Donald Rubinstein
| Donald Rubinstein | |
|---|---|
Composer Donald Rubinstein
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| Background information | |
| Born | February 19, 1952 |
| Origin | Brooklyn, New York |
| Genres | Film scores, Jazz, Theater, Art |
| Occupation(s) | Composer, Songwriter, Artist |
| Instruments | Piano, Guitar, Vocalist |
| Years active | Mid-1970s to present |
| Labels | Varèse Sarabande, Rhombus Records, Perseverance Records, Levelgreen Records |
| Website | donaldrubinstein.com |
Donald Rubinstein (born February 19, 1952 in Brooklyn, New York) is a film composer, singer/songwriter and multi-media artist who is best known for his scoring collaborations with George A. Romero and Avant-garde jazz/rock collaborations with such musicians as Bill Frisell, Emil Richards and Wayne Horvitz.
Inspired to compose by his love of jazz, Rubinstein began music studies at Washington University. He first attended at age 16, studying political science and subsequently poetry. After deciding to devote himself entirely to music, Rubinstein learned the guitar and piano, then transferred to the conservatory and received a B.A. in music from Washington University in 1972. Rubinstein would move to Boston, where he spent two semesters at the Berklee College of Music. Though he left after finding the experience to be too constraining for his experimental ideas, Rubinstein would meet guitarist Bill Frisell, whom he'd later collaborate with on numerous projects. Rubinstein then went on to study on private scholarship with noted piano instructor Madame Margaret (Stedman) Chaloff, whose other students included Chick Corea, Herbie Hancock, Keith Jarrett and Steve Kuhn.
Donald Rubinstein was 24 when he was first introduced to famed horror filmmaker George A. Romero through his brother Richard P. Rubinstein, who had produced Martin for the writer-director. It was an innovative psychological horror film that equated vampirism with drug addiction and urban decay, and was set in Romero's favored location of Pittsburgh. To match Martin's unique tone, Rubinstein created a Baroque jazz score to play a lonely young man who believes himself to be undead. This was the first time modernistic music had been heard in a "vampire" movie, and Rubinstein's Martin soundtrack would become a highly sought collector's item that Mojo magazine called "One of the top 100 Coolest Soundtracks of All Time."
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