex Wurman, Graham Maby, Steve Rodby, Jon Weber, Cliff Colnot, Rob Parton, Mark Colby, and Rob Mazurek, with workshops from John Scofield and Mike Stern. [1] Bloom authors jazz instruction books under his own Bloom School of Jazz Publishing [2] which is distributed by Hal Leonard. Along with composing, arranging, writing, and directing The Bloom School of Jazz, Bloom directs documentary films about essential human values. Bloom's father was the late educational psychologist Benjamin Bloom, who made major contributions to the classification of educational objectives and to the theory of mastery-learning. David Bloom's own applications of mastery-learning have made him one of the most sought after teachers in Jazz today. [3]
David Bloom was born in Chicago. At age nine, he began studying clarinet with the Chicago Symphony Orchestra's first clarinetist, Jerome Stowell. A year later Bloom moved to California and began studying folk guitar with a Mrs. Shnyder. He then moved back to Chicago at 11 and played folk music with his brother until fifteen, when he started a rock-blues band. At seventeen, Bloom attended a blues concert at the University of Chicago Blues Festival where he heard Buddy Guy and was so moved by his playing that he called him up the next day and asked if he would teach him. Guy told Bloom that he had never taught anyone before but Bloom convinced him to give him a lesson. When asked how much the lesson would cost, Guy told him "five dollars." When asked "for how long?" Guy responded, "as long as it takes." Bloom studied with Guy every Sunday for a year. He then got a job at Harry Fistel's Chicago musicians co-op where he met an exceptional blues guitarist, William McDonald. William took David to Pepper's Lounge and introduced him to everyone in the place, as well as encouraging him to sit in with numerous bands on the south side (Pepper's Lounge and Teresa's), and on the west side (Sportsman's Lounge and Walton's Corner). After studying with Buddy Guy, Bloom began studying with Reginald Boyd, a master musician and the musical contractor at Chess Records. At nineteen Bloom went to Berklee College of Music for two years.
McKinley Morganfield, known professionally as Muddy Waters, was an American blues singer and musician who was an important figure in the post-World War II blues scene, and is often cited as the "father of modern Chicago blues". His style of playing has been described as "raining down Delta beatitude".
George "Buddy" Guy is an American blues guitarist and singer. He is an exponent of Chicago blues who has influenced generations of guitarists including Eric Clapton, Jimi Hendrix, Jimmy Page, Keith Richards, Stevie Ray Vaughan, Jeff Beck, Gary Clark Jr. and John Mayer. In the 1960s, Guy played with Muddy Waters as a session guitarist at Chess Records and began a musical partnership with blues harp virtuoso Junior Wells.
A guitar solo is a melodic passage, instrumental section, or entire piece of music, pre-written to be played on a classical, electric, or acoustic guitar. In 20th and 21st century traditional music and popular music such as blues, swing, jazz, jazz fusion, rock and heavy metal, guitar solos often contain virtuoso techniques and varying degrees of improvisation. Guitar solos on classical guitar, which are typically written in musical notation, are also used in classical music forms such as chamber music and concertos.
Junior Wells was an American singer, harmonica player, and recording artist. He is best known for his signature song "Messin' with the Kid" and his 1965 album Hoodoo Man Blues, described by the critic Bill Dahl as "one of the truly classic blues albums of the 1960s". Wells himself categorized his music as rhythm and blues.
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