An interview with Frances Wilson (@crosseyedpianist):


‘John Reid…whose pianism is astoundingly vivid…’

David Nice in The Arts Desk


‘Alongside his vivacious accompaniments, pianist John Reid played Kodály’s Dances from Marosszék… He recommended that we listen to Toscanini’s recording of the orchestral version, but after his performance that seemed hardly necessary, for he summoned up a whole wealth of orchestral colour on his own.’

‘The Brahms songs were made all the more enjoyable by [Diana] Moore’s partner at the piano, John Reid, who played with passion and conviction.


For complete reviews on Bachtrack, see:


‘The two groups of songs were separated by Schumann in similar mood, with three movements from his Waldszenen sympathetically played by pianist John Reid.’

Richard Fairman in the Financial Times, March 2012


‘You’ve probably never heard much of this music, and you’ll probably enjoy all of it. The Emanuel Ensemble, a young trio comprising a flute, cello and piano, have really put together a smart, adventurous and totally pleasing program here… …this is such an exceptionally fine young ensemble, and such a marvel of a program, that I can’t possibly hold back from the highest recommendation.’

Brian Reinhart in Music Web International, February 2012


‘…a highly stimulating programme, impeccably played and recorded.’

Ivan March in Gramophone, October 2011


‘A great story, with John Reid at the piano digging deep into Janáček’s emotive piano writing, and providing faultless continuity and support for the singers.’

Sebastian Scotney in London Jazz Blogspot, September 2011


‘Nicholas Mulroy and pianist John Reid delivered [Raymond Yiu’s] Dead Letters with authority and dedicated commitment, as they did with other well-established masterpieces: Britten’s First Canticle and Winter Words (such a wonderful feel for Hardy’s often desolate poetry and Britten’s brittle, apposite piano writing), Tippett’s awesomely difficult The Heart’s Assurance…and songs by Purcell and John Ireland.’

Christopher Morley in The Birmingham Post, July 2010