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Michele Rosewoman

About Me

MICHELE ROSEWOMAN Pianist/Composer/Educator www.michelerosewoman.com

“No other pianist-composer in jazz brings the music of the African diaspora together quite like Michele Rosewoman. Simply put, she's one of the most creative and fully realized jazz artists on the scene today.” CD NOW ​ Michele Rosewoman, a vanguard and pioneering artist in her field, creates a distinct musical experience by digging deep into her vast reservoir of acoustic modern jazz, sophisticated funk, dynamic electric fusion and elements of Cuban folkloric music. Her command and rich vocabulary elegantly expands the horizons and boundaries of jazz while remaining firmly rooted in tradition. With a more than 40-year history, Rosewoman stands out in her class as a visionary pianist, composer, educator, bandleader and gifted performer. Background Ms. Rosewoman’s musical growth took root in Oakland, California where she began playing piano at age six in a home full of music, art and politics, providing an important foundation for the expansion of her knowledge and artistic concepts. She studied jazz with the great pianist / organist, Ed Kelly to whom she further attributes her traditionally rooted but wide-open vision of music. Studies in percussion led her to avidly explore Cuban folkloric idioms with an emphasis on the ritualized, spiritual aspects of the music. These early explorations profoundly impacted Rosewoman’s musical direction with a pervasive influence on the formation of her sound as a pianist and composer. Before moving to New York in 1978, Rosewoman performed with her own ensembles at venues on the West coast such as the renowned Keystone Korner and the Bumbershoot Jazz Festival. She also performed with Julian Priester, Julius Hemphill, Butch Morris, Baikida Carroll, Oliver Lake and other jazz innovators. In New York, she formed new ensembles and continued to present her music with New York-based jazz masters and collaborators. In her debut recording as a leader, THE SOURCE (Soul Note/1984), DownBeat likened Rosewoman’s radiance and ingenuity to that of Charles Mingus. With her maiden voyage on record, she distinguished herself as both a talented player and a composer of unique vision. This heralded her rise and reputation as one of the most ingenious and prolific bandleaders of her generation in a male-dominated field. Rosewoman went on to perform with notable New York-based jazz artists Jimmy Heath, Freddie Waits, Billy Hart, Billy Harper, Reggie Workman, Oliver Lake, Julius Hemphill, James Spaulding, Gary Bartz, John Stubblefield, Rufus Reid, Howard Johnson, Ralph Peterson, Billy Bang and Carlos Ward, among many others. Her very first recording was as pianist and arranger for the Cuban songo group, Los Kimy in 1983 and in the Latin genre she has performed with Celia Cruz, Paquito D’Rivera, Chocolate, Orlando 'Puntilla' Rios' “Nueva Generacion,” Daniel Ponce, Pedrito Martinez, Roman Diaz, Ernesto Gatell, Nicky Marrero, Andy Gonzales and many others. A fearless bandleader and mentor, many have cited that working with Ms. Rosewoman made an indelible mark on their artistic development as musicians, composers and bandleaders. Her Quintessence ensemble, with 5 releases to date, brings together some of the most inventive voices in jazz including Steve Coleman, Greg Osby, Gary Thomas, David Sanchez, Steve Wilson, Miguel Zenon, Steve Lehman and Mark Shim; trombonists VIncent Gardner and Robin Eubanks, bassists Kenny Davis, Lonnie Plaxico and Brad Jones, drummers Terri Lyne Carrington, Gene Jackson and Tyshawn Sorey and guitarist Liberty Ellman, while New Yor-Uba, with its uncompromised synthesis of contemporary jazz and traditional Cuban folkloric music, unites fellow master musicians from both musical worlds. She has also collaborated in depth with folklorist Roman Diaz and Morrocan world singer Malika Zarra. Quintessence 's debut recording (1987) continues to be noted as one of the best jazz recordings of the decade and a subsequent release, Guardians of the Light was described by Howard Mandel at NPR, as “spontaneous, serious and mysterious. Rosewoman and her band are jazz believers….keepers of the flame.” Rosewoman's highly acclaimed trio recordings include Occasion to Rise (with Rufus Reid and Ralph Peterson) - voted one of the year’s best recordings by six critics’ polls- and Spirit, a live trio performance at the Montreal Jazz Festival, released on Blue Note Records to rave press. A Gavin Report review stated: “Michele Rosewoman has probed many important junctures in jazz history. She's fluent in Monk, Bill Evans and Bud Powell, but her influences don't end there...she is a modern day lightning rod to the innovations of the past and the tense uncertainties of today.” The September 2013 debut release of “Michele Rosewoman's New Yor-Uba , 30 Years!” marked the 30 -year anniversary of this highly acclaimed ensemble. The National Public Radio (NPR) Critics Poll elected the 2-CD set as the #1 Latin Jazz Release of 2013 and #25 of Best Recordings of the Year. Other accolades include #14 for Best of the Year Downbeat and Jazz Times Critics Polls and one of the Best ensembles of 2013. With 4 1/2 stars in Downbeat, feature stories on NPR’s Fresh Air, the Wall Street Journal, the New York Times, Jazz Iz and Jazz Times, among many other rave reviews, the NY Times listed Rosewoman’s Dizzy's Lincoln Center CD release event as one of the Best Concerts of the Year. Through the years, Rosewoman’s innovative projects have received critical acclaim, highly coveted awards and recognitions including a recent 2021 South Arts Jazz Road Residency grant. Other highlights include major support from the National Endowment for the Arts (1983) giving birth to her New Yor-Uba ensemble (inspired by her collaboration with the late Orlando “Puntilla” Rios); an ASCAP/Meet the Composer Commission for Emerging Composers (1984) awarded by Dizzy Gillespie, Marian McPartland and Lester Bowie, culminating in a new work premiered by the 40-piece Brooklyn Philharmonic Orchestra plus quintet of improvisers at Cooper Union Great Hall, NYC and the Paramount Center for the Arts in Peekskill, NY; numerous Chamber Music America New Works Creation & Presentation Commissions (2015/2008/2006/2003); and a 2016 Latin Jazz Grammy award for her contribution as pianist and composer to Arturo O'Farrill's “Cuba, the Conversation Continues”. Rosewoman has presented her music and various ensembles at jazz festivals, concert halls, arts centers and jazz clubs throughout the world including the JVC, Ravinia, Atlanta, San Francisco, Chicago, D.C., Earshot, Vision, Winterfest, Montreal, Toronto, Vancouver, North Sea, Warsaw, Berlin and Paris jazz festivals, The Kennedy Center, Carnegie Hall, Merkin Hall, Cooper Union Great Hall, the Public Theater, MOMA, Museum of Natural History, Painted Bride Arts Center, Philadelphia Clef Club of jazz and Performing Arts, Yale, Harvard, New York, Stanford, Augusta and Temple Universities, University of Pennsylvania, University of Mass. Amherst, DIzzy's LIncoln Center, The Blue Note (New York & Tokyo), the Village Vanguard, The Apollo, Birdland, Jazz Standard, Yoshi's, New Morning (Paris) and the Jazz Café (London). She has composed and arranged music for and performed with groups from duos to big bands, to full orchestras. Rosewoman remains active as a grant panelist and music educator and is a current board member at Chamber Music America. She conducts educational workshops at colleges and universities throughout the U.S, teaches piano and composition privately, has held past and current positions at NYU and the New School, and serves on faculty of The Jazz House Kids in Montclair, NJ, teaching theory, piano, composition and ensemble. New Yor-Uba, “Hallowed” The name “New Yor-Uba” pays homage to the dynamic musical journey of ancient Yoruba culture from Nigeria, through Cuba to present day New York, reflecting its contemporary manifestations. A 2015-16 Chamber Music America New Jazz Works Commission for her long-standing New Yor-Uba ensemble (1983 debut) supported the development of a new work; “Oru de Oro” is a rhythmic suite anchored to a sacred sequence of rhythms known as the Oru Igbodu, where 23 Orishas are endowed with Rosewoman's distinctive musical content while displaying and integrating the mastery of featured soloists and master drummers. Featuring master folkorist/percussionist Roman Diaz, a foundational member of the ensemble since 2008, “Oru de Oro'” was recorded along with other new repertoire and “Hallowed” was released on Rosewoman's label (Advance Dance Disques) in November 2019, to stellar reviews in major publications and was chosen #3 NPR Latin Jazz Recording of the Year. Following their 2013 double disc release which celebrated 30 years and garnered the #1 NPR Latin Jazz Recording of the year award, “Hallowed” is a true continuation of Rosewoman’s in-depth exploration of sacred Afro- Cuban musical traditions and presents another exciting chapter in the now 36 -year evolution of this highly acclaimed ensemble ”... the year’s finest spirited representation of Cuban folklorist music and jazz infused with energetic notes of the African diaspora. “Hallowed” anoints Rosewoman as a griot of Cuban folklore, who carries on the tradition of pianist and composer Randy Weston.”AMSTERDAM NEWS / Ron Scott Rosewoman's sterling piano-playing makes the music burst with such fresh aplomb, sounding simultaneouslu ancient and futuristic... while her estimable piano improvisations are in service of the music, instead of simply being an exhibitionist's showcase...Her restive, percussive playing is the secret ingredient.. when the pianist's instrumental work comes more to the fore... the brilliance of her musicality shines all the more. Overall, it's Rosewoman, the superlative composer and bandleader, who reigns supreme on this near- flawless outing.”DOWNBEAT **** 1/2 John Murph ”(Rosewoman) has created a complete original musical structure that breathes as one with the bata, negotiating its rhythmic transitions, studded with harmonic innovation, well-placed improvizations, drama and even humor. Her music honors the legacies of jazz masters like Duke Ellington, Charles Mingus and Cecil Taylor as clearly as the bata serves Yoruba deities. Throughout, her distict brand of pianism- highly refined and yet, in spots, often quite daring--shines through. New Yor-Uba doesn't so much bridge traditions; rather, it reveals deep and mysterious connections that have always existed.” JAZZIZ / Larry Blumenfeld ”If there is a more satisfying group around—one with as compelling a blend of ancient and new, of earthiness and urbanity, of ritual music and jazz-based improvisation—please tell me about them.”Larry Blumenfeld /BLU NOTES ”The evolution of New Yor-Uba... a journey of slow-motion magnificence... Rosewoman’s abiding faith in these centuries-old rhythms... provides New Yor-Uba with an idiosyncratic discipline similar to Henry Threadgill’s Zooid or Steve Coleman’s Five Elements. As with those ensembles, listeners are richly rewarded by marinating in the music.” JAZZTIMES ” I can think of almost no other musician in recent (or, indeed, past) times who has been able to – in an original contemporary composition – make such masterful use of the sacred bàtá drums.... Miss Rosewoman anchors herself in the ancient tradition with a view to always look forward and what a spectacular way in which to do it indeed... With this album, Hallowed, Miss Rosewoman’s music, quite simply, ascends to the rarefied realTruly an album to die for.” LATIN JAZZ NETWORK /Raul deGama Michele Rosewoman's New Yor-Uba, 30 Years! ”...two big cultural streams flowing simultaneously ...ancient and experimental at the same time, and capacious enough to include more and more.” Ben Ratliff / The New York Times

“Dazzling tracks...startling for its balance of unfettered improvisation and undiluted Cuban folklore within a complex and often grand structure.” Larry Blumenfeld / The Wall Street Journal

“Absolutely one of the most exceptional records of 2013 is pianist-composer Michele Rosewoman's 30th Anniversary New Yor-Uba release.” Willard Jenkins / The Independent Ear ”(Rosewoman's) piano playing draws equally from the bluesy drama of Randy Weston and the ardent yet grounded freedom of Cecil Taylor. Her grasp of Afro-Cuban tradition enables her, when she chooses, to make her instrument function like a set of tuned drums. At times, she trades phrases with percussionists as if one of them. Rosewoman’s music unites players with distinct personalities into a communal voice, much in the mold of Mingus or Ellington, even as she adheres to Afro-Cuban traditions. It sounds bold, swinging, ceremonial and formal — all at once, in many cases. The music had both stylistic swagger and spiritual heft.” Larry Blumenfeld / Jazziz

-updated 11-22-