Featured Quotes:
"[Ben Rosenblum] has the chops to shoot off a few fireworks, too, . . . but that doesn't seem to be a priority when covering sacred material. . . . The music is thoughtful. . . . Rosenblum and Lundy caress [the music] with the reverence it merits." (Bob Doerschuk, Downbeat Magazine, 2017)
"There do emerge conservatoire aces with grit in their imaginations and a facility to express such in their playing. Ben Rosenblum is one such performer/composer." (C. Michael Bailey, All About Jazz, 2017)
"Most young jazz musicians have to struggle to get noticed by the scene’s veterans, and a player making a debut album is foolish to expect to make a splash with the critics right away. So far, Ben Rosenblum is having little trouble bucking these tendencies. . . . Rosenblum displays complete mastery of the genre’s technical and emotional requirements . . . [and] pursues the music’s challenges with youthful daring." (Jack Walton, South Bend Tribune, 2018)
"When [Rosenblum solos], it's enough to awaken thoughts that the accordion's status as a jazz instrument may have been undervalued." (Jack Bowers, All About Jazz, 2020)
"Raindrops from heaven poured down with style and grace from Rosenblum’s piano. As the baton is passed down from the previous generations to the new, it is evident that there is much more to come." (Fred Stal, RG Magazine, 2017)
"Ben Rosenblum’s Nebula Project is one of the most intriguing young ensembles to emerge in recent years." (Ken Franckling, Ken Franckling's Jazz Notes, 2020)
"A young hydra that's a fount of talent that can't be contained, Rosenblum takes on his third set with a third persona and uses it to kick ass throughout. A witty, skillful composer, the multi instrumentalist leads his first full band outing in fine form with playing and writing that are second to none." (Chris Spector, Midwest Record, 2020)
"Piano wunderkind . . . [a] young musician whose uncommon skills have brought him all over the world." (Cory Chambers, Do Savannah, 2019)
"If you’re a fan of classic jazz piano – melodic, emotional, technically masterful and swinging – catch New York-based Rosenblum while he’s in town." (Pamela Espeland, MinnPost, 2018)
"An arrestingly mature composer with a beautiful touch." (Andrew Gilbert, Berkleyside, 2019)
"A musician mature beyond his years. . . . [Rosenblum's debut album Instead] has caught my attention with its fine playing and irresistible melodies. Highly recommended." (Jon Neudorf, Sea of Tranquility, 2017)
"Rosenblum and his sidemen deliver each song with fire and energy." (Woodrow Wilkins, Jazz Writer, 2017)
"Got the hands of a diamond cutter here." (George W. Harris, Jazz Weekly, 2017)
"Certainly the kind of cat that's going to go the distance." (Chris Spector, Midwest Record, 2017)
"Very tasteful and sophisticated. [Rosenblum's album River City] shows how a piano trio should sound." (Michael Ferber, Michael's Jazz Blog, 2018)
"There do emerge conservatoire aces with grit in their imaginations and a facility to express such in their playing. Ben Rosenblum is one such performer/composer." (C. Michael Bailey, All About Jazz, 2017)
"Most young jazz musicians have to struggle to get noticed by the scene’s veterans, and a player making a debut album is foolish to expect to make a splash with the critics right away. So far, Ben Rosenblum is having little trouble bucking these tendencies. . . . Rosenblum displays complete mastery of the genre’s technical and emotional requirements . . . [and] pursues the music’s challenges with youthful daring." (Jack Walton, South Bend Tribune, 2018)
"When [Rosenblum solos], it's enough to awaken thoughts that the accordion's status as a jazz instrument may have been undervalued." (Jack Bowers, All About Jazz, 2020)
"Raindrops from heaven poured down with style and grace from Rosenblum’s piano. As the baton is passed down from the previous generations to the new, it is evident that there is much more to come." (Fred Stal, RG Magazine, 2017)
"Ben Rosenblum’s Nebula Project is one of the most intriguing young ensembles to emerge in recent years." (Ken Franckling, Ken Franckling's Jazz Notes, 2020)
"A young hydra that's a fount of talent that can't be contained, Rosenblum takes on his third set with a third persona and uses it to kick ass throughout. A witty, skillful composer, the multi instrumentalist leads his first full band outing in fine form with playing and writing that are second to none." (Chris Spector, Midwest Record, 2020)
"Piano wunderkind . . . [a] young musician whose uncommon skills have brought him all over the world." (Cory Chambers, Do Savannah, 2019)
"If you’re a fan of classic jazz piano – melodic, emotional, technically masterful and swinging – catch New York-based Rosenblum while he’s in town." (Pamela Espeland, MinnPost, 2018)
"An arrestingly mature composer with a beautiful touch." (Andrew Gilbert, Berkleyside, 2019)
"A musician mature beyond his years. . . . [Rosenblum's debut album Instead] has caught my attention with its fine playing and irresistible melodies. Highly recommended." (Jon Neudorf, Sea of Tranquility, 2017)
"Rosenblum and his sidemen deliver each song with fire and energy." (Woodrow Wilkins, Jazz Writer, 2017)
"Got the hands of a diamond cutter here." (George W. Harris, Jazz Weekly, 2017)
"Certainly the kind of cat that's going to go the distance." (Chris Spector, Midwest Record, 2017)
"Very tasteful and sophisticated. [Rosenblum's album River City] shows how a piano trio should sound." (Michael Ferber, Michael's Jazz Blog, 2018)
Full articles:
Articles about Ben's projects:
Runner Up for the 2020 Reader's Poll in JazzTimes! Two Categories - Best New Artist (Ben Rosenblum Nebula Project) and Best Miscellaneous Instrumentalist (Accordion):
Full List Here
CD Reviews for Kites and Strings (2020-2021):
JazzTimes - Sometimes the vitality of an art form is demonstrated not by “big” records from major figures, but by unassuming projects from people you don’t know—yet. Press notes for Kites and Strings correctly point out that Ben Rosenblum is “the newest member of a small, extraordinary keyboard cadre … of players equally expressive on piano and accordion.” (Others include Gary Versace and Vitor Gonçalves.) The reedy strains of Rosenblum’s accordion differentiate his ensemble.But much more is going on here. Rosenblum thinks of his sextet (plus three rotating guests) as an orchestra. He writes tunes that feel light in touch but whose arrangements interweave lines—from trumpeter Wayne Tucker, reed player Jasper Dutz, and guitarist Rafael Rosa—into continuously evolving intricate designs. The capable guests (trombonist Sam Chess, vibraphonist Jake Chapman, pianist Jeremy Corren) expand Rosenblum’s creative options.
But much more is going on here. Rosenblum thinks of his sextet (plus three rotating guests) as an orchestra. He writes tunes that feel light in touch but whose arrangements interweave lines—from trumpeter Wayne Tucker, reed player Jasper Dutz, and guitarist Rafael Rosa—into continuously evolving intricate designs. The capable guests (trombonist Sam Chess, vibraphonist Jake Chapman, pianist Jeremy Corren) expand Rosenblum’s creative options.
His skills as a composer and especially as an arranger are apparent. But the full potential of the Nebula Project is most clearly revealed in its interpretations of great songs by others, songs with lyrics that linger in the mind, even in instrumental versions. Neil Young’s “Philadelphia” has always been heartbreaking. Rosenblum gives it to Chess’ passionate trombone, to his own ascendant piano, and to Rosa’s surging guitar, then lets the whole band close it softly, like a prayer. Leonard Bernstein’s “Somewhere” has been rediscovered by Rosenblum’s under-30 jazz generation. The chart here, for sextet plus Corren’s singing piano, is airy yet lush. All the solos are vivid but Rosenblum’s accordion redefines “Somewhere.” Played on the accordion, all songs sound sweeter and more wistful, even those you thought you knew.
-Thomas Conrad
NYC Jazz Record - Kites and Strings, the debut from Rosenblum’s Nebula Project, is something else entirely. It’s a work bent on offering luminous beauty and striking juxtapositions through the use of a colorful palette and the embrace of broad influences.
There’s a bright nod to Cedar Walton with opener “Cedar Place”; an intriguing blend of the leader’s accordion and guest Jake Chapman’s vibraphone during the odd-metered title track; an acknowledgement of classicism’s reach on “Motif from Brahms (op. 98)”; and Klezmer-carnival slant in the zany “Fight or Flight”. Three covers make it into the mix—Leonard Bernstein’s “Somewhere”, Neil Young’s “Philadelphia” and the chorale-like Bulgarian traditional “Izpoved”— but it’s the original music that shines brightest. With a gift for shaping seemingly odd phrases into the inevitable, the smarts to utilize the full textural possibilities offered through his bandmates (i.e. trumpeter Wayne Tucker, reedplayer Jasper Dutz and guitarist Rafael Rosa), a simpatico relationship with Jaffe and Zweig underscoring these performances and his own accordion and piano at the fore, Rosenblum’s personality truly resounds throughout this brilliant production. (Full review at link, including additional coverage of Ben Rosenblum's trio appearance on "The Music of Gregg Hill")
-Dan Bilawsky
London Jazz News - The Ben Rosenblum Nebula Project brings together an atypical group of musicians for an eclectic range of music on Kites and Strings: a magpie collection of excellently executed pieces stretching from 1800s classical to neo-classical jazz, via Venezuelan merengue, klezmer and good old rock. . . . This isn’t a debut release for Rosenblum as a band leader, but it is a first for the Nebula Project. While the group may have drawn musicians in from many different sub-scenes to play together on an equally diverse set of pieces, Kites and Strings is anything but a nebulous thing; it is a pot-luck of pieces, but each is well thought out and presented as a shiny, finished artefact. (Full Review at Link)
-Dan Bergsagel
Midwest Record - BEN ROSENBLUM NEBULA PROJECT/Kites and Strings: A young hydra that's a fount of talent that can't be contained, Rosenblum takes on his third set with a third persona and uses it to kick ass throughout. A witty, skillful composer, the multi instrumentalist leads his first full band outing in fine form with playing and writing that are second to none. A young jazzbo that's sure to be an overnight sensation a few years from now from years of intense work in the trenches, the newbies will think he's a phenom that arrived fully formed, but we'll wink and nudge and be several records up on them. Killer stuff.
-Chris Spector
All About Jazz - "Expectations are necessarily guarded when preparing to appraise a recording by the Nebula Project whose leader plays accordion. Be that as it may, any such uneasiness is quickly erased by Ben Rosenblum and his doughty ensemble whose music is decidedly colorful, melodic and accessible—which is not meant to undervalue diversity, another of its discernible points. Rosenblum, who wrote seven of the album's ten numbers, draws on influences as varied as klezmer jazz, Bulgarian folk music and even Johannes Brahms to weave a richly colored tapestry whose purpose is to entice the listener's ears with its charm and contrast.
. . .
Rosenblum, basically a pianist until recent years, doesn't solo often, but when he does it's enough to awaken thoughts that the accordion's status as a jazz instrument may have been undervalued. . . . Kites and Strings is Rosenblum's third album as leader but his first as captain of the Nebula Project. Based on this smooth-sailing maiden voyage, a second cruise would seem to be more mandatory than elective. (Full Review at Link)
-Jack Bowers
Contemporary Fusion - Soulfully expressed piano and accordion jazz Ben Rosenblum – KITES AND STRINGS: I can safely say that you have never heard a jazz album that so successfully incorporates two diverse instruments as Ben’s soulfully expressed piano and accordion jazz. . . . Ben’s original, “Halfway To Wonderland“, is absolutely solid jazz, which made me choose it as my personal favorite of the ten tantalizing tunes he offers up for our jazz adventure. This tune also made me choose it for permanent placement on my iPhone player (something that only happens with the very BEST jazz)! . . . I give Ben and his excellent players a MOST HIGHLY RECOMMENDED rating, with an “EQ” (energy quotient) score of 4.99. (Full Review at Link)
-Dick Metcalf
Monarch Magazine - With the buoyant, breathtaking debut recording of his sextet, rising star Ben Rosenblum demonstrates a multitude of talents as composer, arranger, bandleader, pianist and accordionist. While the recording incorporates a wide variety of influences, from rock to klezmer to Latin Amiercan to Bulgarian, Rosenblum's music is firmly rooted in jazz. Whether it's Rosenblum's tribute to Cedar Walton, his beautiful arrangement of Leonard Bernstein's "Somewhere," his transformation of Neil Young's "Philadelphia" into a jazz ballad, or his blues based "Laughing on the Inside," every track is sonically engaging, musically ingenious and artistically satisfying. Born and bred in New York City, Rosenblum has engaged a stellar band featuring some of the scene's brightest players. Their collective talents create a sound that is, like their name, out of this world. "Kites and Strings" is full of eminently listenable, consistently gratifying and expertly performed music. With it, Rosenblum establishes himself as a significant composing and arranging talent, and one of a handful of musicians with the heart and shill to deliver the highest level of expression on both piano and accordion.
Textura (Canada) - A smartly curated set-list and eclectic presentation do much to help this third album from Ben Rosenblum stand out. Kites and Strings augments originals by the pianist with treatments of songs by Leonard Bernstein and Neil Young, and also ranges widely in its stylistic approach, with klezmer, Bulgarian folk, classical, and, of course, jazz tackled by an energized group of players. . . . Throughout this stellar outing, Rosenblum reveals himself to be a strong leader in both the selections presented and the musicians he assembled to appear with him, and they in turn flatter him and his compositions through the conviction they bring to the performances." (Full Review at Link)
-Ron Schepper
Ken Franckling's Jazz Notes - Ben Rosenblum’s Nebula Project is one of the most intriguing young ensembles to emerge in recent years. The native New Yorker’s sextet, augmented by three more players on a few tracks, digs into both Rosenblum originals and three mightily varied covers on Kites and Strings. The overall sound is distinctive, spotlighting Rosenblum’s skills as a composer, arranger, pianist and accordionist. His band mates include trumpeter Wayne Tucker, guitarist Rafael Rosa, reed player Jasper Dutz, bassist Marty Jaffe and drummer Ben Zweig. Vibraphonist Jake Chapman, trombonist Sam Chess and pianist Jeremy Corren join on two tracks apiece. The covers include Leonard Bernstein’s “Somewhere” from West Side Story, the traditional Bulgarian folk tune “Izpaved” and Neil Young’s ballad “Philadelphia.” Favorite tracks: “Kites and Strings,” the edgy “Fight or Flight” and his Cedar Walton tribute, “Cedar Place.” That said, it’s all very fine.
-Ken Franckling
Jazz Life (Japan) - (translation - see link for original) "He previously released two piano trios series "Instead" and "River City." Ben Rosenblum, a popular pianist in Japan, has launched a new innovation for his third work. This colorful album which fuses jazz, rock, klezmer, and South American music was produced by "Nebula Project" with a group of up and coming musicians including Wayne Tucker, Rafael Rosa and himself on piano and accordion. All the performances are full of creativity including the album title composition, “Kites and Strings”, which is an elegant ensemble with Jake Chapman."
-Kazune Hayata
New York Music Daily/Lucid Culture - Catchy, Rewardingly Unpredictable Accordion Jazz From the Ben Rosenblum Nebula Project. The Ben Rosenblum Nebula Project’s new album Kites and Strings is as unpredictable as it is richly and entertainingly melodic. These songs hit you in waves: lots of long crescendos, with no predictable verse/chorus pattern. Rosenblum plays both piano and accordion here with a remarkable economy of notes, often overdubbing one instrument or another. He likes circling hooks and variations. Sometimes this evokes the Claudia Quintet at their most playful. . . . One of the most adrenalizing and enjoyable albums of the past several months. (Full Review at link).
-Alan Young
Music Man Blog - Pianist, Composer, Arranger and Accordionist Ben Rosenblum has just released his debut CD of the Ben Rosenblum Nebula Project, "Kites and Strings". The CD playlist covers a special group of composers and music from Leonard Bernstein to Neil Young to Ben Rosenblum originals. It also includes a great group of relatively new and brilliant Jazz musicians including Trumpeter Wayne Tucker, Guitarist Rafael Rosa, Reed man Jasper Dutz, Bassist Marty Jaffe and Drummer Ben Zweig. One of the main reasons this CD caught my musical attention was the diverse influences that Rosenblum has joined together in the playlist. Rosenblum's creative fingerprints can be felt on every aspect of this CD. The music is new, fresh, beautiful and yet listener friendly.
Rosenblum has established a national profile for himself as a bandleader performing at over 100 gigs annually. He has experimented with all forms of music and it's easy to pick up the New York Jazz feel embedded in "Kites and Strings". Rosenblum was brought up in New York and earned a BA from Columbia University while also studying piano at Juilliard in a joint degree program. Rosenblum shared this about his educational experiences "I needed to hear about getting my left hand together and being rhythmically solid, how to lead a piano trio, the importance of listening to certain recordings. I'm surrounded with great young musicians who are never shy about telling me if they hear something different". It's one thing for a musician to experiment with a wide spectrum of musical compositions and style but to be able to join these compositions and styles into one playlist is a rare and treasured event.
This CD is loaded with beautiful music. Trying to pick two tracks for my readers to listen to was no easy task. The first tune I have selected is a Rosenblum original titled "Cedar Place". The composer has this to say about it "a hat tip to the inestimable pianist/composer Cedar Walton. The propulsive bass line and one-chord vamp section bring to mind the deceptively simple elegance and forceful swing of Walton's standard Bolivia." The Second tune I have attached is wonderful Neil Young composition "Philadelphia" played as a Jazz Ballad. Music doesn't get any more beautiful than this!
-Robert Nicosia
The Jazz Mann - (4.5/5 stars) That Nebula Project functions so successfully as a unit is a tribute both to the individual musicians and to Rosenblum's composing and arranging skills. A highly impressive and exciting first outing. . . .Produced with pinpoint clarity by a production team including Rosenblum, co-producer Dev Avidon and recording engineers Max Ross and Mike Marciano “Kites and Strings” represents a highly impressive piece of work. The leader excels as both an instrumentalist and a composer and his imaginative writing and intelligent arranging ensures that the listener’s attention is maintained throughout. The way in which he successfully integrates the accordion into what is still essentially a jazz ensemble is genuinely impressive.
Rosenblum represents an exciting new discovery for me, as do the members of his band. All make superb individual contributions, and there are some superb solos throughout the album, but they also constitute a highly effective ensemble. (Full Review at Link)
-Ian Mann
Step Tempest - Listen to all the musical sounds around us; there are albums that push us into action, others that take us to new worlds, and others that plain bore us. Then, there's "comfort food" music, songs that make us smile, calm us down because the artist(s) is (are) so in sync and sound like that everyone is having such a good time. . . . "Kites and Strings" often feels as if the music is flying high, dipping, swirling, and dancing in a strong breeze. Looking for a wide musical grin; Ben Rosenblum Nebula Project is all that and more. (Full Review at Link)
-Richard Kamins
Boston Concert Reviews - Ben Rosenblum is another young pianist, accordionist and composer with a forward-thinking, lyrical spirit. Rosenblum has created a uniquely joyful and plucky universe on his new recording with his “Nebula Project”, Kites and Strings.
Rosenblum’s musical palette is open-eared on this new fascinating recording. His compositions combine the sounds of his sprite and graceful accordion and piano play with a feast of other fresh sounds, including Rafael Rosa’s fuzz ladened electric guitar; Wayne Tucker’s crisp trumpet; Sam Chess’ regal trombone; Jasper Dutz’s frolicking sax and bass clarinet and a sparkling backbone from bassist Marty Jaffe and drummer Ben Zweig – all primed for adventure.
Kites and Strings delivers its fresh colors and playful flow on a recording that has a wide and layered soundstage, natural image dimensionality and an up-front presence where instrumental colors project with crisp outlines and zestful timbres. The opening track, “Cedar Place” is a great example of Rosenblum’s delectable verve. It dances on Rosenblum’s spangled accordion, (breathily delicate in its spins and runs), tumbling in the company of Tucker’s shining trumpet and Dutz’s frisky tenor saxophone. (Full Review at Link)
-Nelson Brill
Jay Harvey Upstage - This is a well-designed set of balanced ensemble jazz, with solos inserted aptly. When Rosenblum reaches far afield for material — as in a folk song picked up from a Bulgarian women's chorus recording and a tune from Brahms' Fourth Symphony — he always makes it suit the players and the sound terrain that his band calls home. Same with his visits to the Leonard Bernstein and Neil Young songbooks. (Full Review at Link)
-Jay Harvey
Jazz Weekly - Ben Rosenblum plays both piano and accordion on this pastoral session with the blended horns of trumpeter Wayne Tucker, Jasper Dutz on tenor sax or bass clarinet, guitarist Rafael Rosa, bassist Marty Jaffe, drummer Ben Zweig and guests Jake Chapman/vib, Sam Chess/tb and Jeremy Corren/p. Chapman’s vibes team with Tucker’s horn on an Old World tango of a title track with added accordion atmosphere, with similar moods with Corren replacing Chapman on the European “Motif From Brahms”. A fun tarantella with Tucker out in front gets you dancing on “Fight Or Flight” with the horns in gorgeous harmony on the elegiac “Bright Above Us” and the folk tune “Izpoved”. The team takes a dreamy read of Leonard Bernstein’s “Somewhere” with Neil Young’s “Philadelphia” a rich vehicle for Rosa and Chess. Sounds of the piazza.
-George Harris
Boston Post-Gazette - "Facts on Wax" - BEN ROSENBLUM NEBULA PROJECT – KITES AND STRINGS (CD) One Trick Dog. Opening with “Cedar Place,” a hat tip to the inestimable pianist/composer Cedar Walton,with a propulsive bass line and one-chord vamp section. The buoyant title track “Kites and Strings, bobs and weaves, with interwoven lines by accordion, trumpet and vibes. The accordion also figures prominently in “Motif From Brahms (op. 98),” trailed by Rosenblum’s “Fight or Flight,” with a snapping trumpet fanfare and distortion-tinged guitar solo. Another highlight is Rosenblum’s gorgeously orchestrated arrangement of Leonard Bernstein’s “Somewhere,” before Rosenblum turns Neil Young’s elegiac “Philadelphia” into an arresting jazz ballad, and gives the band an angular blues to stretch out on with “Laughing On the Inside,” ending with Rosenblum’s arrangement of “Izpoved.”
-Bob Morello
Other reviews of the album:
Musical Memoirs
Diskoryxeion (Greece)
Misc:
An article Ben wrote about ten of his favorite jazz accordion recordings:
JazzEd Magazine
An article where Ben shared some thoughts about Charlie Parker for his 100th anniversary:
All About Jazz
Live Stream featured in Jazziz Magazine
Week of Jan 11, 2021
Live Stream featured in Downbeat Magazine's "What to Stream This Week"
Week of Jan 11, 2021
Week of July 20, 2020
Week of May 20, 2020
Article in Lancaster News (January 2020):
Lancaster News:
Music has been flowing from jazz pianist and accordionist Ben Rosenblum, 26, for most of his life. In addition to traditional piano training, his skills on the accordion are all self-taught, evidence of his exceptional musical talent. At age 16, he was already being recognized in the jazz world. He graduated from Columbia-Juilliard in 2016 and the next year, released his first album, “Instead.” Two years later came a second album, “River City.” Both include original Rosenblum compositions, mixed with his arrangements of other jazz composers.
Besides Rosenblum’s work as a composer, he conducts jazz workshops across the country, and he performs regularly with some of the top names in jazz today. His schedule has expanded globally. He has toured with his own bands and with others in China, Japan, Canada, Europe and across the United States.
(read more at above link)
Review of Rudy's Jazz Room performance (February 2019):
Music City Review - "Ben Rosenblum Trio Impresses at Rudy's"
It was a cold February evening in Nashville, Tennessee yet from down the block you could hear the burning fast up-tempo swing of a piano trio emanating from the confines of Rudy’s Jazz Room. Strolling into Rudy’s warrants a friendly greeting from Adam, the owner, and a packed house puts this reviewer tucked in the back corner of Nashville’s premier jazz club. The musicians on stage are cooking at well over 300 bpm as they close out their second set. The crowd is in it. As they pause for a quick break, we learn that we are listening to the Ben Rosenblum Trio, on tour from New York City. Marty Jaffe is on upright bass, Ben Zweig on drums.
After a quick break, the trio launches into a swinging arrangement of Randy Weston’s “Saucer Eyes” that harkens back to the great piano trios such as Oscar Peterson. Rosenblum commands the Steinway grand piano as he navigates between improvised single note lines and big band style block chords. Zweig, a young drummer in age, plays with maturity and a deep understanding of the jazz tradition, artfully setting up hits and lifting the trio to a sound that feels much larger than only three musicians. After the piano solo, Zweig switches to brushes on the drums and creates a quiet cushion of sound upon which bassist Jaffe is allowed to stretch out. A well-constructed bass solo, Jaffe makes some clear references to his influences such as the great Ray Brown, yet also lets his own voice shine in his command of the upper register of the bass. The group then showcases Zweig on drums, who chooses to remain on brushes for his feature. A somewhat elusive art, Zweig is very dynamic in his usage of the brushes on the drumkit and he brings the audience in close before switching back to sticks for a slamming finish of the piece. The crowd responds enthusiastically between bites of beignets from Rudy’s New Orleans style menu.
Before the next number, Rosenblum switches to accordion and instructs the crowd to whistle along as he plays a haunting melody that will be the theme. The trio then begins the Brazilian inspired piece at a slow swaying tempo that has a sensual, romantic flare to it. Zweig starts the piece on the tambourine-like pandeiro before gradually incorporating more elements of the drumkit. Rosenblum’s accordion melody soars over the simple bass groove and casts the audience under its spell. Just as we were all settling into the dark mood of the piece, the B section provides reprieve as it bounces along with a cheerful major theme. This contrast of minor and major sections continues throughout the piece. Rosenblum takes a simpler, melodic approach to his improvisation on this piece, often whistling the main theme along with the audience.
For the third selection of the final set, the trio dips into the great American songbook with Victor Young’s “Delilah”. Rosenblum, back at the piano, puts his own spin on the song by starting with a groovy bassline in his left hand that he uses as a platform to showcase his more modern jazz piano influences. Flashes of McCoy Tyner and Keith Jarrett show up yet never feel forced and give an ominous mode to the piece. Jaffe is the first to improvise and he builds on the ominous mood of the introduction of the piece. Lots of space between his very melodic lines on bass bring the audience in close. As Rosenblum takes command again the band launches into a swing feel with walking bassline. Zweig’s high-hat cymbal propels the band forward. Rosenblum again builds toward a big band style shout chorus that allows Zweig to really shine through the texture of the group. The group then winds the piece down, ending with the same bassline with which it began.
For the final piece of the evening, Rosenblum introduces an original composition entitled “Azúcar”. The trio begins by setting up a wash of sound in a minor tonality. The tempo builds into what will become an up-tempo Latin jazz feel. Although somewhat disjointed sounding, it seems the effect is intentional. Zweig is very active on the drums utilizing the various timbres that he has in his arsenal. Rosenblum shines in his improvisation as he sings along with each flourish of notes bursting forth from the piano. Again nodding to his knowledge of the jazz piano tradition, Rosenblum finishes his solo in “locked hands”, playing the same lines in both hands at the same time. The finale of “Azúcar” is highlighted by a drum solo over a vamp that Jaffe and Rosenblum play in unison. Zweig is extremely dynamic in his improvisation and the audience members are collectively bobbing their heads before the band finishes their set.
The trio received a warm reception from the packed crowd of Rudy’s. The members were all smiles as they left the stage. Overall, it was a stellar performance and quite clear that Jaffe, Zweig and Rosenblum have been working together as a trio for some time now. The trio possessed the elusive innate sense of connection that an ensemble develops only after playing together for quite a while. This was great to see in contrast to a group of hired musicians who sound great individually yet have not yet gelled as an ensemble. Rosenblum’s trio was very much a single musical unit comprised of three distinct musical personalities. It was a welcomed opportunity to see a working jazz trio from New York as they brought their hard driving, modern, yet steeped in tradition sound to Nashville, Tennessee. I am hopeful Rudy’s Jazz Room welcomes Rosenblum back again and continues to bring in such great talent moving forward.
Interview with DoSavannah (February 2019):
Do Savannah - "Familiar, unique jazz at the Mansion"
Savannah’s Coastal Jazz Association is bringing another world-class musician to town this Sunday.
Piano wunderkind Ben Rosenblum is set to play at The Mansion on Forsyth Park. Coastal Jazz Association is most known for putting on the annual Savannah Jazz Festival. They also sponsor scholarships and other efforts to further the cause of jazz appreciation and education. Sunday’s show will feature Rosenblum accompanied by drums and bass.
New York City’s Ben Rosenblum has enjoyed uncommon success for his age. The 25-year-old pianist, composer, and accordion player already has a critically acclaimed album and numerous awards. He is touring in support of his second album, “River City.”
While this will be Rosenblum’s first trip to Savannah, the title track was composed and named while performing for a competition in nearby Jacksonville, Fla. Fans of live jazz will appreciate the classic method in which the album was recorded. Rosenblum says the album was not tracked like most modern recordings.
“We recorded this most recent album in the style of a live show,” Rosenblum says. “Instead of doing multiple takes of each song at once, we recorded two full sets of us playing as if we were doing a live show and took the best takes from that.”
The title track is a sprawling dreamy piece that opens with Rosenblum’s dynamic piano traveling far and wide before the drums and bass come in to find an immediate groove. It’s fitting for the young musician whose uncommon skills have brought him all over the world.
Rosenblum’s piano has allowed him to be an ambassador of jazz from his native New York to New Delhi. He and his band relish the opportunity to travel and are currently enjoying a trip by car through the states before making a return trip to play in Japan.
“I always thoroughly enjoy traveling to new places and meeting lovers of jazz all over the world,” Rosenblum says. “In the past two years I have been booking as many out of town tours as possible for the band. The farthest we have been is Japan, where I will be going again in March, but we do a lot of traveling within the United States and Canada, as well. I organize all of the tour arrangements myself, so it is always an improvisation to see what will work and how best to route the tour given the venues that are interested in bringing our group in to perform. This tour, we are driving the whole way from city to city, which feels like a road trip!”
The demanding tour schedule will allow the band to bring a polished show to Savannah on Sunday, but Rosenblum says it is his native New York City that made the pianist what he is today.
“New York City is certainly a unique place in terms of the pace, the history, and the competition in the jazz scene,” Rosenblum says. ” As one of the bandleaders I work with is fond of saying, ‘in New York you can be replaced in an instant by any one of hundreds of amazing musicians,’ so it really inspires you to work hard and try to absorb as much as possible.”
The pianist is a graduate of the famed Columbia-Juilliard program, but the education earned in the city’s jazz clubs and alongside its elders have had an equal part in creating the accomplished performer. Rosenblum’s schooling at home along with his travels have helped nurture his intense interest in different genres of world music. He says his eclectic tastes will help create a distinctive experience for Savannah jazz fans.
“The three of us are coming from a foundation of straight-ahead jazz, so definitely expect a lot of music that feels good and comes from the tradition,” Rosenblum says. “But given our many interests in terms of genre, also expect a diverse set that varies a lot in terms of tempos, styles and structures. Some music will be original compositions and some will be songs written by other musicians, but everything we do is arranged with our particular sound, so expect music that feels familiar and unique at the same time.”
-Cory Chambers
Press for Berkeley Show (January 2019):
Berkeleyside:
Friday night New York City jazz pianist/composer Ben Rosenblum celebrates the release of his second album, River City (One Trick Dog), at the California Jazz Conservatory’s Rendon Hall. A graduate of the Columbia-Juilliard jazz program, he’s an arrestingly mature composer with a beautiful touch. He’s joined by Monterey-raised bassist Kanoa Mendenhall, a rapidly rising player who’s the daughter of respected pianist Eddie Mendenhall, and New York drummer Ben Zweig.
-Andrew Gilbert
Press for Canadian Tour (December 2018):
Ottawa Citizen - "New York jazz pianist Ben Rosenblum brings his prodigious talents to Canada in early December"
New York-based jazz pianist Ben Rosenblum has packed an awful lot of music, achievements and travels into his 25 years.
The New York City native’s strikingly mature and well-honed abilities have earned him performance opportunities from Yokohama to Delhi, from Perugia in Italy to Lincoln Center and the famed Blue Note jazz club in his hometown.
In the next week, Rosenblum’s touring will bring him to the Quebec City – Toronto corridor for a road trip that includes a half-dozen gigs, two of which will be in Ottawa.
While the tour’s intimate jazz clubs and lounges may be less exotic or high profile than other destinations, Rosenblum is raring to play just the same. “Every time I perform for an audience in a new place, I realize just how universal this music can be, and how important it is for artists to create a space where people can connect and share a bond with each other,” he says.
On the bandstands with Rosenblum will be his usual collaborator Ben Zweig on drums, plus the up-and-coming young Montrealers Jonny Chapman on bass and guitarist Sam Kirmayer. In concert, they will be drawing on the material from Rosenblum’s new album, River City.
Below, Rosenblum details the evolution of his globe-trotting and hard-swinging talent." (Click the link to read the full Q&A)
-Peter Hum
Le Soleil (Quebec City):
Rendez-vous jazz avec Ben Rosenblum
"Pour l’avoir attrapé au Maelström au printemps dernier, je sais que le New-Yorkais Ben Rosemblum et ses acolytes ont un talent particulier pour faire groover les petites salles. Même pour les néophytes de la planète jazz (dont je suis), son mélange de compositions, de pièces mythiques et d’improvisation a un pouvoir hypnotique assez singulier. À l’invitation d’Arté Boréal, il exercera cette fois sa magie au Bar le Saint-Angèle, un sympathique repère près des remparts, vendredi et samedi soirs, dès 20h30. Le pianiste et accordéoniste sera accompagné de Jonathan Chapman à la contrebasse, Ben Zweig à la batterie et du guitariste montréalais Sam Kirmayer, qui se joindra à la bande en tant qu’invité spécial."
-Josianne Desloges
Concert Review - River City CD Release Event at the Kitano (2018):
RG Magazine:
Jazz pianist Ben Rosenblum delivered an inspired, heartfelt performance at the famous Jazz at Kitano club on November 10, 2018. The live performance was a record release party for his new album, River City, off of One Trick Dog records. Rosenblum is young and very new to the jazz scene, yet already an award winning jazz pianist, composer, and more recently, accordionist. Hailing from New York City, Rosenblum brings to life a concoction of many styles and influences that are closely held treasures in the jazz world. From Bill Evans, and Wynton Kelly, to the swing jazz idiom, and rearrangements from blues to traditional music, Rosenblum moves gracefully across genres and sound textures. It is hard to believe he is so young, as it takes years of training to reach his level of skill and mastery in the uniquely elegant, complex genre that is Jazz.
To start the night off, “Seeds of Sin,” a Wayne Shorter tune, kicked into a progression that emanates the spirit of freedom, the core spirit of jazz, and immediate interlocking instrumentation with his fellow band mates. Drummer Ben Zweig really kicked into gear on this track, swinging, singing, and setting the pace for the evening. Eloquent textures of sound, and strong communication between band mates allowed the music to flow and take the audience on a journey. The second track performed, “Dolphin” by Luis Eça, begins with a sweet and silent introduction, captivating and taking off in subtle yet impactful fashion. Bassist Kanoa Mendenhall played this tune mostly with her eyes closed, fully immersed with every note played, and perfectly in sync with the drummer’s rhythm and Rosenblum’s piano. This track settles into a calming, intoxicating feeling, which can only be felt and truly appreciated when experienced live.
Next up, “Delilah” by Victor Young, was quite reminiscent of the jazz standard “Take Five.” Traditional Spanish music sensibilities were intertwined into one particular segment of this musical piece. Rosenblum has traveled extensively, playing around the world, and various influences taken from his experiences are evident in his musical choices. This tune was tastefully executed, played with the infectious romance of ballad format. This music invokes contemplation, warmth, and wonder. Rosenblum spoke with sincerity about this next number, stating it is a “ballad near and dear to my heart”, he also stated “this is one of my mother’s favorites” – “When Sunny Gets Blue.” . Tension builds , melodic and with intriguing choices of musical notes, this enigmatic and captivating number highlights the Bill Evans influence on the young Rosenblum. The next track was played on accordion, the classic ‘Scandelli” to be more specific, Rosenblum usually plays the Bell accordion when he plays this particular instrument, so this was a rare moment for him and the audience. Playful, masterful use of accordion in the jazz idiom, this is quite rare to see for any audience, even in New York City where anything can happen. Rosenblum has recently traveled to Eastern Europe to perform, with many new opportunities opening up due to his more recent musical excursion with the accordion.
The new album’s title track, “River City” about a “scenic town” in Florida, was a major highlight of the evening. “Blues for Stephane,” which is the second track off the new album, was another major musical highlight indeed, moving with power and precision. Ben Rosenblum is undoubtedly a rising star in jazz, and a promising new voice that bends and even defies genre. This live performance translated his new album in a way that left you feeling like you truly experienced something uniquely in its own class, a collective and immeasurable experience that only music has the power to do. It is exciting to watch Ben Rosenblum evolve, and to watch the Ben Rosenblum Coastal Trio continue to grow into the cohesive unit that they are. It is with certainty that there is much more to come from this rising talent.
-Fred Stal
CD Reviews of River City (2018-2019):
Runner Up for the 2020 Reader's Poll in JazzTimes! Two Categories - Best New Artist (Ben Rosenblum Nebula Project) and Best Miscellaneous Instrumentalist (Accordion):
Full List Here
CD Reviews for Kites and Strings (2020-2021):
JazzTimes - Sometimes the vitality of an art form is demonstrated not by “big” records from major figures, but by unassuming projects from people you don’t know—yet. Press notes for Kites and Strings correctly point out that Ben Rosenblum is “the newest member of a small, extraordinary keyboard cadre … of players equally expressive on piano and accordion.” (Others include Gary Versace and Vitor Gonçalves.) The reedy strains of Rosenblum’s accordion differentiate his ensemble.But much more is going on here. Rosenblum thinks of his sextet (plus three rotating guests) as an orchestra. He writes tunes that feel light in touch but whose arrangements interweave lines—from trumpeter Wayne Tucker, reed player Jasper Dutz, and guitarist Rafael Rosa—into continuously evolving intricate designs. The capable guests (trombonist Sam Chess, vibraphonist Jake Chapman, pianist Jeremy Corren) expand Rosenblum’s creative options.
But much more is going on here. Rosenblum thinks of his sextet (plus three rotating guests) as an orchestra. He writes tunes that feel light in touch but whose arrangements interweave lines—from trumpeter Wayne Tucker, reed player Jasper Dutz, and guitarist Rafael Rosa—into continuously evolving intricate designs. The capable guests (trombonist Sam Chess, vibraphonist Jake Chapman, pianist Jeremy Corren) expand Rosenblum’s creative options.
His skills as a composer and especially as an arranger are apparent. But the full potential of the Nebula Project is most clearly revealed in its interpretations of great songs by others, songs with lyrics that linger in the mind, even in instrumental versions. Neil Young’s “Philadelphia” has always been heartbreaking. Rosenblum gives it to Chess’ passionate trombone, to his own ascendant piano, and to Rosa’s surging guitar, then lets the whole band close it softly, like a prayer. Leonard Bernstein’s “Somewhere” has been rediscovered by Rosenblum’s under-30 jazz generation. The chart here, for sextet plus Corren’s singing piano, is airy yet lush. All the solos are vivid but Rosenblum’s accordion redefines “Somewhere.” Played on the accordion, all songs sound sweeter and more wistful, even those you thought you knew.
-Thomas Conrad
NYC Jazz Record - Kites and Strings, the debut from Rosenblum’s Nebula Project, is something else entirely. It’s a work bent on offering luminous beauty and striking juxtapositions through the use of a colorful palette and the embrace of broad influences.
There’s a bright nod to Cedar Walton with opener “Cedar Place”; an intriguing blend of the leader’s accordion and guest Jake Chapman’s vibraphone during the odd-metered title track; an acknowledgement of classicism’s reach on “Motif from Brahms (op. 98)”; and Klezmer-carnival slant in the zany “Fight or Flight”. Three covers make it into the mix—Leonard Bernstein’s “Somewhere”, Neil Young’s “Philadelphia” and the chorale-like Bulgarian traditional “Izpoved”— but it’s the original music that shines brightest. With a gift for shaping seemingly odd phrases into the inevitable, the smarts to utilize the full textural possibilities offered through his bandmates (i.e. trumpeter Wayne Tucker, reedplayer Jasper Dutz and guitarist Rafael Rosa), a simpatico relationship with Jaffe and Zweig underscoring these performances and his own accordion and piano at the fore, Rosenblum’s personality truly resounds throughout this brilliant production. (Full review at link, including additional coverage of Ben Rosenblum's trio appearance on "The Music of Gregg Hill")
-Dan Bilawsky
London Jazz News - The Ben Rosenblum Nebula Project brings together an atypical group of musicians for an eclectic range of music on Kites and Strings: a magpie collection of excellently executed pieces stretching from 1800s classical to neo-classical jazz, via Venezuelan merengue, klezmer and good old rock. . . . This isn’t a debut release for Rosenblum as a band leader, but it is a first for the Nebula Project. While the group may have drawn musicians in from many different sub-scenes to play together on an equally diverse set of pieces, Kites and Strings is anything but a nebulous thing; it is a pot-luck of pieces, but each is well thought out and presented as a shiny, finished artefact. (Full Review at Link)
-Dan Bergsagel
Midwest Record - BEN ROSENBLUM NEBULA PROJECT/Kites and Strings: A young hydra that's a fount of talent that can't be contained, Rosenblum takes on his third set with a third persona and uses it to kick ass throughout. A witty, skillful composer, the multi instrumentalist leads his first full band outing in fine form with playing and writing that are second to none. A young jazzbo that's sure to be an overnight sensation a few years from now from years of intense work in the trenches, the newbies will think he's a phenom that arrived fully formed, but we'll wink and nudge and be several records up on them. Killer stuff.
-Chris Spector
All About Jazz - "Expectations are necessarily guarded when preparing to appraise a recording by the Nebula Project whose leader plays accordion. Be that as it may, any such uneasiness is quickly erased by Ben Rosenblum and his doughty ensemble whose music is decidedly colorful, melodic and accessible—which is not meant to undervalue diversity, another of its discernible points. Rosenblum, who wrote seven of the album's ten numbers, draws on influences as varied as klezmer jazz, Bulgarian folk music and even Johannes Brahms to weave a richly colored tapestry whose purpose is to entice the listener's ears with its charm and contrast.
. . .
Rosenblum, basically a pianist until recent years, doesn't solo often, but when he does it's enough to awaken thoughts that the accordion's status as a jazz instrument may have been undervalued. . . . Kites and Strings is Rosenblum's third album as leader but his first as captain of the Nebula Project. Based on this smooth-sailing maiden voyage, a second cruise would seem to be more mandatory than elective. (Full Review at Link)
-Jack Bowers
Contemporary Fusion - Soulfully expressed piano and accordion jazz Ben Rosenblum – KITES AND STRINGS: I can safely say that you have never heard a jazz album that so successfully incorporates two diverse instruments as Ben’s soulfully expressed piano and accordion jazz. . . . Ben’s original, “Halfway To Wonderland“, is absolutely solid jazz, which made me choose it as my personal favorite of the ten tantalizing tunes he offers up for our jazz adventure. This tune also made me choose it for permanent placement on my iPhone player (something that only happens with the very BEST jazz)! . . . I give Ben and his excellent players a MOST HIGHLY RECOMMENDED rating, with an “EQ” (energy quotient) score of 4.99. (Full Review at Link)
-Dick Metcalf
Monarch Magazine - With the buoyant, breathtaking debut recording of his sextet, rising star Ben Rosenblum demonstrates a multitude of talents as composer, arranger, bandleader, pianist and accordionist. While the recording incorporates a wide variety of influences, from rock to klezmer to Latin Amiercan to Bulgarian, Rosenblum's music is firmly rooted in jazz. Whether it's Rosenblum's tribute to Cedar Walton, his beautiful arrangement of Leonard Bernstein's "Somewhere," his transformation of Neil Young's "Philadelphia" into a jazz ballad, or his blues based "Laughing on the Inside," every track is sonically engaging, musically ingenious and artistically satisfying. Born and bred in New York City, Rosenblum has engaged a stellar band featuring some of the scene's brightest players. Their collective talents create a sound that is, like their name, out of this world. "Kites and Strings" is full of eminently listenable, consistently gratifying and expertly performed music. With it, Rosenblum establishes himself as a significant composing and arranging talent, and one of a handful of musicians with the heart and shill to deliver the highest level of expression on both piano and accordion.
Textura (Canada) - A smartly curated set-list and eclectic presentation do much to help this third album from Ben Rosenblum stand out. Kites and Strings augments originals by the pianist with treatments of songs by Leonard Bernstein and Neil Young, and also ranges widely in its stylistic approach, with klezmer, Bulgarian folk, classical, and, of course, jazz tackled by an energized group of players. . . . Throughout this stellar outing, Rosenblum reveals himself to be a strong leader in both the selections presented and the musicians he assembled to appear with him, and they in turn flatter him and his compositions through the conviction they bring to the performances." (Full Review at Link)
-Ron Schepper
Ken Franckling's Jazz Notes - Ben Rosenblum’s Nebula Project is one of the most intriguing young ensembles to emerge in recent years. The native New Yorker’s sextet, augmented by three more players on a few tracks, digs into both Rosenblum originals and three mightily varied covers on Kites and Strings. The overall sound is distinctive, spotlighting Rosenblum’s skills as a composer, arranger, pianist and accordionist. His band mates include trumpeter Wayne Tucker, guitarist Rafael Rosa, reed player Jasper Dutz, bassist Marty Jaffe and drummer Ben Zweig. Vibraphonist Jake Chapman, trombonist Sam Chess and pianist Jeremy Corren join on two tracks apiece. The covers include Leonard Bernstein’s “Somewhere” from West Side Story, the traditional Bulgarian folk tune “Izpaved” and Neil Young’s ballad “Philadelphia.” Favorite tracks: “Kites and Strings,” the edgy “Fight or Flight” and his Cedar Walton tribute, “Cedar Place.” That said, it’s all very fine.
-Ken Franckling
Jazz Life (Japan) - (translation - see link for original) "He previously released two piano trios series "Instead" and "River City." Ben Rosenblum, a popular pianist in Japan, has launched a new innovation for his third work. This colorful album which fuses jazz, rock, klezmer, and South American music was produced by "Nebula Project" with a group of up and coming musicians including Wayne Tucker, Rafael Rosa and himself on piano and accordion. All the performances are full of creativity including the album title composition, “Kites and Strings”, which is an elegant ensemble with Jake Chapman."
-Kazune Hayata
New York Music Daily/Lucid Culture - Catchy, Rewardingly Unpredictable Accordion Jazz From the Ben Rosenblum Nebula Project. The Ben Rosenblum Nebula Project’s new album Kites and Strings is as unpredictable as it is richly and entertainingly melodic. These songs hit you in waves: lots of long crescendos, with no predictable verse/chorus pattern. Rosenblum plays both piano and accordion here with a remarkable economy of notes, often overdubbing one instrument or another. He likes circling hooks and variations. Sometimes this evokes the Claudia Quintet at their most playful. . . . One of the most adrenalizing and enjoyable albums of the past several months. (Full Review at link).
-Alan Young
Music Man Blog - Pianist, Composer, Arranger and Accordionist Ben Rosenblum has just released his debut CD of the Ben Rosenblum Nebula Project, "Kites and Strings". The CD playlist covers a special group of composers and music from Leonard Bernstein to Neil Young to Ben Rosenblum originals. It also includes a great group of relatively new and brilliant Jazz musicians including Trumpeter Wayne Tucker, Guitarist Rafael Rosa, Reed man Jasper Dutz, Bassist Marty Jaffe and Drummer Ben Zweig. One of the main reasons this CD caught my musical attention was the diverse influences that Rosenblum has joined together in the playlist. Rosenblum's creative fingerprints can be felt on every aspect of this CD. The music is new, fresh, beautiful and yet listener friendly.
Rosenblum has established a national profile for himself as a bandleader performing at over 100 gigs annually. He has experimented with all forms of music and it's easy to pick up the New York Jazz feel embedded in "Kites and Strings". Rosenblum was brought up in New York and earned a BA from Columbia University while also studying piano at Juilliard in a joint degree program. Rosenblum shared this about his educational experiences "I needed to hear about getting my left hand together and being rhythmically solid, how to lead a piano trio, the importance of listening to certain recordings. I'm surrounded with great young musicians who are never shy about telling me if they hear something different". It's one thing for a musician to experiment with a wide spectrum of musical compositions and style but to be able to join these compositions and styles into one playlist is a rare and treasured event.
This CD is loaded with beautiful music. Trying to pick two tracks for my readers to listen to was no easy task. The first tune I have selected is a Rosenblum original titled "Cedar Place". The composer has this to say about it "a hat tip to the inestimable pianist/composer Cedar Walton. The propulsive bass line and one-chord vamp section bring to mind the deceptively simple elegance and forceful swing of Walton's standard Bolivia." The Second tune I have attached is wonderful Neil Young composition "Philadelphia" played as a Jazz Ballad. Music doesn't get any more beautiful than this!
-Robert Nicosia
The Jazz Mann - (4.5/5 stars) That Nebula Project functions so successfully as a unit is a tribute both to the individual musicians and to Rosenblum's composing and arranging skills. A highly impressive and exciting first outing. . . .Produced with pinpoint clarity by a production team including Rosenblum, co-producer Dev Avidon and recording engineers Max Ross and Mike Marciano “Kites and Strings” represents a highly impressive piece of work. The leader excels as both an instrumentalist and a composer and his imaginative writing and intelligent arranging ensures that the listener’s attention is maintained throughout. The way in which he successfully integrates the accordion into what is still essentially a jazz ensemble is genuinely impressive.
Rosenblum represents an exciting new discovery for me, as do the members of his band. All make superb individual contributions, and there are some superb solos throughout the album, but they also constitute a highly effective ensemble. (Full Review at Link)
-Ian Mann
Step Tempest - Listen to all the musical sounds around us; there are albums that push us into action, others that take us to new worlds, and others that plain bore us. Then, there's "comfort food" music, songs that make us smile, calm us down because the artist(s) is (are) so in sync and sound like that everyone is having such a good time. . . . "Kites and Strings" often feels as if the music is flying high, dipping, swirling, and dancing in a strong breeze. Looking for a wide musical grin; Ben Rosenblum Nebula Project is all that and more. (Full Review at Link)
-Richard Kamins
Boston Concert Reviews - Ben Rosenblum is another young pianist, accordionist and composer with a forward-thinking, lyrical spirit. Rosenblum has created a uniquely joyful and plucky universe on his new recording with his “Nebula Project”, Kites and Strings.
Rosenblum’s musical palette is open-eared on this new fascinating recording. His compositions combine the sounds of his sprite and graceful accordion and piano play with a feast of other fresh sounds, including Rafael Rosa’s fuzz ladened electric guitar; Wayne Tucker’s crisp trumpet; Sam Chess’ regal trombone; Jasper Dutz’s frolicking sax and bass clarinet and a sparkling backbone from bassist Marty Jaffe and drummer Ben Zweig – all primed for adventure.
Kites and Strings delivers its fresh colors and playful flow on a recording that has a wide and layered soundstage, natural image dimensionality and an up-front presence where instrumental colors project with crisp outlines and zestful timbres. The opening track, “Cedar Place” is a great example of Rosenblum’s delectable verve. It dances on Rosenblum’s spangled accordion, (breathily delicate in its spins and runs), tumbling in the company of Tucker’s shining trumpet and Dutz’s frisky tenor saxophone. (Full Review at Link)
-Nelson Brill
Jay Harvey Upstage - This is a well-designed set of balanced ensemble jazz, with solos inserted aptly. When Rosenblum reaches far afield for material — as in a folk song picked up from a Bulgarian women's chorus recording and a tune from Brahms' Fourth Symphony — he always makes it suit the players and the sound terrain that his band calls home. Same with his visits to the Leonard Bernstein and Neil Young songbooks. (Full Review at Link)
-Jay Harvey
Jazz Weekly - Ben Rosenblum plays both piano and accordion on this pastoral session with the blended horns of trumpeter Wayne Tucker, Jasper Dutz on tenor sax or bass clarinet, guitarist Rafael Rosa, bassist Marty Jaffe, drummer Ben Zweig and guests Jake Chapman/vib, Sam Chess/tb and Jeremy Corren/p. Chapman’s vibes team with Tucker’s horn on an Old World tango of a title track with added accordion atmosphere, with similar moods with Corren replacing Chapman on the European “Motif From Brahms”. A fun tarantella with Tucker out in front gets you dancing on “Fight Or Flight” with the horns in gorgeous harmony on the elegiac “Bright Above Us” and the folk tune “Izpoved”. The team takes a dreamy read of Leonard Bernstein’s “Somewhere” with Neil Young’s “Philadelphia” a rich vehicle for Rosa and Chess. Sounds of the piazza.
-George Harris
Boston Post-Gazette - "Facts on Wax" - BEN ROSENBLUM NEBULA PROJECT – KITES AND STRINGS (CD) One Trick Dog. Opening with “Cedar Place,” a hat tip to the inestimable pianist/composer Cedar Walton,with a propulsive bass line and one-chord vamp section. The buoyant title track “Kites and Strings, bobs and weaves, with interwoven lines by accordion, trumpet and vibes. The accordion also figures prominently in “Motif From Brahms (op. 98),” trailed by Rosenblum’s “Fight or Flight,” with a snapping trumpet fanfare and distortion-tinged guitar solo. Another highlight is Rosenblum’s gorgeously orchestrated arrangement of Leonard Bernstein’s “Somewhere,” before Rosenblum turns Neil Young’s elegiac “Philadelphia” into an arresting jazz ballad, and gives the band an angular blues to stretch out on with “Laughing On the Inside,” ending with Rosenblum’s arrangement of “Izpoved.”
-Bob Morello
Other reviews of the album:
Musical Memoirs
Diskoryxeion (Greece)
Misc:
An article Ben wrote about ten of his favorite jazz accordion recordings:
JazzEd Magazine
An article where Ben shared some thoughts about Charlie Parker for his 100th anniversary:
All About Jazz
Live Stream featured in Jazziz Magazine
Week of Jan 11, 2021
Live Stream featured in Downbeat Magazine's "What to Stream This Week"
Week of Jan 11, 2021
Week of July 20, 2020
Week of May 20, 2020
Article in Lancaster News (January 2020):
Lancaster News:
Music has been flowing from jazz pianist and accordionist Ben Rosenblum, 26, for most of his life. In addition to traditional piano training, his skills on the accordion are all self-taught, evidence of his exceptional musical talent. At age 16, he was already being recognized in the jazz world. He graduated from Columbia-Juilliard in 2016 and the next year, released his first album, “Instead.” Two years later came a second album, “River City.” Both include original Rosenblum compositions, mixed with his arrangements of other jazz composers.
Besides Rosenblum’s work as a composer, he conducts jazz workshops across the country, and he performs regularly with some of the top names in jazz today. His schedule has expanded globally. He has toured with his own bands and with others in China, Japan, Canada, Europe and across the United States.
(read more at above link)
Review of Rudy's Jazz Room performance (February 2019):
Music City Review - "Ben Rosenblum Trio Impresses at Rudy's"
It was a cold February evening in Nashville, Tennessee yet from down the block you could hear the burning fast up-tempo swing of a piano trio emanating from the confines of Rudy’s Jazz Room. Strolling into Rudy’s warrants a friendly greeting from Adam, the owner, and a packed house puts this reviewer tucked in the back corner of Nashville’s premier jazz club. The musicians on stage are cooking at well over 300 bpm as they close out their second set. The crowd is in it. As they pause for a quick break, we learn that we are listening to the Ben Rosenblum Trio, on tour from New York City. Marty Jaffe is on upright bass, Ben Zweig on drums.
After a quick break, the trio launches into a swinging arrangement of Randy Weston’s “Saucer Eyes” that harkens back to the great piano trios such as Oscar Peterson. Rosenblum commands the Steinway grand piano as he navigates between improvised single note lines and big band style block chords. Zweig, a young drummer in age, plays with maturity and a deep understanding of the jazz tradition, artfully setting up hits and lifting the trio to a sound that feels much larger than only three musicians. After the piano solo, Zweig switches to brushes on the drums and creates a quiet cushion of sound upon which bassist Jaffe is allowed to stretch out. A well-constructed bass solo, Jaffe makes some clear references to his influences such as the great Ray Brown, yet also lets his own voice shine in his command of the upper register of the bass. The group then showcases Zweig on drums, who chooses to remain on brushes for his feature. A somewhat elusive art, Zweig is very dynamic in his usage of the brushes on the drumkit and he brings the audience in close before switching back to sticks for a slamming finish of the piece. The crowd responds enthusiastically between bites of beignets from Rudy’s New Orleans style menu.
Before the next number, Rosenblum switches to accordion and instructs the crowd to whistle along as he plays a haunting melody that will be the theme. The trio then begins the Brazilian inspired piece at a slow swaying tempo that has a sensual, romantic flare to it. Zweig starts the piece on the tambourine-like pandeiro before gradually incorporating more elements of the drumkit. Rosenblum’s accordion melody soars over the simple bass groove and casts the audience under its spell. Just as we were all settling into the dark mood of the piece, the B section provides reprieve as it bounces along with a cheerful major theme. This contrast of minor and major sections continues throughout the piece. Rosenblum takes a simpler, melodic approach to his improvisation on this piece, often whistling the main theme along with the audience.
For the third selection of the final set, the trio dips into the great American songbook with Victor Young’s “Delilah”. Rosenblum, back at the piano, puts his own spin on the song by starting with a groovy bassline in his left hand that he uses as a platform to showcase his more modern jazz piano influences. Flashes of McCoy Tyner and Keith Jarrett show up yet never feel forced and give an ominous mode to the piece. Jaffe is the first to improvise and he builds on the ominous mood of the introduction of the piece. Lots of space between his very melodic lines on bass bring the audience in close. As Rosenblum takes command again the band launches into a swing feel with walking bassline. Zweig’s high-hat cymbal propels the band forward. Rosenblum again builds toward a big band style shout chorus that allows Zweig to really shine through the texture of the group. The group then winds the piece down, ending with the same bassline with which it began.
For the final piece of the evening, Rosenblum introduces an original composition entitled “Azúcar”. The trio begins by setting up a wash of sound in a minor tonality. The tempo builds into what will become an up-tempo Latin jazz feel. Although somewhat disjointed sounding, it seems the effect is intentional. Zweig is very active on the drums utilizing the various timbres that he has in his arsenal. Rosenblum shines in his improvisation as he sings along with each flourish of notes bursting forth from the piano. Again nodding to his knowledge of the jazz piano tradition, Rosenblum finishes his solo in “locked hands”, playing the same lines in both hands at the same time. The finale of “Azúcar” is highlighted by a drum solo over a vamp that Jaffe and Rosenblum play in unison. Zweig is extremely dynamic in his improvisation and the audience members are collectively bobbing their heads before the band finishes their set.
The trio received a warm reception from the packed crowd of Rudy’s. The members were all smiles as they left the stage. Overall, it was a stellar performance and quite clear that Jaffe, Zweig and Rosenblum have been working together as a trio for some time now. The trio possessed the elusive innate sense of connection that an ensemble develops only after playing together for quite a while. This was great to see in contrast to a group of hired musicians who sound great individually yet have not yet gelled as an ensemble. Rosenblum’s trio was very much a single musical unit comprised of three distinct musical personalities. It was a welcomed opportunity to see a working jazz trio from New York as they brought their hard driving, modern, yet steeped in tradition sound to Nashville, Tennessee. I am hopeful Rudy’s Jazz Room welcomes Rosenblum back again and continues to bring in such great talent moving forward.
Interview with DoSavannah (February 2019):
Do Savannah - "Familiar, unique jazz at the Mansion"
Savannah’s Coastal Jazz Association is bringing another world-class musician to town this Sunday.
Piano wunderkind Ben Rosenblum is set to play at The Mansion on Forsyth Park. Coastal Jazz Association is most known for putting on the annual Savannah Jazz Festival. They also sponsor scholarships and other efforts to further the cause of jazz appreciation and education. Sunday’s show will feature Rosenblum accompanied by drums and bass.
New York City’s Ben Rosenblum has enjoyed uncommon success for his age. The 25-year-old pianist, composer, and accordion player already has a critically acclaimed album and numerous awards. He is touring in support of his second album, “River City.”
While this will be Rosenblum’s first trip to Savannah, the title track was composed and named while performing for a competition in nearby Jacksonville, Fla. Fans of live jazz will appreciate the classic method in which the album was recorded. Rosenblum says the album was not tracked like most modern recordings.
“We recorded this most recent album in the style of a live show,” Rosenblum says. “Instead of doing multiple takes of each song at once, we recorded two full sets of us playing as if we were doing a live show and took the best takes from that.”
The title track is a sprawling dreamy piece that opens with Rosenblum’s dynamic piano traveling far and wide before the drums and bass come in to find an immediate groove. It’s fitting for the young musician whose uncommon skills have brought him all over the world.
Rosenblum’s piano has allowed him to be an ambassador of jazz from his native New York to New Delhi. He and his band relish the opportunity to travel and are currently enjoying a trip by car through the states before making a return trip to play in Japan.
“I always thoroughly enjoy traveling to new places and meeting lovers of jazz all over the world,” Rosenblum says. “In the past two years I have been booking as many out of town tours as possible for the band. The farthest we have been is Japan, where I will be going again in March, but we do a lot of traveling within the United States and Canada, as well. I organize all of the tour arrangements myself, so it is always an improvisation to see what will work and how best to route the tour given the venues that are interested in bringing our group in to perform. This tour, we are driving the whole way from city to city, which feels like a road trip!”
The demanding tour schedule will allow the band to bring a polished show to Savannah on Sunday, but Rosenblum says it is his native New York City that made the pianist what he is today.
“New York City is certainly a unique place in terms of the pace, the history, and the competition in the jazz scene,” Rosenblum says. ” As one of the bandleaders I work with is fond of saying, ‘in New York you can be replaced in an instant by any one of hundreds of amazing musicians,’ so it really inspires you to work hard and try to absorb as much as possible.”
The pianist is a graduate of the famed Columbia-Juilliard program, but the education earned in the city’s jazz clubs and alongside its elders have had an equal part in creating the accomplished performer. Rosenblum’s schooling at home along with his travels have helped nurture his intense interest in different genres of world music. He says his eclectic tastes will help create a distinctive experience for Savannah jazz fans.
“The three of us are coming from a foundation of straight-ahead jazz, so definitely expect a lot of music that feels good and comes from the tradition,” Rosenblum says. “But given our many interests in terms of genre, also expect a diverse set that varies a lot in terms of tempos, styles and structures. Some music will be original compositions and some will be songs written by other musicians, but everything we do is arranged with our particular sound, so expect music that feels familiar and unique at the same time.”
-Cory Chambers
Press for Berkeley Show (January 2019):
Berkeleyside:
Friday night New York City jazz pianist/composer Ben Rosenblum celebrates the release of his second album, River City (One Trick Dog), at the California Jazz Conservatory’s Rendon Hall. A graduate of the Columbia-Juilliard jazz program, he’s an arrestingly mature composer with a beautiful touch. He’s joined by Monterey-raised bassist Kanoa Mendenhall, a rapidly rising player who’s the daughter of respected pianist Eddie Mendenhall, and New York drummer Ben Zweig.
-Andrew Gilbert
Press for Canadian Tour (December 2018):
Ottawa Citizen - "New York jazz pianist Ben Rosenblum brings his prodigious talents to Canada in early December"
New York-based jazz pianist Ben Rosenblum has packed an awful lot of music, achievements and travels into his 25 years.
The New York City native’s strikingly mature and well-honed abilities have earned him performance opportunities from Yokohama to Delhi, from Perugia in Italy to Lincoln Center and the famed Blue Note jazz club in his hometown.
In the next week, Rosenblum’s touring will bring him to the Quebec City – Toronto corridor for a road trip that includes a half-dozen gigs, two of which will be in Ottawa.
While the tour’s intimate jazz clubs and lounges may be less exotic or high profile than other destinations, Rosenblum is raring to play just the same. “Every time I perform for an audience in a new place, I realize just how universal this music can be, and how important it is for artists to create a space where people can connect and share a bond with each other,” he says.
On the bandstands with Rosenblum will be his usual collaborator Ben Zweig on drums, plus the up-and-coming young Montrealers Jonny Chapman on bass and guitarist Sam Kirmayer. In concert, they will be drawing on the material from Rosenblum’s new album, River City.
Below, Rosenblum details the evolution of his globe-trotting and hard-swinging talent." (Click the link to read the full Q&A)
-Peter Hum
Le Soleil (Quebec City):
Rendez-vous jazz avec Ben Rosenblum
"Pour l’avoir attrapé au Maelström au printemps dernier, je sais que le New-Yorkais Ben Rosemblum et ses acolytes ont un talent particulier pour faire groover les petites salles. Même pour les néophytes de la planète jazz (dont je suis), son mélange de compositions, de pièces mythiques et d’improvisation a un pouvoir hypnotique assez singulier. À l’invitation d’Arté Boréal, il exercera cette fois sa magie au Bar le Saint-Angèle, un sympathique repère près des remparts, vendredi et samedi soirs, dès 20h30. Le pianiste et accordéoniste sera accompagné de Jonathan Chapman à la contrebasse, Ben Zweig à la batterie et du guitariste montréalais Sam Kirmayer, qui se joindra à la bande en tant qu’invité spécial."
-Josianne Desloges
Concert Review - River City CD Release Event at the Kitano (2018):
RG Magazine:
Jazz pianist Ben Rosenblum delivered an inspired, heartfelt performance at the famous Jazz at Kitano club on November 10, 2018. The live performance was a record release party for his new album, River City, off of One Trick Dog records. Rosenblum is young and very new to the jazz scene, yet already an award winning jazz pianist, composer, and more recently, accordionist. Hailing from New York City, Rosenblum brings to life a concoction of many styles and influences that are closely held treasures in the jazz world. From Bill Evans, and Wynton Kelly, to the swing jazz idiom, and rearrangements from blues to traditional music, Rosenblum moves gracefully across genres and sound textures. It is hard to believe he is so young, as it takes years of training to reach his level of skill and mastery in the uniquely elegant, complex genre that is Jazz.
To start the night off, “Seeds of Sin,” a Wayne Shorter tune, kicked into a progression that emanates the spirit of freedom, the core spirit of jazz, and immediate interlocking instrumentation with his fellow band mates. Drummer Ben Zweig really kicked into gear on this track, swinging, singing, and setting the pace for the evening. Eloquent textures of sound, and strong communication between band mates allowed the music to flow and take the audience on a journey. The second track performed, “Dolphin” by Luis Eça, begins with a sweet and silent introduction, captivating and taking off in subtle yet impactful fashion. Bassist Kanoa Mendenhall played this tune mostly with her eyes closed, fully immersed with every note played, and perfectly in sync with the drummer’s rhythm and Rosenblum’s piano. This track settles into a calming, intoxicating feeling, which can only be felt and truly appreciated when experienced live.
Next up, “Delilah” by Victor Young, was quite reminiscent of the jazz standard “Take Five.” Traditional Spanish music sensibilities were intertwined into one particular segment of this musical piece. Rosenblum has traveled extensively, playing around the world, and various influences taken from his experiences are evident in his musical choices. This tune was tastefully executed, played with the infectious romance of ballad format. This music invokes contemplation, warmth, and wonder. Rosenblum spoke with sincerity about this next number, stating it is a “ballad near and dear to my heart”, he also stated “this is one of my mother’s favorites” – “When Sunny Gets Blue.” . Tension builds , melodic and with intriguing choices of musical notes, this enigmatic and captivating number highlights the Bill Evans influence on the young Rosenblum. The next track was played on accordion, the classic ‘Scandelli” to be more specific, Rosenblum usually plays the Bell accordion when he plays this particular instrument, so this was a rare moment for him and the audience. Playful, masterful use of accordion in the jazz idiom, this is quite rare to see for any audience, even in New York City where anything can happen. Rosenblum has recently traveled to Eastern Europe to perform, with many new opportunities opening up due to his more recent musical excursion with the accordion.
The new album’s title track, “River City” about a “scenic town” in Florida, was a major highlight of the evening. “Blues for Stephane,” which is the second track off the new album, was another major musical highlight indeed, moving with power and precision. Ben Rosenblum is undoubtedly a rising star in jazz, and a promising new voice that bends and even defies genre. This live performance translated his new album in a way that left you feeling like you truly experienced something uniquely in its own class, a collective and immeasurable experience that only music has the power to do. It is exciting to watch Ben Rosenblum evolve, and to watch the Ben Rosenblum Coastal Trio continue to grow into the cohesive unit that they are. It is with certainty that there is much more to come from this rising talent.
-Fred Stal
CD Reviews of River City (2018-2019):
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Jazziz Magazine (Fall 2018, p30):
(Featured in the Fall 2018 Sampler CD): "Pianist and composer Ben Rosenblum has racked up an impressive array of accolades. In 2015, the Columbia/Juilliard standout was named a finalist at the American Jazz Pianist Competition in Melbourne, Florida; the following year, he earned that honor at the Jacksonville Jazz Piano Competition. And earlier this year, the native New Yorker took an honorable mention at the ASCAP Young Jazz Composers Award competition. But perhaps the most convincing testament to Rosenblum's talent is the admiration of jazz greats -- Curtis Lundy, Bobby Watson, TS Monk and Wayne Escoffery among them -- who have put him on their bandstands. In fact, bassist Lundy and veteran drummer Billy Hart played on Rosenblum's well-received 2017 debut album, Instead. For his recently released sophomore recording, River City (One Trick Dog), the pianist recruited fellow rising-star musicians -- Bay Area bassist Kanoa Mendenhall and New York-based drummer Ben Zweig -- under the banner of the Coastal Trio. In addition to deft interpretations of tunes by Oscar Peterson, Wayne Shorter and Billy Strayhorn, Rosenblum showcases a couple of his own well-realized compositions, including the richly romantic title track, included here." |
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Blast Magazine (Toronto) - Click for Full Review.
Midwest Record:
ONE TRICK DOG
BEN ROSENBLUM COASTAL TRIO/River City: An award winning young up and comer, this jazz piano man has got loads of the classic vibe at the tip of his fingers, always raring to go. An almost impressionistic set, there's loads of laid back after hours feeling playing on display here. A smart bet for those who want something to get lost in, this set will take you to the places you really want to go.
-Chris Spector
Michael's Jazz Blog:
Ben Rosenblum is a jazz pianist and composer based in New York City, and a recent graduate of the joint program between Columbia University and Juilliard School of Music.”River City” is Ben’s second trio album as a leader, featuring two of Ben’s long-time collaborators and contemporaries, Kanoa Mendenhall on bass and Ben Zweig on drums. The album features three original compositions and six tracks from the jazz canon, selections chosen from the group’s repertoire after years of touring together.
Played very tasteful and sophisticated, that album shows how a piano trio should sound.
-Michael Ferber
Jazz Weekly:
Pianist/composer Ben Rosenblum leads a modern sounding trio with Kanoa Mendenhall/b and Ben Zweig/dr through a mix of jazz standards and originals. He shows a strong soulful touch on the hip take of Oscar Peteson’s “Blues for Stephane” and continues his blue hues on a bopping “Seeds of Sin” guided by Mendenhall’s [sic] cymbals work. Elegaic ivories float on a rich and impressionistic “The Dolphin” with a solo read of Billy Strayhorn’s “Lush Life” rich and evocative. The team flows with gentle ripples on the original title track and “Blue Water” slinks with style. A clever “Chain Chomp” has an extra kick with Zweig’s drums and Mendenhall gets a chance in the spotlight as he leads into the lurking Victor Young classic “Delilah.” Traditional and modern.
-George W. Harris
Preview of CD Release Performance at Jazz Central Studios (Minneapolis, MN - October 2018)
MinnPost:
If you’re a fan of classic jazz piano – melodic, emotional, technically masterful and swinging – catch New York-based Rosenblum while he’s in town. Just 24, he started winning awards in 2010, graduated from Columbia-Juilliard in 2016 and released his debut album, “Instead,” in 2017. His second, “River City,” came out in 2018. He’s not wasting any time. Rosenblum will be at Jazz Central with bassist Jeremy Boettcher and drummer Peter Johnson. On Sunday, you can find him at the Ted Mann in “The Call,” a free concert with U of M singers, countertenor Ryland Angel (with whom he has worked on several projects) and Wilco guitarist Nels Cline.
-Pamela Espeland
Preview of CD Release Performance at Merriman's Playhouse (South Bend, IN - March 2018):
South Bend Tribune:
Most young jazz musicians have to struggle to get noticed by the scene’s veterans, and a player making a debut album is foolish to expect to make a splash with the critics right away. So far, Ben Rosenblum is having little trouble bucking these tendencies.
The pianist’s currently riding high on the strength of a remarkable first record, “Instead.” It features superstar sidemen Curtis Lundy on bass and Billy Hart on drums, and it garnered a four-star review from DownBeat magazine.
Such unusual amounts of early success could have sent him into a holding pattern, but he’s already exploring ideas about where to go next. “Instead” is in a classic post-bop style, and Rosenblum displays complete mastery of the genre’s technical and emotional requirements, even though he’s only 24 years old. Still, in the spirit of the restless creativity that drives most jazz, his overall conception is changing day by day.
On his tour, which includes Saturday’s concert at Merrimans’ Playhouse in South Bend, Rosenblum and his road band — bassist Marty Jaffe and drummer Ben Zweig — are doing about half of the songs from “Instead” alongside entirely new material.
The new stuff will likely involve some exotic scales and modes. Rosenblum has been toying around with ideas about incorporating sounds from a variety of other cultures, including Brazil, Ireland and Japan.
“A lot of jazz history involves taking songs from other worlds and turning them into vehicles for improvisation,” he says by phone from New York City. “If I can surprise the audience and make them want to hear more, then it’s a success.”
With bandmates Jaffe and Zweig, Rosenblum pursues the music’s challenges with youthful daring. For his sessions with the distinguished older masters Lundy and Hart, the nominal leader of the date was happy to play the role of student as much as boss. Even on original Rosenblum compositions, the pianist didn’t dare tell Hart what to play, for instance.
“When you get a chance to play with somebody like Billy Hart, you want to have him in a context where he can really shine,” Rosenblum says. “On a couple of the pieces that I brought in, he started playing a groove that completely changed my understanding of what the piece was.”
Hart, whose long career included extensive stints in the bands of Wes Montgomery and Herbie Hancock, particularly shines on a fast, complicated song called “Blur.” When Hart was running through the rhythms in rehearsal, Rosenblum was so enthralled that he asked if Hart could make a note of what he was doing, because Rosenblum hoped the drummer could re-create the percussion parts exactly the same way for the recording.
“Billy said that it was the only way that song could be. He said, ‘That’s the only thing I hear for it. I don’t have to write it down or anything. I’ll play it that way because that’s the way it’s supposed to go.’ I said OK!” Rosenblum says with a laugh.
The six originals on the “Instead” album reveal Rosenblum to be an accomplished composer, and his cover choices are impeccable. He leads the trio through convincing versions of three swinging cuts — Sonny Clark’s “Nica,” Randy Weston’s “Saucer Eyes” and Thad Jones’ “When Love Was You and Me” — as well as thoughtful and moving settings of two lovely slower numbers: Duke Ellington’s “Single Petal of a Rose” and Charlie Haden’s “First Song.”
Rosenblum honed his chops at the Juilliard School of Music and Columbia University, and developed his broad musical interests at a hip workshop he co-founded, called the Columbia Jazz House. The scene was so noteworthy that the New York Times even ran a story about the Jazz House in 2015. Rosenblum and a loose group of friends hung out, jammed and put together concerts that ranged from straight hard-bop to a full program of Pokémon video game music.
“The diversity of interests represented by the people there was astounding,” he says. “We had people who specialized in modern classical music, electronic music, different kinds of world music, but they all coalesced around jazz.”
-Jack Walton
Review of CD Release Performance at Mezzrow (5/21/17)
RG Magazine:
Music, and more specifically, JAZZ is very much alive and well in New York. The thriving, young, and talented jazz pianist Ben Rosenblum delivered an inspired and focused performance at the intimate Mezzrow jazz club. Nestled in the famous Greenwich Village neighborhood of New York City, Mezzrow provided the appropriate backdrop for up-and-coming Ben Rosenblum’s record release show. Out now on One Trick Dog records, Instead is Rosenblum’s carefully crafted and innovative solo debut.
Featuring six original compositions, Instead showcases Rosenblum, backed by his musical mentor Curtis Lundy, and the legendary jazz veteran Billy Hart. They are both featured on this impressive debut record. Their intense performance supporting Rosenblum burned with the transcendence and spontaneity that could only be jazz. Curtis Lundy has the aura of a jazz legend, and rightfully so. Having played with Betty Carter, Bobby Watson, John Hicks, Johnny Griffin, and the Steve Nelson Quintet, Lundy has quite an impressive resume. His double bass playing technique, and skills as a composer and arranger came through with precision during this performance.
Billy Hart, aged 76, played with youthful exuberance and grace the entire evening. A true legend in not just the jazz world, Hart got his start playing with Otis Redding and Sam and Dave. He also played with greats such as Wes Montgomery, Buck Hill, Shirley Horn, Joe Zaniwul, Pharoah Sanders and countless others. Hart made formidable contributions as a member of Herbie Hancock’s sextet (1969-1973), Stan Getz (1974-1977), and as a player on the funk/jazz fusion Miles Davis record On the Corner (1972). Lundy and Hart are veterans who appeared to have fresh life breathed into them supporting the rising Rosenblum. The beginning notes of the record release performance for Instead were seamless, ornate, and fluid. “Saucer Eyes” is a Randy Weston tune and served as the barn-burning opener of the show. The beautiful bossa nova “And Then It’s Gone” featured textured melodic lines by Rosenblum that is reminiscent of Bill Evans. The straight ahead jazz of “Clarisse and Walter” is an original masterpiece and featured stellar drumming by Hart and the musical interplay, space, and vernacular that can only be truly captured live.
The ephereal melancholic “Because It’s Raining” featured bass-driven groove with a romantic edge. While soothing, the music keeps you on your feet and not wanting to miss a single moment of magic. “Blur”, performed in the bop paradigm, lives up to its name and blurs the lines and limitations all too often seen in art and music. Ben Rosenblum expresses and smashes thematic sentiments in his playing, and without limitation. “Summertime”, a bonus track from the new album, closed us out in style. Raindrops from heaven poured down with style and grace from Rosenblum’s piano. As the baton is passed down from the previous generations to the new, it is evident that there is much more to come.
-Fred Stal
CD Reviews For Instead (Debut Album on One Trick Dog Records):
Midwest Record:
ONE TRICK DOG
BEN ROSENBLUM COASTAL TRIO/River City: An award winning young up and comer, this jazz piano man has got loads of the classic vibe at the tip of his fingers, always raring to go. An almost impressionistic set, there's loads of laid back after hours feeling playing on display here. A smart bet for those who want something to get lost in, this set will take you to the places you really want to go.
-Chris Spector
Michael's Jazz Blog:
Ben Rosenblum is a jazz pianist and composer based in New York City, and a recent graduate of the joint program between Columbia University and Juilliard School of Music.”River City” is Ben’s second trio album as a leader, featuring two of Ben’s long-time collaborators and contemporaries, Kanoa Mendenhall on bass and Ben Zweig on drums. The album features three original compositions and six tracks from the jazz canon, selections chosen from the group’s repertoire after years of touring together.
Played very tasteful and sophisticated, that album shows how a piano trio should sound.
-Michael Ferber
Jazz Weekly:
Pianist/composer Ben Rosenblum leads a modern sounding trio with Kanoa Mendenhall/b and Ben Zweig/dr through a mix of jazz standards and originals. He shows a strong soulful touch on the hip take of Oscar Peteson’s “Blues for Stephane” and continues his blue hues on a bopping “Seeds of Sin” guided by Mendenhall’s [sic] cymbals work. Elegaic ivories float on a rich and impressionistic “The Dolphin” with a solo read of Billy Strayhorn’s “Lush Life” rich and evocative. The team flows with gentle ripples on the original title track and “Blue Water” slinks with style. A clever “Chain Chomp” has an extra kick with Zweig’s drums and Mendenhall gets a chance in the spotlight as he leads into the lurking Victor Young classic “Delilah.” Traditional and modern.
-George W. Harris
Preview of CD Release Performance at Jazz Central Studios (Minneapolis, MN - October 2018)
MinnPost:
If you’re a fan of classic jazz piano – melodic, emotional, technically masterful and swinging – catch New York-based Rosenblum while he’s in town. Just 24, he started winning awards in 2010, graduated from Columbia-Juilliard in 2016 and released his debut album, “Instead,” in 2017. His second, “River City,” came out in 2018. He’s not wasting any time. Rosenblum will be at Jazz Central with bassist Jeremy Boettcher and drummer Peter Johnson. On Sunday, you can find him at the Ted Mann in “The Call,” a free concert with U of M singers, countertenor Ryland Angel (with whom he has worked on several projects) and Wilco guitarist Nels Cline.
-Pamela Espeland
Preview of CD Release Performance at Merriman's Playhouse (South Bend, IN - March 2018):
South Bend Tribune:
Most young jazz musicians have to struggle to get noticed by the scene’s veterans, and a player making a debut album is foolish to expect to make a splash with the critics right away. So far, Ben Rosenblum is having little trouble bucking these tendencies.
The pianist’s currently riding high on the strength of a remarkable first record, “Instead.” It features superstar sidemen Curtis Lundy on bass and Billy Hart on drums, and it garnered a four-star review from DownBeat magazine.
Such unusual amounts of early success could have sent him into a holding pattern, but he’s already exploring ideas about where to go next. “Instead” is in a classic post-bop style, and Rosenblum displays complete mastery of the genre’s technical and emotional requirements, even though he’s only 24 years old. Still, in the spirit of the restless creativity that drives most jazz, his overall conception is changing day by day.
On his tour, which includes Saturday’s concert at Merrimans’ Playhouse in South Bend, Rosenblum and his road band — bassist Marty Jaffe and drummer Ben Zweig — are doing about half of the songs from “Instead” alongside entirely new material.
The new stuff will likely involve some exotic scales and modes. Rosenblum has been toying around with ideas about incorporating sounds from a variety of other cultures, including Brazil, Ireland and Japan.
“A lot of jazz history involves taking songs from other worlds and turning them into vehicles for improvisation,” he says by phone from New York City. “If I can surprise the audience and make them want to hear more, then it’s a success.”
With bandmates Jaffe and Zweig, Rosenblum pursues the music’s challenges with youthful daring. For his sessions with the distinguished older masters Lundy and Hart, the nominal leader of the date was happy to play the role of student as much as boss. Even on original Rosenblum compositions, the pianist didn’t dare tell Hart what to play, for instance.
“When you get a chance to play with somebody like Billy Hart, you want to have him in a context where he can really shine,” Rosenblum says. “On a couple of the pieces that I brought in, he started playing a groove that completely changed my understanding of what the piece was.”
Hart, whose long career included extensive stints in the bands of Wes Montgomery and Herbie Hancock, particularly shines on a fast, complicated song called “Blur.” When Hart was running through the rhythms in rehearsal, Rosenblum was so enthralled that he asked if Hart could make a note of what he was doing, because Rosenblum hoped the drummer could re-create the percussion parts exactly the same way for the recording.
“Billy said that it was the only way that song could be. He said, ‘That’s the only thing I hear for it. I don’t have to write it down or anything. I’ll play it that way because that’s the way it’s supposed to go.’ I said OK!” Rosenblum says with a laugh.
The six originals on the “Instead” album reveal Rosenblum to be an accomplished composer, and his cover choices are impeccable. He leads the trio through convincing versions of three swinging cuts — Sonny Clark’s “Nica,” Randy Weston’s “Saucer Eyes” and Thad Jones’ “When Love Was You and Me” — as well as thoughtful and moving settings of two lovely slower numbers: Duke Ellington’s “Single Petal of a Rose” and Charlie Haden’s “First Song.”
Rosenblum honed his chops at the Juilliard School of Music and Columbia University, and developed his broad musical interests at a hip workshop he co-founded, called the Columbia Jazz House. The scene was so noteworthy that the New York Times even ran a story about the Jazz House in 2015. Rosenblum and a loose group of friends hung out, jammed and put together concerts that ranged from straight hard-bop to a full program of Pokémon video game music.
“The diversity of interests represented by the people there was astounding,” he says. “We had people who specialized in modern classical music, electronic music, different kinds of world music, but they all coalesced around jazz.”
-Jack Walton
Review of CD Release Performance at Mezzrow (5/21/17)
RG Magazine:
Music, and more specifically, JAZZ is very much alive and well in New York. The thriving, young, and talented jazz pianist Ben Rosenblum delivered an inspired and focused performance at the intimate Mezzrow jazz club. Nestled in the famous Greenwich Village neighborhood of New York City, Mezzrow provided the appropriate backdrop for up-and-coming Ben Rosenblum’s record release show. Out now on One Trick Dog records, Instead is Rosenblum’s carefully crafted and innovative solo debut.
Featuring six original compositions, Instead showcases Rosenblum, backed by his musical mentor Curtis Lundy, and the legendary jazz veteran Billy Hart. They are both featured on this impressive debut record. Their intense performance supporting Rosenblum burned with the transcendence and spontaneity that could only be jazz. Curtis Lundy has the aura of a jazz legend, and rightfully so. Having played with Betty Carter, Bobby Watson, John Hicks, Johnny Griffin, and the Steve Nelson Quintet, Lundy has quite an impressive resume. His double bass playing technique, and skills as a composer and arranger came through with precision during this performance.
Billy Hart, aged 76, played with youthful exuberance and grace the entire evening. A true legend in not just the jazz world, Hart got his start playing with Otis Redding and Sam and Dave. He also played with greats such as Wes Montgomery, Buck Hill, Shirley Horn, Joe Zaniwul, Pharoah Sanders and countless others. Hart made formidable contributions as a member of Herbie Hancock’s sextet (1969-1973), Stan Getz (1974-1977), and as a player on the funk/jazz fusion Miles Davis record On the Corner (1972). Lundy and Hart are veterans who appeared to have fresh life breathed into them supporting the rising Rosenblum. The beginning notes of the record release performance for Instead were seamless, ornate, and fluid. “Saucer Eyes” is a Randy Weston tune and served as the barn-burning opener of the show. The beautiful bossa nova “And Then It’s Gone” featured textured melodic lines by Rosenblum that is reminiscent of Bill Evans. The straight ahead jazz of “Clarisse and Walter” is an original masterpiece and featured stellar drumming by Hart and the musical interplay, space, and vernacular that can only be truly captured live.
The ephereal melancholic “Because It’s Raining” featured bass-driven groove with a romantic edge. While soothing, the music keeps you on your feet and not wanting to miss a single moment of magic. “Blur”, performed in the bop paradigm, lives up to its name and blurs the lines and limitations all too often seen in art and music. Ben Rosenblum expresses and smashes thematic sentiments in his playing, and without limitation. “Summertime”, a bonus track from the new album, closed us out in style. Raindrops from heaven poured down with style and grace from Rosenblum’s piano. As the baton is passed down from the previous generations to the new, it is evident that there is much more to come.
-Fred Stal
CD Reviews For Instead (Debut Album on One Trick Dog Records):
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Downbeat Review (April 2017, p58):
"A question comes to mind just seconds into the first cut on Ben Rosenblum's debut album: Which came first, the music or the title for "Because It's Raining"? The music is thoughtful, quiet, a little gray. Rosenblum lets it speak with minimal elaboration as Billy Hart underscores its suggestion of a misty drizzle with soft cymbal splashes and pitter-pat fills. Rosenblum includes several covers here, but on these he leans toward the spirit of the writers. For Sonny Clark's "Nica" he takes an aggressive approach, attacking the first verse with thick two-handed voicings, emphasizing dissonances and open intervals. Rosenblum actually unleashes even greater force on one of his originals, "Blur." It explodes right at the top, with Hart smashing freely and furiously as the piano spells out the theme. On other tunes, though, Rosenblum plays with restraint. The ballad, "And Then It's Gone" expands on the structure's harmonic implication, with no quick runs intruding on the picture. He has the chops to shoot off a few fireworks, too, as we hear briefly in his rendering of "Saucer Eyes." But that doesn't seem to be a priority when covering sacred material--Rosenblum and Lundy caress Duke Ellington's "Single Petal Of A Rose" with the reverence it merits." (4/5 stars) -Bob Doerschuk |
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All About Jazz:
"Long ago, the romantic paradigm of the hard-scrabbled, autodidact jazz musician living in a cold-water Harlem flat, playing the heyday of 52nd Street has been replaced by the pristinely-prepared, conservatoire-trained technical wizard mounting the concert stage, performing the standards like a classical piece and offering original compositions that span the genre spectrum and beyond. This new paradigm often results in sterile music delivered with a dull precision. "Sure, the player has chops. But why does he or she sound like a mere technician?" What is it that is lacking in note perfect playing? Humanity, that's what.
However, there do emerge conservatoire aces with grit in their imaginations and a facility to express such in their playing. Ben Rosenblum is one such performer/composer. The Julliard-Columbia trained pianist brings a freighter of technique to the keyboard, while still maintaining enough earthiness in his playing to satisfy even the fussiest listener. On his debut recording, the precociously young musician treats us to an even dozen (including the cleverly hidden "Summertime" bonus track). Rosenblum incorporates the percussive nature of a Don Pullen-Cecil Taylor with the melodic finesse of a Gene Harris-Alan Broadbent. He winds these considerable influences in with his own impressive talent completely supported by drummer Billy Hart and bassist Curtis Lundy. That is heady company for a debut but certainly more than warranted considering the music produced. Highlights include a top-shelf interpretation of Sonny Clark's "Nica," and Duke Ellington's "Single Petal of a Rose." It will be interesting to hear this young talent take a hard turn into something very new."
-C. Michael Bailey
Sea Of Tranquility:
Ben Rosenblum is an up and coming jazz pianist/composer residing in New York. On his debut album Instead he has enlisted the help of jazz veterans Curtis Lundy (bass) and Billy Hart (drums).
This is the work of a musician mature beyond his years. The album contains six originals and five covers, just over sixty minutes of some of the catchiest hard bop flavoured jazz you will hear this year.
The beginning track "Because It's Raining" is a lovely piano based jazz track with slight variations in tempo and subtle yet complex drumming. Rosenblum's playing is both colourful and fluidic adding a wonderful melody which made me hit the repeat button more than once. "Clarisse and Walter" is a bit more jaunty and upbeat as the piano, bass and drums really start to cook with fiery playing all around. "And Then It's Gone" is another melodic gem before a couple of covers grace our ears; Randy Weston's "Saucer Eyes" and Charlie Haden's "Nica". This is traditional hard bop fare, both catchy and totally irresistible. The bass and piano solos in "Saucer Eyes" are particularly impressive.
Instead is a nice mixture of classic and original compositions and has caught my attention with its fine playing and irresistible melodies. Highly recommended." (4 stars)
-Jon Neudorf
The Jazz Writer:
How does one emerge on the scene in a trio format and be distinctive? Well, one way is to bring some original material and take ownership of covers. Pianist Ben Rosenblum accomplishes this with his debut, Instead (One Trick Dog Records, 2017).
Accompanying Rosenblum are Curtis Lundy, bass; and Billy Hart, drums.
Rosenblum successfully avoids sounding ordinary by steering clear of the standards, popular jazz songs that have been covered ad nauseam. Instead, perhaps a hint of the thinking behind the album title, he composes six original songs and reinterprets five others that are a bit off the beaten path.
Rosenblum and his sidemen deliver each song with fire and energy, especially the faster pieces. As the leader, he is out front most of the way, but he doesn’t dominate. Lundy and Hart complement him well when the piano has the lead, but they also get their moments to stretch out as well.
Among the standout originals are “Because It’s Raining,” “Clarisse and Walter,” “Blur” and “Azucar.” The trio also delivers favorable renditions of Charlie Haden’s “First Song,” Duke Ellington’s “Single Petal of a Rose” and more.
-Woodrow Wilkins
RG Magazine:
"Ben Rosenblum’s debut album Instead is a work that was years in the making. The young pianist has played in violinist Ben Sutin’s acclaimed jazz/klezmer group Klazz-Ma-Tazz for several years now since their inception. Rosenblum’s versatility as a musician has helped shape his unique style and this record reflects his unique training in various subgenres from hard bop to bossa nova.
The album features jazz legends Curtis Lundy (bass) and Billy Hart (drums). These two musical veterans give the appropriate versatility and mastery necessary to musically express Rosenblum’s original compositions. The album’s opener “Because It’s Raining” hearkens an emotional feel reminiscent of Miles Davis. Ben’s melodic channeling collocates symbiotically with Billy Hart’s rhythms. Following the album opener, “Clarisse and Walter” is a straight-ahead jazz celebration which directs the transcendent and eclectic fluidity of the rest of the record. Bossa nova is embraced on the following track entitled “And Then It’s Gone.” This title is true to the nostalgic yet fresh caress of the music recorded for this debut.“Blur” gives rigor and an up-swing as a bop tune perfectly placed, and an appropriate allusion to Rosenblum’s musical training as a budding musician all leading to this point. There is always room for a ‘1-2-3′ waltz number in a jazz record, or any record for that matter, and “Far Back” satisfies the itch. “Azucar” is an equally sweet as it is inspired Afro-Cuban tune that gets the blood flowing. This music can transport a listener to another place, and is played with an authenticity and vernacular you can really feel. This record also features musical pieces by other composers. “Single Petal of a Rose” stands out as a beautiful interpretation of the late Duke Ellington. Charlie Haden’s “First Song” as well is delivered with evocative and stirring grit. The record also includes famous swing tunes: Sonny Clark’s “Nica,” Randy Weston’s “Saucer Eyes,” and Thad Jones’ “When Love Was You and Me.”
You can hear influences from Rosenblum’s training and from other projects he has been involved in throughout this record. Jazz heroes Curtis Lundy and Billy Hart add an experience and dimension that is perfectly befitting for Rosenblum’s compositions. Lundy, best known for his work in Betty Carter’s band, also has been sampled by Kanye West’s “Jesus Walks” from his arrangement “Walk With Me”. Billy Hart has a long running list on his resume which includes Otis Redding, Sam and Dave, Pharaoh Sanders, Wayne Shorter, Wes Montgomery, and many more. His work with Miles Davis on 1972’s “On the Corner” is appropriate as the album courses through many jazz idioms including elements of Davis’ work. Ben Rosenblum’s star continues to rise and this record pays homage to past influences while maintaining originality and in the process, claiming a new voice in modern jazz."
-Fred Stal
Midwest Record:
"The recent music grad who more than proved himself at the student level by winning all there was to win now steps up to take his place as the leader of a jazz piano trio with Billy Hart and Curtis Lundy watching his back. The result is a tasty debut that can be either an easy going soundtrack to your cocktail hour or the getaway to the hip jazz club hiding in your headphones. Certainly the kind of cat that's going to go the distance; with a purely bodacious debut like this, only good things can flow from here. Well done and right on the money."
-Chris Spector
Jazz Weekly:
"Pianist Ben Rosenblum displays a warm and graceful touch with a homage to vintage bebop on this collection with Curtis Lundy/b and Billy Hart/dr. He floats over Lundy’s bass on his own “Far Back” and uses space as a sound on the peaceful “And Then It’s Gone” flowing with delight like droplets on “Because It’s Raining.” Hart gently nudges with the ride cymbal on randy Weston’s “Saucer Eyes” and the team bops the blues on Sonny Clark’s Nica” and closes out with a strutting read of “When Love Was You and Me” right after the leader wafts on the ivories with minimal support on a luscious read of “Single Petal of a Rose.” Got the hands of a diamond cutter here."
-George W. Harris
Drumset Magazine (Italy):
"Long ago, the romantic paradigm of the hard-scrabbled, autodidact jazz musician living in a cold-water Harlem flat, playing the heyday of 52nd Street has been replaced by the pristinely-prepared, conservatoire-trained technical wizard mounting the concert stage, performing the standards like a classical piece and offering original compositions that span the genre spectrum and beyond. This new paradigm often results in sterile music delivered with a dull precision. "Sure, the player has chops. But why does he or she sound like a mere technician?" What is it that is lacking in note perfect playing? Humanity, that's what.
However, there do emerge conservatoire aces with grit in their imaginations and a facility to express such in their playing. Ben Rosenblum is one such performer/composer. The Julliard-Columbia trained pianist brings a freighter of technique to the keyboard, while still maintaining enough earthiness in his playing to satisfy even the fussiest listener. On his debut recording, the precociously young musician treats us to an even dozen (including the cleverly hidden "Summertime" bonus track). Rosenblum incorporates the percussive nature of a Don Pullen-Cecil Taylor with the melodic finesse of a Gene Harris-Alan Broadbent. He winds these considerable influences in with his own impressive talent completely supported by drummer Billy Hart and bassist Curtis Lundy. That is heady company for a debut but certainly more than warranted considering the music produced. Highlights include a top-shelf interpretation of Sonny Clark's "Nica," and Duke Ellington's "Single Petal of a Rose." It will be interesting to hear this young talent take a hard turn into something very new."
-C. Michael Bailey
Sea Of Tranquility:
Ben Rosenblum is an up and coming jazz pianist/composer residing in New York. On his debut album Instead he has enlisted the help of jazz veterans Curtis Lundy (bass) and Billy Hart (drums).
This is the work of a musician mature beyond his years. The album contains six originals and five covers, just over sixty minutes of some of the catchiest hard bop flavoured jazz you will hear this year.
The beginning track "Because It's Raining" is a lovely piano based jazz track with slight variations in tempo and subtle yet complex drumming. Rosenblum's playing is both colourful and fluidic adding a wonderful melody which made me hit the repeat button more than once. "Clarisse and Walter" is a bit more jaunty and upbeat as the piano, bass and drums really start to cook with fiery playing all around. "And Then It's Gone" is another melodic gem before a couple of covers grace our ears; Randy Weston's "Saucer Eyes" and Charlie Haden's "Nica". This is traditional hard bop fare, both catchy and totally irresistible. The bass and piano solos in "Saucer Eyes" are particularly impressive.
Instead is a nice mixture of classic and original compositions and has caught my attention with its fine playing and irresistible melodies. Highly recommended." (4 stars)
-Jon Neudorf
The Jazz Writer:
How does one emerge on the scene in a trio format and be distinctive? Well, one way is to bring some original material and take ownership of covers. Pianist Ben Rosenblum accomplishes this with his debut, Instead (One Trick Dog Records, 2017).
Accompanying Rosenblum are Curtis Lundy, bass; and Billy Hart, drums.
Rosenblum successfully avoids sounding ordinary by steering clear of the standards, popular jazz songs that have been covered ad nauseam. Instead, perhaps a hint of the thinking behind the album title, he composes six original songs and reinterprets five others that are a bit off the beaten path.
Rosenblum and his sidemen deliver each song with fire and energy, especially the faster pieces. As the leader, he is out front most of the way, but he doesn’t dominate. Lundy and Hart complement him well when the piano has the lead, but they also get their moments to stretch out as well.
Among the standout originals are “Because It’s Raining,” “Clarisse and Walter,” “Blur” and “Azucar.” The trio also delivers favorable renditions of Charlie Haden’s “First Song,” Duke Ellington’s “Single Petal of a Rose” and more.
-Woodrow Wilkins
RG Magazine:
"Ben Rosenblum’s debut album Instead is a work that was years in the making. The young pianist has played in violinist Ben Sutin’s acclaimed jazz/klezmer group Klazz-Ma-Tazz for several years now since their inception. Rosenblum’s versatility as a musician has helped shape his unique style and this record reflects his unique training in various subgenres from hard bop to bossa nova.
The album features jazz legends Curtis Lundy (bass) and Billy Hart (drums). These two musical veterans give the appropriate versatility and mastery necessary to musically express Rosenblum’s original compositions. The album’s opener “Because It’s Raining” hearkens an emotional feel reminiscent of Miles Davis. Ben’s melodic channeling collocates symbiotically with Billy Hart’s rhythms. Following the album opener, “Clarisse and Walter” is a straight-ahead jazz celebration which directs the transcendent and eclectic fluidity of the rest of the record. Bossa nova is embraced on the following track entitled “And Then It’s Gone.” This title is true to the nostalgic yet fresh caress of the music recorded for this debut.“Blur” gives rigor and an up-swing as a bop tune perfectly placed, and an appropriate allusion to Rosenblum’s musical training as a budding musician all leading to this point. There is always room for a ‘1-2-3′ waltz number in a jazz record, or any record for that matter, and “Far Back” satisfies the itch. “Azucar” is an equally sweet as it is inspired Afro-Cuban tune that gets the blood flowing. This music can transport a listener to another place, and is played with an authenticity and vernacular you can really feel. This record also features musical pieces by other composers. “Single Petal of a Rose” stands out as a beautiful interpretation of the late Duke Ellington. Charlie Haden’s “First Song” as well is delivered with evocative and stirring grit. The record also includes famous swing tunes: Sonny Clark’s “Nica,” Randy Weston’s “Saucer Eyes,” and Thad Jones’ “When Love Was You and Me.”
You can hear influences from Rosenblum’s training and from other projects he has been involved in throughout this record. Jazz heroes Curtis Lundy and Billy Hart add an experience and dimension that is perfectly befitting for Rosenblum’s compositions. Lundy, best known for his work in Betty Carter’s band, also has been sampled by Kanye West’s “Jesus Walks” from his arrangement “Walk With Me”. Billy Hart has a long running list on his resume which includes Otis Redding, Sam and Dave, Pharaoh Sanders, Wayne Shorter, Wes Montgomery, and many more. His work with Miles Davis on 1972’s “On the Corner” is appropriate as the album courses through many jazz idioms including elements of Davis’ work. Ben Rosenblum’s star continues to rise and this record pays homage to past influences while maintaining originality and in the process, claiming a new voice in modern jazz."
-Fred Stal
Midwest Record:
"The recent music grad who more than proved himself at the student level by winning all there was to win now steps up to take his place as the leader of a jazz piano trio with Billy Hart and Curtis Lundy watching his back. The result is a tasty debut that can be either an easy going soundtrack to your cocktail hour or the getaway to the hip jazz club hiding in your headphones. Certainly the kind of cat that's going to go the distance; with a purely bodacious debut like this, only good things can flow from here. Well done and right on the money."
-Chris Spector
Jazz Weekly:
"Pianist Ben Rosenblum displays a warm and graceful touch with a homage to vintage bebop on this collection with Curtis Lundy/b and Billy Hart/dr. He floats over Lundy’s bass on his own “Far Back” and uses space as a sound on the peaceful “And Then It’s Gone” flowing with delight like droplets on “Because It’s Raining.” Hart gently nudges with the ride cymbal on randy Weston’s “Saucer Eyes” and the team bops the blues on Sonny Clark’s Nica” and closes out with a strutting read of “When Love Was You and Me” right after the leader wafts on the ivories with minimal support on a luscious read of “Single Petal of a Rose.” Got the hands of a diamond cutter here."
-George W. Harris
Drumset Magazine (Italy):
|
English Translation:
Ben Rosenblum, a young promising up and comer in the New York Jazz piano scene, released his debut album under One Trick Dog Records. Rosenblum is accompanied by legendary musicians such as bassist Curtis Lundy and drummer Billy Hart (an absolute master). Author of 6 of tracks on the album, complemented by a few not overly popular Jazz standards, apart from the over-covered ‘Summertime.’ Rosenblum shows his deep knowledge of traditional hard bop, upon which he overlays a melodic touch that’s entirely modern and innovative, along with solid composing skills. In line with the straight ahead jazz tradition, rhythmically the trio like to stick with the good old 4/4 swing, with the exception of a bossa nova (‘And then it’s gone’), a jazz waltz (‘Far Back’) and a Latin piece (‘Azucar’). The ballads ‘First Song” (by Charlie Haden) and ‘Single Petal of a Rose’ (by Duke Ellington) showcase Curtis Lundy’s mastery, while solos and long 4s/8s exchanges throughout the entire album remind us (not that we need to be reminded) how capturing and incredibly skillful and fascinating Billy Hart’s drumming is. -Alfredo Romeo |
Other News:
Here is an interview with WNUR's Geoff Fenton:
Ben Rosenblum Interview
Here is a New York Times article about a jazz advocacy group that I founded at Columbia University:
Melodies Night and Day In This Columbia Dorm
This is a short feature on me in Columbia Today Magazine:
Ben Rosenblum '16
Press release for first album, Instead:
Ben Rosenblum's Debut Album Released on 3/1
Articles about projects that Ben is affiliated with:
Concert and CD Reviews for Klazz-Ma-Tazz's Meshugenah
New York Music Daily CD Review
New York Music Daily Concert Review
Concert and CD Reviews for Astrid Kuljanic's Transatlantic Exploration Company
RG Magazine Review
Sea of Tranquility Review
CD Reviews for Katini Yamaoka's Gone:
Glide Magazine Review
CD Reviews for Klazz-Ma-Tazz's Tangibility:
RG Magazine Review
New York Music Daily Review
The Even Ground Review
Reviews for the Michael Sheridan Group:
BK Roads Review
Reviews of Monique Witt's Play split/screen:
Laist.com Review ("Four Interesting Shows We Checked Out At the 2015 Hollywood Fringe Festival")
Here is an interview with WNUR's Geoff Fenton:
Ben Rosenblum Interview
Here is a New York Times article about a jazz advocacy group that I founded at Columbia University:
Melodies Night and Day In This Columbia Dorm
This is a short feature on me in Columbia Today Magazine:
Ben Rosenblum '16
Press release for first album, Instead:
Ben Rosenblum's Debut Album Released on 3/1
Articles about projects that Ben is affiliated with:
Concert and CD Reviews for Klazz-Ma-Tazz's Meshugenah
New York Music Daily CD Review
New York Music Daily Concert Review
Concert and CD Reviews for Astrid Kuljanic's Transatlantic Exploration Company
RG Magazine Review
Sea of Tranquility Review
CD Reviews for Katini Yamaoka's Gone:
Glide Magazine Review
CD Reviews for Klazz-Ma-Tazz's Tangibility:
RG Magazine Review
New York Music Daily Review
The Even Ground Review
Reviews for the Michael Sheridan Group:
BK Roads Review
Reviews of Monique Witt's Play split/screen:
Laist.com Review ("Four Interesting Shows We Checked Out At the 2015 Hollywood Fringe Festival")