amassed over forty recording credits on jazz albums. His first album with Jeanne Lee won the RCA Album First Prize in Germany, the 1980 Prix Billie Holiday, and is part of the Académie du Jazz. After that album, he recorded primarily as a solo pianist, though many of his collaborative albums have received critical acclaim. In 1981, Blake recorded an album of songs by, or associated with, Duke Ellington, entitled Duke Dreams, which was awarded 4.5 stars by AllMusic, and a five-star rating in Down Beat and the All Music Guide to Jazz. In 1986, he recorded Short Life of Barbara Monk with saxophonist Ricky Ford, which was selected by the Penguin Guide to Jazz to be part of their Core Collection. He has collaborated with a number of other musicians, including Jaki Byard, Houston Person, Steve Lacy, Clifford Jordan and Christine Correa. Educational philosophy Blake's philosophy in teaching differs from that of many music educators, even in the jazz world. He calls his approach "the primacy of the ear". In 1977, he wrote an article for the Music Educator's Journal on having a career as a "Pop/Rock/Jazz instrumentalist". Blake also wrote Third Stream and the Importance of the Ear (1981), which served as a guide to his educational style, as well as an explanation and expansion upon the concept of Third Stream. In the article, he stressed that "the ear is and should be of primary importance." He discussed the more practical aspects of a career in music and stressed the importance of luck and showmanship over education and background. Blake's focus on improvisation and ear training, coupled with his diverse influences, have made him one of the more innovative music educators of the jazz world. He invites the reader to view Third Stream composition as any composition that bridges two distinct musical cultures, not just classical-jazz fusion. He also stresses the importance of improvisation, and cites the need for improvisational education as one of the reasons he and Schuller started the Third Stream Department at the NEC. Blake argues that music is an aural art, and it must therefore be taught not by being "preoccupied with playing Chopin preludes on the piano or the latest copy of The Real Book (a popular jazz fake book) on the horn or guitar," but by dedicated listening, imitating, and improvising. He calls for students to listen and sing along to melodies