laidback charmer marked by the season's juiciest grooves."
addictive. It's hard for me to comprehend that a 'music lover' (however that
might be defined) wouldn't like this. Roseman and his band have set forth a
mighty album. Let the ideas keep flowing. "
-Aiding and Abetting Magazine
more we spin this one...the better it sounds... (Rating: 5)"
draws from the past to probe the future."
-George Varga, San Diego Tribune
Roseman has recorded and toured with the creme de la creme of progressive
modern jazz: Dave Holland, Dave Douglas, Steve Coleman and Don Byron, to name
but a few. Yet his upcoming New Constellations draws major inspiration from one
of the founding fathers of ska, the visionary late trombonist Don Drummond, and
is deeply rooted in early 1960 s Kingston, Jamaica. Roseman (whose mother is
Jamaican), began conceptualizing the New Constellations band after touring and
recording with ska pioneers Tommy McCook, Roland Alphonso and the Skatalites,
requiring a total immersion in the trombone legacy of maestro Drummond.
reflects, "When we played Jamaica, you could hear forty-year old classic
Drummond tracks blasting across the countryside on any night of the week. You
got a clear sense of what this music meant for the people. Drummond is a Jamaican folk icon, comparable
to few trombonists anywhere else. His open, eccentric phrasing, anthematic
melodies and intuitive approach resonated with Roseman. He explains: "Don
transcends the instrument, comparable to Tommy Dorsey, JJ Johnson, Jack Teagarden,
Fred Wesley, Barry Rogers here in the US. Tapping into his sound has given me
another connection to my roots and has opened up another channel into the
horn." New Constellations, however, is no retro recreation project.
Roseman's arrangements and the stellar players of the CONSTELLATIONS
reinterpret Drummond's works and push them into open territory, employing
classic dub, modern electronica and the full complement of modern jazz methods
along the way. This music breaks new ground for a live album and reflects a
subversive creativity both onstage and in the studio.
ska program is further balanced by Roseman's ambitious originals, which draw
from his vast experierience with the finest composers and conceptualists in
jazz today. The CONSTELLATIONS' front line unites Roseman with celebrated
multi- instrumentalist Peter Apfelbaum and young trumpet master Ambrose
Akinmusire (Herbie Hancock, Vijay Iyer). These three horns bring big sounds and
a fresh and committed viewpoint to the material, making the band sound
startlingly expansive. The rhythm team includes Jonathan Maron (bass) and
Barney McAll (keys,) an alliance that began with Roseman with NY funk/acidjazz
pioneers the Groove Collective, continuing thoughout Europe and the US with
Roseman's future-funk ensemble, the JRU. They are equally comfortable providing
muscle in sweaty dance clubs and creating intricate electronica tapestries on
the concert stage. McAll has a delicate touch on acoustic piano, and his
arsenal also includes tape-delayed melodica, amplified music boxes, a
wide-ranging lo-fi sample library and whatever else that may be on hand. Justin
Brown is a young drum master in NYC, one of the freshest, most audacious new
voices around. A true next-generation player, he's at the center of the CONSTELLATIONS'
continually-evolving group sound.
current projects continue expanding the adventurous territory staked out by his
first two CDs. Roseman's debut as a leader, Cherry (2001), was a study in
interlocking opposites, ingeniously finding common ground between American Top
40 pop culture and the avant-garde. Inspired by Roseman's mentor, the late
Lester Bowie, who played on the recording, Cherry funks the Beatles, Bacharach
and Nirvana and rides Sun Ra to the outer cosmos. Next came Treats for the
Nightwalker (2005), on which Roseman continued his extended adventure along the
frontiers of hip hop and jazz fusion with a sprawling ensemble. With the
release of New Constellations, Roseman is poised to gain an even wider
audience, to earn and redeem more of that hard-earned coin of listener trust
and respect. Whatever the elements Roseman melts into his pot, he works on the
highest level of skill and creativity. There are plenty of surprises and nary
an unmusical moment.
JOSH ROSEMAN Josh is a young road and studio veteran, having recorded fifty to
sixty albums as a sideman. He's toured and/or recorded with Steve Coleman, Dave
Douglas' Sextet, Dave Douglas' Witness, the Dave Holland Big Band, Don Byron,
Lester Bowie's Organ Ensemble, Lester Bowie's Brass Fantasy, Joey Baron's Baron
Down, John Zorn, Uri Caine's Mahler Ensemble, Joshua Redman & the SFJAZZ
Collective, Oliver Lake, Ron Blake, Illinois Jacquet, Steve Turre's Sanctified
Shells, Peter Apfelbaum's Heiroglyphics, the Jazz Passengers, Freddie Hubbard
and the New Jazz Composer's Octet, Michelle Rosewoman among others. He's worked
in NYC with the Saturday Night Live band, the McCoy Tyner big band, David
Murray, Javon Jackson, Sex Mob, the Mingus Big Band and so on. Roseman is
perhaps even better known for his work on the "prog groove" scene,
touring or recording with Medeski Martin and Wood, Soulive, Me'Shell
Ndegeocello, Charlie Hunter, Cibo Matto, PHISH's Mike Gordon, the Brooklyn Funk
Essentials, Sean Lennon, Dead Prez, the Roots, the Skatalites and the Groove
Collective, of which he was a founding member. Roseman is very active as a
bandleader- His primary ensemble, the Josh Roseman unit (JRU) has toured
extensively throughout the US and Europe.