12.7.11 Slumgum + Daniel Rosenboom Septet @ Royal/T

Angel City Arts presents
WEDNESDAY DECEMBER 7, 2011 8PM
SLUMGUM + DANIEL ROSENBOOM SEPTET
8910 Washington Blvd. Culver City, CA, 90232  |  310.559.6300  

SLUMGUM @ 8pm

“After hearing them in Aspen this past summer, NJMH Directors Loren
Schoenberg and Christian McBride agreed that Slumgum was a brilliant
band … we were both knocked out by their originality and artistry. We
decided right then and there to bring them to NYC as soon as we
could.” –Christian McBride and Loren Schoenberg, National Jazz Museum in Harlem

“[An] energized crowd is expected to be on hand for this weekend’s
performance at ArtSpace 404 by Slumgum, an outstanding risk-taking
jazz quartet from Los Angeles which calls to mind Wayne Shorter circa
Speak No Evil fronting the Art Ensemble of Chicago … A sense of
constant discovery runs through the quartet’s songs; their soloing is
masterful, their veneer metropolitan and their technical prowess
top-notch.” –Gabe Meline, North Bay Bohemian

“Try standing on top of your desk. the new perspective will make
things you’ve seen a million times seem fresh.  L.A.’s Slumgum has the
same effect, creating expressive compositions you thought you knew
well, but then taking it somewhere else.  Of course, experimental jazz
is largely about the talent behind each outrageous noise, and, here,
the drums and bass can barely tether Jon Armstrong on the tenor sax or
Rory Cowal on the piano.  Listless wandering leads to a blazing
overflow of sound, as if the whole band is playing harmoniously to a
wild and atmospheric solo, and each measure can feel a world apart.
With elements of Miles Davis and world music, like Russian polka, try
to hold on for the ride.” –Jonathan Lopez, Good Times Santa Cruz

“Slumgum is a jazz quartet from L.A. with a name that only a beekeeper
could love.  The young group’s sophisticated, elegant blend of modern
classical music and avant-garde jazz belies its icky moniker.  The
members formed Slumgum when they met as students at the Herb Alpert
School of Music at CalArts.  However, expect the band to sound more
like the Art Ensemble of Chicago than the trumpeter who gave us
Whipped Cream (and Other Delights). “Minuet in G” is an example of the
group playing with contemporary classical conventions; the short song
quickly unravels into dissonance before the band members reel it back
in with restraint and a hint of melody.  Slumgum isn’t afraid to
embark on a free form jazz odyssey, as evidenced by the monumental
“Long Shadows” that’s just shy of 20 minutes.  The song’s length
allows each of the members of Slumgum to make some bold moves—in
particular, finishing the song with a harmonized vocal chant.” –David Dunlap, Washington City Paper

“The California quartet Slumgum has a unique approach to genre and
technique: they blend jazz and contemporary classical music in a way
that beautifully muddies the boundaries between composition and
improvisation … Slumgum’s daring ‘a little bit of this, a little bit
of that’ technique results in a sound that’s rich, compelling and,
most of all, pure.” –Sophie Gandler, http://www.beaconpass.com

“[Slumgum] produced a vital and exciting mix of jazz, improv and
contemporary classical music. As I watched and listened to these four
young men (they appear to be in their mid-to-late twenties), I grew
more and more mesmerized not only by their music but by the process of
their collaboration and the immersion it required, all of which was
evident on the stage. A subtle interplay of signals they’ve worked out
over their three years together brought a wild freshness to the sound
and a sense of courtesy to their presentation. Their faces and bodies
were rapt in the music. Crescendos and solos were vivid, creative and
emotional. Transitions were seamless and quietly serene, a languid and
long drawn-out note on the sax or bowed on the bass bringing time and
attention to a change, without a beat lost. Hearing this gave me a
sense of the scope of their improvisation and the flexibility, skill,
talent and trust it took to create serious music that didn’t feel a
bit improvised. I am stunned again now remembering their solo riffs
and the incredible vitality of their skill and talent—seeing fingers
flying over keys, strings and stops, and the unusual and empowering
drumming—jazz that made something lurch spontaneously inside me and
spurred the plainly feeble response of applause. It is the mix of
practiced skill and the confidence they showed in their music, the
trust they had in their process that impressed me as a writer. I saw
the confidence and trust on that stage and how it allowed the
musicians to leap at the subtlest of hints toward the next
direction—the confidence in their skill brought on by years of
practice, the trust born of playing together for three years and
paying attention to one another’s signals. I haven’t three other
musicians to challenge me into the unknown at my keyboard, but I would
do well to apply the same principles to my work. Thank you Slumgum,
for the inspiration.” –Eugenia Kim, http://www.redroom.com

“One of LA’s most compelling jazz groups” – http://www.socalcreativemusic.blogspot.com

“[Slumgum’s music] rolled over the now-packed club like a menu of ever-
changing clouds … the result ebbed and flowed like fog coming in from the
beach, then dissipating to reveal a fresh layer of cloud cover above. Whether
meshing in ensemble play or laying back to give someone space to solo,
Slumgum was superb—and quite magical. What came to mind was that their
approach referenced the deep coolness of West Coast jazz sounds from the
’50s—Dave Brubeck, Chet Baker—while adding a lot more fire and flair. If jazz
improv is a group of people collaboratively levitating an object above the
audience’s heads, Slumgum managed to fly a saucer into the room. The group
will return next month for the In the Flow Festival, a don’t-miss event.” –Jackson Griffith, Sacramento News & Review

“Nice players … solid compositions, concepts, and solos” –Brick Wahl, LA Weekly

Slumgum website 

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

DANIEL ROSENBOOM SEPTET @ 9:30pm

“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

“Spectacular trumpet soloing…mesmerizing…” – BLG – Downtown Music Gallery

“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

Daniel Aaron Rosenboom  is a creative trumpet artist, improviser, composer, and record producer who seeks break musical boundaries by fusing styles in new and inventive ways. By combining the sounds of creative improvised, contemporary classical music, rock, metal, hip-hop, jazz, experimental electronic, and traditional folk music from the Balkans, North India, and Middle East, he has created a brand of indefinable and hair-raising music.  For his compositions, he has been recognized with grants and awards from ASCAP, the Yvar Mikhashoff Trust for New Music, the American Composers Forum, and the Meet the Composer foundation.

In 2006, Rosenboom released his debut solo CD, Bloodier, Mean Son, which features world-premiere recordings of new works for solo trumpet and electronics, on Nine Winds Records.  In 2007, his gypsy-jazz-metal band, PLOTZ!, released their debut CD, Extraordinary Renditions, and in early 2008, his improvising experimental-jazz-metal band DR. MiNT released their debut album, Visions and Nightmares, on the pfMENTUM label.  In early 2009, Rosenboom released his own Book of Riddles, as well as PLOTZ!’s Live 2008, and DR. MiNT’s A New Symphony on SNP Records.  In 2009, Rosenboom was featured on his father’s album, How Much Better If Plymouth Rock Had Landed on the Pilgrims, both as a performer and co-producer.  In 2010, PLOTZ! released their highly anticipated 3rd album, The Kid, and Rosenboom was featured on Vinny Golia’s Octet album, Low and Inside: Music for Baritone Saxophones, and in 2011 The Daniel Rosenboom Septet released its debut album Fallen Angeles, featuring Daniel’s original compositions on Nine Winds Records.

He has appeared as a soloist and collaborator on festivals and in recitals at the International Trumpet Guild’s annual conference, University of York, England, the Royal Scottish Academy of Music and Drama, the La Mama Theater in New York City, at REDCAT (Roy and Edna Disney CalArts Theater), the Walt Disney Concert Hall in Los Angeles, the Bimhuis in Amsterdam, California Institute of the Arts, the Eastman School of Music, the Hague Jazz Festival, the Midpoint Music Festival, Sounds Like Now: Interpretations at 15, the Aspen Music Festival, Music Academy of the West, the Chosen Vale and Lake Placid Trumpet Seminars, Idyllwild Arts and Interlochen Arts Academy.  With orchestras and chamber ensembles, he has appeared on such stages as Walt Disney Concert Hall, the Berlin Philharmonie, Opera City in Tokyo, the Hollywood Bowl, and in music festivals all over the United States.

He plays regularly with The Daniel Rosenboom Septet, PLOTZ!, DR. MiNT, and the Vinny Golia Sextet, and is a member of the Industrial Jazz Group, Killsonic, Orkestar Mezé, Robby Marshall’s RootSystem, and GG’s Concert NineNet.  As a free-lance artist in Los Angeles, he has recorded for and been heard on ABC, ESPN, BMG, Killer Tracks, Paramount, Poobah Records, Nine Winds Records, 105.1 KMZT, and has played with such groups as the Los Angeles Philharmonic, Rochester Philharmonic Orchestra, Syracuse Symphony Orchestra, Philharmonie der Nationen, the New Century Players, the Los Angeles Valley Master Chorale, the Asia America Symphony Association, the Peninsula, Westchester, and Carson Symphony Orchestras. Other projects and collaborations include the Heidi Duckler and Collage Dance Theatre, Wadada Leo Smith’s Silver Orchestra, Vinny Golia Large Ensemble, the Los Angeles Trumpet Quartet (with John Fumo, Jeff Kaiser, and Kris Tiner), VR with guitarist David Veslocki, Irmin Schmidt from CAN, the Grande Mothers of Invention, Kai Kurosawa, Brad Dutz, Harris Eisenstadt, Markus Stockhausen, Sandeep Bagwhati, Pavel Novak, Matt Mayhall, Antony DiGennaro, Björkestra, and many others.

Daniel studied at the Eastman School of Music with master pedagogue James Thompson for his Bachelor of Music Degree. He also holds a Master of Music degree from UCLA where he studied with international trumpet virtuoso, Jens Lindemann, and a Master of Fine Arts degree from the California Institute of the Arts where he studied with Edward Carroll, Vinny Golia, John Fumo, Wadada Leo Smith, Miroslav Tadic, and Larry Koonse.  Other mentors have included Rosalina Sackstein, Roy Poper, Mark Gould, Markus Stockhausen, Thomas Sevens, Stephen Burns, and Gabrielle Cassone.

Daniel Rosenboom website

Royal/T website

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: