DONALD RUBINSTEIN made his musical debut at age 25 composing the score for George A. Romero’s cult classic, feature film, Martin. It was named one of the “Top 100 Coolest Soundtracks of All Time” by Mojo magazine (2002). Rubinstein's unique interdisciplinary approach includes; 27 CDs of original music; numerous film and television scores; three theatrical performance pieces; multiple art exhibitions, six books of poetry, and recently, the creation of twenty short films.
Fingers, a duet with guitarist Bill Frisell, was included on Jazziz Magazine’s 20th anniversary CD A Celebration of the Modern Era, along with Miles Davis, Charlie Parker, Charlie Haden, Cassandra Wilson and Tony Bennet. He co-wrote "Ain't Nothin' Like a Friend" (Lakeshore Records), with Ed Harris for the director's feature film "Appaloosa." Donald has also collaborated with artists as varied as Terry Allen, Brother Blue, Robin Holcomb, Anthony Jackson, Ra-Kalam Bob Moses, Hani Naser, Kiki Smith, and many more.
Donald Rubinstein was awarded a fellowship and residency, via nomination, from The Robert Rauschenberg Foundation in 2014. He has been exhibited at The Museum of Modern Art, The Whitney Museum of American Art, and in multiple one-person gallery exhibitions. There are two Donald Rubinstein CDs slated for release in 2018.
1. Original Americana Pop songs, informed by improvisation, jazz harmony, and contemporary classical music.
2. Music Composition for Film and Television.
3. Gallery and Museum Exhibitions.
"Beautiful tunes…devoid of transitory trendiness.” Los Angeles Times
"Discover the genius landscape that Donald Rubinstein has sculpted over the last few decades…This is the first time I have ever used the word 'important' to describe an album. You need to hear these songs.” Adobe Airstream
“Donald Rubinstein works in the higher arts. He composes soundtracks with music ranging from contemporary experimental classical, to jazz, rock and Americana…How does one come to terms with this work? After an introduction of spoken word the first song takes advantage of Lloyd Maine’s splitting steel guitar. He sounds as if he has returned with Joe Ely and The Clash to The Venue in London...This is not an easy album, but one which impresses deeply.” Alternative Country Magazine
“Judging from his well concocted but often twisted work, he must have the oddest muse in the world, and also one of the best. He's got enough weird poetic/musical genius in his brain to rival Jim Morrison.” Santa Fe Reporter
"Rubinstein’s jazz leaning makes for a spectacular score...It’s somber tone matches the mood of the film flawlessly. I really can’t say enough good things about it: it’s considered a classic for a reason." Modern Vinyl
"Like all great artists, Donald Rubinstein creates because he has to; probing his soul and his psyche with originality, beauty, humor, pathos, lyricism, energy and an abundance of love...opening windows to an aesthetic that is both accessible and unique...with great respect and a deep appreciation for his genius." Ed Harris, Actor/Director
"Singer/songwriter, pianist, jazz experimentalist, soundtrack composer, beat-style poet— Donald Rubinstein has somehow juggled all those hats over the lengthy span of his creative career.” All Music Guide
“A wildly diverse and exceptionally beautiful album...From midnight blues to exquisite orchestral pieces, tender songs drift into dark musical landscapes, and then back into morning light.” Gajoob Magazine
"Donald Rubinstein's novel, unpredictable, one-man show is hard to match…stunning, house-shaking...hauntingly beautiful.” LA Weekly
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