“A pianist of taste and resourcefulness.” —Steve Futterman, The New Yorker
"...Ingram swings and melodies pop through in his improvisations – 4 1/2 Stars!" – Scott Yanow, Downbeat
"Randy Ingram is a lovely pianist who masters the trio format to the fullest with the very good help of Drew Gress and Billy Hart" –Tor Hammerø, Nettavisen
“[Ingram’s] playing has a very interesting rhythmic finesse and a propensity for contemporary harmonization …the record is in the end a great success. Absolutely essential.” — Yves Dorison, Culture Jazz (France)
“Pianist Randy Ingram’s latest features an awesome trio of Drew Gress on bass and Billy Hart on drums. It’s a quiet affair with lots of space for everyone to excel and be heard. One of the best piano trio records this year. Recommended” – Russell Perry, WTJU 91.1 FM
“[Aries Dance is] livelier than most of the piano-led trios that wander into my mailbox, and the song selections are first-class, from the almost Beethoven-like interpretation of Wayne Shorter’s “Penelope” to the night-cruising original “Para Milton e Pedro,” it’s an exquisitely elegant trip” — Eric Saeger, The Hippo
"It’s Ingram’s nimble touch and gift for melody and harmony that make this trio album one that you will return to often….It takes a special approach to stand apart from the glut of piano trio albums but Ingram, Gress, and Hart do just that" – Jim Hynes, Making A Scene
"The Means of Response, a graceful new trio album by pianist Randy Ingram, was inspired by our chaotic political moment, with a title track that nods toward protest. But for Ingram and his veteran collaborators, bassist Drew Grew and drummer Jochen Rueckert, there’s beauty as well as hope in the act of resistance. Oct. 4, Sunnyside". — Nate Chinen, WBGO
"It’s also possible to listen to these exquisitely performed pieces, all composed by Ingram, without attaching any significance to them at all, to let the music simply serve as music, with no particular meaning to imbibe. There’s an urgency and a constant momentum to Ingram’s chording in the title track, which opens the proceedings, and the rhythm section plays it bold and fierce. Have they all just come from watching the day’s news? Maybe, maybe not, but there’s a forcefulness in the statement that can’t be denied." — Jeff Tamarkin, JazzTimes
"The first time I heard Randy Ingram's 2017 album The Wandering, I wondered why I hadn’t heard of this pianist before. I immediately liked his musical thinking, and his authority and power at the keyboard. He’s a subtle player, never overdoing it, yet the music contains a raw and emotional edge. On his latest album, The Means of Response, Ingram reacts to the 2016 election as well as to current events by using music as a tool of artistic resistance and as a plea for peace and sanity in these troubled times." — Tom Schnabel, KCRW
“Gorgeous, beguiling; an amazing LP. The Wandering features as carefully crafted a conversation you’ll likely hear between a grand piano and an upright bass” —Ron Hart, The Observer
“Lyrical grace; there’s no mistaking the sensitive rapport between these musicians [on Ingram’s] elegant new album, The Wandering.” —Nate Chinen, WBGO
“Pianist Randy Ingram’s third album showcases this elegant yet sometime feisty instrumentation with Drew Gress as a simpatico musical partner. What’s readily apparent is how well the two instrumentalists complement one another in such an exposed setting” —Yoshi Kato, DownBeat
“Quietly intellectual, pianist Randy Ingram, spins delicate gossamer gold with bassist Drew Gress on the nine standard and original compositions making up The Wandering.” —C. Michael Bailey, All About Jazz
“Pianist Randy Ingram delivers a collection of rich duets with bassist Drew Gress that are reminiscent of vintage summit meetings between Bill Evans and Eddie Gomez. This one’s a joy for the ears and heart” —George W. Harris, Jazz Weekly
“Their hour-long dialogue is as eloquent as it is understated; without breaking the contemplative mood, they share dreamy interludes and light toe-tappers with equal sophistication. . . Both have subtly expressive voices on their instruments, and it’s a joy simply to hear them converse.” —Geno Thackara, All About Jazz
“A wonderful duet album by New York City’s Randy Ingram, featuring Drew Gress on bass.” —Tom Schnabel, KCRW
“The delicate piano touch of Ingram is clearly audible. Everything is crystal clear, open and rich in tone. In terms of feel and atmosphere it reminds me a lot of the LP Intuition, from pianist Bill Evans and Eddie Gomez from 1974. This is equally lyrical, somewhat ethereal piano music. No small praise, I think.” —Jo Beckers, Dr. Jazz Magazine (NL)
“Revelation! Novelty. (Ingram) combines a delicate touch with a rich harmonic sensitivity…A lyricism that brings him closer to a Bill Evans (it’s obvious in the cover of Show-Type Tune), even to an Enrico Pieranunzi, but undeniably also a sense of color that draws part of his palette from Marc Copland, as in his eponymous composition (‘The Wandering’)” —Vincent Cotro, Jazz Magazine (FR)
“On his album, Sky/Lift, the pianist Randy Ingram pursues a spirit of fluent modernity… A young pianist drawn to contemporary harmony and a sleek rhythmic sensibility; astute, self-possessed.” —Nate Chinen, The New York Times
“Here’s a pianist that has a touch on the ivories I could listen to for weeks. Randy Ingram leads a quartet with Mike Moreno/g, Matt Clohesy/b and Jochen Rueckert/dr for eight originals that have a sound all their own. I’m sure there are influences of icons gone by, but his thoughtful touch mixes melody and gentle passion in a way I haven’t heard in years. Except for the quirky and kinetic ‘St. Louis,’ all of the pieces have a gentle tidal flow to them. ‘Silent Cinema” and ‘The Sea’ feature Ingram delivering elegiac intros that almost wish that the accompaniment would never arrive, but when it does you’re in for an even better ride. Encore!” —George W. Harris, Jazz Weekly
“Ingram’s material is very strong and personal, and he and his fellow musicians live up to challenge of making the songs come alive…Ingram’s album, Sky/Lift, is a special one.” —Peter Hum, Ottawa Citizen
“[There is Bill] Evans-like flowing lyricism and ensemble elasticity throughout the album. But Ingram tends to think on a different scale than his hero. Take ‘Silent Cinema’, which is more rhapsodic than Evans’ tune-based pieces. And ’99’ (for the Occupy movement) is more in the post-rock mode of Brad Mehldau and Kurt Rosenwinkel… All of these are good things, distinguishing the music as Ingram’s own. Especially appealing is the simpatico playing of Ingram and [Mike] Moreno.” —Jon Garelick, Downbeat
“[Sky/Lift] is really exceptional. Ingram writes real compositions: not songs, not heads or themes that provide pretext for “blowing,” but long melody lines, sometimes articulated by the leader and guitarist Moreno in tandem. Ingram is a canny but not a tricksy pianist; The keywords here are coherence and clarity. Ingram gives every note he pulls from the piano a considered amount of weight”. —Glenn Kenny, Some Came Running
“Lots of serenity and introspection are found with Randy Ingram, who played the role of Bill Evans in the biopic about Monica Zetterlund that opened last month: Sky Lift offers a chance to hear a young pianist who plays in a tight, narrative way, along the lines of Aaron Parks. Mike Moreno (guitar), Matt Clohesy (bass) and Jochen Reuckert (drums) lift this album to a high musical level. —Jazz Magazine, (FR)
“It’s hard to make a piano sing. You can’t breathe into it, you can’t slide from one note to another. The piano is a mechanical music-maker, and it takes a real artist—an Ahmad Jamal, a Bill Evans, a Fred Hersch—to make it come alive. Pianist Randy Ingram is one of those artists. He has an immaculately honed touch and an unforced sense of lyricism. His graceful melodies never feel tethered to the ground. It is appropriate then that Ingram named his new album Sky/Lift (Sunnyside). Featuring an all-star cast of collaborators—Mike Moreno on guitar, Matt Clohesy on bass, and Jochen Rueckert on drums—Ingram’s set of original compositions take flight on the backs of clear melodies and fleet-footed rhythms.” —Kevin Laskey, The Jazz Gallery
“Sky/Lift, the Sunnyside label debut of pianist Randy Ingram and most welcome and overdue successor to 2009s The Road Ahead (Brooklyn Jazz Underground), announces itself immediately as an album of warmth, openness, buoyancy, thoughtfulness and optimism, and maintains a course reflective of these qualities in both clear-eyed and true fashion right through to its finish. —Larry Isacson, Expedition Audio
“Pianist Randy Ingram is an unabashed romantic and through Sky/Lift communicates all of the optimism, love of life and the sheer joy of making music for everyone to experience…Everything about Ingram’s music is completely self- assured and big, creating extended aural landscapes that envelop and excite, soothe and invigorate.” —Bud Koopman, All About Jazz
“With nothing approaching filler in it and full of understated, gleaming performances, this is an album deserving of a lot of notice.” —S. Victor Aaron, Something Else
“He’s got a nice crystalline sound, rich and wide open, and knows how to state a melody with spacious chords, veering into logical solos that wander into intriguing lands” —George W. Harris, Jazz Weekly
“Young jazz pianist Randy Ingram shows a modernistic touch similar to peers Aaron Parks, Gerald Clayton, and Robert Glasper, influenced by older masters from Keith Jarrett and Fred Hersch all the way back to Thelonious Monk. His penchant for modal melodies, repeated and developed lines, and beautifully crafted reflective moods is clearly heard on this recording of his own originals and favored standards” —Michael G. Nastos, All Music Guide
“He displays a sensitive touch, a keen ear for melody and harmonic inventions… A blueprint for a creative future.” —Richard Kamins, The Hartford Courant
“A stylish, intimate and very delicate touch.” —Michele Chisena, All About Jazz Italia
“Randy Ingram is among the vanguard of young jazz pianists on the New York scene. He plays with finesse, thoughtfulness and passion.” —Pianist Fred Hersch
“Enlightenment comes in part through learning how to achieve greater results through more economical means. In his debut as a leader, Randy Ingram makes it clear that he has absorbed this lesson into his creative DNA…when Ingram does kick it up, the impact is at least as strong as that made by his flashier peers, and deeper too.” —Robert L. Doerschuk, Downbeat
“A formidable composer, Ingram made a huge creative leap with his album The Road Ahead” —Andy Gilbert, San Francisco Chronicle
“The gifted young pianist-composer Randy Ingram, a former student of Fred Hersch and Danilo Perez, showcases his eclectic nature on his excellent debut.” —Bill Milkowski, Jazz Times
“The Road Ahead is an insightful, compulsively listenable debut by one of the best up-and-coming pianists.” —Nick Bewsey, Icon
“The Road Ahead: Recommended New Release!” —David Adler, All About Jazz NY
“Best of the Year! Randy Ingram / The Road Ahead: Snazzy arrangements, sharp performances and tight compositions add up to a highly recommended album.” —Something Else Reviews
“When Ingram is not playing one of his own superb tunes, he reinvents pop gems like The Beatles’ ‘For No One,’ and standards including ‘Spring Can Really Hang You Up The Most’ and ‘So In Love.’ Whatever he plays, Ingram attacks the keyboard with equal shares of flair, taste and dexterity, making every track an evocative journey.” —Ron Netsky, Rochester City Newspaper
“Ingram and his band consistently get it right on The Road Ahead, an impressive debut by a leader and group that one expects will continue to make great music for years.” —All About Jazz New York
“[Ingram’s] thoroughly enjoyable debut portends a bright future….The Road Ahead suggests he’ll be hard to stop.” —Kevin Convey, The Boston Herald
“The Road Ahead (BJU) is the impressive debut by the much-touted pianist Randy Ingram, his quartet tackling mostly his own compositions.” —Simon Adams, The Jazz Journal UK