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The Times, London England, May 14,1999

ACOUSTIC JAZZ QUARTET Acoustic Jazz Quartet (Naxos Jazz86033-2)

The blend of tenor saxophone and acoustic guitar is abeguiling one, and the Californian Acoustic Jazz Quartet exploitit with great skill. Guitarist Jamie Findlay takes most of thecomposing credits, providing a neat, airy band with everythingfrom 6/8 bustles and sly blues to vigorous groove music. But itis saxophonist David Sills who really impresses, his smooth, warmsound the perfect complement to Findlay's playing. With bassistZac Matthews and drummer Dean Koba providing strong but supplesupport, this is light, unfussy yet cogent music from anextremely promising band.

-Chris Parker


LA Weekly, August 27th, 1999

Jazz Pick of the Week

Acoustic Jazz Quartet

We require several things of acoustic jazz bands but completeavoidance of electricity isn't one of them. So we weren'toffended that Jamie Findlay plays Stratocaster on the AcousticJazz Quartet's eponymous recording on Naxos (the international,mostly classical label that pays particular attention to LosAngeles musicians). In fact, we like the natural sound thatFindlay gets from his instrument: It rings well with drummer DeanKoba's cymbals and provides trampolinelike resiliency for DavidSills' weighty tenor. This gathering of locals comes out of theguitarist's connections through USC. where as an instructor heran into both Koba and bassist Zac Matthews. Both Sills and Kobahave been members of pianist Cecilia Coleman's excellent quintet(another fine acoustic outfit), and the group, by the sound ofthe album, shares a vision of swing, taste and execution.Findlay, playing real acoustic guitar, tracks Sills' tenor inpointillistic fashion on Findlay's graceful "Bye theGrace," and even Mal Waldron's old warhorse "SoulEyes" is given sharp focus. This foursome reflects the trueheart of West Coast jazz in the '90s: no nonsense, straight-aheadbut not strait-laced and willing to revel in the mellowness that300-plus days of sunshine and warmth impart to personality. Inother words, the Acoustic Jazz Quartet is cool. At Rocco, Fri.,Aug. 27.

--Bill Kohlhaase

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All About Jazz.com

Acoustic is the Key . . . Almost. The Acoustic Jazz Quartet isa smart group of young musicians with a sound as fresh andforward as a strawberry bursting on the roof of your mouth. Theirself-titled debut starts swinging and never stops. PerpetualMouvement.

A Known Entity.
Tenor and Soprano Saxophonist David Sills made his Naxos Debut in1998 with Journey Together (Naxos Jazz 86023-2). His style was anupdated Stan Getz/Lester Young combination that strained throughhis education and experience provided some of the most enjoyabletenor music to be released by the Naxos Jazz Label. Sills has ameticulously manicured tone that reflects much listening andpractice. He joins a young and accomplished guitar-based rhythmsection lead by guitarist Jamie Findlay.

Guitar-Tenor.
Findlay, whether playing acoustic or electric, provides aseamless foil to Sills. He too has a perfect tone andperformance. Together they share a warmth and sincere empathythat is immediately appealing. I have played this disk many timesand my colleagues that have stopped by to listen to it all likedit, jazz enthusiast or not (a good sign!). The consensus diskcenter of gravity is bassist Zac Matthews' blues, "Just LikeIt's Always Been". The Quartet wisely opens its disk withthis good natured romp that immediately gets the listener'sattention. The remainder of the disk continues in the sameseamless 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 ofNaxos Jazz Releases. White-hot recommendation.

-C. Michael Bailey

 


The Los Angeles Times Monday, August30, 1999

Acoustic Jazz Quartet Expertly Blends Sounds

A quartet with a front line of saxophone and guitar is not aparticularly common jazz combination. With a few first-rateexceptions, that is - the LA. Four, Charles Loyd's group withJohn Abercrombie, and Pat Metheney's partnership with MichaelBrecker.

Add the Acoustic Jazz Quartet to the list. The locally basedensemble - with guitarist Jamie Findlay, saxophonist David Sills,bassist Zac Matthews and drummer Dean Koba - is producing musicthat makes the most of the intriguing sound potential of theguitar-tenor saxophone coalition. Friday night, before a fullhouse at Rocco's in Bel-Air, the Acoustic Jazz Quartet celebratedthe release of its eponymously titled new CD with an attractiveprogram of thoughtfully arranged, well-played music.

The pressure in this sort of instrumentation is obviously onthe guitarist, who is obliged to provide harmony, melody andrhythm, sometimes individually, often collectively. And Findlay,a teacher and a performer, covered the various demands with ease.On Groove-oriented pieces such as Matthews' “Just Like It'sAlways Been,” he tailored his sound and his articulation tofit the push of the rhythm; on gentler lines such as AntonioCarlos Jobim's “Felicidade,” he took a more acousticpath, generating a subtle undercurrent of bossa nova.

Sills, one of several important young Southland saxophonists,played with the big-toned sound and harmony-definingimprovisation that are his stock in trade. His interaction withFindlay, filled with mellow timbres and surging melody lines, wasthe quartet's defining quality.

Matthews, who co-leads the group with Findlay, played severalathletic solos clearly defining his technical virtuosity. But hewas equally effective as a section player, generally working wellwith Koba.

As a team, their only flaw was an occasional tendency to fallinto repetitious rhythmic patterns, an accompaniment style thatfailed to match the imaginative interplay between Findlay andSills. At their best, however, the quartet had thecharacteristics of a promising unit, one with considerable futurepotential.

- Don Heckman

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The LA Jazz Scene, October, 1999

ACOUSTlC JAZZ QUARTET

Southern California isn't nearly the hub of jazz activity thatis New York's downtown scene, but those who have lasted past theinitial glitz and allure of Tinseltown, like the Lounge ArtEnsemble, Los Angeles Quartet, and the Benn Clatworthy Quartet,have definitely earned their place. Drummer Dean Koba,saxophonist David Sills, guitarist Jamie Findlay, and bassist ZacMatthews, also known as the Acoustic Jazz Quartet, are four othermusicians who have made their mark playing local southland clubs,which are few and far between. Sills and Koba, in particular, aretwo young players that those outside Los Angeles shoulddefinitely be hip to. They are both poised to break out and stepup to another level, so better hop on now because seats on theirbandwagon are filling up fast.

The music on their self-titled Naxos debut is thoroughlyenjoyable from beginning to end, but Jobim's“Felicidade” and Findlay's original “Bye theGrace” are two of it's runaway winners.“Felicidade” shows just why Sills is one of LA's finestTenors. Joe Henderson's influence hangs over sills' playingslightly, but the tenor saxophonist wisely puts his own spin onthings and makes the tune all his own, weaving one robust soloafter another. It is the foursome's easygoing delivery thatcharms the listener for a relaxed “Bye the Grace.”Findlay is in top form, effortlessly retaining the mood withrhythmic playing that is delightful to be a part of. Sills feedsoff that, and with stellar support from both Matthews and theincomparable Koba, the tenor swings with and edge and cool thatlets him stand way above the crowd of young saxophonists, many ofwhom grace the rosters of major labels.

The Acoustic Jazz Quartet, along with the groups mentionedbefore, is legitimizing jazz music in the City of Angels. Thisquartet definitely deserves more national media recognition.

- Fred Jung

ACOUSTlC JAZZ QUARTET (Naxos)

The Acoustic Jazz Quartet, which can often be heard at Rocco'sand other local clubs, consists of guitarist Jamie Findlay (whoteaches at Musician's Institute), tenorman David Sills, bassistZac Matthews and drummer Dean Koba. Their set for Naxos (416 MaryLindsay Polk Drive, Suite 506, Franklin, TN 37067) is anexcellent example of their appealing group sound and strongimprovising skills.

Findlay's airy and light guitar blends in quite well withSills' cool-toned tenor. The group's originals (six by Findlayand a blues by Matthews) have quirky melodies and often-trickychord changes that fir the band's sound well and the overallresults are straightahead but unpredictable. In addition to thenewer material, the quartet plays Jobim's “Felicidade,”a slower-than-usual “Stompin' At The Savoy” and“Soul Eyes.”

This is a CD that has so much subtlety, creativity that itgrows in interest with each listen.

- Scott Yanow


The All Music Guide:

Working together in Southern California since 1996, the maidenalbum of the Acoustic Jazz Quartet features a varied playlist oforiginals, traditional, and bop, as well as one classic bop tune.Straight-ahead music mingled with bop and post-bop chords, thisis an especially fine inaugural set headlining the guitars ofJamie Findlay backed by the bass of co-leader Zac Matthews, thedrums of Dean Koba, and the saxophone of David Sills. Findlayalso wrote six of the seven original compositions. While this isthe quartet's debut album, individual resumes are replete withappearances from topnotch jazz stars including Pete Christlieb,Bill Watrous, Walter Norris, and Benny Bailey, to mention a few.This experience is apparent with their handling of the musicalagenda. Antonio Carlos Jobim's “Felicidade” is sixminutes of carefree give-and-take between Sills' StanGetz-influenced (at least on this take) tenor and Findlay'ssix-string Ronald Ho guitar. Rather than applying the usualhard-hitting assault on the swing classic “Stompin' at theSavoy,” the group adopts a relaxed medium tempo, offering afresh arrangement of this well-ridden, galloping war-horse.Showing his versatility, Findlay has a somewhat long solo of his6/8 time composition “Through All the Worlds,” withSills' tenor providing strong support; this time his sax takes onsome of the musical garb of Sonny Rollins. But nowhere areFindlay and Sills more simpatico than on “Bye theGrace,” written by Findlay for Shoghi Effendi, the lateguardian of the Bahá'í Faith. Dean Koba's quirky drum rhythmfacilitates making this tune an adventure. The group turns hipwith Findlay's “Fashioner,” which is built on groovesput out by Zac Matthews' bass, complemented by Sills' soprano saxrenderings. Matters are kept in hand here by the steady,challenging beat of Koba's drums. The album's coda,“Fragrance of Rhythm (I Smell Rhythm),” is also itsmost swinging, plainly based on rhythm changes. Everyone getsconsiderable solo time on this fitting finish to a veryentertaining set by a talented group of young jazz players, butthe highlight of the album is the group's interpretation of MalWaldron's “Soul Eyes” featuring an especially lovely,poignant sax solo by Sills. A more-than-credible first appearanceby this musical collective, this album is recommended.

- Dave Nathan


Modern Jazz

Short Takes, August 1999, Acoustic Jazz Quartet Acoustic JazzQuartet (NAXOS Jazz)

Nothing fancy or startlingly new here. What the Acoustic JazzQuartet bring to the table is honest, no nonsense straightforwardmainstream jazz. They swing, through Benny Goodman's“Stomping At The Savoy” and perform dashingly onJobim's “Felicidade” and Mal Waldron's classic,“Soul Eyes”. Guitarist Jamie Findlay, saxophonist DavidSills along with bassist Zac Matthews and drummer Dean Koba maynot be household names but these are seasoned pro's with plentyof chops and fortitude! Jamie Findlay demonstrates his finecompositional skills on 6 of the 10 tracks as bassist ZacMatthews' composition “Just Like It's Always Been”opens the set in uptempo and swinging fashion. Special merit toNAXOS not only for their uncanny knack with finding and/orshowcasing new talent but also for their business as usualsuperior sound productions.

Recommended. * * * 1/2

- By Glenn Astarita


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