Conservatory of Music
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Charles Blenzig

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About “Charles Blenzig”...

“Blenzig and his band of top-line musicians know how to power-charge their jazz, but they can also turn around and deliver the most mellow and delicate sounds. Blenzig’s talents almost compose a band in themselves. No matter which end of musical intensity they address, Blenzig’s outfit delivers top-notch jazz work.”
- New Horizons, March 9, 1990

“[Blenzig’s] jazz-oriented piano solos use block chords to push the band, but his synth comping runs mostly to sustained pads that lie there like a warm blanket, staying out of the way of the tasty but restrained drumming. Nice changes in the original tunes.”
- Keyboard, April 1990

“Slightly bent compositional instinct (bent in the best sense).”
- Jazziz, July 1990

“Cutting-edge approaches - visceral as well as cerebral excitement.”
- JazzTimes, October 1990

“A modernist with a penchant for refurbishing standards.”
- Lawrence Journal World, April 8, 1990

“This month I’m going to introduce a keyboard player who shows great promise, his name is Charles Blenzig... No one can stop his exciting playing!”
- Ad Lib, November 1995

About Charles on stage...

“The peak [of Michael Franks’ set] came early on, when keyboardist Charles Blenzig infused the clever 'Monk’s New Tune' with vigor and sprawl, evoking Thelonious Sphere Monk’s 'Hackensack.'”
- Cleveland Plain Dealer, July 25, 1993

“Pianist Charles Blenzig also showed some tinges of rock, plus near-maniacal (that’s a compliment) solo during 'Monk’s New Tune'... nearly robbed the [Michael Franks] show of its 'mellow' tag.”
- Fort Worth Star-Telegram, August 2, 1993

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