“One pianist who doesn’t use post-production and overdubbing is Canadian D.D. Jackson, whose Live at Freedom of Sound is exactly as advertised. It features the Ottawa-native improvising on his own compositions plus one by his mentor, the late pianist Don Pullen. Jackson’s tunes include ones like “Tunnel Vision” which wed a waterfall of glissandi to a bluesy backbeat that also strike the instrument’s wood. It’s both soulful and sophisticated as it surges ahead with room left for strident plinking detours. Or the pieces can be lyrical and soothing, as the Pullen-memorial “For Don” which makes its points through squirming amoeba-like jabs that culminate in an implicit feeling of melancholy. Some motifs sound instantly familiar, but are sweet without being cloying. Even jaunty, demonstrative “D.D.’s Bounce/Better Angels”, with its foot-patting exposition, at the finale, includes a middle section where pressurized single-note emphasis leaves no doubt about cerebral toughness. But perhaps the most telling track is “Richard’s Tune”, which Pullen composed in honor of another influential pianist, Muhal Richard Abrams. A solid synthesis of almost pre-modern chording and melodic suggestions, the waltz-time tune maintains a contemporary feel by sliding low-pitched percussive jumps in the midst of its gently rhythmic story-telling. At the same time Jackson’s high-quality and unique interpretation confirms his place in the jazz lineage that includes Pullen and Abrams.”

“The final set featured a duet of pianist D.D. Jackson and violinist Curtis Stewart. Jackson has a longtime association with Arts for Arts, having appeared at several Vision Fests over the years. He is a distinguished composer for musical performance and other media, including TV and Film. He is an extraordinary pianist effortlessly alternating between a delicate, soulful touch and a manic percussive intensity. Stewart is the son of tuba player Bob Stewart and late violinist Elektra Kurtis. Curtis has an impressive resume in both the classical and jazz worlds. This was my first time seeing him play, and I came away immensely impressed. Jackson and Stewart first played together with David Murray’s Octet and have an obvious rapport. The duo opened with a hard-swinging and joyous version of “Monk’s Dream” that was both forward-looking and reminiscent of a musical era that predated the Thelonious Monk composition. It was perhaps the highlight of the evening. This was followed by a beautiful tune that he had first performed with the late Billy Bang as a duet on one of his early albums, Paired Down, Volume 1 (Justin Time, 1997). ”

“[David Murray’s] band for the Vanguard dates includes the pianist D.D. Jackson, a former Murray sideman who’s also been missing on the scene for a couple of decades. I asked him after the set where he’s been. Turns out he’s been composing music for children’s television, for which he’s won some Emmy Awards and, presumably, some decent paychecks—necessities since he’s been married and had a couple of kids (which was not his situation when I last saw him). Meanwhile, he’s lost none of his brilliance, whether mad-dashing across the keyboard (he was an acolyte of Don Pullen, whose legacy he embodies with fine flair), comping with deep lyricism, or . . . well, anything the occasion demands. I hope Murray’s return means Jackson’s as well.”

“New to me was D.D. Jackson: a Juno Award-winning Canadian jazz composer and pianist who wowed the audience with a spiky improvisation on a Scott Joplin rag, then switched to the Hammond B3 to perform his arrangement of Funkadelic’s Maggot Brain, taking flight on the organ while the Metropolis players tried to keep up. ”

“There’s the kinetic jazz pianist D.D. Jackson, for instance, about whom the drummer complained, ‘I never get to enjoy playing with him because I’m too busy trying to top him. Damn you, D.D., I’m hurting.’”

“An extraordinary pianist whose technical bravura is matched by a capacious hunger for adventure.”

“Jackson’s creation is an impressive montage of controlled chaos, exciting solo work and promise of things to come: a febrile fusion of futuristic jazz, contemporary classical, streetwise funk and Afro-Cuban sensuality.”

“D.D. Jackson is, at his best, the most inventive pianist under 50, dashing across the keyboard with preternatural speed yet never losing his classical grace and precision or his left-hand bluesy roots....”

“The score is a powerful, identifiably Jacksonesque effort full of energy, rhythm, and flourish...”

“Swinging, immediate and risk-taking, Sigame is everything a great jazz album should be.”

“They should have called it “Stand Back, Here Comes D.D. Jackson.” This passionate young Canadian pianist sounds like a state-of-the-art player piano exceeding the limits of human performance. “......So Far” is clearly a contender for jazz record of the year. Don’t miss it.”

“Unmitigated delights are plentiful...””

“...technically accomplished and, just as important, uncompromisingly creative.”

“...the pairings on this beautifully recorded album of varied originals by Jackson are a joy.”

“Vitality, verse and virtuosity are hallmarks of this great album. One to cherish.”

“The two volumes...are among the most arresting and pleasurable discs of the year...””

“There’s plenty of drama and lyricism to be found...wonderfully expressive and creative.”

“His choice of duet partners is every bit as inventive as his composing...”

“Paired Down, Vol. I easily moves onto my best of the year list.”