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).
"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)
"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)
"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).
"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)
"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)
Full articles:
Articles about Ben's projects:
Preview of CD Release Performance at Merriman's Playhouse (South Bend):
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):
Preview of CD Release Performance at Merriman's Playhouse (South Bend):
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):
|
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 |
|
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):
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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")
