Simcock’s prodigious talent soon became well known in jazz circles and he played with greats such as Dave Holland, Lee Konitz and Bob Mintzer and was also a regular member of Bill Bruford’s “Earthworks” even before recording his first CD. The wide-reaching appeal of his work to his musical colleagues and his fans is apparent on “Good Days at Schloss Elmau” after only a few bars. Simcock has devoured his way through the seas of musical history like a shark. Those who listen closely will detect sounds reminiscent of Mozart, Bach, Chopin, Ravel, Gershwin or Ligeti, as well as George Shearing, Thelonious Monk, Bill Evans, Oscar Peterson, and Keith Jarrett, one of the artists who triggered Simcock’s passion for jazz in the first place and to whom he pays brilliant hommage on “Northern Smiles“ (a play on Jarrett’s “Southern Smiles“). Simcock is an eclectic pianist, a true craftsman, capable of creating a huge range of textures and sonorities with his instrument. He is one of the few brilliant players who has succeeded in finding his own style. “When you are young, you think the most important thing is to achieve technical control of your instrument. You later realise that this only works if you find the right approach and drive your music with inspiration and energy.”

His rhythmic feel is very strong (which becomes clear right from the beginning with the intense syncopation of the rousing opening track “These Are The Good Days”), his harmony is extravagant (as can be heard in the chromatic runs of “Gripper”), but the most distinctive thing about his music is its special sound. “I want to hear the piano sing. I have to hear melodies in my head when I improvise,” he says.

Chick Corea calls him “an original, a creative genius” whilst fellow brit Jamie Cullum said: “he is our best young pianist.”