Ben Wolfe - LYDIALIEBMAN.COM

Any Time After Now
Street Date: May 15, 2026

Any Time After Now is the new recording by bassist, composer, and bandleader Ben Wolfe, featuring vibraphonist Joel Ross, pianist Sullivan Fortner, tenor saxophonist Chris Lewis, and drummer Aaron Kimmel — a program of all-original compositions by Wolfe. The ensemble developed the music across a three-night engagement at Dizzy’s Club in New York City before entering the studio to record the album together in a single day.

“Everything flowed great in the studio. Everything was very organic. It was about the ensemble sound,” Wolfe says. “In some ways, this is my favorite one, from top to bottom.”

Wolfe’s recent recordings have drawn recognition across jazz and mainstream press. In The New York Times, critic Ben Ratliff described his music as “Mingus and Miles Davis meet Bartók and Bernard Herrmann.” DownBeat praised the “melodic ensemble writing and superb playing by a stellar intergenerational crew,” and The Wall Street Journal called his sound “jazz, swinging and sophisticated.” Wynton Marsalis adds simply, “Ben Wolfe swings with authority.”

A synaesthete, Wolfe describes his compositional process in visual terms: “I see sound in colors, shapes, and textures.” Pianist Sullivan Fortner shares this perceptual connection, shaping the ensemble’s sense of tonal color and interaction throughout the recording.

Writing in the album’s liner notes, drummer Jeff “Tain” Watts anticipates the music to be “engaging, yet full of subtext,” as Wolfe “has shown himself to be a proponent of influences both intellectual and visceral.”

Of the title track, Watts writes: “It’s a cool swinger based on a familiar form. It’s comfortable and relaxed from melody to solos; informed by bebop but not beholden to it. Great drum solo from Aaron Kimmel, full of Pennsylvania wit and soul.” He describes “Waltz II” as “very pretty with lots of air, framed by the leader’s always rich tone and beat,” while “If Only” is “short, sweet and thoughtful… blurring the line between the written and spontaneous composition. Very musical.”

Elsewhere, “Blues” unfolds as “a smart, yet nicely hazy blues,” “5/4 Groove” “reads almost cinematically, beginning with an abstract kind of gangster tumbao. The harmonic colors and instrumentation to the ensuing composition remind me of the great Andrew Hill,” and “Do You Love?” enters “with a mature tempo, and a gorgeous, longing melody. Although one of the longer tracks, it is a mood piece to be simply experienced.”

“These great artists have come together and made a beautiful thing,” Watts concludes. “It feels like one of those days where everything works. The older I get, I try to allow and enable music to happen, and this is a great example of selfless, almost baroque musicianship. Many things are called ‘jazz’ these days, but this is what it smells like for sure. Congratulations Ben Wolfe and co. for music that is instantly enjoyable but will assuredly be rewarding upon further listening.”

The Understated
Street Date: August 9, 2024

The Understated features a collection of new original compositions by Wolfe paired, with re-imaginings of some of the composer’s classic material, with a particular emphasis on the ballad song-form. The album features ten tracks, five of which are ballads – a bold move for any composer – Wolfe creates a cohesive narrative here that challenges the listeners perception of the classic ballad. The Understated features Wolfe alongside artists who make up the very frontline of modern jazz, including pianist Orrin Evans, tenor saxophonist Nicole Glover, drummer Aaron Kimmel, guitarist Russell Malone and pianist Sullivan Fortner.

Wolfe has always been drawn to finding beauty in subtlety. He perceives a certain tranquility and elegance in the Coltrane Quartet, Louis Armstrong’s Hot Fives and Sevens, the legendary Miles Davis bands and rhythm sections, and the music of Charlie Parker. While he, of course, revels at the immense world-building energy of this music, it's the “other side” - the elusive, magical aspect that endlessly captivates him – the understated. The composer draws inspiration most from the ensemble work of these hallmark jazz ensembles. Despite the individual parts being extraordinarily beautiful on their own, the musicians in these archetypal ensembles play only what is needed to serve the music, paying particular attention to the band-sound more-so than their individual sound. The Understated embodies this ethos with a tremendously impactful ensemble-oriented approach.

Wolfe sought to continue the thread started by “Lullaby in D” from his previous critically acclaimed release Unjust. Wolfe indicates, “Something about that take was so perfect to me. It had been brought to life, and it had that ensemble thing.” Wolfe assembled the quartet who recorded “Lullaby” (including longtime collaborator Orrin Evans, as well as recent frequent collaborators Aaron Kimmel and Nicole Glover) and two very special guests, Russell Malone and Sullivan Fortner. The recording process took place in one room with no headphones or isolation booths, further emphasizing the group’s collective awareness.

This record succeeds in bringing Wolfe’s expansive music to life through extremely conscientious group playing. Nothing is forced or pushed; everything that needs to be stated is stated. The single from the album, “Waltz,” encapsulates the spirit of the project. Wolfe says, “I view albums like a complete painting, so singles have been difficult for me. This song is very much in the spirit of the whole but doesn’t give away the record.” The piece features a sentimental melody delivered with grace by tenor saxophonist Nicole Glover, before Glover and Evans embark on stirring solos dancing in and out of the tune’s harmony.

Other new original compositions featured here include “Ballad in B”, which perhaps best demonstrates the group’s stunning cohesion. This tune is a refreshing diversion as it features a serene repeated melody without overt melodic improvisation. The following track, “Anagram”, begins with Kimmel’s rhythmic refrains and a unison melody played by Glover and Wolfe and is a true ensemble piece. On this track, Wolfe shines with a lyrical solo. The moody short interlude “So Indeed” is a lyrical masterwork that leaves the listener wanting even more. “Beautiful You” features master guitarist Russell Malone on the track’s melody. The emphasis here on restrained lyricism is a prime reminder of the old adage “it’s not the notes you play, it’s the notes you don’t play”. Each pocket of space in between melodic moments leaves room for the listener to breathe deeper and deeper into the song. The driving “Triangle Man” features fantastic improvisation from Glover and Kimmel. The tender “Barely Spoken” concludes the album with a feature for pianist Sullivan Fortner.

The album also weaves in references to Wolfe’s past works, creating a personal musical universe. “The Poet Speaks” is the opening track on his first record, 13 Sketches. “Occam’s Razor” was composed years ago for a collaboration with a choreographer and painter, and was a much different composition in its original form. “Love Is Near” was originally found on The Whisperer. With ballads in particular, Ben uses voicings and sounds that represent certain things to him, intentionally referencing his other compositions to generate connections between his songs.

Wolfe’s tremendous compositions on this album are also influenced by the group of musicians that he assembled for this release. Wolfe remarks “One of the things these five musicians share in common is that not only are they true ensemble players, they will always play something unexpected and special.” Listeners will find calm and beauty within the ensemble performances throughout The Understated.

Unjust
Street Date: February 3, 2023

Bass luminary Ben Wolfe presents Unjust, an electrifying follow-up to his critically-acclaimed 2019 release Fatherhood. Unjust celebrates the striking interplay between multiple ensembles driven by the same steadfast rhythm section. As with Fatherhood, Unjust features a multi-generational cast of familiar collaborators and young phenoms. The bassist is joined here by trumpeter Nicholas Payton, saxophonists Immanuel Wilkins and Nicole Glover, vibraphonist Joel Ross, pianists Addison Frei and Orrin Evans, and drummer Aaron Kimmel.

Sometimes, if you’re lucky, when the right musicians are placed into a room together, it can result in unexpected magic – individual performances that honor the conception and philosophy of the pieces, but marry together to create a cohesive unit where these disparate voices speak as one. Even rarer is the occasion when these voices come together to say something truly unique. Such is the case with Unjust.

During the course of a career spanning over four decades, Wolfe has earned his stature as one of the forefront composers of our time. Wolfe’s works have been described as “Mingus and Miles Davis meet Bartok and Bernard Herrmann” (Ben Ratliff – The New York Times). Wolfe’s tenth album as a bandleader is another stellar recorded document of the artist’s compositional prowess, taking listeners on a sonic journey of retrospection, insightfulness and exuberance. Wolfe makes wonderful use of instrumentation choices on Unjust with some compositions that include piano and many that do not, pieces that make use of the vibraphone as a melodic instrument, and some that allow the instrument to reside in the rhythm section, creating subtle variety in the fabric of each song. Wolfe indicates “this recording is very much about the interaction of the musicians with each other, with the material, and in some ways, with the studio itself.”

On the album’s title track, “Unjust”, we hear a piano-less quartet with Nicholas Payton and Nicole Glover at the helm. One can’t help but hear shades of Monk in the piece’s melody and chord changes, a connection Payton, Glover and Wolfe all explore individually on tremendously soulful solos. Kimmel, too, takes an expedition of his own with a salient opening, marking his almighty stake in Wolfe’s rhythm section. Wolfe notes “I have great respect for the artistry with which Aaron Kimmel plays the drums and creates music, evidenced throughout this recording… It was a complete joy recording this record with Aaron.”

Payton’s supple melodic refrains are featured heavily throughout the release, and particularly on the album’s opener “The Heckler”. On this piece, the rhythm section burns through a bright-tempoed swing while Payton tells a fervent story with his horn. Wolfe reflects “Nicholas Payton whom I have known for many years, is someone I’ve always had great respect for… Nicholas is a brilliant and extremely intuitive musician; he brings a deep understanding and love of the music. His sound is beautiful, full of history and feeling. With all the gifts Nicholas possesses, he still completely resides within the ensemble.”

Joel Ross and Immanuel Wilkins play pivotal roles in the ensemble, each complimenting the other perfectly throughout. Wolfe notes “Though having strong and individual voices, I often find myself writing for them as if they’re one musician… It’s always inspiring and a joy to play with them both.” Ross and Wilkins, who both also appeared on 2019’s Fatherhood, perhaps shine the most brightly on “Hats Off to Rebay” and “Sideways”. These tracks demonstrate the tremendous sound created when the two players double a melody, and then embark on melodic invention. Regarding saxophonist Nicole Glover, Wolfe remarks “Nicole’s playing on the song ‘Lullaby in D’ is perfect and couldn’t be more beautiful…I felt she would bring something special, but I had no idea the amount of poise she would bring.”

Pianists Addison Frie and Orrin Evans each bring their unique voices to Wolfe’s musical world throughout the release. Frie’s sensitivity and restraint are on full display with “Eventually”, which sees the pianist offering precise countermelodies to Joel Ross. Wolfe notes “Addison is the rare musician who plays with both strength and humility.” Wolfe’s long-time collaborator Orrin Evans provides soulful solowork on “Bob French”, a tribute to French – the inimitable jazz drummer and radio show host. Wolfe shares, “Orrin brings a special quality to how he makes the music feel; his playing encourages freedom and fearlessness. “The Corridor” is a stand-out tune shaped by mischief, the track features a unique trio format of vibraphone, bass and drums. Articulate malleting from Ross segways into one of the bandleader’s few solos on the record. Though corridors imply darkness, Wolfe’s has a vivid, intuitive course. Wolfe indicates “This project was a gathering of musicians I believed would find common ground with each other and would also find some magic within the ensemble. I very much enjoyed the process and I’m extremely proud to present “Unjust.”

Fatherhood
Street Date: August 30th, 2019

Stalwart bassist Ben Wolfe is proud to announce the release of his new album, Fatherhood - a heartfelt body of work which pays tribute to the bassist’s father, Dan Wolfe who passed away in 2018. This ten-track collection of nine originals and one cover also serves as a meditation on what it means for Ben to be a father to his own son, Milo. With Fatherhood, the bassist and composer made a conscious decision to step off the fast lane for a moment and make music of introspection and mourning. “I made this record in ways I knew my father would have encouraged” - that meant choosing the best studio, the best musicians, self-funding the entire project, and making wise decisions throughout. Ben is thrilled to have this record brought to fruition by a collection of both familiar collaborators and young phenoms - the bassist is joined by trumper Giveton Gelin, saxophonists Immanuel Wilkins, Ruben Fox, JD Allen, trombonist Steve Davis, pianists Luis Perdomo and Orrin Evans, vibraphonist Joel Ross and drummer Donald Edwards. As on two previous recording sessions, Ben drafted the Grammy-nominated violinist Jesse Mills to put together a stellar string quartet, which features Mills alongside Goergy Valtchev on violin, Kenji Bunch on viola and Wolfram Koessel on cello. Mindful of his father’s judicious approach to performance, Ben surmises that “this record is about the overall sound of the ensemble.”

Ben and his dad experienced the customary roller coaster ride typical of father-son relationships, but in music they forged their deepest bonds. A former violinist who spent a season with the San Antonio Symphony, Dan Wolfe raised his son to love all sorts of music. “He introduced me to jazz,” Wolfe explains. “He loved Monk. He loved Lester Young and Billie Holiday. And he taught me a lot about music...he was not into showing off or playing extra notes for no apparent reason”.

Wolfe’s use of strings on seven of the ten tracks beautifully unites the jazz and classical worlds that father and son revelled in. This is not the first time the Baltimore-native augmented his ensemble with a quartet of strings, but as a tribute to his father it takes on a new significance. During the recording process of Fatherhood, Wolfe made the unorthodox decision to record without headphones and insisted that the band play together in the same room. As a result, the recording sounds rich and warm.

Fatherhood opens with “Blind Seven,” a track which features two brilliant young cats barely in their ‘20s—Immanuel Wilkins on alto saxophone and Joel Ross on vibraphone. Rounding out the rhythm section is Venezuelan pianist/composer Luis Perdomo and drummer Donald Edwards, who has been a regular collaborating partner of Wolfe’s for at least 25 years now. “Blind Seven,” (a reference to the card game “spades,”) is a classic from the Ben Wolfe songbook first recorded in 1996. This arrangement only bears a passing resemblance to its earlier bopp-ish version - the melody doesn’t come in until two minutes into the tune, as Wilkins and Ross trade complex angular phrases against the string quartet, which plays contrapuntally against the uptempo rhythm section and horn lines. The composition then moves into a short, unaccompanied piece based on an eleven-note motive. This “Blind Seven” diverges so radically from the original that fans may think of it is as a new composition.

The album moves forward with “Gone Now” - a ballad which reflects on what is lost when relationships end. While the lush string arrangement conjures a sense of nostalgia, young British tenor player, Ruben Fox, channels Lester Young with his light airy tone, slight vibrato, and elegant lyricism. Another stand-out track from the album is “Uncle Leslie,” which pays tribute to the composer’s son Milo and to the people that have become significant figures in the youngster’s life. Ben introduced everyone around Milo, especially fellow musicians, as “uncle,” and the circle included a female neighbor of theirs named Leslie whom he dubbed “Uncle Leslie.” This tune is an exquisite slow-medium waltz featuring Gelin, Ross, Evans, and a solo by Wolfe. “The Kora La” is a mesmerizing piece of music. Kora La refers to the mountain pass through the Himalayas linking China and Nepal. The piece was originally commissioned by the National Jazz Museum in Harlem for the Harlem in the Himalayas Jazz Series and premiered at the Rubin Museum of Art. The string quartet’s opening reminded Wolfe of mountains, and the grooves that follow as the road through those mountains. However the real inspiration for the music can be traced back to Alex Ross’s The Rest Is Noise: Listening to the Twentieth Century - a book which tells the history of modern and experimental music.

“First Things First” slows down the tempo to the kind of fox trot cadence, reminiscent of those penned by Thelonious Monk. Trombonist Steve Davis joins Ross on the front line, backed by Perdomo, Edwards, Wolfe, and strings. Fatherhood closes with “What’s New” - the album’s sole cover track. On this 1939 standard composed by fellow bassist Bob Haggart with lyrics by Johnny Burke, while Wolfe remains loyal to the song’s roots as a slow, romantic ballad, he succeeds in re-harmonizing and rearranging the song in ways consistent with his generation. Wolfe knows his father would have loved the band’s reinterpretation of this classic gem, and so its position as album closer truly encompasses the thoughtful homage Ben envisioned Fatherhood achieving.

As Wynton Marsalis said, “Ben Wolfe swings with authority.” Bassist-composer Ben Wolfe has released eight albums as a composer. Of the music on his MAXJAZZ debut “No Strangers Here” The New York Times says, “In this music Mingus and Miles Davis meet Bartok and Bernard Herrmann”. Chamber Music America awarded him the 2004 New Works: Creation and Presentation Program Grant, funded through the generosity of the Doris Duke Charitable Foundation. As a result of this award, Wolfe was able to compose his extended composition Contradiction: Music for Sextet. Wolfe also recently made his mark as a film composer, working with Matthew Modine on the film short, I Think I Thought. At the 2008 Tribeca Film Festival, The New York Sun reviewed his work on this film as, “a standout music score.” Born in Baltimore, Maryland and raised in Portland, Oregon, Wolfe has gained a large following from his performances with Wynton Marsalis, Harry Connick Jr., and Diana Krall. Early on in his career, he formed a Duo with Harry Connick Jr. and went on to record over a dozen albums and soundtracks. During his years with Connick, he performed on numerous world tours as musical director. He then joined the Wynton Marsalis Septet and remained until it disbanded. Wolfe also became an integral part of Diana Krall’s touring band and played on many of her recordings, including the Grammy Award winning CD, “When I Look In Your Eyes.”

When a member of The Jazz at Lincoln Center Orchestra (JLCO), Wolfe performed with Joe Henderson, Doc Cheatham, Jon Hendricks, Harry “Sweets” Edison, and Billy Higgins, among others. Other artists he has also recorded with include Branford Marsalis, Orrin Evans, James Moody, Eric Reed, and Benny Green. In addition to the CDs mentioned, Ben’s other recordings as a leader include “13 Sketches” (1996) and “Bagdad Theater” (1997), both released on Mons Records; “Murray’s Cadillac” (2000) on Amosaya Music; “My Kinda Beautiful” (2004) on Planet Arts Records; “Ben Wolfe Quintet: Live at Smalls” (2011); and “From Here I See” (2013) Maxjazz.

Ben is currently on the teaching faculty at The Juilliard School: Jazz Division.