Scott Rosenberg

Scott Rosenberg Quartet: Blood

by Derek Taylor
October 22, 2004

The perils of pedantry and self-righteousness have toppled more than a few pairings of music and politics. Saxophonist Scott Rosenberg seems cognizant of these dangers. The liners of his new CIMP album are infused with political indignation, but he wisely refrains from allowing these emotions to hijack his music. Instead, the targets of his ire--specifically the Bush Administration and its continually accruing gaffes--receive a sound admonishing through the subtle verities of nine lyrics-free compositions. The acronym-like titles are never explained.

Scott Rosenberg: Creative Orchestra Music Chicago 2001

by Rex Butters
September 6, 2004

Scott Rosenberg tickles, soothes, and bashes chaos with six performances by a 26 piece ensemble that knows how to rock and stare. Invoking demons like Braxton, Stockhausen, Cage, and Leo Smith begs for trouble--and trouble includes Kyle Bruckmann, Jeb Bishop, John Shiruba, Kyle Hernandez, Tim Daisy, and Jim Baker, to name a few. Rosenberg has his own well thought out ideas on how experimental composition and free improvisation should get along on a date, and these sessions demonstrate how much ...

Scott Rosenberg: Creative Orchestra Music, Chicago 2001

by John Kelman
December 18, 2003

What do you get when you combine the microtonality of Ligeti and Feldman, the atonality of Stockhausen, and the improvisational impetus of Anthony Braxton, Leo Smith and Muhal Richard Abrams? Composer Scott Rosenberg provides a clear answer with Creative Orchestra Music, Chicago 2001 , a challenging album of new music.

While precedents exist for this kind of work, most notably Braxton's Creative Orchestra Music 1976 and selections by the Globe Unity Orchestra, Rosenberg demonstrates a willingness to forego the jazz ...

Scott Rosenberg's Red: Owe

by Glenn Astarita
April 18, 2002

Chicago-based saxophonist/composer Scott Rosenberg possesses the necessary goods to become a major force in the progressive jazz arena! The proof lies within the frameworks applied on this excellent outing. Rosenberg, performing on tenor sax throughout, grapples with the avant-garde in spots, yet conveys an intriguing compositional style which coincides with the artist's hot n’ spicy soloing endeavors. A onetime student of the eminent composer/multi-woodwind great, Anthony Braxton, Rosenberg’s linear themes elicit notions of a group that is venturing into an ...

Scott Rosenberg: V: Solo Improvisations

by AAJ Staff
April 1, 2001

In the tradition initiated by Albert Ayler, the saxophone became a direct, hardwired extension of the human body--rather than an instrument constructed to obey external rules. Scott Rosenberg expands upon this idea on Solo Improvisations by playing notes that completely defy conventional assumptions of tone and order. His real talent, pursued at length here, is in the use of so-called “extended techniques" as a musical medium. The only formal commonality among the open-ended rumbles, pops, squeaks, and whistles on Solo ...