Kelly Davidson

Daniel Rosenthal

Assistant Professor
Affiliated Departments
Ear Training
drosenthal2@berklee.edu
Telephone
617-747-6659
Personal Websites
Daniel Rosenthal's website

For media inquiries, please contact Media Relations

Career Highlights
  • Leader of the Daniel Rosenthal Quintet, and coleader of the Hofbauer/Rosenthal Quartet and the Sommers Rosenthal Family Band
  • Member of the Either/Orchestra, the Charlie Kohlhase Explorers Club, the Ayn Inserto Jazz Orchestra, and the Composers Collective (with Allan Chase and Bruno Raberg)
  • Performances with Steve Lacy, Mahmoud Ahmed, Mulatu Astatke, Dave Liebman, and Joe Morris, among others
  • Performances at the Chicago Jazz Festival, Montreal Jazz Festival, Glastonbury Festival, Moers Festival, Helsinki Festival, and more
  • Recordings include Daniel Rosenthal's Music in the Room, the Sommers Rosenthal Family Band's Down the Road, Mulatu Astatke's Mulatu Steps Out, the Either/Orchestra's Mood Music for Time Travellers, and the David Wax Museum's Everything Is Saved
  • Classical trumpet studies with Charles Schlueter (former Boston Symphony Orchestra principal trumpet)
  • Jazz studies with Steve Lacy, Bob Brookmeyer, John McNeil, Jerry Bergonzi, and Hankus Netsky
  • Instruments include trumpet, banjo, and piano
  • Certified teacher of the Alexander Technique
Education
  • New England Conservatory of Music
    Master of Music (MM)
    Jazz Performance
  • New England Conservatory of Music
    Bachelor of Music (BM)
    Jazz Performance
In Their Own Words

"I aim to help my students develop the skills that will help them throughout their professional careers as musicians. When put to use, these skills will help them greatly improve their sight-reading, transcribing, transposing, 'hearing' chord changes, and more. They will be able to look at a piece of music and know how it should sound, and to hear a piece of music and know how to notate it."

"I have experience playing many types of music, including jazz, folk, bluegrass, salsa, rhythm and blues, pop, classical, and Ethiopian music. I like to relate the skills that we're learning in class to material from these styles that students may not be familiar with. In class, we might sight-sing a Charlie Parker melody and later try to transcribe the vocal harmonies on a Flatt and Scruggs tune."