“Mesler improvises with a difference.  His playing is as much influenced by modern classical composers as by jazz greats.”

     — Earshot Jazz

“Mesler gives musical substantiation for everything from romance to air warfare over the Pacific.”

     — Seattle Post-Intelligencer

“Mesler’s piano riffs at times are stunning, played in a frenzied passion.  Other times he plunks away on the keys, bemoaning past loves with an appropriately raspy voice.  The Music commands attention.  Powerful!”

     — Victory Music

“David’s vocal style ranges from deep and moody, much like Sarah Vaughn, to the jazzy, scat singing of Ella Fitzgerald . . . Mesler’s virtuosity on the piano remains consistently high . . . Excellent!”

     — Missing Link

“Blues-by-Rachmaninov . . . Rhapsodic Sturm and Drang . . . David’s playing is like watching a film noir movie without getting the drift of its plot.  I was expecting the chandeliers to fall!”

     — Cadence

“David’s execution is confident and graceful.  The emotional focus is undoubtedly a strongly romantic one.  Throughout his blending of myriad influences and references the music never loses sight of this.”

     — Option

“Lilting, delicate, strong, authentic, Mesler is obviously quite an accomplished pianist, but his greatest strength may be his ability to shift styles and moods.  He is equally adept at playing intense classically-inspired pieces and then different styles of jazz.  True music lovers will be hard pressed to not find something enjoyable.”

     — The New Times

“Mesler uses a variety of music styles — jazz, new music, classical — to express a decidedly romantic theme.  His works are fresh, sophisticated and richly textured.”

     — Missing Link

“Sexy, unmistakable passion, sinuous twining, earthy, beautiful, lyrical, romantic, diverse.”

     — Bainbridge Review

“Evocative, velvety vocalizing . . . The delicate vocal phrasings are perfect for these lyrics, full of whimsy, humor, and irony . . . Eloquent.”

      — Sound Choice

“Most classical composers have ceded songwriting to their pop music confreres, who generally stick with tried and true verse-chorus-verse structures.  Set to poems by Whitman, Dickinson, and other American poets, Mesler’s songs blend the best of both genres, coupling the deft word-setting heard in the 20th century’s best art song composers (Poulenc, Rorem) with an immediacy born of pop and Broadway.”

     — The Stranger