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A selection of press commentaries on work with various artists; there are more reviews in the information on the albums.

carsten daerr trio

»Being, as an acoustic piano trio, right in the centre of jazz conventions, in playing together the trio breaks away from traditional patterns and reaches a type of music that can submerge into calm beauty or explode as pure energy at any moment, music that just hints at its rhythm or suddenly manifests it as groove.«
Hamburger Abendblatt | Tom R. Schulz

bunky green

»It was only in the programme that it seemed the master had taken a risk to play with Carsten Daerr on piano and Eva Kruse on bass, apart from Nasheet Waits on drums. On stage Bunky Green's ›Salzau Quartet‹, also on CD ›Live at Jazz Baltica‹, spontaneously reached a deep intimacy.«
Kieler Nachrichten | 08.10.2008

»With Eva Kruse (b), Carsten Daerr (p) and Nasheet Waits (dr) Green gave a cheered concert, and its live-recording makes you prick your ears. Not just because of its deconstructive moments, there are more of them than on the album, but because of the over seventy-year-old's sound. It is experience of living and playing music, note by note, on an album that should have found its place in jazz history.«
Jazzzeit | just | Juli/August 2008


»On her way from ›Tightrope Walker‹ to her new album ›The Expense of Spirit‹ Kristiina Tuomi captured an amazed audience with her own songs and the beauty of Shakespeare's sonnets. Most of the poems have been set to music by Carsten Daerr, with a sense of verbal clarity, melodious precision and harmonious depth.«
Leipziger Volkszeitung | Bert Noglik


Gondellied In The Sahara
»Three compositions by Felix Mendelssohn – the ›discoverer‹ of Johann Sebastian Bach – are the main idea of the album (in addition ›prelude 3‹). Here the exquisite art of the quartet is demonstrated like in a magnifying glass. While Schiefel sees himself as a vocal cords instrumentalist without text, but also without scat-routine, and Daerr measures the area of contact between romantic contemplation and gospel-spirit, Mátyás Szandai anchors the interpretations in the folk music of his Hungarian home country (›Standard Without Words‹) as well as in the tradition of jazz. Like a second grand piano, - stripped of keys and mechanism, however – Miklós Lukács fits his cimbalom smoothly into the quartet's sound. And yet the sound of his instrument remains a distinctive symbol of a variety of connections: there is always the sound of ›Hungary‹ in the whizz of his strings, from gypsy or rom music to Liszt, Bartok, Kodály and Peter Eötvös«
Tobias Richtsteig