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B
lakeslee,
Sam Blakeslee was in RSMI’s jazz program in 2010.
The
Bridges
competition and concert was devised in
part as a tribute to David Baker (left), the composer,
trombonist, and cellist who led RSMI’s jazz program
from its founding until his death in 2016. The concert
will also honor composer and saxophonist Nathan
Davis (below), who passed away in April and was
also on the RSMI jazz faculty since 2000, with the
first Ravinia performance of his
Matryoshka Blues
.
when Seiji Ozawa was music director of
Ravinia half a century ago. A Bernstein
protégé, Ozawa shared a similar
t
aste for
experimentation, during his tenure ded-
icating a series of Sunday a ernoon con-
certs to featuring music from not only
his countrymen, but also contemporary
composers at large, especially ones
who combined classical and jazz forms.
ese “Four O’Clocks” became many
music lovers’ rst exposure to works
by the likes of Alan Shulman, Norman
Symonds, and Bill Russo, whose ree
Pieces for Blues Band and Symphony
Orchestra received its world premiere at
Ravinia under Ozawa’s baton in
.]
Reid stated there were no strict judg-
ing guidelines: “It was how each piece
moved us. Yes, we were listening how
the classical and jazz elements com-
plemented one another, but it was our
individual reaction to the music.” All the
submissions were reviewed anonymous-
ly, assuring the judges reacted only to
the music, not the composer. However,
the judges were pleasantly surprised
to learn two of the winners—Blakeslee
and Bornheimer—were former RSMI
participants.
, a New York–
based trombonist and composer,
has performed at jazz festivals
around the world. But it was how he
got to those stages that was his basis for
entering the
Bridges
competition. “I had
an incredible experience at RSMI. I was
looking for any excuse to go back,” he
said. “As a young musician, it empow-
ered me in many ways; it gave me a new
con dence and validated my future
goals.”
Blakeslee’s winning composition,
Slow Growth/New Growth
, is an emotive,
adventurous piece that includes individ-
ual classical and jazz passages while also
showcasing them co-existing. At times
it seems to create an ongoing musical
dialogue. e work conveys an initial
serenity and builds in its energy, as the
title suggests. “Almost all of my compo-
sitions begin with a title, and then I try
to emulate those sentiments through the
music,” Blakeslee said. “ is competi-
tion was valuable because it allowed me
to mix di erent in uences, and during
the recording process, it forced me to be
organized and structured.”
Blakeslee admitted the -minute
length requirement did become an
occasional challenge. “Mine wasn’t an
editing problem. I had to add music to
meet the requirement,” he explained.
“But I made sure I wasn’t adding music
just for the sake of adding it. It had to
be true to the piece.” Additionally, the
recording experience helped sharpen
Blakeslee’s conducting skills. “I had to
lead the work as a whole, and look for
di erent ideas to make the two sounds
and musicians blend,” Blakeslee o ered.
“I want the piece to engage the musi-
cians who play it.”
RAVINIA’S STEANS MUSIC INSTITUTE
9