He is known for his unique style that combines blues, gospel, classical, and film noir influences into an innovative and dark jazz sound.

[1] He grew up in Suffield, Connecticut, and became fascinated by film noir after seeing Robert Siodmak's Spiral Staircase as a twelve-year-old.

In his teenage years, he developed a love for gospel music and studied the compositions of Béla Bartók and Claude Debussy.

He also studied with John Lewis, Oscar Peterson, and Gunther Schuller[1] at the School of Jazz in Lenox, Massachusetts.

Blake remained in this role until 1973, when he took on the chairmanship of the new Third Stream Department (now Contemporary Improvisation) at the New England Conservatory, an initiative he started with Schuller.

[citation needed] Musicians Don Byron, Matthew Shipp, John Medeski, Frank London, Grayson Hugh, and Yitzhak Yedid have studied with Blake at NEC.

[citation needed] 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.

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.

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,"[9] but by dedicated listening, imitating, and improvising.

In the 144-page work, Blake details his thinking about the artistic process and distills his approach both to teaching and playing.