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The Edelmann Consort
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play hi-fi  O America
play hi-fi  O Little Town
play hi-fi  O Holy Night
play hi-fi  Josephs Lullabye
play hi-fi  And the Glory
play hi-fi  Recessional No. 2 for Trumpet and Organ
play hi-fi  Wake the World with Dawning Joy
play hi-fi  A Memory-scape
play hi-fi  A Patriotic Chorale
play hi-fi  Josephs Lullaby 1
The Edelmann Consort is an ad hoc ensemble of professional and other experienced musicians in the Dayton Ohio area, who perform regularly at area weddings. It was started by John Edelmann in 1987, originally under the name, Rosewood and Ivory. The group consists of piano, pipe organ, keyboards, trumpet, trombone, french horn, oboe, flugel horn, guitar, and male and female vocals.
Why this name?
The name was suggested by a regular member of the group to add a bit more flare and elegance. At least, I think that was the reason....!
Do you play live?
Usually, actually. Recordings are still in the planning stages.
Would you sign a record contract with a major label?
Sure, why not.
Band History:
Musically, one might best characterize my advancement from folk group keyboard accompanist to Director of Music for the Cincinnati Province of the Society of Mary, as being one of decidedly stealthy proportions.

My initial foray onto the college liturgical music scene occurred when I joined a folk group which played at what was then the 12:45pm Sunday Mass liturgy, at the University of Dayton. The director, Dayton native Mark Haller, asked for volunteers to join the summer music group that year, and I and my guitar playing girl friend by the name of Margaret Zotkiewicz agreed to join. I didn't even start by playing the piano, since the group already had a regular accompanist.

Rather, I was content to play a little Casio keyboard (complete with miniature keys and a smallish tinny sound, that a musical friend, a Marianist priest, Fr. Jerry Chinchar had helped me purchase not long before).

For several weeks, I remained the Casio keyboard player (with some occasional synth percussion tossed in for variety). Then, a couple hired the entire folk group to perform at their wedding. While the other members of the choir were taking a break during the rehearsal, I decided to "fiddle around" on the piano with one of the requested songs, namely, "You, Light Up My Life".

To my amazement (and theirs) they all agreed I played by ear better than the regular pianist did with music, so they unanimously decided I should be the regular accompanist from then on.

This led to several years of playing for the folk choir, still only by playing by ear, having never had so much as one formal piano lesson, let alone any college level music courses. This was all quite a transition period from private to public musicianship.

Though I had been playing by ear for years throughout high school and my early college years, I never had formal piano instruction. In my family, my two sisters were given more attention to things musical than the four boys were. Thus, when we pursued careers, we investigated engineering, computers, etc., not music. This is partly the reason I graduated from U.D. in 1984, without having completed so much as one general music course, and only one semester of tuba performance instruction.

Based on my limited experience with the folk group, in 1985, I was recruited as one of two Campus Ministry directors of music for UD (I did the big events, the other, Mary Galvin, ran the music groups for the various weekend Masses). When I directed the 40 member Christmas on Campus choir in 1985, the choir adamantly wanted to sing the traditional Hallelujah Chorus postlude. That I had never before attempted nor even considered conducting on so grand a scale, did not seem to matter to them; when all was said and done, everything went very well indeed.

After the Baccalaureate Mass in April, 1986, I had had enough of the rigors of formal Music Directorship, and UD decided they needed someone "who knew what they were doing to run things...", hence came Alan and Patty Stock, who have been there ever since.

In 1988, I resumed directing for the 10:00 AM Sunday Mass at UD, which was marginally more agreeable to my level of expertise and ability. From time to time, I checked into area choir directing opportunities here and there, but my lack of parish experience and accreditation, not to mention formal musical education, kept my options limited.

In 1990, Fr. Ron Wilker hired me as the Music Director at St. Paul’s, in spite of my obscurity at the time, and that began a time of happy ministry which lasted until I resigned there, early in 1994.

After leaving St. Paul's, I substituted /accompanied frequently at area churches, including the Normandy Methodist Church, The Hope United Methodist Church, Our Lady of Mercy, St. Leonard’s, and Assumption, all in Dayton, as well as St Augustine in Waynesville, and St. John Neumann, in Fairfield.

Though I continued to perform somewhat regularly at weddings in the Cincinnati and Dayton areas, it was not until 1998 that I again assumed the role of music director at an area parish. One week before Passion Sunday in 1998 (!), the pastoral administrator at St. Agnes called and offered me a position as their music director.

In January, 2000, Fr. Joe Lackner of the Cincinnati Province of the Society of Mary recruited me to direct music for the Sesquicentennial celebration of the Marianists in the "New World", held at the Queen of Apostles Chapel at Mount Saint John, in Dayton. Subsequently, in June of that year, the Provincial Council extended to me the opportunity to lead all liturgies and funerals of the Province. Most notable was the Mass celebrating the Beatification of Fr. William Joseph Chaminade, the founder of the Order, on September 4, 2000.

St. Agnes had proven to be a very good match for my interests, time, and abilities, since the choir never expected weekly rehearsals, a schedule that would have been difficult for me to maintain. But, in 2002, the desire to be less tied down gained priority and I left St. Agnes, focusing on life at home, and music with the Marianists.

In September, 2003, I investigated a position to direct the music at the Church of the Holy Angels, in Dayton, Ohio, which had recently been made part-time. After some careful discernment, I accepted the position once offered, and since then, have been very grateful for the opportunity that has since developed.

Other miscellaneous musical endeavors can be summed up as follows:

I began composing instrumentals as part of liturgical "ad libitums" (in the words of Fr. Jerry Chinchar) for the Offertory or Preparation of the Gifts, as we now prefer to say, by 1984-85. By 1986, I was beginning to prepare them in manuscript form, and in 1987, my first amateur audio recording, Rosewood and Ivory was privately recorded and produced.

In 1989, I was asked by long time friend, Brad Harvey, to perform the sound track for a video documentary on West Virginia in the Civil War, which was nominated for an Emmy that year.

Since then, I have also had various keyboard improvisational recordings played as the sound tracks to various programs at television broadcasting studios first in Gallipolis, Ohio, then Kansas City, Mo., and most recently, in Cleveland, Ohio.

In the summer of 1990, I performed a piano concert at the newly reclaimed/renovated Ariel Theatre in my home town, Gallipolis, Ohio.

In 1998, I wrote a piano instrumental arrangement of Be Thou My Vision, which was published by the Lorenz Corporation, Dayton, Ohio, in the collection titled, Reflections of Faith., edited by Mark Barnard.

In 1999, friend and fellow musician Nick Cardilino published a music CD titled The Workings of Grace. I co-wrote and performed keyboards on one of the songs on this album, May We Be One.

I became a member of the American Society of Composers, Authors, and Publishers (ASCAP) in 1990, and hold several copyrights on original compositions at the Copyright office in Washington D.C. For the 2000, 2001, 2002, and 2003 award years, I received $150 in the ASCAPlu$ Award program for musical contributions related to Liturgical works not regularly monitored by ASCAP's typical media reviews.

At present, any musical endeavors that involve my aforementioned group of musicians, is booked under the name "The Edelmann Consort".
Your influences?
George Winston - I use a lot of his works (or close facsimilies thereof) in weddings and other events. Handel - can't live without Handel. Ennio Morricone and his Gabriel's Oboe from the Mission is also a strong influence. And of course, nearly any Disney theme is way cool, I think.
Anything else...?
We recently did a recording at the Church of the Holy Angels in Dayton, Ohio, where I am the music director. Sound engineer Chris Summerfield provided the recording services. Check his web site here at:

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