Jane ira bloom - modern drama

Jane ira bloom the red quartets
Jane ira bloom art and aviation
Bloom began playing music around the age of 12.

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TEN QUESTIONS WITH JANE IRA BLOOM

The soprano sax has enjoyed a long and distinguished history in jazz, with figures such as Steve Lacy, John Coltrane, and Wayne Shorter having established clearly recognizable voices on the instrument. Jane Ira Bloom established her own voice on the instrument at a rather early stage in her career: by the time her third album, 1982's Mighty Lights, appeared (on which she was auspiciously joined by Charlie Haden and Ed Blackwell as well as pianist Fred Hersch, with whom she's enjoyed a long-standing musical partnership), Bloom's distinctive voice, both as a player and composer, had come into clear focus.

She certainly wasted no time in making a name for herself as both a composer and player. Her first solo album, We Are, a nine-song duet date recorded in March 1978 with bassist Kent McLagan, features seven Bloom originals, while her love for timeless standards was already evident in the inclusion of Strayhorn's Chelsea Bridge on her debut and Weill and Anderson's Lost in the Stars on Mighty Lights. There's a warmth and lyrical qu

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White soprano saxophonist Jane Ira Bloom (1955) carried out one of the most breathtaking excursions at the border between structure and improvisation. She started out in a very independent fashion with We Are (march 1978), a duet with bassist Kent McLagan, and Second Wind (june 1980), in a quintet with pianist Larry Karush and vibraphonist David Friedman, bridging Anthony Braxton and Coleman Hawkins. This attitude triumphed on Mighty Lights (november 1982), thanks to a quartet that featured pianist Fred Hersch and Ornette Coleman's rhythm section of two decades earlier, namely bassist Charlie Haden and drummer Ed Blackwell, and thanks to compositions such as 2-5-1 that embodied postmodernism at in its most subtle manifestation. After the transitional duets with Hersh of As One (september 1984), notably the nine-minute Waiting For Daylight, Hersh was promoted to electronic keyboards to create the brainy tapestry of Modern Drama (february 1987), that harked back to Paul Bley's experiments with live electronic music. The quartet with Hersh took a detour into the ballad

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Bloom, Jane Ira

innovative jazz soprano saxophonist, composer; b. Boston, Jan. 12, 1955. From 1968, she studied with Herb Pomeroy and Joseph Viola at Berklee, Donald Sinta at the Hartt Coll. of Music, and George Coleman in N.Y. From 1973-77, she studied at Yale (B.A., M.M.). Moving to N.Y., Bloom steadily built up a reputation and has worked primarily as a leader. Among her honors have been grants from the Ford and Rockefeller Foundations and three fellowships from the N.E.A. She has composed and performed scores for the Pilobolus Dance Company and for the NBC movie Shadow of a Doubt. She has been profiled on CBS’s Sunday Morning, appeared on CNBCs America After Hours (1996), NPR’s “Women in Jazz” film series, and the PBS series Behind the Scenes. Winner of the Downbeat International Critics Poll for soprano saxophone (1983–94), Bloom was cited for her work by Time magazine in its 1990 “Women: The Road Ahead” issue and included in Life magazine’s 1996 Second Great Day group photo of jazz musicians. In 1989, she was the first musician ever commissioned by the NASA Art