The Jeff Goldblum Albums Ranked
Jeff Goldblum is a phenomenal actor who has become somewhat of a caricatured phenomenon. Based on talk show appearances and interviews especially over the past decade-plus (the dude’s always been weird, though, of course), Goldblum has occupied a new pop culture meme space. He has also leveraged his obvious love for jazz into a simultaneous career of performing with his band the Mildred Snitzer Orchestra. Jeff Goldblum & the Mildred Snitzer Orchestra have released four albums in the seven-and-a-half years since 2018, plus the EP PLAYS WELL WITH OTHERS (2023). The jazz Goldblum and his group have performed across these records is solid, but of a certain ilk that I’ll describe in short order.
EDIT 6/8/26: Added NIGHT BLOOMS.
#4 — THE CAPITOL STUDIOS SESSIONS (2018)
Favorite track: “Caravan”
Goldblum’s debut album, THE CAPITOL STUDIOS SESSIONS, is a somewhat bloated live album. The periphery of audience addresses and other bits aren’t too distracting in isolation, but they build up, especially a totally unnecessary introduction to a Sarah Silverman duet (she isn’t even the only guest vocalist on the record), which isn’t good anyways. THE CAPITOL STUDIOS SESSIONS feels a little indulgent, if not totally “self-” (Goldblum only sings on two tracks). The best tracks are definitely the solely instrumental ones, but even standout “Caravan” presents the problem of the record. It’s all technically fine, and while the band doesn’t get too close to making Duke Ellington’s famed composition “sonic wallpaper,” the rest of the record dangerously does. THE CAPITOL STUDIOS SESSIONS is a totally proficient blend of pleasant jazz standards, but it’s not exactly electrifying.
#3 — I SHOULDN’T BE TELLING YOU THIS (2019)
Favorite track: “Driftin’”
I SHOULDN’T BE TELLING YOU THIS, Goldblum’s sophomore effort, is a bit more reined in than THE CAPITOL STUDIOS SESSIONS. It’s a straight ahead studio album, not live, and therefore it excises some of the “bloat” I found on that debut record. Otherwise, the band sounds in similarly fine form, if leaving a bit to be desired in terms of unique phrasing or character. When guest vocalists do come in to play, they mesh better on the follow up and the selection of tunes feels a touch less chintzy. I SHOULDN’T BE TELLING YOU THIS is not exactly a lifeline to the visual aesthetic and sound Goldblum is obviously an admirer of, but it’s somewhat resonant of them and so it’s a good listen.
#2 — NIGHT BLOOMS (2026)
Favorite track: “Tattoo”
NIGHT BLOOMS is the “companion” to the previous year’s STILL BLOOMING, but it doesn’t simply feel like a collection of tracks that were left on the cutting room floor. There are some re-arrangements of tunes from Goldblum’s third album, especially the ones featuring guest vocalists like Ariana Grande and Scarlett Johansson, but most of the album is made up of new songs. That is, it’s made up of this group’s interpretation of old standards, including two numbers from THE WIZARD OF OZ (1939), continuing Goldblum’s association with the “franchise” from the pair of Wicked films. But overall, NIGHT BLOOMS operates in a similarly chill and inoffensive space to the rest of Goldblum’s discography, albeit with a bit more of a groovy lilt to distinguish it.
#1 — STILL BLOOMING (2025)
Favorite track: “The Best Is Yet to Come”
STILL BLOOMING may offer certain listeners a line, though, to the jazz that Goldblum has been interpreting (maybe more like “thinly recreating”). With A-list guest vocalists like Ariana Grande, Cynthia Erivo (the two of course being Goldblum’s WICKED [2024] costars), and Scarlett Johansson (on my standout track “The Best Is Yet to Come”), this latest record from ol’ Jeff and his band, which came after the biggest gap between their records at five-and-a-half years after I SHOULDN’T BE TELLING YOU THIS, is getting a bit more attention at the time of this writing. That’s great because it’s the Mildred Snitzer Orchestra’s best album yet. That’s not to say that it’s some wild leap in quality over its predecessors. I would not go so far as to call Goldblum’s music as “milquetoast,” but it hews closer to convention than it does to electrifying newness. And that’s fine! The old actor seems to be having a blast making jazz with a big band and his name brings in some listeners who may have never discovered his source inspirations otherwise (and still might not, who knows). That’s a wonderful thing. STILL BLOOMING is less wonderful than a great jazz record, but it showcases Goldblum and his band’s growing restraint and slight broadening from slavish interpretation.
