Steve Rosenbloom Big Band Releases Monumental Album, San Francisco 1948
The jazz world welcomes a new landmark with the release of San Francisco 1948, the latest album by the Steve Rosenbloom Big Band. This expansive, meticulously crafted project reaffirms Rosenbloom’s status as a composer and arranger – with assistance from Chris Smith and Michael Johncsik) who channels the vibrant spirit of the big band tradition while infusing it with contemporary freshness and thoughtful nuance.
A native of Montreal and a committed voice in Canadian jazz, Steve Rosenbloom has long been recognized for his compositional depth and dedication to the big band idiom. With San Francisco 1948, he assembles a stellar 16-piece ensemble to deliver a record that is as much a celebration of history as it is a bold statement of artistic vitality.
The album’s title track, composed by Rosenbloom himself, sets the tone with a dynamic range of moods, transporting listeners to the golden era of big band jazz while highlighting modern sensibilities. The intricate arrangements blend bold brass voicings with intricate reed textures, showcasing Rosenbloom’s keen understanding of orchestration and ensemble interplay.
Integral to the project’s success are the contributions of some of Montreal’s finest jazz musicians: Jules Payette commands the lead alto and flute, Allison Burik delivers warm tones on alto sax and bass clarinet, while Steve Rosenbloom himself rounds out the alto section with his signature sound. The tenor sax section is richly textured by Michael Johancsik and Alex Francoeur, who also lend clarinet colors, and the baritone sax and clarinet duties are expertly handled by Benjamin Deschamps.
The trumpet section shines with the bright, assertive tones of Lex French, Andy King, Benjamin Cordeau, and Cameron Milligan, each bringing their own voice to the collective power of the brass. The trombone section, anchored by Mathieu Van Vilet, Thomas Morelli-Bernard, Taylor Donaldson, and Chris Smith, adds both warmth and punch, weaving seamlessly into the fabric of the band.
On rhythm, pianist Eric Harding provides the harmonic foundation, supported by Mike De Masi’s steady bass lines and the responsive, dynamic drumming of Jim Doxas. Together, they form the heartbeat of the ensemble, driving the music with subtlety and swing.
The making of San Francisco 1948 reflects Rosenbloom’s decades-long journey in composition and arranging, a process rooted in mentorship and collaboration. From early guidance by Gerry Danovitch, through partnerships with arrangers like Christopher Smith, Michael Johancsik, and Alex Francoeur, Rosenbloom has continually refined his craft. The album includes arrangements by both Smith and Johancsik, blending classic and contemporary big band sensibilities.
Recorded in May 2024, the album captures the band’s vibrant energy and precision, resulting in a recording experience that resonates with authenticity and passion. The careful mix and master enhance the detailed arrangements, inviting listeners into a sonic landscape rich with color and emotion.
San Francisco 1948 is a testament to Rosenbloom’s commitment to sustaining and evolving the big band tradition. It embodies the grandeur, complexity, and emotional depth that define the genre, offering a listening experience that appeals to seasoned jazz aficionados and new audiences alike.
This album marks a significant chapter for Rosenbloom and the Montreal jazz scene, highlighting the city’s wealth of talent and the continuing relevance of large ensemble jazz in the 21st century.
Listeners can experience San Francisco 1948 across all major streaming platforms, including Spotify, YouTube Music, and Apple Music, beginning May 30, 2025.
Care to introduce yourself to the readers for those not familiar with your music?
I am an alto and soprano saxophone player and jazz composer who has been playing on the Montreal scene in small groups for 25 years. During this time, my compositions were featured in 3 albums by major Canadian jazz musicians. The titles are: Last Call at Café Alto (1994, with Wray Downes and Dave Turner, on Spotify), Midnight Martini (1998, with Dave Turner and Guido Basso), and Dedications (2000, with Dave Turner and Guido Basso), both of which are on Justin Time Records, Inc. Some of my compositions, which appear on this big band album, San Francisco 1948, were first featured at McGill University’s Jazz Band concerts between 1985 and 1991. Several of my more current compositions appear on albums that have not yet been released.
Let’s start with the title—why San Francisco 1948? What drew you to that specific time and place as a musical inspiration?
I am a huge fan of the film noir era, and the title of my album, San Francisco 1948, as well as many of my compositions, seems to be inspired by this era. For example, my 2 compositions, Mosley and Asher’ Tune, could have easily been movie themes during the 1940s. The specific title, San Francisco 1948 comes from a memory that I have of a film noir movie, starring Dick Powell that was set in San Francisco in 1948.
This project brings together 16 stellar musicians. How did you go about assembling such a powerhouse ensemble, and what does collaboration mean to you as a bandleader?
I had the assistance of a terrific saxophone player, Alex Francoeur, who himself has been involved in big band work. Together, we selected some of the finest jazz musicians in Montreal, including Jim Doxas, a leading drummer in Canada, and Lex French, a terrific trumpet player. All of the players are experienced professionals who deeply appreciated the opportunity to do this project. As well, the arrangers of this album, Christopher Smith and Michael Johancsik, added a modern, complex dimension to all my tunes, which made this project particularly special. In addition, every composition on this album were composed by me, a personal accomplishment, in that very few big band albums have music exclusively written by one individual.
Many of the musicians on this album are staples of the Montreal jazz scene. How would you describe the current energy and creativity coming out of Montreal?
I would describe Montreal as a reasonably vibrant jazz city in Canada. There are numerous excellent players and creative composers performing excellent jazz all year round. Of course, during the yearly Montreal International Jazz Festival, we welcome the best and the brightest from the jazz world.
Like most North American cities, jazz musicians must supplement their incomes by doing extra work, including teaching at colleges and universities.
Now that San Francisco 1948 is out, what do you hope listeners take away from the album—and what’s next for the Steve Rosenbloom Big Band?
The compositions in this album are very personal to me and offer a type of listening experience not typical of other big bands that often focus on the works of jazz greats such as Duke Ellington, Count Basie and Thad Jones.
What I tried to do here was to present a series of tunes reflecting different genres in the jazz idiom. For example, Samba for Esther, Fiesta for Paquito, and Mexican Holiday are all exciting up-tempo Latin compositions, and I have included 3 ballads, Mosley, San Francisco 1948, and Asher’s Song, that provide a contrast to the above up-tempo tunes above. My composition, Light and Easy, pays personal homage to Count Basie and In a Boppish Sort of Way is dedicated to the bebop era. As well, my composition, A Call from the Orient, represents the oriental influence on jazz.
In terms of future projects, we, including myself, the arrangers, and band members, are enthusiastic about doing other big band jazz projects which will feature other compositions that I have written.