Review: Ben Rosenblum Nebula Project’s ‘The Longest Way Round’

At heart, pianist, accordionist, and composer Ben Rosenblum is a jazz artist, but he is fascinated by many kinds of global music forms. The Longest Way Round (One Trick Dog) is his third album with the Nebula Project, a group of kindred spirits capable of moving in many directions. The album takes inspiration from Dominican merengue, West African and Caribbean rhythms, Irish folk music, neo-soul, Japanese pop, and hard bop. There may be even more forms in Rosenblum’s eclectic stew. Returning from the band’s previous recordings are trumpeter Wayne Tucker, multi-reedist Jasper Dutz, guitarist Rafael Rosa, bassist Marty Jaffe, and drummer Ben Zweig. Two percussionists also join: Gustavo Di Dalva and Brad Dutz.

The sound of this unit sets itself apart by its versatility, primarily by the leader’s imaginative accordion playing, an instrument rarely heard in these settings. Rosenblum claims the accordion is a very misunderstood instrument, associated only with certain forms here in the States, but one that lends itself to many different forms.

Percolating, bubbling percussion and staccato horn lines introduce “Merengue x Fantasy,”, a feature for Rosenblum’s accordion that draws on Dominican merengue even as the “x” in the title nodding to Japanese pop’s chord progression. The Nebula Project deftly navigates the rhythmic changes, Jasper Dutz steps forward with a soaring clarinet solo, and horns reprise their joyous unison lines, delivering an explosive climax. “Sheridan’s Reel” is rather obviously an Irish-inflected piece, one more likely associate with the accordion. Jasper’s flute, even sounds like traditional Irish pipes. Rosa also brims with his guitar solo, underpinned by Dutz’s bass clarinet.

The core of the album is in the three-part suite, “Scenes Frozen in Time.” On the contemplative “Intro,” Rosenblum doubles on piano and accordion. The folkloric imbued “Berlin” was written during an isolated period spent in the city in 2021. “Old Friends” dates back to the leader’s high school years, and its piano-centered melody and horn embellishment breathe nostalgia. Penned during his college years, “Onslaught” is another piano-driven piece that moves from a stately melody to chaotic interludes, delivered by the horns and a free-roaming piano. Bassist Jaffe steps forward as the piece morphs into hard-swinging bop, while the final accordion-driven section provides an exhilarating celebration.

The driving “Circulo” is rooted in West African rhythms, internalized by Zweig after a trip to Cameroon.  Rosenblum again displays how the accordion can thrive in an unlikely setting, as is also true in “Blue Water,” infused with reggae/ska rhythms and inventive guitar lines from Rosa.

The travelogue-like program returns to the States for two straight-ahead hard bop pieces: “Albatross” nods to Mulgrew Miller, while the brassy “Fool’s Gold” celebrates Horace Silver’s soulful approach, showcasing the ensemble’s comfort with jazz and Rosenblum’s well-honed piano skills. The latter piece provides free-flowing solos from Rosa, Rosenblum on piano, Tucker, and Zweig before all rejoin the head and fire off a climactic finale. The program closes in neo-soul mode, with “Last Call,” a nice segue from the Silver-themed piece. It is a fine feature for Tucker’s trumpet given his experience in neo-soul and R&B atop Rosenblum’s in-the-pocket comping, and a stirring turn from Jasper Dutz on flute.

Oddly cohesive, The Longest Way Round lives up to its title. The listener moves through a myriad of forms, and emotions. It’s a journey well worth taking.

‘The Longest Way Round’ will be released on February 27, 2026 on One Trick Dog Records. It can be purchased from the artist’s website.

Photo credit: Rui Caria