Jeremy Siskind Trio | Prophecy

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Jazz: Traditional Jazz Combo Jazz: Neo-Bop Moods: Featuring Piano
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by Jeremy Siskind Trio

An up-and-coming piano trio swinging in ways both old and new.
Genre: Jazz: Traditional Jazz Combo
Release Date: 

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  Song Share Time Download
1. Jennifer
7:26 $0.99
2. It's Not Like I'm Going to Get Addicted
4:15 $0.99
3. Independence V. 3.0
4:48 $0.99
4. Redundancy
4:41 $0.99
5. Mackinac Prophecy
6:18 $0.99
6. John Deere
6:06 $0.99
7. Fanning the Flames
4:26 $0.99
8. Spur of the Moment
3:50 $0.99
9. Valse Triste
1:32 $0.99
10. Theme For a Sunrise
5:57 $0.99
11. Guard the Van
4:33 $0.99
Downloads are available as MP3-320 files.


Album Notes
"It may suffice to say that Jeremy Siskind is a brilliant young musical talent who plays on a level of sophistication usually reserved for players further along in life’s struggles. The music on Prophecy, however, goes well beyond recognition of an emerging young lion. Siskind and his trio mates, bassist Jesse Breheney and drummer Dave Tedeschi, have released a collection of tunes that successfully stretch the boundaries of pre-conceived notion while simultaneously paying homage to the legacy of innovation concerning piano trios of the past...

Siskind is a unique musical force developing in an overcrowded jazz world too often content with imitation and generic offerings. Prophecy is a well conceived and brilliantly executed release which will hopefully have a chance to reach within listening range of industry movers and shakers."

- John Barron,

Pianist, composer, and educator Jeremy Siskind is is “a remarkable pianist” and “a rising star on the jazz scene” according to legendary pianist Marian McPartland. The release of Prophecy is the first full collection of original music from Siskind, who - along with trio-mates Jesse Breheney and Dave Tedeschi - provides a compelling mix of introspection, exuberance, humor, and tradition.

Siskind, born in 1986, hails from Irvine, California, and began playing the piano at a very young age. When his parents noticed he had a knack for picking up tunes, they enrolled his brother and he in a Yamaha piano class; soon, Siskind surpassed his older brother and was soon welcomed into the Junior Special Advanced Course, under the guidance of Suzanne Wong-Abe.

Siskind thrived in the Yamaha system, especially in the creative aspects .. improvisation and composition. These strengths led to his entry into many Junior Original Concert (JOC) competitions, Yamaha events designed to showcase students performing their own pieces. Through the JOC program, Siskind found himself playing all over the country: at the Yamaha piano manufacturer's in Thomaston Georgia, at the National Association of Music Merchants' convention in Los Angeles, and at the University of Madison in Wisconsin, among others. Twice, Siskind was flown to Tokyo, Japan to perform his jazz-influenced pieces for Japanese audiences.

As it became apparent that he was more interested in improvising than in playing Bach, Siskind was soon introduced to jazz. His first jazz teacher was Linda Martinez, a fantastic composer and pianist who quickly became his mentor. Both his playing and composing quickly thrived - he won first place in the soloist competition at the Fullerton College Jazz Festival, "Most Outstanding Rhythm Player" in the Reno Jazz Festival, and won scholarships from the Friends of Jazz, O.C. Community Foundation Centennial Arts, and the Vail Jazz Foundation; also, he became the youngest winner of the American Society of Composers, Authors, & Publisher's (ASCAP) Young Jazz Composer's Awards (he traveled to New York to accept the award where he met jazz legend Hank Jones).

Siskind then won a sizable scholarship to the famous Eastman School of Music in Rochester, New York where he went to study with Harold Danko, Tony Caramia, and Bill Dobbins, among others. Siskind's excellence was quickly noticed at Eastman - he became pianist for the famed Eastman Jazz Ensemble in only his sophomore year (where he's performed with Dick Oatts, Peter Erskine, and Slide Hampton, among others), and was the only undergraduate in the award-winning group Saxology. Siskind also got his first important teaching opportunities: he has taught privately as an intern in the Community Education Division (CED), taught small groups through the CED, and taught an Eastman class, Jazz Piano for Keyboard Majors. Siskind also initiated an artist-in-residency program with his alma mater, Irvine High School, in which he brought a group of Eastman musicians back to Irvine to clinic the jazz bands; the program has met with overwhelming success.

In addition, Siskind began to attract notice outside of Eastman. He was the youngest finalist and took second place at the Kathleen T. and Philip B. Phillips Jazz Piano Competition, and joined a list including Bill Evans, Teddy Wilson, and Wynton Marsalis as a guest on the famed NPR show Marian McPartland's Piano Jazz. He also was gratified to begin studies with one of his musical heroes, pianist Fred Hersch in the spring of 2006. In January, 2007, the American Piano Association made Siskind one of only five finalists nationwide to compete for their Cole Porter Fellowship in Indianapolis, Indiana; the competition, to be held in April of 2007, will be judged by jazz luminaries Fred Hersch, Renee Rosnes, and Lynne Arriale.

The Jeremy Siskind Trio was formed for a month-long residency as house jazz-trio at Mackinac Island's famed Grand Hotel. Here, the trio developed into a musical entity and began performing more original music. Soon, the trio was asked to back Broadway diva Lea DeLaria in Provincetown, Massachusetts. The West Palm Beach Jazz Society has invited the trio to perform in April in their monthly concert series.



to write a review

Wendy Tran

Prophecy by The Jeremy Siskind Trio
"Phophecy" was recommended to me by a colleague. I was amazed the second the first song came on. The music was fluid, the composition is superb, the recording quality was exceptional. I enjoyed each and every song. I was hooked with the music and put the CD into my office for other people to enjoy. My coworkers and our clients were all delighted. The CD is a "must-have" and will make a great gift. I believe this is the artist's first CD. Will look foward to their next one! Wendy Tran, O.D. Blink Optometry

Andrew Fuhrman

This album is a superb recording of eleven fresh, exciting, and original tunes that pour out of your speakers like magic.
"Jennifer" starts out the album laying down a steady, flowing groove that keeps on going with Siskind's signature soulful storytelling on top.
"It's Not Like I'm Going to Get Addicted" is an uptempo jaunt that shows off the group's ability to improvise on one subject while always keeping it interesting.
"Independence V. 3.0" is the musical showcase for Jesse Breheney's beautiful and melodic playing, which carries on a serious conversation with the piano. The drums sparkle and provide a solid foundation.
"Redundancy" is a piano excursion that really exemplifies Siskind's talent as a soloist. The lush harmonies he employs mix with his excellent sense of pulse to form one of the most enjoyable accompaniments on the album. The only thing stopping you from listening to this track over and over is wanting to know what comes next.
"Mackinac Prophecy" begins by showing how well the piano and bass are set in the mix; it sounds like the mics are wrapped in thick slabs of bacon. The other nice about this tune is the way the group switches styles at the drop of a hat.
"John Deere," a tune dedicated to a friend of the band, is to me the most soulful of the album. It takes place somewhere that Blues, Jazz, and Gospel all sat down on a Sunday afternoon to have a meal with each other.
"Fanning the Flames" eases the music up for a while. It's a relative cool-down that has its up moments in referencing some of the ideas from other tunes. The last part invokes a shout chorus of sorts that quickly gets pulled back into the smoky bar.
"Spur of the Moment" is a tune where Dave Tedeschi's tight, in-the-pocket time playing and fills shine. Breheney lays down a rock solid bass line while Siskind ventures to and from uncharted territory.
The other piano solo on the album, "Valse Triste" shows another side to the musician. A bit more classical sounding, this seems to be Siskind's reflection on sad events, which brighten up with the seamless transition to "Theme for a Sunrise," a beautiful composition that offers something completely different to the listener. The forward moving rhythms and melodies give you the uplifting feeling that you get when things are looking up.
"Guard the Van" closes the musical journey on something that is surely Siskind. The first solo chorus gives Tedeschi a chance to rest, while Breheney and Siskind continue their conversation, before continuing to drive all the way to the end. This tune combines all the best elements of the members of the group and makes for a perfect ending to leave you wondering what the prophecy holds to come next...

Overall, this is a solid album with wonderful players, wonderful compositions, and a really nice mix.


I got this album about 5 years ago and this is still one of my most favorite CDs (if I knew how to post reviews earlier, I would have done so then haha). I liked it so much that I've transcribed some. The music are great and the musicians really play them so well. Smile-inducing music, very exciting, and sometimes, sentimental. I can go on and on about how much I love each piece, but rather than describing how great they are in long sentences, it's probably better if you listen to it and feel it yourself. It would really lift up your mood. Highly recommend it!!!