No matter the members, jazz-rock innovators Blood, Sweat & Tears have always consisted of the most phenomenal musicians on the planet, ensuring a legacy that includes such smashes as “You’ve Made Me So Very Happy,” “Spinning Wheel” and “Hi-De-Ho” lives on.

For well over 30 years, singer/songwriter/bassist Jason Scheff provided the same for fellow horn-centered behemoths Chicago, not only picking up precisely where Peter Cetera left off, but putting his stamp on such iconic singles as “Will You Still Love Me?,” “What Kind Of Man Would I Be?” and “Look Away.”

Each camp finally converges for the first official time ever at the Genesee Theatre on Friday, January 17, which as Scheff tells Chicago Concert Reviews in a wide-ranging conversation about both bands, will start with a full Blood, Sweat & Tears show, followed by his guest slot singing several Chicago selections.

What is it about Blood, Sweat & Tears’ songbook that drew you to work the group and how often have your paths crossed over the years?

Jason Scheff: What’s funny is when I joined Chicago in 1985, I was a fan of Chicago’s, but not a freak fan. People asked me early on, “Were you always wanting to be in that band? You sound like you’ve meant to be there forever.” I said, “No, I was just a Top 40 musician. If you came to see me in a band a year or two before I joined Chicago playing in night clubs, if we played a Michael Jackson song, I’d lean toward the sound of that. If we played a Police song, I’d lean towards the sound of that, so when I joined Chicago and we played that songbook, I just kind of learned towards what I always heard over the years. Never did I realize I’d actually contribute to that songbook and have my own hits with them, but these are some of the greatest bodies of work in the world, to connect with Blood, Sweat & Tears at this point too!

We played with them a couple of times in my years out with Chicago, plus the original producer of Chicago, James William Guercio, produced at least one of the Blood, Sweat & Tears records, so this is all really one big family. The Blood, Sweat & Tears camp reached out to me cause they’ve always wanted to connect with Chicago. Well now they can because for over 30 years performing those songs with Chicago, it made perfect sense. They said, “we want you to guest with us,” so they’re going to go and do their show, and then I come and we finish it performing Chicago songs. I think it’s incredible.

Will this be an ongoing partnership or exclusive to the “Past, Present, Future” Tour?

Scheff: When they reached out to me, and I agree with them, they said, “We think that this could be a really cool thing to be ongoing.” I said, “I couldn’t agree with you more” because they’ve told me that their fan base has always really made the connection to Chicago, whether they would perform some Chicago songs, or even better, to have somebody that really is one of the faces of the band. We have three shows booked so far, but I believe that this is gonna continue. They’re such an incredible band.

I’m so fortunate to have joined Chicago and was really brought in to be the future of the franchise in 1985, which is a funny story because I never thought that it would work. I was 23-years-old and these guys believed in me. I was thinking, “there’s no way this is going to work,” but it did. Now [I’m] able to get with another one of the greatest horn bands in the world. Bobby Colomby’s original idea with Blood, Sweat & Tears is to just have the greatest musicians available, so their band is phenomenal. I’m so excited to perform Chicago music with them.

What’s a sample of some songs you all have planned for the Genesee Theatre?

Scheff: Don’t hold me to this, but I’m just gonna guess “Spinning Wheel” and “You’ve Made Me So Very Happy.” I can’t imagine them not playing those, and I will say for Chicago, you will definitely hear “25 Or 6 To 4.” You’ll probably hear the first hit that I sang for Chicago, “Will You Still Love Me?,” that went to number three in 1987, and then a bunch of other hits that you guys absolutely know and have come to love over the years.

You’re connection to this area is obviously quite strong. Are there any specific local shows or experiences you can recall?

Scheff: I hate to sound cliche about this, but it’s really true. Every time we came through, Chicago was an amazing experience because Peter Schivarelli, the manager of the band, always had this incredible environment, great food. The pizzas were incredible and the pastas. We’d always go out to dinner, so every time. But I’ll tell you the first few times I came through town and we were staying there at the Ritz Carlton, just showing up there and realizing, “whoa man, you just took the elevator, the fast track to the real first class big time.” Everybody was just so sweet. I think [we played] Poplar Creek the first couple times, then that went down. Eventually it became [regular to play] Northerly Island and then it was Ravinia. I always love it there. I love your city.

Would it be fair to say you were amongst the very first major rock replacement singers, and if so, how might you have helped pave the way for what has now become a common practice? 

Scheff: You know, I think you might be right. The funny thing is I’m 63, and when I joined the band at 23, they were all turning 40-years-old and I thought, “man these guys are old” (laughs), at 40 right? But the point is that they’re the generation past me, so the idea of an iconic band, a revolutionary group of the ‘60s and into the ‘70s would have to replace a singer, I think you’re right. Arnel Pineda of Journey has told me and told the guys in the band when we all met [how I was an influence]. I had known him for awhile before that, but they were congratulating him. “This is incredible what you have done.” He pointed to me and said, “He’s the one who showed me it could be possible.” Isn’t that cool?

I mean you’re right [about it being so common now] because truthfully that era, think about it, they’re turning 80-years-old. The great thing about Chicago is [they are] still out there really keeping it alive and doing a lot of dates. They’re pushing 80-years-old, but still, it keeps you young. That’s why they’re able to be out there and perform at that level. They look great and it’s fantastic, but the truth of the matter is that’s the age group, that’s the demographic, so it stands to reason it’s virtually impossible [to have all] the people that were originally there. That’s the great part about what I provide, and again, I joined the band thinking, “I’m just a replacement.” Growing up in the ‘70s with them, Peter Cetera is the tenor vocalist, and for anybody from that era, that’s absolutely their gold standard and is mine too. Yet when I got with the group, I’m half the ‘80s hits. The second half of the ‘80s, we had Billboard’s “Song Of The Year” in 1989 with “Look Away. Those are all my years. “What Kind Of Man Would I Be?,” “Will You Still Love Me?,” all that stuff. Suddenly I started meeting people that were saying, “you’re the guy that we grew up with” and I went “wow.”

In fact, one of my best friends is one of the members of Rascal Flatts and he reached out to me. He’s ten years younger than me and that was the moment where I started seeing what my years, the impact it had on the up and coming generations. Jay Demarcus reached out to me and said, “You gotta know Chicago’s the reason that I play music and you were a big part of it.” The story he told me was that he discovered Chicago on “Chicago 16,” so “Hard To Say I’m Sorry,” and then of course “17,” which is a masterpiece of a record with “You’re The Inspiration,” “Hard Habit To Break,” “Stay The Night” and “Along Comes A Woman.” Then Peter Cetera moved on and Jay said, “I thought that my band was over. It’s unbelievable because the video for “Will You Still Love Me?” came on and he ran into the next room and said to his mom, “They found the guy. They’re gonna be okay” (laughs) and that was me. So then I realized you’re not just a replacement. You’ve had your piece of the legacy here and you’re in the history books with this. I am just so excited [to be with] Blood, Sweat & Tears. If you’re a kid, think about this, there’s no way you could dream you’d be involved with two of America’s greatest horn bands. Tower Of Power is the other one, so maybe I could make it a trifecta and guest with Tower of Power (laughs).

Did you ever meet or connect with Peter Cetera in any capacity?

Scheff: I wish I would’ve saved this, but Peter left me a message. We had answering machines back then that were like a tape. He left me a message right after “Chicago 18” was finished and this is so classy. He said, “Jason it’s Peter Cetera. I just wanted to tell you I just heard the record and you sound great. I loved your writing. You’re singing great. Congratulations and don’t get in too much trouble out on the road” (laughs). That was his gesture to me, which it was so beautiful. Over the years, I’ve seen him a few times. I had coffee with him one time knowing that I was where he lives. He reached out and we had about an hour-and-a-half of the most amazing hang. He never treated me like “I’m the teacher, you’re the student.” It was always very peer to peer and respectful. I can’t thank him enough cause he’s always just been fantastic to me. I’ve always fantasized about working with him. I told him that too and we were talking about doing it, so maybe it will still happen someday. I’m such a fan, I’ll just come shake a tambourine at whatever you’re gonna do. I’d just like to work with you.

What do you consider to be your high creative points with the group?

Scheff: I’ll say that without question the moment that really changed everything was “Will You Still Love Me?,” because like I said, I didn’t think this was gonna work. I walked into the studio with [producer] David Foster, modern day Mozart. I heard that this guy chews up and spits out real singers, like Barbra Streisand. People were saying, “Oh, this guy’s gonna rake you over the coals.” [I was] also thinking he’s gonna find out that I really shouldn’t be there, but man, something happened. That moment comes when you’re in the bottom of the ninth in the World Series and you’re either gonna be comfortable or not. Something happened when the record button was hit. I felt so comfortable and never had any problem with David Foster when we roared through the record. “Will You Still Love Me?” was the big hit, number three pop, which established me as “you’re gonna stick around.” That was a big moment.

I co-wrote with Bobby Caldwell [and Chas Sandford] the single that took us into the fourth decade of Chicago making Top 40 hits. I wrote “What Kind Of Man Would I Be?,” which went to number five pop, so that solidified me as a hit songwriter for the band. Also, being 23-years-old when I joined, what would happen is we’d get home from the tour and everybody would be going on vacations cause they had families. They had all these responsibilities and I was just a kid with all my own time. I was writing songs constantly, so I really became the principal songwriter for the band during all of my years. Every record, other than “Chicago 18,” but from that point on, “19” on, I had the most songs on the records because I was bringing a ton in every album.

Also, bringing Rascal Flatts to the table. Chicago had not recorded any new material in 16 years, and meeting those guys in 2002 when they were really starting to take off, I started going back to Nashville. Jay DeMarcus and I [began] writing with all the greatest writers in Nashville. We started working up a body of work that ended up being “Chicago XXX.” Jay came in to produce it and I wrote seven of the twelve songs on that record, including a duet with Rascal Flatts, [“Love Will Come Back”], so I’m really proud of that too.

If there was anything you could change from your time together, what would it be?

Scheff: I can’t think of anything, to tell you the truth. We had a fantastic time together and I also have to thank them publicly, like I have a million times. When life hits, which did for me in 2015 where my mother-in-law was ill, I went to tell them that I’m going to have to go home to take care of my family. They graciously understood, so that’s why I was able to come back home and lighten my load. They’re out there keeping it alive and working. They work a lot, you know?

Long before collaborating with both bands, you of course grew up in a musical family. How did your father playing bass for Elvis Presley and so many other superstars affect you?

Scheff: Well, truthfully, my parents split up when I was very young, like about three, and my dad moved to L.A., so I didn’t really grow up around it. Yet check this out. This is so cool. When I was 15-years-old and my dad was playing in Vegas with Elvis, the last time Elvis was there in 1977 cause Elvis was not well, my dad brought me and my brother to Vegas. He said, “I got you a great seat. We have to go out and get a black, button-up, long sleeve shirt. Darin, you’re coming to the first show. Jason, you’re coming to the second and you’re in the percussion stand!” So I’m on stage with Elvis Presley in 1977! It was at what they called the Las Vegas Hilton at the time…

I played that room many times with Chicago and it would always chill me to the core when I walked on stage cause I remember where I was standing. Well guess what? I’m gonna be there [at what’s now called the Westgate Las Vegas Resort & Casino] with Blood, Sweat & Tears on April 12 with this show (laughs) and I’m flying my dad in, back to where it all happened. The house that Elvis built with Blood, Sweat & Tears!

Outside of these band dates, what’s on the horizon for Jason Scheff?

Scheff: I’m doing stuff on my own. I’ve got a symphony date in Buffalo [at Kleinhans Music Hall with the Buffalo Philharmonic Orchestra] on January 31. I’ve been doing more and more symphony dates just on my own. It’s amazing, all those great Chicago songs with orchestrations. I’ll be playing Epcot Center with my band March 28 and 29, and then Tommy DeCarlo and I have been doing some dates together. Tommy replaced Brad Delp [in Boston], there it is again, an iconic band that brings another singer and Tommy’s amazing. Tommy and I have been doing some co-headlining stuff. It’s really starting to pick-up, so that and my band Generation Radio with Jay DeMarcus of Rascal Flatts. We do mainly corporate stuff and it’s just great. Then I’ve got three other corporate accounts that hire me to come with two other singers, usually classic rock guys. I just did one with Johnny Van Zant of [Lynyrd] Skynyrd and Steve Augeri, who replaced Steve Perry in Journey [before Pineda], so I do those. I’m working on a bunch of new songs of my own. Generation Radio’s finishing up a record and that will be coming out. There’s a bunch of new music coming out this year and these fun dates. I can’t go on more enthusiastically about these Blood, Sweat & Tears dates, cause again, it is absolutely perfect for Chicago music.

It sounds like you wouldn’t have time for Chicago’s schedule anymore!

Scheff: That’s exactly right. People ask, “Wow, really? You moved on from that?” I gotta tell you, when life strikes, to be able to be given the opportunity to really come home when it matters the most, it’s amazing. My wife and I look back on that period where she was saying goodbye to her folks and my kids were still teenagers, so I got to spend real important years with them. Then after that, I get to do all these cool things because I’m not gone all the time, so it’s just great. The idea of joining a band that was so established and becoming a focal point of it, a lot of times that’s kind of the only thing someone’s gonna do. That’s not a bad only thing to do, but I do so many things. I’m a bass player also. I do session work for all kinds of folks and I just have a lot of different interests. I’m really happy that I get to do a lot of these different things, cause you’re right, if I was really spending the rest of my life out there with Chicago, I wouldn’t be able to [do all of this] and I’m interested in a lot of things!

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Blood, Sweat & Tears featuring Jason Scheff performs at the Genesee Theatre on Friday, January 17. For additional details, visit BloodSweatAndTears.com and GeneseeTheatre.com.