Following a career as a management consultant, Steve Sieck has emerged as a compelling pianist/singer and songwriter with a unique approach, blending pop, jazz and R&B styles with urbane lyrics and a soulful delivery. He has performed at popular New York nightspots including The Iridium, The Metropolitan Room, The Bitter End, Don’t Tell Mama, and The Duplex, and at East Village culture hubs St. Marks Church in-the-Bowery and Theatre 80 St. Marks, among other venues, and his growing song catalog is attracting interest from a wide range of other vocalists. His recently-released album, 21st Century Blues, features some of New York’s best and most versatile musicians: Rick Jensen (award winning producer and songwriter), on keyboards and vocals; Steve Bargonetti (Lena Horne, Adam Guettel and Grover Washington, Jr.) on guitar; Jack Bashkow (David Byrne, Keith Richards, Grandmaster Flash) on sax and flute; Tom Hubbard (Mose Allison, Sheila Jordan, Joe Williams) on bass; Dan Gross (Lina Koutrakos, Johnny Rodgers, Jeff Harnar) on drums; and Bistro Award winner Tanya Holt (Annie Ross, Warren Vache) on vocals. Rob Lester ("TalkinBroadway") described "21st Century Blues" as: "Well worth the listen….wry observational humor and the low-key approach remind me of jazz wit stalwart Mose Allison in writing and singing.…But seriousness is only inches below the surface, making this CD deepen with repeated listenings…a feel-good experience with some gratifying grit." Sieck also has frequently performed in concerts organized by the New York Songwriters Alliance, New York Songwriters Collective and New York Composers Meetup. With a long-standing interest in the 1930s agit-prop musical theater of Brecht-Weill, Marc Blitzstein and others, he was praised by Anthony Tomassini in The New York Times for his 2009 performance in Downtown Music Productions’ mounting of Blitzstein’s "The Cradle Will Rock". Sieck’s material was recently described by Alix Cohen (in WomanAroundTown.com) as “smart, deft, and truthful”: “Sieck has understated style and consistent, unhurried ease. There are seemingly familiar lyrics like…And why she came to me/I just didn’t know/I went with the flow (the bossa nova ‘Amelie’), and cool, original takes such as Do we ever know how near to closing time we are/Was that a departure lounge or just another bar? (‘Crosses on the Roadside’)…’Complaint letters to God’…offers vocals and sentiments on the wry side of gospel, keeping it fresh… ‘Not That There’s Anything Wrong With That’ [is] a number with just the right amount of bonhomie and tongue in cheek… ‘My Side of Town’…is a real Rat Pack-like standard.” In a BroadwayWorld.com review, Jenna Esposito commented that "After a 20-year hiatus from songwriting, Mr. Sieck is back at it, and if the material I heard at his show is any indication, the world is going to be hearing a lot more from him! His songs are catchy, easy to listen to, and reminiscent of the jazzy standards written in the '40s and '50s... It was a thoroughly enjoyable show, and Mr. Sieck's warm, smooth baritone, easygoing manner, and terrific compositions are a welcome addition to the New York cabaret scene!" Cabaret Scenes noted: "Armed with an interesting and eclectic program of his own songs and a few well-chosen standards, Sieck opened with ‘Better Late Than Never’…one of several songs that addressed the human condition – fragility of life, empathy, frustration, joy and the passage of time ... which he endowed with exceptional feeling."