Blue Earth County

Kelly Rossum, trumpet; Annie Stevens, Marimba; Bryan Nichols, piano; Chris Bates, electric bass; J.T. Bates, drums; Christopher Cook, electronics; Eldon Sully, banjo and guitar
Release date : Apr. 29, 2016
Label : 612 Sides

“[Blue Earth County] situates itself within a progressive and relevant section of the jazz cannon, acknowledging rhythmic origins of non-western evolution, embracing the blues, gospel, echoes of Appalachia, while subtly interweaving timbral layers of electronics and tastefully executed extended techniques. This culminates in a musical statement of ‘new Americana’; deftly executed with heartfelt immediacy.” – Stephanie Richards, Vice President, Festival of New Trumpet Music (NYC)

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Kelly Rossum, trumpet; Bryan Nichols, piano; Chris Bates, bass; J.T. Bates, drums
Release date : Aug. 05, 2008
Label : 612 Sides

“The theme of Family is obvious, and whether it's with relatives or musicians with common interests, it's a sense of community that we look for and try to pass on. With his music, Rossum says no matter how far you travel, you can always come back to the embrace of those who love and support you from the start. One of the best jazz albums of 2008.” — John Book, The Run-Off Groove

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Kelly Rossum, trumpet; Woody Witt, tenor saxophone; Chris Thomson, tenor and soprano saxophones; Chris Bates, bass; J.T. Bates, drums
Release date : Oct. 03, 2006
Label : 612 Sides

“Rossum's band here offers an entirely acoustic combination of the sounds of those marvelous, piano-less ‘New Thing’ groups circa 1967, and Tim Berne’s fearless experiments circa 1987, which winds up sounding like the perfect jazz for 2007. […] This is uncompromising, well-rounded modern jazz, carefully prepared, but fresh and spontaneous in its execution.” — Jeff Dayton-Johnson, All About Jazz

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Kelly Rossum, trumpet; Chris Thomson, tenor saxophone; Chris Lomheim, piano and electric Rhodes piano; Michael O'Brien, bass and electric bass; J.T. Bates, drums
Release date : Apr. 29, 2004

“It's a new generation of acid jazz, the logical and artistic extension of what US3 started a few years back, melding the instrumentation and improvisation of jazz to the hypnotic rhythms of the latest club sounds. [...] Rossum's sophomore effort is brave, fun and listenable – and a near-perfect answer to anyone who claims jazz is dead.” —

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Party’s Over/Begun

Kelly Rossum, trumpet; Woody Witt, tenor saxophone; Ellen Lease, piano; Michael O'Brien, bass; Edgar Oliveira, drums
Release date : Mar. 18, 2003
Label : Yebo Productions

“A fine quintet set, a lot of stylistic diversity in the compositions, the package held together into an artistic whole by the versatility of the musicians. A must have CD for fans of the sax and trumpet in front of the rhythm section quintet mode…” — Dan McClenaghan,

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Phil Hey, drums; Kelly Rossum, trumpet
Release date : Aug. 21, 2009
Label : 612 Sides

“In spirit closer to free jazz musicians Ornette Coleman and Don Cherry, in attitude closer to the famous Dizzy Gillespie and Max Roach duet, this duo with Kelly Rossum on trumpet and Phill Hey on drums is an event full of intense interplay. Starting with Don Cherry' "Brilliant Action", and also covering Monk's "Epistrophy", and Ornette Coleman's "The Sphinx", you cannot question the good taste nor their musical references. The playing is absolutely excellent, and captivating from beginning to end.” - Stef, freejazzblog

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The Out to Lunch Quintet

Dave Milne, alto saxophone, bass clarinet, flute; Kelly Rossum, trumpet; Dave Hagedorn, vibraphone; Tom Lewis, bass; Phil Hey, drums
Release date : Nov. 16, 2006
Label : Jazz Police

“The Out To Lunch Quintet should be applauded for their outstanding interpretations of Eric Dolphy’s work and they certainly opened my ears to some of this classic material.” — Dan Bilawsky, Jazz Improv Magazine

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Michael Ferrier, electrosax; Michael O'Brien, bass; Steve Roehm, percussives; Kelly Rossum, electrumpet
Release date : Feb. 07, 2006
Label : innova

“A restlessly inventive, Minnesota-based post-rock jazz quartet in the spirit of Lounge Lizards and Medeski, Martin & Wood, Electropolis lives up to its name by powering up the effects pedals on pretty much everything but drums, including the usually unamplified saxophone and trumpet, and filtering its music through fields of eerie distortion. There's a noirishly cinematic quality to the effect, with a buzzingly propulsive rhythm that's full of constant surprises‹it seems perfectly appropriate that Electropolis has found great success in concert as a live soundtrack to the classic modernist sci-fi film Metropolis. Perhaps most impressively, more than half of the songs on Electropolis were spontaneously improvised, and the rest were done in a single take.” — Christopher Bahn, The Onion (staff favorites)

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