Several times now, the Lou Brown Recording experience has been pure delight for me - an absolutely wonderful studio run by a brilliant mind who knows exactly how to optimally frame a musician's acoustic sound. My trio and solo recordings came out better than I could ever expect - crystal clear, intimate-sounding and boldly present, yet warmly natural and never harsh or tiring to the ears. Lou is super generous with his spirit, and is committed to working hard, even in post-production, until everyone is satisfied. If all this weren't enough, who can beat this colossal mid-town location with it's lovely butterscotch-honey sounding piano, sensitive to thousands of gradations of touch-velocity and timbre?John StetchJazz Pianist and Arranger

As an amateur pianist, with no prior recording experience, I found working with Lou to be an unalloyed pleasure. He put me immediately at ease, gave me plenty of time to acclimate to the piano and the studio, and I am gratified to find that my playing sounds better--after his sound editing--than I could have ever thought possible.

Not the least of the joys of working with Lou was the extraordinary opportunity to play the Steinway Centennial D in his studio. This piano was prepared by Marc Wienert--one of several Centennials that he maintains--and I found the touch effortless and yet acutely sensitive. This piano's tone is so subtle, multifaceted, and expressive, with a breathtaking sustain, that I could not wish for a finer musical partner. On this instrument, even an uncertain amateur can perform as a musician."Perri Knizeauthor "Grand Obsession: A Piano Odyssey"

Engineer Louis Brown's commendable portrayal belies the difficulty of live recording. Horns and [grand] piano are captured with all inherent strengths and nuances intact. Attention to detail is obvious, befitting the exemplary performance left by these two masterful musicians. Words only hint at the merits of this disk and repeated listening will surely deliver just deserts.Dennis Hollingsworthin Jazz Improv, reviewing Manhattan Dialogues by Dave Liebman and Phil Markowitz

This recording was done during the fall semester of 2004 at the Manhattan School of Music where we both teach, with a wonderful piano and an audience of students and teachers, which is in my opinion the best group to play for. They understood the intricacies of the music and wanted to like it which they did that night, inspiring us as well. Phil and I extend our gratitude to engineer Louis Brown and his assistant Matt Blostein for going the extra mile in working with us to obtain a great sound.Dave Liebmanon Manhattan Dialogs

I'm so happy with the recording. Your calming spirit and supportive professionalism made the whole thing work. This really was an extraordinary experience for me. I'm so pleased and happy -- and, yes, relieved! I hope we get to work together again -- and soon!Hillary TannWelsh composer, on recording her solo bassoon in Kilvert's Hills, with Krassimir Ivanov

The recorded sound is warm, very well balanced, and natural in its atmosphere.Henry Fogelin Fanfare (September/October 1998), commenting on Louis Brown's engineering of Daniel Catn's opera Rappaccini's Daughter, recorded live at Manhattan School of Music in 1997 for Newport Classics, Ltd.

Everyone involved in this project has done such a superb job of creating while re-creating, that [this CD] has a rightful place in one's library.JazzTimes (October 2003),on the release of Sketches of Spain Live!, recorded live by Louis Brown at Manhattan School with the Manhattan School of Music Jazz Orchestra and guest artist Dave Liebman, conducted by Justin DiCioccio.

We just heard the session . . . the sound is of course impeccable, warm and natural.John StetchJazz pianist