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“A musician dedicated to exploration and expression, regardless of anyone’s imagined boundaries.”
— Chris Barton, Los Angeles Times (from a preview of Book of Omens)
“Young trumpet dynamo Dan Rosenboom, one of the more interesting Los Angeleno players, impresses with the fluidity of his ideas…”
- Josef Woodard, DownBeat Magazine (from a review of “Abstractions and Retrocasualties” by the Vinny Golia Sextet)
“Rosenboom is a phenomenon…His speed and singing high notes are amazing. He is a cool customer onstage, but what comes out of the mouthpiece is red hot.”
— Mark Swed, Los Angeles Times (from a live review of Zones of Coherence)
“Miles Davis, whose ghost lingered throughout, would have approved.”
— Greg Burk, Los Angeles Times (from a live review of The Daniel Rosenboom Septet)
“There is a filmmaker lurking within the musical vision of Daniel Rosenboom.”
— All About Jazz.com (from a review of Fallen Angeles)
“Rosenboom has composed a record that challenges and thrills the senses…a masterpiece of mood and visionary songwriting…poetry as interpreted by Rosenboom’s sweetly tuneful trumpet. Rosenboom leaps from one extreme to another, doing both with the effortless flair of someone who has mastered his craft and isn’t shy to show it off.”
— JazzCorner.com (from a review of Fallen Angeles)
“Unlike anything heard before. This is jazz for the 21st century.”
— Scott Yanow, author of thousands of articles for the All Music Guide To Jazz (from a review of Fallen Angeles)
“Spectacular trumpet soloing…mesmerizing…”
— BLG, Downtown Music Gallery (from a review of Bloodier, Mean Son)
“…a trumpeter whose unique voice on the trumpet and in his music is just as clear as his ability to effortlessly and intelligently communicate his passion for all the forms of music that he’s combined in his own.”
— Rachel Cantrell, The Jazz Post (from a live review of The Daniel Rosenboom Septet)
“Daniel Rosenboom’s trumpet and electronics tour de force Evolution caputres all the gravity of ’70s prog rock with a dramatic flair of Freddy Mercury -proportions…Rosenboom goes for the jugular both rhythmically and melodically, running through time signatures like a box of Kleenex at an AA meeting.”
— Randy Nordschow, New Music Box (from a review of Bloodier, Mean Son)
Check out some great reviews of Fallen Angeles:
From the San Diego Reader:
“After the monstrous Jeff Kaiser Ockodektet concert on Nov. 19, I was chatting with trumpet virtuoso Daniel Rosenboom, telling hime how much I enjoyed his work on some of Vinny Golia’s latest recordings, when he alerted me to his own brand new release on the Nine Winds label, Fallen Angeles.
You might have heard Rosenboom’s name already, (well, maybe not if you’re reading this column), he’s been on tour with pop superstar, Josh Groban, even getting a solo feature on “Broken Vow.” Now he’s back in LA, scratching out a living, playing music of a decidedly different calling.
As if there were any doubt, Fallen Angeles is a compelling indicator that Southern California has become a touchstone community of forward thinking improvisers.
Rosenboom’s carefully constructed septet is a fascinating blend of youth and experience — and a sumptuous mix of rich sonorities as well. He has enlisted the contributions of his father David Rosenboom on piano, and his frequent employer Golia on contrabass saxophone and alto flute.
Gavin Templeton on alto saxophone and flute and Brian Walsh on bass clarinet and baritone saxophone complete the reed section, while the rhythm chairs are ably manned by the thick-toned Sam Minaie on double bass and the explosive Caleb Dolister on drums.
The disc begins with the furious fanfare of “Idealogy,” where the horns weave together wickedly intricate lines and cardiac arrest pedal tones over David Rosenboom’s Cecil Taylor like piano clusters. It should be noted that the senior Rosenboom served in Anthony Braxton’s ’80s ensembles, a definite feather in his cap, and perhaps some subliminal influence on the music here.
When the music draws down into “straight” time playing, Templeton peals off a cool-as-cucumber solo, yielding the floor to the leaders concise appeal.
“Fallen Angeles” opens with a dark piano/bass ostinato over which the winds play long, drawn textures while Rosenboom’s trumpet and Templeton’s alto exchange ideas. Walsh enters with a chocolaty bass clarinet turn that explores deep tones and screeching forays into the upper register.
Throughout this disc, the talents of Rosenboom the composer/arranger cannot be overstated. This melody is expansive and dramatic and it all brims with creativity. Imagine Charles Mingus or Oliver Nelson, born in the ’80s and brought up on the Art Ensemble, and you get the idea.
“Confrontation” is almost more of a description than a title. The whole ensemble engages in a start/stop, push/pull dynamic that eventually yields to Minaie’s fleet fingered “power-walking” over the roiling explosions of Dolister’s drums. They manage to pack a lot of music into its 2:54 time frame.
“Fury” begins with Golia’s gargantuan Tubax (custom made contrabass saxophone), and Minaie’s double bass laying down a sinister foundation that Rosenboom and Templeton wail over. Golia takes over, and he sounds like the lead soloist in Satan’s big band, or, maybe Charlie Parker on the foghorn.
From the subtone morass, Rosenboom surfaces with a tart and crystal clear exploration that spews rapid fire articulations from his abdomen into the stratosphere. Rosenboom is a supremely melodic improviser — whatever the context, he creates dynamic themes from scratch that always bear the contours of carefully written material.
David Rosenboom begins “Elation” with an elegiac piano solo, demonstrating his equal facility with inside and outside material. Suddenly it morphs into a wild, machine-like bass line that springs all of the horns into action.
The album finale, “While She Slept,” is a gorgeous portrait with an aching melody — complete with a compelling “hook,” it’s the kind of piece so universal, it should appeal to fans of Groban and Golia, or any other human being with ears and a heart.
Fallen Angeles is that rare mix of uncompromising material that is somehow completely accessible. Seek it out — it’s highly recommended.”
- Robert Bush, San Diego Reader
From All About Jazz:
“There is a filmmaker lurking within the musical vision of Daniel Rosenboom. It’s no coincidence that Rosenboom’s newest album, Fallen Angeles, is named after Los Angeles. After all, what city is more attached to the cinematic world than Hollywood, L.A.’s famous district? But the L.A. that Rosenboom sees isn’t the sunlit, starry-struck paradise of people’s imaginations. Rather, it’s the darker side of L.A., an enigmatic town of broken souls, punctured dreams, and buried secrets. In other words, it’s the L.A. that has fueled countless pulp fiction, and Rosenboom illustrates every sordid mile of it with the shadowy presence of his trumpet.
“The title cut summarizes what Rosenboom is trying to achieve here, which is to create a movie for the mind, one with an unspoken narrative crawling through the forbidden back alleys of L.A. Caleb Dolister’s spectral drums heighten the track’s ominous vibe as Rosenboom’s sullen trumpet sets the stage. There is a heaviness in the air despite the music being relatively quiet.
“Rosenboom is keenly aware that being subtle and mysterious is often more effective than an in-your-face attack. However, when Rosenboom and his group do raise the volume level, it’s like lighting fireworks. For example, on the opening tune, “Ideology,” Rosenboom and his band blow the roof from its foundations. Rosenboom’s roaring trumpet, Sam Minaie’s throbbing bass lines, and the blue smoke of Gavin Templeton’s saxophone build a whirlpool of sound. A versatile trumpet player, “While She Slept” unveils Rosenboom’s hopeless romanticism, delivering a slow dance of incandescent beauty.
“Currently on tour with Josh Groban, Rosenboom’s talents are now being exposed to massive crowds, but Fallen Angeles gives listeners the opportunity to eye his own artistry in an intimate setting, one that illuminates a room when the lights are knocked out.”
- All About Jazz.com
From Cadence Magazine:
“Daniel Rosenboom is emerging as one of the strongest trumpeters from a particularly strong crop of West Coast-based players (including Kris Tiner and Jeff Kaiser). He’s been working with players such as Harris Eisenstadt (before his migration back to the East Coast) and is a member of Vinny Golia’s sextet. Additionally he’s been working in a number of bands including Plotz (a group influenced by Balkan folk rhythms) and The Industrial Jazz Group. Rosenboom seems to have a healthy interest in a number of musical situations.
“Fallen Angeles (1) is Rosenboom’s third album (the second to be released on Vinny Golia’s estimable Nine Winds imprint) and his most accomplished work yet. Rosenboom’s technical abilities on the trumpet have been evident since his first recordings. Here he comes into his own as a composer, and he’s given his septet some interesting material. “Ideology” comes charging out of the gate with tricky circuitous lines, abrupt starts and stops, well-placed explosions placed in the players’ path. It’s a great way to open a disc and wonderful to hear Golia’s tubax (a bass saxophone) roaming around underneath all the mayhem. The title track is a quiet, misterioso piece with an oblique lengthy melody line snaking throughout. “Confrontation,” with its insistent jabbing theme, imprints the music with an aggressive almost punkish stance. “Transformation” is perhaps the highlight of the disc—and where Rosenboom takes full advantage of his ensemble. His voicings are attractively translucent, somewhat reminiscent of Gil Evans. It’s a remarkable piece that suggests it might be nice to hear Rosenboom writing and arranging for larger ensembles.
“The group is well-chosen. Saxophonist Templeton and the rhythm section of Minaie and Dolister are frequent collaborators with Rosenboom. Additionally, he’s included two people who are presumably mentors in his music: David Rosenboom on piano (his father, a contemporary composer of note, dean of Cal Arts Institute, and a former pianist in Anthony Braxton’s ensembles of the early ‘80s) and Golia on tubax and flute (reed master extraordinaire and a prime instigator on the Los Angeles creative music scene). This mix of younger and older players blends well and they have a lot of interesting material with which to work. Fallen Angeles is another indication of a thriving creative music scene based in L.A. And it points to a player with a wealth of potential ahead of him.”
- Robert Iannapollo, Cadence Magazine
New album from Daniel Rosenboom unreels with explosive imagination
“The Los Angeles that Daniel Rosenboom illustrates on his latest album, Fallen Angeles, is a ghost. They’re portraits in spectral black and white, a collection of film noir images that unreel with barely contained vigor and explosive imagination.
There’s a lot to absorb here, both sonically and intellectually. Rosenboom is uncompromising in his artistic vision, refusing to settle for commercial accessibility. But the payoff is there on a creative level as Rosenboom has composed a record that challenges and thrills the senses, earning a significantly longer shelf life.
The album kicks off – literally – with the stomping rhythms of “Ideology.” Those who wrongly believe that jazz isn’t capable of conjuring a windstorm as destructive as any rock band will be silenced by this cut alone. Rosenboom’s wonderfully unruly trumpet, Sam Minaie’s pulsating bass, and Gavin Templeton’s soaring sax throw a party that refuses to slow down; it’ll take your breath away. Rosenboom offers a respite from the muscle flexing with the title track immediately after it. A masterpiece of mood and visionary songwriting, it creeps into the subconscious. Rosenboom’s cinematic playing is drenched in foggy atmospherics; the cut has a seedy, sullen feel to it that captures the ominous undertow of L.A. life.
Rosenboom never strikes a false note; there is no filler on the album. On “Confrontation,” Rosenboom engages in a friendly gladiatorial bout with Templeton on his alto sax, and the sound is spectacular, especially with the breakbeat touches. Rosenboom saves the best for last with “While She Slept.” There are no musical heroics here; rather, it’s poetry as interpreted by Rosenboom’s sweetly tuneful trumpet. Rosenboom leaps from one extreme to another, doing both with the effortless flair of someone who has mastered his craft and isn’t shy to show it off.”
An independent review of Fallen Angeles by Scott Yanow:
“Pop fans who may know of Daniel Rosenboom because of his recent touring with Josh Groban have a lot to discover about the talented and adventurous trumpeter and composer. Although primarily a jazz performer and writer, Rosenboom has very wide tastes in music, ranging from traditional folk music from a variety of countries to contemporary classical music, hip hop and electronics. But one would expect that from a performer who has led the gypsy jazz-metal band Plotz!
Fallen Angeles has nine of Rosenboom’s originals performed by a particularly intriguing septet. The group consists of two horns from the upper register (the leader’s trumpet and Gavin Templeton on alto and flute), two low horns (Brian Walsh on bass clarinet and baritone and Vinny Golia on alto flute and the remarkable tubax), and a highly intuitive rhythm section comprised of pianist David Rosenboom (Daniel’s father), bassist Sam Minaie and drummer Caleb Dolister.
Throughout these unpredictable and often-cinematic performances, the individual improvisations are a natural outgrowth of Rosenboom’s arrangements-compositions and vice versa. While each of the musicians has spots along the way to solo, most memorable are the colors of the ensembles, the many moods that are explored, and the pure adventure that is a consistent part of the music.
To name a few highlights, “Ideology” has some wild playing with Golia’s monstrous tubax in the lead and a bit of Ornette Coleman-inspired alto from Templeton. A mysterious rhythmic pattern is felt throughout “Fallen Angeles.” The next five pieces form a suite. “Meditation” uses long tones as the basis for a performance that gradually becomes somewhat furious. The uptempo and passionate “Confrontation” and a slow-burning “Fury” (which has some dramatic playing by Golia), precede the bluish “Transformation” (with Walsh’s bass clarinet in the lead). “Elation” concludes the suite with a thoughtful if sometimes driving feature for pianist Rosenboom. Templeton’s wailing alto helps “Espionage” sound like a spy drama, and finally the leader’s trumpet is showcased on his ballad “While She Slept.”
Throughout Fallen Angeles, Daniel Rosenboom’s writing and the sound of the ensemble is unlike anything heard before. This is jazz for the 21st century, an impressive effort well worth several listens.”
- Scott Yanow, author of ten books including Trumpet Kings, Jazz On Record 1917-76 and Jazz On Film