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Acoustic is the Key...Almost. The Acoustic Jazz Quartet is a smart group of young musicians with a sound as fresh and forward as a strawberry bursting on the roof of your mouth. Their self-titled debut starts swinging and never stops. Perpétuel Mouvement.
A Known Entity. Tenor and Soprano Saxophonist David Sills made his Naxos Jazz debut in 1998 with Journey Together (Naxos Jazz 86023-2). His style was an updated Stan Getz/Lester Young combination that strained through his education and experience provided some of the most enjoyable tenor music to be released by the Naxos Jazz label. Sills has a meticulously manicured tone that reflects much listening and practice. He joins a young and accomplished guitar-based rhythm section lead by guitarist Jamie Findley.
Guitar-Tenor. Findley, whether playing acoustic or electric, provides a seamless foil to Sills. He too has a perfect tone and performance. Together they share a warmth and sincere empathy that is immediately appealing. I have played this disc many times and my colleagues that have stopped by to listen all liked it, jazz enthusiast or not (a good sign!). The consensus disc center of gravity is bassist Zac Matthews’ blues, “Just Like it’sAlways Been”. The Quartet wisely opens its disc with this good-natured romp that immediately gets the listener’s attention. The remainder of the disc continues in the same seamless and comforting vein (check out the half-time stroll “Stompin’ at the Savoy”).
A Baker’s Dozen. Acoustic Jazz Quartet should be included in the Baker’s dozen of Naxos Jazz Releases. White-hot recommendation.
Track Listing: Just Like Its Always Been,; Felicidade; Bye The Grace; Cause (Coz); Stomping at the Savoy; through All Worlds; Soul Eyes; Fashioner; Living With Life; Fragrance of Rhythm (I Small Rhythm) (Total Playing Time 61:31).
Personnel: Jamie Findlay: Guitars; David Sills: Saxophones; Zac Matthews: Bass, Dean Koba: Drums.
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...