Mike Stern, Guitar Legend:
"David Bloom is a wonderful player, composer, and teacher. The books he has written are invaluable, clearly written and very thorough. I highly recommend David Bloom's books to players of all levels."
Steven Rodby, 13-time Grammy Award-winning Bassist and Producer for the Pat Metheny Group:
"David Bloom's teaching has always been special, and studying with him has always been a great help to me, at different points in my career. Both his specific gifts as a teacher and his knowledge of the music in general allow him to make a serious contribution to anyone's playing - beginner or seasoned professional. David can teach the notes, but is tireless with his attention to phrasing, dynamics, and the very meaning of music itself. The work runs wide, and it runs deep."
Cliff Colnot, Conductor of Chicago Civic Orchestra and the DePaul Symphony Orchestra:
"I started studying with David Bloom in 1978 and in one form or another have been studying with him ever since. He gave me the distinct feeling that he had thought a great deal about the teaching of jazz and had a visionary and highly effective point of view about it. Also, that his musical values were pure and not tainted by politics, media, economics or social agendas.
It was clear to me that he was compassionate, dedicated to his students, soulful and open to new ideas and concepts. His largest influence has been on my variety of melodic direction, dynamics, silence, and succinctness. The values I have learned from David translate directly to my work with large and small classical ensembles and to pop music."
Paul Von Mertens, Musical Director Brian Wilson Band:
"My time at your school was one of great exploration and discovery; the teachers, students and the whole scene was buzzing with excitement. I especially recall the deep appreciation of the masters and the guidance I got about who to listen to, and what to listen for. Learning what distinguishes the most important players in jazz, and bebop in particular. Beyond technical knowledge, there was always a primary emphasis on the aesthetics, emotion and artistry of jazz. I still think about these things today when I listen to improvisers; time, articulation, phrasing and emotion. In short; I learned who to listen to, what to listen for and how to apply it to my own music."
Alex Wurman, Hollywood film composer:
"David Bloom is a name that I remember quite fondly. I was 14 years old, and already had years of different types of musical education. David offered something vital I hadn’t had before. He created the perfect balance of learning theoretical info, and enjoying positive musical interaction in a group lesson. He enabled us all to hear the effect of what we were doing, and not get caught up in the 'practice' so much that we lost sight of the goal - make good music!
Over the years, that approach has enabled me to learn so much, as I believe the values (mathematical and otherwise) in music perceived in a cohesive context, find a direct channel to a place of cerebral fertility and growth. Math, and cohesion...Seems simple, right? The incredibly valuable lessons I first learned from David are still resonating in my home. Yeah, learn, and learn some more, but make sure you love what you’re doing, too! My son is now 14 years old. He has a better chance of fending off the ‘chops’ obsession, and creating great music thanks in large part to David Bloom!
My favorite mode: Dorian. That minor 3rd, nat-6th is so contemplative and enigmatic! Put that together with the Phrygian, and you’ve got the perfect question and answer jam that is potentially never ending! That’s what we did in those first lessons!"
Diego Alonso, Chicago Spanish Guitarist:
"I have been playing flamenco guitar professionally for years and have always wanted to implement jazz concepts in flamenco (increasing my chord vocabulary, voice leading, improvising, using chord subs, etc). Unfortunately, I am not a jazz player and as a result have always felt somewhat overwhelmed and without direction in these areas. In less than a month, studying at the Bloom School of Jazz, I have increased my understanding of these jazz concepts tremendously and have been able to apply everything immediately to my own style of music. I'm learning a lot! Thanks David!"
"Bloom School of Jazz makes the students become intensely aware of what we are and what more we can be. They push us to explore possibilities beyond our current limits whether as an individual or as a group. They teach all of those through music and expect to hear end results expressed as a form of music."
"The Bloom School of Jazz has afforded me the opportunity to envision new possibilities in my playing. My practice habits have become more focused and goal oriented as a direct result of my experience here. Being a relative newcomer to jazz (performance?), I have found the course material to be quite challenging at times. However, the expertise and encouragement of the faculty, as well as the support of fellow students, helps to make the material approachable and engaging."
"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 this 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."
"As a student of music, I have never been in a learning environment comparable to that of the Bloom School of Jazz.
There is nothing like it. Period. We’re in a time where anyone can pick up a book, for example, on how to learn jazz licks in one week. It’s sad. On another level, anyone can get a degree in jazz performance if they're willing to cough up the dough to go through school. In many ways, jazz “education” on a whole has done a wonderful job in widening the gap between the jazz masters, new aspiring artists, and listeners. During my studies at the Bloom School of Jazz, that gap that I’ve experienced for so many years has progressively diminished.
This is because the Bloom School not only teaches the aesthetic principles of jazz, but also helps one build a sense of individuality by finding their own voice (rather than discouraging it)… THAT is what the greats of jazz pursued: ultimate sense of self-hood. At the Bloom School, I’ve never been faced with so many tests and trials as a musician and human being. The overall progression has been towards acquiring the sense of courage to be yourself, and to show that through your music.”