Ben Rosenblum Nebula Project: Kites and Strings
One Trick Dog

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. Helping to distinguish the recording is the prominence given accordion, Rosenblum having developed proficiency on it through private study and performance opportunities (e.g., subbing in the pit for Fiddler On the Roof). Learning the instrument also expanded his awareness of other styles, including South American, Romanian, and Irish music, traces of which emerge on the album.

When his debut Instead arrived three years ago, it garnered attention for high-level trio playing featuring drummer Billy Hart and bassist Curtis Lundy; arriving a year later, River City provided a fine follow-up, this one featuring bassist Kanoa Mendenhall and drummer Ben Zweig. Mentors such as pianists Roy Assaf, Bruce Barth, Frank Kimbrough, and vocalist Deborah Davis also proved pivotal in nurturing Rosenblum's development. Zweig joins him on this Nebula Project debut, along with trumpeter Wayne Tucker, guitarist Rafael Rosa, tenor saxophonist Jasper Dutz (bass clarinet too), and bassist Marty Jaffe; vibraphonist Jake Chapman, trombonist Sam Chess, and pianist Jeremy Cohen also make guest appearances. If the rhythm section seems especially tight, it's not only due to the musicianship of the leader, Jaffe, and Zweig, it's also because the three compose Rosenblum's working trio, a unit that's performed at home and abroad for years.

“Cedar Place” opens Kites and Strings with a joyful splash, Tucker and Dutz leading the charge and the leader powering the vamp on piano and sweetening it with accordion. Conceived as a tribute to Cedar Walton, the performance sets the bar high for what follows when the sextet executes the tune's bop-swing so fervently. Even at this early stage, it's clear Rosenblum's surrounded himself with collaborators of exceptional talent. Other colours emerge in the title track, its relaxed sultriness elevated by vibes-and-accordion counterpoint and a melodic line that subtly recalls Bernstein's “Somewhere,” itself treated to an affectionate, Tucker-enriched rendering on the release.

“Halfway to Wonderland” shows Nebula Project is as adept at tackling elegant, small-group jazz as any other style on the album. A mid-song piano trio episode offers a taste of what Rosenblum, Jaffe, and Zweig would get up to on their own, while Dutz otherwise marks the performance with an inspired bass clarinet turn. Originally intended for violinist Benjamin Sutin's klezmer jazz combo Klazz-Ma-Tazz, “Fight or Flight” sounds tailor-made for Rosenblum's outfit in a spiritedly rollicking performance.

November 2020