"If I were a smarter human being I would now invent a word that would explain exactly how freakin’ cool and original in thought and execution, Donald Rubinstein is with his music. This new word would have to embody the talent that you hear within the first 30 seconds of your first Donald Rubinstein song, that puts your brain on some new rails you didn’t even know existed between your ears…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." Groovey_Adobe Airstream: The Magazine For Citizens of Culture
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 interdisciplinary work includes; numerous film and television scores, concert works, over 400 original songs, 27 CDs of original music, four interdisciplinary performance works (premiering in both New York and Los Angeles), gallery and museum exhibitions, three books of poetry, and the creation of twenty short films.
Fingers, a duet with guitarist Bill Frisell (Rhombus Records), was included on Jazziz Magazine’s 20th anniversary CD, A Celebration of the Modern Era, along with Miles Davis, Charlie Parker, Cassandra Wilson, and Tony Bennet. He co-wrote "Ain't Nothin' Like a Friend" (Lakeshore Records), with Ed Harris, for the director/actor’s feature film Appaloosa. Rubinstein, has also collaborated with artists as varied as Jo Harvey Allen, Terry Allen, Brother Blue, Craig Eastman, Erica Lindsay, Gordon Gottlieb, Anna Halprin, Robin Holcomb, Anthony Jackson, Michael Gregory Jackson, Lloyd Maines, Bob Moses, Timothy Nolan, Orchestre Philharmonique de Radio France, Hank Roberts, Kiki Smith, and many more.
Rubinstein was awarded a residency, via nomination, from The Robert Rauschenberg Foundation in 2014. He has been exhibited in multiple one-person exhibitions, as well as at The Museum of Modern Art and The Whitney Museum of American Art in collaboration with Kiki Smith. There are three new Rubinstein CDs currently in production or awaiting release, including, Eternity, The Famous Singer, and 36 Year Serenade, a selection of Rubinstein songs recorded by a variety of women artists.
1. ORIGINAL SONGS INFORMED BY ROOTS, JAZZ, MODERN CLASSICAL, ROCK AND PERFORMANCE ART.
2. MUSIC COMPOSITION FOR FILM AND TELEVISION
3. GALLERY AND MUSEUM EXHIBITIONS / INTERDISCIPLINARY INSTALLATIONS
“What’s the source of Rubinstein’s strange, jazzy, unique songs? Judging from his well concocted but often twisted work, Donald Rubinstein 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.” Jonanna Widner, Santa Fe Reporter
"Rubinstein's novel, unpredictable, one-man show is hard to match…stunning, house-shaking…hauntingly beautiful.” Lovell Estell III, LA Weekly
“Mr. Rubinstein is a polymath, a musician who writes, a poet who makes visual art. His colorful alter ego, ego-altering characters inhabit an open-ended world of non-sequiturs and ambiguous sophistication…an original and exuberant mind. “ Linda Durham Contemporary Art.
“The music was composed and played by pianist/poet, Donald Rubinstein…minimal, sad, lovely, melancholy and touching. Perfect for a moody flick.” New York Downtown Music Gallery
“Rubinstein's experimental soundtrack, a key influence on a film viewer's impression of story and character, is packed with innovation and psychological ticks…Dealt like a Rorschach test for the ear, the 22 tracks often feel like sound poems to me...The music creeps or frets about one's personal space, neurotically scoring one's life, a mood-piece as introspective as it is prismatic.” A. Loudermilk, PopMatters
“If I could work with “D” (Donald Rubinstein) on every film I ever made, I’d do it. I have never worked with a person in the filmmaking process like him. He comes into the room, wants to know what the film’s about, and then works with you to completely realize the film for what it’s meant to be. He’s the purest guy I’ve ever worked with. He’s an absolute innocent. He’s there to do the work, and you’ve got to respect that…D doesn’t do shit for the fuck of it. He does shit from the heart. His heart, your heart. The amazing thing is that he can see and hear your heart. He says things you’ve been wanting to say. And he makes you feel less of an asshole for wanting to say them. Because when he says them, they suddenly make sense. Validation, man. I’m not the only sucker on this planet. There’s this other guy, D, who’s been suckered in too. And he’s here to explain how, why and what happened to us all. D Rules.” George A. Romero, Director
"Rubinstein’s jazz leaning makes for a spectacular score...I really can’t say enough good things about it: It’s considered a classic for a reason." Alan Miller, Modern Vinyl
"Rubinstein’s uniquely drawn figures call to mind monsters, or the characters found in the drawings of New Yorker magazine legend Saul Steinberg." Albuquerque Tribune
“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? This is not an easy album, but one which impresses deeply.” Alternative Country Magazine
“There are those, meditators, test pilots and oblivion seekers of every stripe, who seek new horizons, vast landscapes, empty and aching with fresh possibility. Rubinstein is certainly to be counted among them…Donald Rubinstein is an unequivocal card-carrying visionary” John Kruth, “Dawn Imagined”
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