“The more uptempo “The Seeking Kind” has a rock & roll approach that you would expect if you’d let John Fogerty (Creedence Clearwater Revival) play Waylon Jennings songs for example. It’s somewhere in the middle of that pretty vast musical area. But like it takes no effort at all, Rosenberg fills the gap with complete confidence and great musicianship. It’s right in the middle of rock & roll and country, and this approach was made for Rosenberg.
“(overall)… Jeep shows the warmth and heartfelt honesty in his music that reminds me of the old days of traditional country between the late 40s and early 70s. He doesn’t sound dated, but takes the best from that time and uses it in his excellent songs that are a bright light for contemporary country music.”
– Inner Ear (Netherlands) CD review—complete review at http://innerearmedia.wordpress.com/reviews/review-jeep-rosenberg-silver-bluff-estates/
“Mungo Jerry meets Jerry Jeff at Billy Jo Shaver’s House”–
‘call it terra incognita, call it Mother Church’
‘Starving for love in the magical kitchen’
‘nothing’s too good to be true/nothing’s too true not to try’
“An amazing lyric from an interesting person (I’d bet my second to last button on it)… a decidedly Texas songwriter’s quality here …I loved listening to this track…”
– Emory Joseph (songwriter for Bonnie Raitt, etc.) – – Garageband.com review
“Jeep Rosenberg’s latest release, Silver Bluff Estates, is chock full of easy, approachable music with clever, thoughtful lyrics laced with an elegant simplicity and an understated wisdom. Oh yeah- the playing is not too shabby, either!”
– Lola Palooza- former Mid-day DJ, 99.9 the Rock, Auburn, AL, www.WQNR.com
“NYC-based Jeep Rosenberg’s understated Silver Bluff Estates (Faithful Tiger) is a collection…sure to find favor with Americana music fans. A former U. N. peacekeeper whose plain-spoken songs are gilded with captivating percussion (“Everything’s Different”), accordion (“La Ultima Lagrima”), harmonica (“The Seeking Kind”), sweet nylon-string guitar, jazzy upright bass & brushes (“Here,” “Whatever Happened to Mercy?”), Rosenberg draws us in with tale after tale filled with mesmeric imagery.”
– Guy-Michael Grande, Nashville’s EAR CANDY blog
The 30-A Songwriters Festival of Northwest Florida is an anomaly in a sea of otherwise gritty musical events that usually nuance the national touring stage. This is a festival perhaps best defined by what it is not. Absent is the double-barrel branding of the Lollapalooza-Lilith-fair type of event, with writhing teens stacked against stages, and amped-up performers performing sophomoric political discontent. …(rather) far more surprising, a legitimate festival that is actually about music…
Up on a stage that hung perilously close to being halfway out onto the road, stood Jeep Rosenberg and Effron White. The two men had just finished a song and were in the midst of a conversation with some bar patrons… After a few brief moments both men returned to what they came to do…
The music was instantly riveting. Not because it was catchy, toe-tapping, or titillating, but because it made you listen. You knew right off the bat you weren’t just getting a tune – but a poem as well – a musical 2-for-1. Not necessarily Dylan-esque, or Cash-esque, or country-esque, or any kind of -esque, It was simply something American, something in between, and something on the outside. As you watched the faces in the crowd, you could sense the pie-eyed concentration as people strained not to miss a word, as the storyteller sung his tale. The music was rich, full of context, and entertaining, and everyone in the room knew it…
– Mitchum Verte, (Mr. Verte is an international freelance correspondent who has written for Paris Match, The Trib, La Posta, The Toronto Star and a host of other international publications.)
Full article at: http://goarticles.com/article/Hitting-The-N.W.-Florida-30A-Songwriters-Festival-by-Jeep/4019790/
“Jeep first came to us at The Starving Artist Cafe several years ago. I was immediately impressed with his musicianship, his songs and his story telling. I always enjoy when this journeyman comes to play.”
– Elliott Glick, proprietor, The Starving Artist Café, City Island, New York
“Jeep, it was an absolute pleasure seeing you on Friday night. I heard the show went great. Great turnout, as well. Thank you for bringing great shows to our stage. We look forward to the next go around….”
– Tommy Merrill (booker, Rockwood Music Hall, NYC)
“On March 14 I had the pleasure of hosting Jeep Rosenberg at my home for a private concert. Word got around, and my original 40 invitees grew to 47.
“Jeep played two generous sets, and circulated comfortably during our 30-minute intermission for hors d’oeuvres, beer & wine. His show ended with two standing ovations and an encore. We started at 7:00 and partied until midnight. Oh, what a night! Without doubt it was the best party in memory.
“My friends & neighbors were delighted with Jeep’s performance—I received calls and email for over a week encouraging me to host a sequel. Jeep was so professional in every respect. The event went off without a hitch. I would host him again in a New York minute!”
– George A. Whitley, Out of Bounds Farm, Abingdon, Virginia
“We recently booked performing songwriter Jeep Rosenberg for return appearances at our second annual 30-A Songwriters Festival on January 14-16, 2011. He delivered three shows, a performance in the local record store, and a workshop exploring the common elements and diverse challenges of writing songs versus writing poetry.
“Based on his previous work, we were not surprised to find him giving compelling vocal & instrumental performances, well-paced and engaging to our audiences. His range of roots influences– country, blues, folk, singer-songwriter, and early jazz-were vividly present, and blended to represent the Americana genre in a totally convincing way. Based on feedback from participants, his writing workshop was inspiring, informative, and well-organized.
“As program directors, you might find it relevant that from my perspective Mr. Rosenberg conducted himself in a very professional manner: his requirements as an artist were clearly and timely communicated, he worked well with the stage managers and technical crew, and overall proved to be reliable, flexible, and generous with his time and energy. He was both very centered–as an artist must be–and a team player.”
Letter of reference from Russell Carter, Festival Producer & Principal, Russell Carter Artist Management (Indigo Girls, Shawn Mullins, Chely Wright, Bob Schneider)