Nikolaj Hess Trio at Blues Alley

“Simply put, these guys are the best piano trio in Denmark, and Nikolaj Hess is one of the most inventive jazz pianists working today” (Mitch Myers Magnet Magazine 2019)“A delightful, reflective, almost pastoral use of light and shade. If Chopin had been born in New York and received tuition from say Bill Evans or Keith Jarrett he may have sounded like this” writes ‘Bebop spoken here’ (UK) beautifully about Nikolaj Hess.“Gold dust. Nikolaj Hess’ fingers on the keyboard is an alchemical affair. An album with a wide range of expression, yet spiritually coherent.” (Chr Munch-Hansen Politiken)“Danish pianist Nikolaj Hess careened between heart-melting delicacy and almost Chopinesque virtuosity...

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“Simply put, these guys are the best piano trio in Denmark, and Nikolaj Hess is one of the most inventive jazz pianists working today” (Mitch Myers Magnet Magazine 2019)“A delightful, reflective, almost pastoral use of light and shade. If Chopin had been born in New York and received tuition from say Bill Evans or Keith Jarrett he may have sounded like this” writes ‘Bebop spoken here’ (UK) beautifully about Nikolaj Hess.“Gold dust. Nikolaj Hess’ fingers on the keyboard is an alchemical affair. An album with a wide range of expression, yet spiritually coherent.” (Chr Munch-Hansen Politiken)“Danish pianist Nikolaj Hess careened between heart-melting delicacy and almost Chopinesque virtuosity. Hess is clearly equipped to face the most gargantuan technical demands, but it was the incredible fecundity of his imagination that impressed the most”(Peter Quinn Art Desk, London)”No matter whether he is working to unite different musical worlds, or getting down on the anatomy of the groove, Hess’ sound world is one that gathers many different aspects of tradition and culture. Global Motion + and The Champ provide two pieces of the puzzle that makes up his many-faceted vision” Jakob Baekgaard Allaboutjazz“Bilingual in classical and jazz, Hess moves in both cultures with confidence, so the project is not just jazz-with-strings-tacked-on (or vice versa) but an organic hybrid. Though the strings don’t solo they are used as an autonomous voice, providing chromatically embellished melodies, ‘rubbing’ dissonances (caused by adjacent chord tones), canons, chorales and jousting countermelodies. The leader threads it all together, rippling through the colorful arrangements with a gorgeous feathery effervescent touch, equal parts Murray Perahia and Bill Evans.” (New York City Jazz Record)

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