"Bruxin'"
"Exponentially Monk"
"Ukrainianism"
"Standards"
Earlier Releases
“Canadian John Stetch is one of the most brilliant and underrated jazz pianists working today. In a perfect world he would be more famous than Wynton Marsalis. …The compositions are all originals by Stetch, and most sound like instant classics. … At the keyboard he is a virtuoso who knows how to avoid self-indulgence … Although he brings his idiosyncrasies to the table, the pianist shows that innovative writing does not have to rely exclusively on dissonance or the obliteration of structure.”
- Alain Druot, Clavier
“Stetch’s crisp technique allows him to zip, smash and splash over the keyboard at will, creating stop-‘n’-start melodies, razzle-dazzle solos and bright conversations … a happy, welcoming feel to his music, despite its harmonic and rhythmic complexity …. expressive ebbs and flows and smart deployment of dynamics and space ….like hearing a painting by Miro or Matisse come to life…. playful technique and unfettered imagination … warm, swinging touch and crunchy chords … swings madly”
- Paul de Barros, Down Beat (Hot Box)
“a clipped, jagged eccentricity cut with swirling whirlpools and chords that drop like dissonant splatters. Yet, there’s an inviting lyricism too … grounded in a rhythmic clarity that swings the old fashioned way”
- John McDonough, Down Beat (Hot Box)
“a vibrant album showcasing a well-oiled machine of a trio … it sounds like these guys have been together for ten years ….. A wonderful composer …. A very intriguing player”
- Neil Tesser, Listen Here! (NPR)
“A treat indeed is the new outing from Stetch, one of the most truly inventive players now recording. After a very successful trilogy of solo albums for the Justin Time label, Stetch returns to the group format with a dazzlingly smart and different collection of originals. Stetch is a virtuoso but his brilliant technique continues to unfold facets of his story (or stories). And these gentlemen - Stetch, bassist Sean Smith and drummer Rodney Green - sound like they’re having a grand time as well they might be with such challenging yet thoroughly appealing material to work (play) with … adventurous and challenging but exhilarating at every turn. It’s carefully thought out and yet the overall effect is one of liberating freedom.”
- Donald Elfman, All About Jazz NY (lead review placement)
“immediately inviting …. bold and exciting…. relentlessly catchy … Bruxin’ is a breath of fresh air on the piano trio scene.”
- Ed Trefzger, JazzWeek
“you’d think that the possibilities of the mainstream piano trio had been exhausted. But Stetch – who here returns to the trio format after three solo albums – proves that there are as many ways to play in this familiar set-up as there are ways to paint a landscape or a still life ... with verse-chorus structures that cry out for lyrics … every piece has a hooky familiarity that the ear can trace; no matter how far afield the improvisations travel, you get that satisfying “unh” of recognition when you feel Stetch come to the end of the form and the top of the chorus”
- Jon Garelick, The Boston Phoenix (lead review placement)
“Stetch has uncommon pianistic facility, and his trio here with Sean Smith on bass and Rodney Green on drums is tight enough to fly in formation”
- Thomas Conrad, JazzTimes
“his sound recalls Bill Evans and Keith Jarrett. Like those intrepid artists, he does things his own way. Each of the originals sounds singular, and Stetch's improvisational approach moves from in-the-pocket swinging to free play”
- Zan Stewart, Newark Star Ledger
“Ambitious and unusual, Stetch’s latest documents him carving a niche in the piano oeuvre that’s more or less his alone. Well worth a listen!”
- Grego Applegate Edwards, Cadence
“Once again on Bruxin’, Stetch has created some music that could be only his own ... Technique allows Stetch to express his thoughts as an extension of his personality – with humor, joyfulness and poignancy – letting the feeling of the piece drive the meter and the dynamics … He reminds the listener that his attention to touch reinforces the technical brilliance that he displays when he evokes wit or suggests the personalities of people he knows … Not only does Bruxin’ continue to showcase John Stetch’s seemingly unlimited technique, as well as the fertility of his imagination—elements of his talent in abundant evidence in his solo albums—but also, it presents an interactive trio ... that has developed a sound like no other’s“
- Don Williamson, jazzreview.com
“one of the giants of the contemporary pianistic panorama…a disc that has it all perfect: the technique, the interplay with the two rhythm players, Sean Smith on bass and Rodney Green on drums, the compositions. Stetch is a master of finding the way to develop original ideas everywhere he aims ….in the sphere of piano trios Stetch occupies a hilltop”
- Cosimo Parisi, Music Boom (Italy)
“It’s easy to admire pianist John Stetch, given his tremendous technique and his ambitious approach to composing ….. Stetch’s music is often compelling …. There’s also the fact that Stetch sometimes uses his left hand to propel the rhythm rather than merely support it”
- John Frederick Moore, jazziz
“Pianist John Stetch is a cat worthy of wider recognition ….. The set is obsessively good. The players go deep into a groove and work it out with psychoanalytical fervor … Stetch, who composed these 11 tunes, creates a cliche-free zone in which surprise and adventure rule”
- Karl Stark, The Philadelphia Inquirer
“simultaneously complex and accessible … full of quirky rhythms and harmonies, it’s still rooted in classic swing … uses his formidable technique to deliver a consistently engaging program … each track has its own surprises …. adventurous, inventive glee that pervades the entire session … Bruxin’ is hardly your ordinary trio excursion … Melodic, propulsive and swinging, with flashes of humor and real brilliance, this is a fresh and intriguing ride.”
- Dr. Judith Schlesinger, All About Jazz.com
“a welcome level of individuality … illustrating the diversity of Stetch’s compositional range ... his lyricism never descends to a mawkish level … this body of music transcends any limitations that might be inherent in the format”
- Nic Jones, All About Jazz.com
“just the right combination of bristling chord voicings and disarming lyricisms – like vinegar and honey – that Stetch has perfected over the years ….. Stetch’s lines are far-flung and imaginative …. Longtime enthusiasts will rejoice … newcomers will enjoy hearing a musician at what is sure to be just one of many peaks in an ongoing career.”
- Ken Case, All About Jazz.com
“one of the most brilliant pianists of his generation”
- D.Lelièvre, VOIR (Montreal)
“quirky, swinging and ever-evolving”
- Len Dobbin, Montreal Mirror
“he’s the real thing and he’s here to stay …. Bewitching”
- Culturehebdo (Montreal)
“what a triple threat this guy is …. It’s not just that his compositions and phrasing are full of imagery, or that he brings a lightning fast, lyrical touch to the keyboard. What really throws gasoline on the fire is the working relationship between Stetch, bassist Sean Smith and resourceful drummer Rodney Green. They’ve fashioned something spontaneous and accessible all at once, though it’s a bit too exciting to call background jazz”
- Roger Levesque, CKUA
“Slow Down To Listen. Do Not Pass. Genius At Work”
- Dick Crockett, The Voice (Sacramento, CA)
“Stetch is a first-rate composer …. With bassist Sean Smith and drummer Rodney Green, Stetch forms a seamless trio. Bruxin’ stands up there with the best of his solo work, which is no small compliment”.
- Jazzmozaik (Belgium)
“He is consistently praised for his inventiveness, exquisite sound and technical brilliance. He’s got his own style and doesn’t sound like every other good pianist”
- Fred Taylor, Artistic Director Tanglewood Jazz Festival & Scullers (Boston) quoted in The Berkshire Eagle
“Jazz is a genre of improvisation, but John Stetch takes it to a new level. …The music is not something you would expect and that’s what makes it so interesting a listen. There is nothing predictable aboutI; John Stetch definitely marches and plays to the beat of his own drum.”
- Orcasound
CD of the week - CKUA
"Publisher's Pick" - All About Jazz.com
Lead Review Placement (translation not yet available) - Swing Journal (japan)
" … John Stetch makes a solo session sound like a crowded bandstand – a lot of personalities are clamoring to get out of his piano … Tunes evolve to the deep end of the pool."- Karl Stark, The Philadelphia Enquirer
“… adds to his impressive series of solo recordings for the Justin Time label with this imaginative rethinking of 13 tunes by Thelonious Monk. Stetch treats the repertoire in a “holistic” fashion, celebrating the harmonic richness and inherently pianistic colors of the compositions and placing them ever so clearly in the modern piano literature … Each piece becomes a tone poem, a richly told story that opens up and out to reveal new facets … breathtakingly communicates that sense of exhilaration and invites an audience inside the world of both the artist and the music.”- Donald Elfman, Barnes & Noble
“One of the brighter minds on the New York scene these days, Stetch reinvents – or at least reframes, a baker’s dozen of Monk’s themes.”- Mark Miller, Toronto Globe & Mail
“… always a fascinating player. After two strong solo contributions (Ukrainianism and Standards) he puts his unique stamp on the work of a pianist whose tunes are among the most distinctive in jazz …. Even veteran Monk lovers (count me in) will be astounded by the effects Stetch fashions after early lines suggest he might hew close to the original melody Wit, lavish ornamentation and quirky notions of which Monk himself would approve are featured throughout …”- Geoff Chapman, Toronto Star
“A brilliant solo piano outing. Stetch and a baker’s dozen cooked up by Thelonious = great listening!”- Len Dobbin, Montreal Mirror
“… bounces with delightful joy.”- Irwin Block, Montreal Gazette
“Don’t waste any more time reading – just go out and pick this one up.”- Mike Chamberlain, Ottawa XPress
For Ukrainianism
" … one of the best solo piano recordings in recent years ...."- Dan Ouellette, DownBeat
“. . . a very powerful and truly monumental recording”- James Rozzi, jazziz
“ … a striking solo piano set”- Steven Graybow, Billboard
“ … a major solo piano project”- Philip Van Vleck, CDNOW
“If piano playing were declared an extreme sport, attempted by only the most daring and most adventurous daredevils, John Stetch no doubt would win the gold in 2002. Ukrainianism, quite simply, is unlike any other jazz piano album released this year …. Ukrainianism,
in effect the work of a lifetime, should launch John Stetch into the major leagues of jazz pianists, if there is any justice in the
jazz world.”- Don Williamson, jazzreview.com
“ … a crystal-clear improviser who prospects through Eastern European music with a jazzer’s knack … his playing can
chill the blood”- Karl Stark, The Philadelphia Inquirer
“Stetch’s striking solo recital fuses robust Slavic folk melodies, Bill Evans-like luminosity, and Shostakovich at his
most intimate … “- Nathaniel Friedman, The Philadelphia Inquirer
“ … solo masterpiece …. an exciting release, with virtuosity in playing and fresh compositions, that
demand your attention”- Ed Trefzger, JazzWeek
“Stetch is a formidable talent with a vast imagination and chops to back it up … As a seamless fusion of Ukrainian roots music, the American jazz tradition and Western European classical forms, Ukrainianism works brilliantly”- Nils Jacobson, allaboutjazz.com
“ … a true virtuoso”- John Henry, Audiophile Audition
“… the very first Canadian jazz musician to successfully create a uniquely Canadian jazz sound …. a brilliant pianist. Period.”- Ed Lewis, The Jazz Column (CBC)
“ … astonishing free improvisations”- Geoff Chapman, Toronto Star
“ … a passionate showcase of jazz pianism”- Irwin Block, Montreal Gazette
“… sparkling set of piano solos …. Not every jazzer though, could combine imagination, integrity, affection and the sense of good fun that makes this CD the sweet success that it is.”- Mark Miller, Toronto Globe and Mail
“ … prodigious technical gifts and equally inspired imagination …. as gratifying a mix of the traditional and the modern as could be imagined … And most impressively, it never sounds forced.”- Alexander Varty, The Georgia Straight (Vancouver)
“exploits jazz music’s comprehensive impulse to splendid effect … I was struck by Stetch’s ability to make such presumably out-of-the-way material relevant to larger goings-on in jazz piano.”- Michael Borshuk, Coda
“… majestic command of the piano”- Paul Wells, National Post (Canada)
“… his music permeates the soul, mind and heart … challenges conventions and stays ahead of the curve … exceptional music panoramas”- Paula Edelstein, soundsofjazz.com
“… a fresh, unique offering”- Peter Hum, The Ottawa Citizen
“… an immaculate lyrical style”- Helen Smindak, The Ukrainian Weekly
“… pure magic”- Bob Hughes, Leader Post (Regina)
“ … Stetch continues to invite comparisons to such renowned musicologists as Bela Bartok, Zoltan Kodaly and Modest Mussogorsky. Like them, Stetch weaves his incredibly complex compositions around elements of traditional Ukrainian folk songs … at once innovative and intriguing”- Bruce Pollack, ffwd (Calgary)
“… superb”- Roger Levesque, Edmonton Journal
“ … a tour de force”- Ray J., Ray’s Reviews
“ … he knows the traditional Ukrainian music better than most of our musicians”- Viacheslav Krishtotovich NOTA (Ukraine)
“Ukrainianism is the most thoroughly satisfying solo piano album to reach “The Planet” in a good while”- Radio National (Australia)
“…John Stetch is one of the best pianists of the current generation … combines melodic fluidity, the clarity of touch, romantic sensibility, but at the same time, a desire to experience new rhythmic and timbre solutions”- Angelo Leonardi, allaboutjazz.com (Italy)
“takes the kinds of liberties one hears with standards only infrequently … a fun, sometimes touching excursion through that oft-visited land of dreams”- John Ephland, DOWNBEAT
“improvisational prowess that is so brilliantly displayed”- Dan Ouellette, DOWNBEAT
"The Canadian-born pianist possesses an unlimited imagination, unique harmonic and rhythmic conceptions and the digital dexterity to execute any idea he hears"- Harvey Siders, JazzTimesarvey Siders, JazzTimes
“his touch and sound are light and beautiful ... colorful chords and spacious tranquility... singular approach to conventional
repertoire”- James Rozzi, jazziz
“John Stetch stunned the jazz listening public in 2002 with what will become his classic recording, Ukrainianism. … The irony of the title of Standards is that it contains anything but standard work”- Don Williamson, jazzreview.com
“The casual jazz listener should beware the title of this recording … these interpretations are radical, off-road readings that reinvent these songs as much as execute them …. true masterpieces here …. This is unlike any other recording of jazz standards out there and a watermark for Stetch”.- Thom Jurek, All Music Guide / Barnes & Noble.com
“Stetch has a knack for making intimately familiar material appear to have come from new and different inspirational
sources.”- Jim Santella, allaboutjazz.com
“Standards is just as much about reinterpreting as reinventing …. truly remarkable … You will never hear another version of … (All the Things You Are) that bears such a distinctive touch.”- Nils Jacobson, allaboutjazz.com
“The amazing thing is how much new he finds to say …a light-fingered virtuoso”- Karl Stark, The Philadelphia Inquirer
“holds the listener’s interest from beginning to end.”- Dan McClenaghan, allaboutjazz.com
“abounds with thoughtfulness and innovation, as personal arrangements gird stunning improvisations. Stetch can dazzle listeners with beautiful music that somehow seems technically incredible and effortless … Stetch’s prowess is remarkable, given that he didn’t take up piano until his late teens”- Peter Hum, The Ottawa Citizen
“You will never hear a standards recording like this imaginative reinterpretation … remarkable follow-up to his
Ukrainianism”- Irwin Block, Montreal Gazette
“the forethought he shows from tune to tune keeps the 45-minute program enthralling throughout …With greater contrasts of texture, dynamics and register than most jazz pianists manage in their solo efforts, Stetch displays a superior imagination to many of his colleagues as well”.- Jay Harvey, Indianapolis Star
“… for sheer Platonic rigor, John Stetch takes the cake.”- George Kanzler, Hot House
“Hearing him play new material is always an amazing journey of discovery, but hearing him play jazz standards is an unparalleled treat All jazz fans should run out and pick up this wonderful disc.”- Raymond J., Ray’s Reviews
”… ingenious and fascinating. The harmonies are altered, taken apart, overturned, exploded. And the melodic lines are crumbled, put aside and taken back when least expected, with incursions to the most extreme areas of the instrument’s registry and with wandering into the ‘noise’ component of the sound. All this happens with a fluidity and technical mastery of absolute value, with a style that is at the same time novel and authoritative, already very mature and consolidated. It’s a style that nurtures itself with dissimilar influences from the world of classic music (Bartok, Debussy)- Maurizio Comandini, All About Jazz (Italy)
“… Stetch’s inimitable sonic signature … presents the listener with indelible impressions of his pianistic virtuosity ….
Simply brilliant”- soundsoftimelessjazz.com
For Earlier Releases
“ … a marvelously inventive pianist”
- Marian McPartland
“ … an abundantly gifted artist”- Bill Milkowski, JazzTimes
“Stetch challenges conventions”- Irwin Block, Montreal Gazette
“ … it’s a jazz lover’s duty to hear him”- Geoff Chapman, Toronto Star
“… a blazing original”- James Hale, The Ottawa Citizen
"Like Brad Mehldau, John Stetch is pushing piano playing into fascinating intellectual realms”- John Lyttle, The Ottawa X-Press
”Some of the best jazz you’re likely to hear on either side of the Canada / U.S. border”
“Stetch’s notes fall like drops of water”
- Jason Bivins, Cadence
“A sweeping, melodious player with a keen ear for detail”- Nathaniel Friedman, Philadelphia Weekly
“John Stetch blends old and new, jazz and classical, to create something truly his own”- Christopher Jones, Words & Music (SOCAN)
“Full of surprises and completely unpredictable, he is one of the most compelling musicians to emerge on the jazz scene in many, many years. Stetch’s style is pensive and idealistic, hip and imaginative, yet unfailingly creative and refreshingly unpretentious … John Stetch is the future of jazz.”- Marle Becker, WBAI
“ … destined to join the ranks of Oscar Peterson”- Nicholas Jennings, Maclean’s Magazine
"startlingly original"- Tim Jackson, Monterey Jazz Festival
