The Free Jazz Collective: Daniel Rosenboom

Photo by Kathryn Nockles

What is your greatest joy in improvised music?

For me, the greatest joy in improvised music is The Unknown. The simple fact that you are in a situation that has no pre-planned trajectory, no road map, allows for total alertness. It’s almost like the thrill of surviving in the wild. All of one’s life experience, both as a musician and as a person, is brought to the table, and necessary to the pursuit. In its greatest moments, this alertness, immediacy, spontaneity, and dedication can lead to spiritual transcendence — moments where one is no longer aware of their corporeal constraints, and one feels a connection with the wider flow of universal energy. Those moments are often fleeting, but I think the pursuit of that experience, especially collectively with other musicians, is what keeps many of us going. It’s a meditation at the same time as being and active full body experience. It’s using everything in your being to bring something honest and expressive into the world.
What quality do you most admire in the musicians you perform with?

I admire deep ears, broad stylistic reference, fearless intuition, and an ability to see the big musical picture and how to contribute in their role to the collective musical experience. That last point is maybe to most important. Any time you perform with other people, you are in essence playing chamber music, and in chamber music a give-and-take, shared accountability for the trajectory and texture of the music is paramount. So, knowing when to lay back is as important as knowing when to step forward. When to support versus when to lead. What does the music need right now? That’s the key.
Which historical musician/composer do you admire the most?

That’s a difficult question, and it’s entirely dependent on context. I’ve spent a lot of time in a variety of musical fields, from free improvisation, to Black American Music, to commercial music, to classical chamber and orchestral music, to rock and roll, to Balkan music, to Latin music, and the list goes on. So, I have answers in each of those categories. However, one name that always jumps to mind is Frank Zappa, precisely because he too had deep interest in the breadth of musical experience and knowledge, and he was able to put all these interests into a creative, coherent, exciting, inspiring musical persona that not only produced a large amount of intelligent art, but connected with a large number of people.
If you could resurrect a musician to perform with, who would it be?

Wow, again, super difficult to answer. Maybe Elvin Jones? It’s really hard to know what it would be like performing with people from the past, because so much of performing is about personality, synergy, common experience, and instinct in addition to musical approach. But I think I would have a lot of fun playing with Elvin…I only hope he would have fun playing with me too!
What would you still like to achieve musically in your life?

Oh, so much! I’ve been getting into writing for larger ensembles, even thinking in symphonic terms — I would love to be able to write something worthy of performance by a major symphony orchestra. I would love to score films with directors/producers who are interested in taking musical risks. I would love to produce albums with artists who want to experiment with different approaches and sonic ideas. I would love to secure enough budget to tour extensively with my own band and see what consistent performing over a reasonably extended period of time could produce! So much of the time, we artists make the best thing we can with the resources available. I often wonder what I could do if resources allowed for the pursuit of any idea that contributed to the project. Who knows if it would yield better art, but I can’t help being curious!
Are you interested in popular music and - if yes - what music/artist do you particularly like?

I’m not particularly interested in pop music, and I’m definitely not aware of everything out there. But I’m always impressed by Kendrick Lamar, whenever I hear his music. In general, I admire the production aspect of pop music though. As I’ve gotten more into my own exploration of production, the intricacy and sometimes simplicity and clarity in the sonic landscape in a lot of pop music is really impressive. And I think the spectacle of “the show” is something we can all learn from. I don’t think improvised music needs to have pyrotechnics or laser light shows, although that could be really cool, but I think we can consider the setting and vibe created by ambience, lighting, etc can really enhance the musical experience for the audience. Even something as simple as bringing a few lamps for the stage, rather than just using the overhead lighting, can completely change the way an audience pays attention.
If you could change one thing about yourself, what would it be?

I would try to improve my business sensibilities. As much as I’ve tried, I just can’t seem to think like a smart business man. Art and experience always comes first for me, and I’m not particularly good and lining up the resources to realize ideas the way I’d really like. Marketing eludes me completely. I’ve read a lot, gotten a lot of advice, and I just don’t seem to be able to put it into practice in a way that really turns artistic investment into income. Who knows…there’s still time, I suppose.
Which of your albums are you most proud of?

That’s really hard to say. Each has been a unique process and challenge to overcome. I suppose it depends on what you mean by “proud of.” I’m really proud of my younger self for making the decision to write and record my own music, so I think in those terms, I’m really proud of “Fallen Angeles” (2011), which wasn’t my first release or my best album, but it was one where I fought through some personal difficulties to make it and it was the one where I feel like I started to land on “my sound,” whatever that means. In terms of milestones, I’m really proud of “Absurd In The Anthropocene” (2020), which featured many of my musical heroes in a really amazing cast of musicians, as well as some really exciting music and fantastic production. In terms of my own playing and ensemble playing, I’m really proud of my most recent release “Polarity” (2023), and in terms of my own compositions, I’m most proud of the one I’m working on now that hasn’t been released yet! Hahahaha!
Once an album of yours is released, do you still listen to it? And how often?

Almost never. Usually by the time it’s released, I’ve heard it so many times through creation, mixing, and obsessing on details, I’m not really compelled to listen more. Also, I’m always trying to move on to something new and different, and if I listen to the previous project, I feel like I’m not moving forward.
Which album (from any musician) have you listened to the most in your life?

Oh man, it’s gotta be a tossup between Nirvana’s “Nevermind” and Soundgarden’s “Superunknown.” Those two records were among the first CDs I bought with my own money, and I still love them!
What are you listening to at the moment?

At the moment, I’m not listening to anything particularly closely - I go through phases of listening and working on my own compositions, and when I’m working on my own music I tend not to listen to a lot of other stuff. However, over the last few years I’ve been mostly paying attention to the music my friends and colleagues make, as well as others I haven’t met but greatly admire from our wider community. So, when I see them release or share music, I try to listen to that right away. A few shoutouts to some musicians whose releases I always try to check out: Peter Evans, Steph Richards, John Escreet, Billy Mohler, Steve Lehman, Ambrose Akinmusire, Tyshawn Sorey, Mark Shim, James Brandon Lewis, Jeff Parker, and many many others.
What artist outside music inspires you?

So so many. But right now, I’m particularly interested in film directors who have distinctive vision. I really like the individuality and grand scale directors like Denis Villeneuve, Alejandro Iñaritu, Christopher Nolan, Ridley Scott, Martin Scorsese, Yorgos Lanthimos, Ari Aster, Robert Eggers, and many others bring to the screen. Each of them have a totally unique style, and don’t feel like anyone else. And I think what I find really inspiring about their work is how much detail and care permeates every aspect of their projects. I’ve always been a film fan, and I feel like they represent some of the modern vanguard of cinema. And thinking cinematically helps me to imagine creating worlds with sound and music.

Daniel Rosenboom on the Free Jazz Blog:

The Free Jazz Collective

Sunday, August 25, 2024

Daniel Rosenboom - Sunday Interview

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