Interview: Jeff Goldblum Swings Again with ‘Still Blooming’

Jeff Goldblum opens up about jazz, improvisation, and the timeless power of the Great American Songbook in a candid conversation about personal influences, musical connection, and the collaborative spirit behind his new album ‘Still Blooming.’

‘Still Blooming’ – Jeff Goldblum & The Mildred Snitzer Orchestra

Jeff Goldblum may be best known internationally as an actor, but within jazz circles, he has long earned respect as a committed pianist and bandleader with a genuine love for the art form.

For years, he has helmed The Mildred Snitzer Orchestra, performing regularly at venues across Los Angeles and beyond. His style is steeped in the traditions of swing and the Great American Songbook, with a playing approach marked by rhythmic sensitivity, a lyrical touch, and a keen sense of musical conversation – hallmarks of seasoned jazz musicianship.

His latest release, Still Blooming (out April 25^th via Decca Records), is another chapter in an evolving jazz career rooted in authenticity rather than novelty. The album offers thoughtful interpretations of classic standards, with Goldblum’s piano work shining through as both elegant and unpretentious. Backed by a tight ensemble that grooves with cohesion and subtlety, the project reflects his deep respect for the idiom and his ability to balance wit with emotional depth.

Jeff Goldblum Swings Again © Kuba Ryniewicz

While the album features notable guests including Ariana Grande, Scarlett Johansson, and Cynthia Erivo, the musical substance remains at its core.

The arrangements breathe new life into familiar tunes without straying into pastiche, and Goldblum’s leadership keeps the music grounded in swing, interplay, and spontaneity. His touch on the keys is conversational and refined, reflecting years of live performance and musical growth.

Upcoming appearances at the London Palladium, Massey Hall, and the Montreal Jazz Festival further cement Goldblum’s presence in the international jazz scene. Still Blooming is not merely a celebrity foray into jazz, but a heartfelt, musically grounded contribution to the tradition – proof that the Great American Songbook, when handled with care and craft, remains as vital as ever.

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:: stream/purchase Still Blooming here ::

:: connect with Jeff Goldblum here ::

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A CONVERSATION WITH JEFF GOLDBLUM

Atwood Magazine: Love the album! I’ve been a huge American Songbook fiend my whole life, so I was curious – there are so many beautiful songs. I loved hearing the story from Ariana and Cynthia about how those songs came together serendipitously. But was that the case for the whole project? Did you just stumble upon these songs, or did you put a lot of thought into selecting exactly which ones you wanted to do?

Jeff Goldblum: Well, you know, my bandmates are experts, and they know every recording ever made. They have a sense of what we might be able to add to the continuum of what’s already out there.

Some songs we particularly love, or that I love, we’ve played live a bunch of times – like Grease Patrol, which we’ve played a lot. And Blue Minor by Sonny Clark – he’s from Pittsburgh, like me. He’s an unsung hard bop hero, much respected in the jazz world but sometimes not given enough credit. I love that song, Blue Minor, especially because it has this unexpected Latin bridge that I really like. And, ooh, Bye-Ya by Thelonious Monk – I’ve always loved him. I remember when I was a kid, his picture was on Time magazine – yeah, it was on the cover of

Time. That’s when I became aware of him, and I thought, Wow, what’s that? Because, as you know, any two notes he plays, you immediately know who it is. I love his style. He had such an individual style, didn’t he? With his rings, his hats, and everything. So, yeah, the process is kind of organic – how we finally choose this bouquet of songs. But you love everything from the American Songbook, right? What are you into now? Name a song, and we’ll sing it together!

“Misty” is always the first one I say.

Jeff Goldblum: Which one?

Errol Garner Misty.

Jeff Goldblum: Well, Erroll Garner – I love Erroll Garner. A lot of people have sung that song. That was my dad’s favorite – he brought home that vinyl. Erroll Hunter plays Misty and pointed out to me what he particularly appreciated about it. Okay, ready? You pick a key. “Walk my way, and over, on my way, and a thousand violins begin to play. Or it might be the sound of your… ♪ The music I hear ♪ ♪ I get misty ♪ ♪ The moment you’re near ♪ Wow, I love that. Hey, you sing up a storm – you’re a nightingale!

Thank you! That song is so stunning. And we did it, I think, in the original key – E-flat.

Jeff Goldblum: Yeah, that’s it! You have perfect pitch.

Not really perfect pitch, but, you know, I just love that song so much that it’s kind of burned into my brain.

Jeff Goldblum: That’s so fantastic. Do you play an instrument?

Yes, I play piano, guitar, a little dulcimer.

Jeff Goldblum: Yeah Oh, and the dulcimer really you could say that you’re leading me on, but it’s just what I won’t give it to Don’t you see how hopelessly I’m lost? That’s why ♪ I love you ♪ ♪ You ♪

Something I loved is that you kept the music very pure. You know, it was amazing to hear Ariana and Cynthia singing this music – it showed a different side of them. And I was curious, going into that and approaching the Great American Songbook, because it’s such an evolving music. You know, every generation finds a way to make it their own, but there’s also such a purity to it that you really captured. Was that definitely something you wanted to do – to keep these songs really true to their essence?

Jeff Goldblum: I love it – I’m deeply in love with it! Name another song, name another one you like from the American Songbook.

I’d love to hear you sing “Smile” by Charlie Chaplin.

Jeff Goldblum: And that’s nice, you know – Charlie Chaplin wrote that, you know, for – I think they premiered it in City Lights, didn’t they?

I couldn't tell you, but I just love that he wrote that song. I mean, during the Great Depression, that kind of music could get you through anything.

Jeff Goldblum: That’s right. Hey, you like that Depression song? “Brother, Can You Spare a Dime?” – you know that one? ♪ Once I built a railroad, made it run ♪ ♪ Made it race against time ♪ ♪ Once I built a railroad, now it’s done ♪ Brother, can you spare a dime? Yes, you can really act that song.

Well, that’s the beauty of the Great American Songbook – for good jazz, it just gets you through any despair, especially in your own life. I feel like those songs take on different meanings depending on what you’re going through. Like “Every Time We Say Goodbye” – I’m sure it has evolved for you and holds different meaning now. And, you know, as we’re going through this very strange time, it’s cool to see jazz having a resurgence. People are really locking into that music, that authentic, organic sound. I think so.

Jeff Goldblum: What other songs help you when you’re blue, or confused, or daunted, or pressed? What can get you through it?

Well, “Somewhere Over the Rainbow.” I watched Wicked with my four-year-old niece recently, and she loved it. Then we went back and watched a version of The Wizard of Oz that I did when I was nine, when I played Dorothy. I sing that song with her all the time, so…

Jeff Goldblum: I’ll bet you sing that great. Well, you and Judy Garland – boy, I’m crazy about that movie. And Frank Morgan was the wizard in that, Judy Garland singing that. How about that little dog, Toto? When she sings those last couple of notes, she reaches out her hand, and little Toto kind of reaches his paw toward hers – and then the sun comes from behind the clouds. Oh my gosh, that’s a killer. But Stephen Schwartz’s music in Wicked – how about that? And the way Ariana and Cynthia knock that out of the park. Oh my golly, if that doesn’t do it for you…

There’s a lot of relationship between being an actor and being a jazz musician. I imagine the improv, staying in the moment, the feeling –

Jeff Goldblum: I think so, I think so. I had good teachers, and improvisation was the cornerstone of Sandy Meister’s technique. And yes, it’s a matter of listening, being present, and staying receptive to what the other saxophone player, organ player, or bass player is doing – letting that spark something in you and then answering. So have you recorded a lot too?

Well, I just made my first album that I got to co -produce with Larry Klein, who was such a dream to work with.

Jeff Goldblum: Yes, of course. Congratulations. What do you sing? Do I know any songs that you do on that?

Thank you so much! The only cover that's on there is “Wild is the Wind,” which is one of my other favorite songs. Nina Simone, “Wild is the Wind.”

Jeff Goldblum: How’s it go?

♪ Love me, love me, love me, say you do ♪ ♪ Let me fly away with you ♪ ♪ For my love is like the wind ♪ ♪ And wild is the wind ♪ Oh, it’s a gorgeous song.

Jeff Goldblum: I can’t wait to see it! Ours comes out April 25^th – album drops on April 25^th – so we’re gonna be at the London Palladium that night. Then we go to Luxembourg at Rock Hall, then Atlanta at Symphony Hall on May 25^th. Then we come to the Carlyle for a week, and after that,

Toronto at Massey Hall on June 28^th. Then June 30^th, we’re in Montreal for the Montreal Jazz Festival. What do you think about that? And then, July 2^nd, we’re in Chicago at the Chicago Theater. So we’ve got a couple of dates lined up. I hope you’re there for all of them!

So, two little questions. First, what are you most excited about when it comes to bringing this music on tour?

Jeff Goldblum: What am I excited about – about bringing this? About this? Oh, I’m excited. I love – I love, you know, I’m curious. I love to see who comes. I get interested in them, and we start playing around and talking. Sometimes the audience has seen a movie or two of mine and may not be so familiar with classic American songs, the classic standards that we do. So, it’s a responsibility – but also a delight – to introduce them to some of these songs. You know, Maiya Sykes, who’s sung with us a lot during our last residency in Alaska, did “Stella by Starlight” in a different way.

And there’s a little scat she does – it’s an homage to George Benson and a solo that he took. I play along with her in unison, and I love the arrangements that Alex Frank and Joe Bagdyn did for that. But – you don’t know that song? Do you sing that song?

I don't sing it, but I love that song. It's beautiful.

Jeff Goldblum: Yeah. ♪ This, this song a robin sings… ♪ – I’m crazy about that song. I like the whole idea of it – the way it layers metaphors, one after another. This guy is talking about how Stella’s face, how she looks, reminds him of the song a robin sings, the murmur of a brook, a great symphonic theme. And then, finally, it takes this unexpected turn, and he just finishes off by saying, “My heart, and I agree, she’s everything on earth to me.” Isn’t that great? You know, it’s amazing to be able to share that with audiences and say, “Imagine this. Listen to this.” I’m just a big guy thrill.

I'm curious – do you remember the first song from the Great American Songbook that, when you think back on your childhood, completely struck you? The one you kind of credit as being one of the songs that made you fall in love with this era?

Jeff Goldblum: Well, you know, “Misty” was the one. My dad brought home this vinyl of Erroll Garner Plays Misty, and I heard that on our Hi-Fi set – I’d listen to it over and over again. That might have set me off, especially the way he played it. And then my piano teacher gave me “Alley Cat” – I forget that thing with the syncopation – and then I think “Stairway to the Stars” to learn, and “Deep Purple.” But you know “Stairway to the Stars” – you know how that song is used in Some Like It Hot? It’s playing in the background underneath that scene where Tony Curtis is making out with Marilyn Monroe on the boat. I think that’s great. And I loved learning those new jazz chords for the first time – that really set me off. ♪ Don’t stare right at the stars, I don’t stare right at the stars… ♪ Yeah, I was crazy about that.

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