The Door, the Hat, the Chair, the Fact...reveals Goldberg's aesthetic to be wide-ranging but cohesive: Hard-swinging tracks such as "Song and Dance" complement chamberlike pieces like "F13." Other performances contain muted [Steve] Hank Shteamer, Time Out New York, February 23, 2006
Ben Goldberg returns after a seven-year absence from recording with one for Steve Lacy. Goldberg wrote the music in 2004 when he came to know that the soprano saxophonist had cancer. The album was recorded three days after Lacy died.
Lacy's "B Jerry D'Souza, All About Jazz, March 8, 2006
Too bad that the clarinet was the instrument guys were embarrassed to be stuck with in band. None of those kids ever got to hear what musicians like Steve Lacy (Yes, I know, soprano sax. Close enough), Don Byron or Ben Goldberg could do with it.
Go Mark Saleski, Blogcritics.org, March 8, 2006
Conceived as a tribute to the late Steve Lacy, one of Goldberg's former teachers, The Door, the Hat, the Chair, the Fact not only invokes the master but also offers a window into Goldberg's own musical world. Now an official member of Tin Hat (formerl Troy Collins, One Final Note, April 10, 2006
The line-up of clarinet, tenor saxophone, violin, bass, and drums might even suggest Klezmer, but after the opening European chamber music of "Petals" (not quite a hundred seconds long), the second track "Song and Dance" strikes me as Robert R. Calder, Pop Matters, May 2, 2006
Steve Lacy may no longer be here, but he's "hear" these days, a musical spirit living on in many facets and forms. Clarinetist Ben Goldberg's quintet has recorded a loving tribute to Lacy in The Door, The Hat, The Chair, The Fact, a collecti Thomas Greenland, All About Jazz, May 11, 2006
This is music that produces seemingly random associations as snippets of form and formlessness lead you to free, or perhaps not so freely, associate. Personal experiences dovetail with these compositions, which lead through nodes of memory and mood: f Elliott Simon, All About Jazz, July 26, 2006
He's been active for fifteen years, but unless you know the New Klezmer Trio or have followed the Bay Area scene, chances are you haven't heard of clarinetist Ben Goldberg. Despite appearing on records by Charlie Hunter, Tin Hat Trio and John Zorn, in John Kelman, All About Jazz, February 15, 2006
No one can accuse Ben Goldberg of hiding in the shadows. It's true that the Berkeley-based clarinetist, a creative force in jazz and improvised music for more than two decades, has often flown under the mainstream radar, ridiculously undetec Andrew Gilbert, ContraCosta Times, 11/16/06
Clarinetist Ben Goldberg is a Bay Area provocateur. His pioneering work with the New Klezmer Trio in the late '80s amplified "Radical Jewish Culture" long before New York City iconoclast John Zorn appropriated the concept. A few years later, at Sam Prestianni, San Francisco Weekly, 11/15/06