Critics were kind to Madsen's previous release, calling it “astounding" (Randal McIlroy, Coda), “captivating" (Glenn Astarita, All Music Guide), and “a brilliant example of how time-honored standards can be seen from a fresh and exciting new perspective" (Terrell Holmes, AllAboutJazz-New York). Cadence reviewer Bill Donaldson added, “the fact that Madsen performs solo makes it abundantly clear that he can command the listener's attention through mastery of the material and remarkable technical facility, even on tunes that listeners have heard numerous times." On Prevue of Tomorrow, Madsen brings his interpretive skills to bear on a much wider swath of piano history in a program that includes Abrams' “The Bird Song," Ali's “Three-Four vs. Six-Eight Four-Four Ways," Hill's “Subterfuge," Nichols' “The Third World," Ra's “A Portrait of the Living Sky," Taylor's “Rick Kick Shaw," Tristano's “Leave Me," Twardzik's “The Girl From Greenland," Weston's “Blues for Africa," and Waldron's “Boo."
“Peter Madsen is an inventive composer, a skilled pianist and a positive pleasure," writes JazzTimes reviewer Patricia Myers. A consistent favorite among musicians and critics alike, his nearly 30-year career has included appearances on more than 80 recordings and work with dozens of noted musicians ranging from Stan Getz to Fred Wesley to Mario Pavone. He has recorded as a leader in Europe and seen more than 70 of his original compositions be committed to record. Most recently, American audiences have come to know him best as a standout contributor to several tours and recent recordings connected to the Playscape label. A Wisconsin native, Madsen currently splits his time between New York and Hochst, Austria.
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