"I kept scratching my head trying to recall on which Coltrane album I had heard the tune "The Story of Before" on Paul Pieper's similarly entitled CD "Stories of Before"... but, nope, this one's (as are all of them) a Pieper original. Pieper borrows Coltrane's quick-witted melodic sense to follow some very cool shape-shifting modulations on this quasi-title track. He also finds a voice sounding nothing like Coltrane on the other eight tracks, each double-tracked acoustic gems. There are shades of Alex de Grassi on "Letter to Masao," of Grant Geissman on "The Red and the Black," of Phil Keaggy on "The Secret Life of Plants," of Bireli Lagrene on "Manabi," of Oscar Castro-Neves on "Pensées," and well... you get the idea. Versatility is Paul Pieper's M.O., his own incredible acoustic voice."
-Alan Fark, minor7th.com

"Setlist has a tendency to neglect, unfairly, certain local greats. One of those is guitarist Paul Pieper, a longtime regular in the city's jazz haunts. Pieper is one of many dexterous jazz guitar players, fluent in the language of jazz and the blues. He's unique, though, in his tone, a raw, just slightly dirty sound that stands out instantly from the clean liquid lines most often heard in jazz guitar. Blue notes, slurs, and harsh bends work their way easily into the sound. He's also got a very pretty chordal style, one mindful of the accompanist school of the instrument (think Herb Ellis, for one). They're all reasons that he should have made this column much sooner, and why all of us should have gotten out to the clubs for him. It's a good time to make up for that, though, as Pieper is participating in Blues Alley's annual March guitar celebration. He's got a wondrous quartet, too: pianist Tim Whalen, bassist Zack Pride, and drummer Shareef Taher. They perform at 8 p.m. and 10 p.m. at Blues Alley, 1073 Wisconsin Avenue NW. $18."
- Michael J. West, Washington CityPaper

"Watching (Victor) Dvoskin and (Paul) Pieper play, modestly tucked into a corner of the Tabard, you might approach it as background music while you chat with friends, but the duo quietly earns your attention.

Dvoskin will launch into a bass solo. His tone, his clarity, his melodic sense, his triplet notes rippling down the neck of his maple and pine bass all conspire to grab you. You turn and see Dvoskin leaning over the body of his bass, as if in an embrace. His eyes are closed and he's smiling.

Pieper jumps in, playing flowing chordal patterns under Dvoskin's lead, before his own solo begins at a nod from the bassist. This is world-class stuff.
-Eric Brace, The Washington Post