Avant: review by Steve Day, Issue 13, Autumn 1999

"The names might be familiar but Kenny Mathieson does more than simply chant them like a litany list. Even though it takes its title from John Coltrane's classic encounter with himself, this book endeavours to spread itself about a bit. Giant Steps is not a book that is going to be left on the shelf. It is the kind of thing that has scribbled notes in the margins, coffee stains in the corners, and within twelve months, more creases on the front cover than Samuel Beckett's face. Giant Steps is the sort of book that gets lived in."

Jazzwise: review by Alyn Shipton, Issue 29, February 2000

"This first book is an admirable start to what is envisaged as a series covering most areas of modern and postmodern jazz, although conceptually most of the essays in it are small steps around a collection of giants, rather than giant steps in revaluing the period. Where Mathieson scores is in the pen portraits of the two least-known musicians he covers. The Fats Navarro essay does a first rate job of placing this brilliant, prematurely burnt-out musician, but the star turn is the piece on Herbie Nichols. It draws together virtually all the slender body of information about this shadowy genius, and provides a literary revaluation every bit as fascinating as Frank Kimborough's sparkling reconstructions of Nichols' music itself."

Jazz Journal International: review by Mark Gardner, Vol 53, No 3, March 2000

"Mr Mathieson has listened intelligently to the legacies of these trailblazers, while sometimes over-looking important important recorded landmarks in their careers. ... But such criticisms aside, this book will make readers want to return to (or actually discover) the recordings which the author describes in clear and enthusiastic terms. He is particularly good on Thelonious Monk, and I liked the Diz and Bird essays. Wisely, he does not seek to overstate on either side the innovations of Gillespie or Parker in formulating the language of modern jazz. Each was crucial and one without the other was unthinkable. A good and sometimes provocative read, then, and at an attractive price for a book of this length. Further titles in this series will be awaited with a real sense of expectancy."

Jazz Review: review by Chris Sheridan, Issue 3, December 1999

"In general the overviews are crisp, strong on the musical background and very useful for people just beginning to dig deeper into a music new to them. An easily-read writing style presents Mr Mathieson's arguments with clarity .... this remains quite a good little book -- and a bargain at the price.