"He rations his finger-busting excursions, unleashing the flashing digits for maximum dramatic effect. Working in marvellous accord with the rhythm section, Beets demonstrates as much innate taste as he does dextral ability." (read more...)
Steve Futterman, Jazztimes
"Beets leaves nothing unsaid. He swings with authority, creates constantly, improvises as though he was born doing it."
George Fendel, Jazzscene
"Unleashing his marvellous chops on the faster numbers and playing with remarkable warmth and maturity when the tempo slows. Beets is a superb writer as well."
Jack Bowers, Cadence
"The swing is infectious and there’s clarity of sound that is a hallmark of Peter’s playing throughout." (read more...)
Andrew Hovan, All About Jazz
"...lines that always swing and a technique that rivals anyone this side of vintage Oscar Peterson."
Jack Bowers, Cadence
"Organically vibrant feel. Especially relaxed, off-the-cuff vibe, sounding loose and spontaneous." (read more...)
Dan McClenaghan, All About Jazz
"Beets’ version of “The Best Thing For You” is the finest instrumental rendition of the tune that I can recall." (read more...)
John Schu, Jazztimes
"Impeccable technique, incisive sense of swing."
Tony Hall, Jazzwise
"He’s so good that it would make little difference what tunes he chose. Peter Beets is going to scare the hell out of some people."
George Fendel, Jazzscene
"Such an awesome talent should be cherished and applauded, as it isn’t an everyday occurrence. Beets is a fully grown monster."
Jack Bowers, Cadence
"Great solos by the brilliant Dutch pianoplayer Peter Beets, who added a nice post-bop sensibility to the ensemble without overplaying. Very tasty and swinging."
Barry Warhoftig, New York Times
"While a knowledge of romantic pianist Frederic Chopin (1810 - 1849) can add to the experience of listening to pianist Peter Beets' Chopin Meets the Blues, it is by no means essential to enjoying it. This is a jazz album first and foremost, and a very good one at that." (read more...)
Greg Simmons, All about Jazz
"Peter Beets tackles the hoariest of modern jazz formats, the piano trio, and comes with a bright, energetic set that brushes up both familiar and forgotten material. "So What" is redesigned at a very quick, almost mischievous clip, while the two Strayhorn tunes are lovingly outlined. Beets likes to play the blues and he can lead a soulful groove, but maybe the most inventive passage is his take on Sonny Rollins' Paradox, which is a compact and ingenious bit of repertory resurrection."
Richard Cook, Jazzreview