Press

Praise for Jeremy

An article following Jeremy’s win at the 2012 Nottingham International Jazz Piano Competition by Ursula Zerilli of Michigan Live.

An interview with Jeremy by Howard Dukes of the South Bend Tribune.

Jeremy’s Yamaha Artist profile.

[Siskind] showed a keen ability to control broad musical terrain, taking tunes into astonishing new areas without losing the thread…a genuine visionary.
— Jay Harvey, Indianapolis Star

Extremely musical, virtuosic, packed with healthy fun and connection to the audience, and played with a beautiful touch.
— Denny Zeitlin

Jeremy Siskind is my favorite all-time pianist.
— Lea DeLaria

Stunning… an artist of the highest caliber.
— Brent Wallarab, faculty, Indiana University

Jeremy Siskind is a fine pianist, an imaginative artist and compelling communicator, abounding in wit, charm and depth.
— Joel Harrison, DMA, President/Artistic Director of the American Pianists Association

Jeremy Siskind is a deeply creative musician with a beautiful, highly expressive touch and great energy. He is an outstanding communicator, both musically and personally.
— Lynne Arriale

Brilliant and accomplished.
— Fred Hersch

Jeremy’s dedication and devotion to what he is doing makes me believe that he will add a great deal to our world of music.
— Sophia Rosoff

Jeremy is a brilliant musician, fresh and inventive in every situation – as a solo pianist, in an ensemble or as an accompanist particularly with vocalists. Someone to watch.
— Christine Correa

A remarkable young pianist… a rising star on the jazz scene.
— Marian McPartland

Live Reviews

Heckman calls the music “utterly unique” and a “fascinating musical menu.” The evening, “reached, in fact, beyond music, into a transformative event in which the players, the music, and the location blended into an intimate togetherness, drawing its listeners into a kind of complete experiential participation.”
– Don Heckman, The Housewarming Project at the Old Siskiyou Barn

The song “A Single Moment” was the perfect vehicle for Siskind to display his deftness at seamlessly transitioning from a state of serenity to one of tension.  It was one of the evening’s brightest spots when Siskind let his urgent tone fall to the side to meet Pino’s clarinet for the restatement of that beautiful melody.
– Dave Sumner, live in-home concert review, Notes From The Holler

Siskind’s new project… seems to defy all boundaries while remaining totally accessible, totally engaging.
– Andrea Canter, live review, JazzInk Blog

Without vocals, Siskind portrayed the emotional ups-and-downs as if he were caught on the wrong end of unrequited love. He closed his eyes and swayed side-to-side at one moment, lunged at the keys in another or sat almost motionless, save for his hands, near the end.
— John Liberty, live performance review from the 2014 Gilmore International Keyboard Festival, Michigan Live

Housewarming Reviews

Described as a “shining example” of chamber music. Siskind “has mastered [the] craft” of “showcase[ing] each player without disguise or artifice, while emphasizing the music’s detail and nuance.” ★★★★
– Downbeat, June 2015

Finger-Songwriter Reviews

Siskind’s piano sparkles, Pino’s growling bass clarinet and its repeated ascending figure are almost comical, and Harms is wry and saucy. It’s a turn-that-frown-upside-down finish to an album that starts out dark and gets darker, plumbs the depths of heartbreak, touches on numbness and despair, and delivers a happy ending. Bravos all around.
– Pamela Espeland, bebopified

Siskind’s love of literature the inspiration for each album track, he’s created an album of songs about heartbreak, loss, and hope, delivered with a warmth and immediacy that brings the late-night jazz club to the listener. There is a classic intimacy to the piano, sax, vocals of Jeremy Siskind’s Finger-Songwriter. Siskind’s piano is a mix of elegance and storyteller charm.
–Dave Sumner, eMusic.com

Siskind’s piano executes every song flawlessly. But what is most appealing here is his use of the piano as a means of invocation. …sophisticated, and pregnant with meaning, and never once degenerates into mere musical wallpaper.
– Dawoud Kringle for doobeedoobeedoo

Finger-Songwriter on Peter Hum’s (Ottawa Citizen) “Best of 2012” list. These are the types of stories Siskind’s trio writes on Finger-Songwriter.  It is the kind of album that invites repeat listens, the story sounding a bit different each time, as all good stories should.
– Dave Sumner, Bird is the Worm (Bird is the Worm also lists Finger-Songwriter as one of the top releases of 2012)

On the classically informed “Aubade” (for Paul Auster), Harms in her higher register suggests a wide-ranging Parlato against Pino’s bass clarinet; Pino, himself a serious storyteller, mines more beauty and melodicism than seemingly possible from the unwieldy woodwind as Siskind envelopes the track in a Chopin-meets-Ellington rhapsody.
– Andrea Canter, Jazz Police

His richly-hewn piano work, the well-drawn melodies and the arrangements that allow each participant to stand out, all adds up to a recording that remains in the ear and mind of the listener long after the notes have faded away.
–Richard Kamins, Step Tempest

Simple-Songs Reviews

Siskind’s ability to shift shapes and dodge expectations lingers throughout his sophomore recording, but there is also a sense of purpose… Siskind seems happy to go his own way. ★★★★
– James Hale, Downbeat

The narrative of simplicity, attributed to the title of this CD is misleading. The music is rich in texture and nuance, and delves into improvisation with sophisticated constructs. Jeremy Siskind’s career as a composer and bandleader is off to a rousing start.
– Robbie Gerson, Audiophile Audition

Marked as “recommended repertoire,” reviewer Laura Caviani writes that “the skills gained by mastering this book would benefit a pianist in any jazz group, large or small, and not just those in a school band, as the title suggests. That being said, the etudes are well written, expressively recorded, and fun to play, and therefore, this book is highly recommended.”
– Clavier Companion, May/June 2015