Ron Jackson's Kari-On Productions Accolade Page

Ron Jackson, The Dream I Had
www.ronjacksonmusic.com

Accolade Highlights
Ron is a full time retainer client

Karl Stober, EJazzNews
Sentimental at times and funky always this projects offers one of the most promising talents to have
manipulated strings in some time. In another observation his production of this project speaks volumes
to his endowment. I like the rollercoaster ride of style on this set of cuts, it keeps the listener guessing and
the mood always off guard.

AJ Charron, Guitar Noise
Ron Jackson’s music is absolutely beautiful! Five of the tracks are his own while the rest are by people like
Gershwin and even Stevie Wonder. Entirely instrumental, entirely Jazz. Entirely something you want to listen to.
Ron Jackson’s music is absolutely beautiful! Five of the tracks are his own while the rest are by people like Gershwin
and even Stevie Wonder. Entirely instrumental, entirely Jazz. Entirely something you want to listen to. Jackson is obviously
quite talented. This album reflects a quality of being, an artist searching for higher enlightenement. Ron Jackson’s music
will pour over you and feel so good.

Joe Gore, Guitar Player Magazine
Go Wes, young man! An impressive debut from another twenty-something guitarist bent on reviving Montgomery's muse. Jackson offers
a further tip of the thumb with cool originals in the ol' Indianapolis vein."

Owen Cordle, Jazz Times
"With pianist Benny Green, bassist Lonnie Plaxico and drummer Cecil Brooks III, Jackson is in fast company-a challenge he meets
with dexterity, a fine tone and convincing expression."

Bob Young, Jazziz
"Ron Jackson makes a strong debut....he's no boring genuflection of the past."

Gene Kalbacher, New Music Report
"Jackson displays blues suffused grit and lively single no daring-do. He's a comer who bears watching."

"3 1/2 Stars" - Josef Woodard, Downbeat Magazine

Jim Santella, Cadence Magazine
"Well recorded sound, eclectic program choices, superb musicianship and instrumental balance set the stage for a winning
team. Jackson's fluid guitar work allows the session to move from familiar melodies, to crisp Latin Dance fun, Caribbean fiestas
and moodier ballads."

Paul Wright, Jazzreview
"The Dream I Had is a wonderful collection of modern jazz guitar playing that provides the listener with a medium
of rich, dynamic sound. Jackson uses his international music know-how, and combines many flavors to produce this
collection of eclectic tunes."

Bill Donaldson, Cadence Magazine
"Jackson knows his Wes Montgomery. From the understated way that Jackson builds the melody of "To Mr Evans" to his
flowing introductory cadenza on "Obsession.", recalling Kenny Burrell's work in its assuredness and purity of tone, Jackson
exhibits a versatility and logic that remain consistent throughout all the tracks on (The Dream I Had), his fourth CD."

Vintage Guitar Review
"Ron Jackson is a New York jazz guitarist who can do it all. He bring(s) folks like Wes, Kenny Burrell and George Benson
to mind. Another thing I like about this records is the compositions....extremely dramatic...fiery and imaginative..(the) intensity
of the soloing keep(s) you on the edge of your seat...a funky burner that really cooks."

Gary Walker, WBGO, Newark
The strings sing. Check out one of the finest guitarists in the tradition today.

John Whitmore, WDCU Washington DC
"I like the original stuff, reminds me of Wes."

Bobby Jackson WCLK, Atlanta
"A Fine new young lion on the scene that's adding a new flavor to old standards: and maybe creating new standards through his compositions,

Gary Vercelli, Music Director, KXPR, Sacramento, CA
"Ron has a fluid style and swings with a natural sense of authority',

Steve Nelson, Vibraphonist
"Ron Jackson is a versatile, inventive, original guitarist soon to be recognized as a fresh new voice on the scene.

Stan Dunn, KJAZ, San Francisco
" I'm encouraged to hear bright players like Ron Jackson who play the tradition and seek new directions for jazz."

Rufus Reid
"A singing and witty guitarist'

Russell Malone
"It's good to see young guitarist's like Ron Jackson who are playing and studying the history of the instrument while forging his own style."

Dee Perry WCPN Cleveland, Ohio
"Warm and engaging; technically superior".

David Lands, Jazz Journal International
"Ron Jackson just keeps getting better"

Kuncheza Blues,'
...standout solos by Cecil Bridgewater, Redman (Dewey), and guitarist Ron Jackson."

JazzTimes on Randy Weston's Uhuru Africa Concert "
...he opens with 'Shadow of Your Smile' with a chord melody approach and we know we are in for a treat...he has
a very mature approach and his tasteful harmonies set the stage...We hear great octave playing (thumb) and exciting
double stops, long clean lines and bursts of syncopated riffs by Ron. George Benson, Wes and Barney Kessel sneak in,
but we really hear Ron Jackson, a relative newcomer to the jazz guitar, who is going somewhere with a jump start.

" Just Jazz Guitar "
...an exciting and individual minded player...he showed equally good taste in execution as he did in selection."

The Herald, Edinburgh, Scotland "...virtuoso technique and mellow tone that Jackson coaxed from his instrument."

Sunday Times Perth, Australia "With pianist Benny Green, bassist Lonnie Plaxico and drummer Cecil Brooks III,
Jackson is in fast company -- a challenge he meets with dexterity, a fine tone and convincing expression."

JazzTimes "Ron Jackson is my kind of guitar player. He represents his music with neatly picked runs and elegant phrasing.
He projects the art of jazz guitar in the traditional manner by obvious nods to Wes and Charlie, but adopts a contemporary
attitude with Metheny, Scofield and Klugh adding their influences."

Jazz Journal International "Ron Jackson makes a strong debut...he's no boring genuflection of the past."

Jazziz
"Ron Jackson has studied the art of modern jazz guitar from Wes Montgomery to Sonny Sharrock...he approached ballads
with a sensitivity that reminds me vividly of Grant Green's style."

Len Bukowski, Cadence Magazine
"Jackson displays blues suffused grit and lively single not daring-do. He's a comer who bears watching."

New Music Report
"Jackson proved himself to be an excellent leader on repertoire that was often demanding. He has a warm tone on guitar
with an ability to play rapid fire lines."

The Western Australian
Ron's newest CD is filled with anecdotes and ideas that will keep any jazz fan happy. His thoughtful approach to melody
and his distinct guitar tone set him apart from the average six-stringers. Every time Ron plays a line on his Heritage Sweet 16
, he seems to throw back to the greats of yesterday - Wes, Pass, etc. However, one can tell that Ron isn't inspired by jazz alone -
his phrasing brings a very fresh and funky feel that lets the listener know he's a well-rounded music listener.

"Sweet" Sam Walton - The Jazz Spectrum on WDBM-FM, Lansing, MI
I think Ron is one of the players to keep an eye on in years to come - his genius arrangements, precise playing and pure
emotion make him a delight to groove to.

Review of Ron Jackson and Brian Lynch at Caffe dell Artista, 2/17/05 by Evan Farber
I have to admit that I have never really been a big jazz guitar fan. It's never been one of the real classic jazz
instruments to me. I've always loved the sax, drums, trumpet, and piano, but never got into the sound of the jazz guitar.
It always sounded so cheesy to me. However, my attitude was forever changed with the performance of Ron Jackson and
Brian Lynch at Caffe dell Artista in New York on 2/17. Jackson made his guitar speak in perfect, mellow tune with Lynch's
trumpet. The laid-back crowd and atmosphere allowed for some more loose improvisation. Ron and Brian took an intermission
to let some jazz students in attendance play. I believe they were Jackson's students, which is proof he is as great a jazz educator
as a musician. Overall, it was one of the most fun performances I've seen in awhile and Ron Jackson's skills allowed me to gain an
appreciation for the jazz guitar that I was missing. I also want to thank Caffe dell Artista for providing me with another great night
of jazz and port wine. For more information on Ron Jackson and Brian Lynch, check out their respective websites at http://ronjacksonmusic.com/
and http://brianlynchjazz.com/. If anybody knows of any jazz gigs around New York they think I should check out, please
feel free to e-mail me at evanefarber@spouzic.com

Geannine Reid, All About Jazz
From Heritage Guitar Award to Broadway pit player, Ron Jackson is always an appreciated guitarist and sideman, but he's been
consistently under-recognized for his own compositions and continued commitment to the endeavors and education of jazz.

Jackson has performed and recorded in over thirty countries as a bandleader and ensemble performer. He currently has five CDs
as a leader or co-leader: A Guitar Thing and Thinking of You (Muse Records); Concrete Jungle, an album co-led by bassist Nicki Parrot
(Airmen Records); Song for Luis, a duo with Rufus Reid on Mastermix Records; and his current CD, entitled The Dream I Had, featuring
Joris Teepe on bass and Joris Dudli on drums. Jackson was the winner of the 1996 Heritage Guitars International Jazz Guitar Competition;
his recordings have featured prominent sideman like Benny Green and Mulgrew Miller. He has also performed and recorded with such jazz
greats as Benny Golson, The Mingus Guitar Tribute Band, Jimmy Cobb, Russell Malone, Larry Coryell, Jeff "Tain" Watts, and Rufus Reid.

Jackson takes us through a musical journey ranging from an energetic rendition of Stevie Wonder's "Too-High," with its hard hitting
bass, drums and well-placed guitar uniting the track into a well-balanced meal of funk backbeat; to "You," a tender moment with
a deeply moving track. Its depth and powerful emotion suggest the composition will have staying power as a classic for future generations.
"To Mr. Evans" is a highly polished composition that lends itself to the players as a vehicle for serious improvisation. Jackson creates lush
chords within his single lines that weave a fabric of listening pleasure. He also exhibits a unique approach in re-harmonization that is clearly
conveyed with "Long Ago and Far Away" and "Isn't it Romantic."

Jackson's compositional skills really shine overall on "You" and "Nikki's Waltz." He showcases his ability to create lyrical messages within
these two pieces. "You" is a beautiful minor ballad showcasing Jackson's pen and chord melody chops. The haunting intro leads into the
melody, stated in a relaxed style with Jackson playing counterpoint with himself for the A sections, with the B section stated by Teepe's
bass for a nice orchestral change. Jackson's solo is a great example of his ability to develop a motif both with a pen and on the guitar
in a logical and musical manner. "Waltz for Nikki" is a flowing 6/4 composition with Jackson doing a fine job of accompanying himself
throughout the melody. By developing the melody through various harmonizations and a long, flowing form, he offers a nice compositional
experience; this track has some nice harmonic surprises for the captive listener.

My only lingering desire would have been to hear longer solos by Jackson and Teepe and more compositions with depth and penetrating
melodies like "You" and "Waltz for Nikki." Certainly an enjoyable CD for guitar trio listeners who like the combination of originals and
standards in their musical diet.

Reviewed by: John Gilbert, Jazzreview
Ron Jackson has put together a fine album of standards and originals. Jackson has facility and ideation plus a swinging solo style despite
a sometimes choppy drum backing that should be sensitive to the soloist's message.

"Isn't It Romantic?" Ron Jackson has fun with this familiar chestnut. The endearing melody is respected while adding a unique solo treatment
that makes this tune new and refreshing. Nice exchanges with the drummer who lays low in his responses but needs to smooth out in the ensemble.

"Long Ago And Far Away" Again Jackson paints with his own brush going up in tempo with some rapid fire picking. An interesting
bass solo adds another dimension. The 4 bar exchanges with the drummer showcase Ron Jackson's take charge mode.

This is a super album for the guitar aficionado as well as the established player.

Vintage Guitar Review
January 2004 by JH
Ron Jackson is a New York jazz guitarist who can do it all. He plays in the traditional vein,bringing folks like Wes,Kenny Burrell,
and George Benson to mind. His phrasing is always interesting without falling back on cliches from the aforementioned players.
Another thing I like about this record is the compositions. While there are a few standards, Jackson wrote five of the songs here,
and they all are interesting. The title cut has an extremely dramatic intro that will catch your attention immediately. And, by the time
Ron has started his very fiery and imaginative solo, the chords, single-lines, and octaves are bouncing off the wall. The feel of the tune
changes completely in the middle, but Jackson and the band move smoothly with it. A very impressive start. The old warhorse, "Isn't It Romantic?"
gets nice treatment. The melody gets stated, and then Ron plays wonderfully with it. Check out the interplay between Jackson and drummer
Joris Dudli on this one. "The Race" is exactly what the title says. I mean that in a good way. The breakneckspeed and intensity of the soloing
keep you on the edge of your seat. The nice lightly swinging ballad "Waltz For Nicki" gives you the idea again of both his compositional skills
and his fine chops. Most of the album has a very traditional jazz feel, but by the time we get to the last cut-a cover of Stevie Wonder's
"Too High"- we get a nice glimpse at Jackson's R&B chops. It's done as a funky burner that really cooks. If you have any interest in tradional
jazz, check this out. -JH

Cadence Review, Bill Donaldson
Even though Ron Jackson has been performing for the most part below the radar screen of the larger listening public
(probably for want of a publicist or a major label contract), he hasn't been wanting for work. Performing in the pit
orchestras of major Broadway shows, as a sideman on numerous other Jazz musicians' releases or in overseas clinics,
Jackson has built an impressive reputation as a guitarist with taste, technical self-assurance and a solid tone that features
accessibility without access. Jackson knows his Wes Montgomery; Jackson's extroversion toward his audience while remaining
true to the music more than once recalls some of Montgomery's work. While Jackson has performed in his previous CD's
with well-known U.S. sideman like Benny Green and Lonnie Plaxico, The Dream I Had was recorded in The Netherlands,
and this time Jackson is backed up by Dutch musicians Joris Teepe and Joris Dudli. From the understated way that Jackson
builds the melody of To Mr. Evans, to his flowing to his flowing introductory cadenza on Obsession, recalling Kenny Burrell's
work in its assuredness and purity of tone, Jackson exhibits a versatility and logic that remain consistent throughout all the
tracks on this, his fourth CD. Generously, Jackson allows Teepe to shine on the introductions to Too High and Obession or
eloquently in the bridge of Jackson's composition, You, while Dudli adds subdued colors that embellish the soloists' leads.
Accenting melody with warm voicings, Jackson shines most brightly on the ballads he wrote such as Waltz for Nicki. Beginning
unaccompanied and rhythmless and becoming ever more animated when the bass and drums join in, the tune eventually
reveals itself as the development of one long crescendo.

Jazz Journal International, David Lands
RON JACKSON
THE DREAM I HAD
The Dream I Had; Isn't It Romantic; To Mr. Evans; The Race; You; Long Ago And Far Away; Waltz For Nicki; Obsession; Too High (55.56)
Ron Jackson (elg); Joris Teepe (b); Joris Dudli (d) Holland 15-16 March 2002
(Roni RM 0463)
I recall reviewing two earlier Ron Jackson albums and loking back at my reviews I found them very enjoyable. Jackson then seemed to
disappear from the scene but I've since found out he'd been gainfully employed in the orchestra pits of Broadway shows. The money
was good but the lure of playing jazz was more tempting. Ron cut this set whilst on tour in Europe with an excellent bassist and drummer.
His choice of material mainly stems from his own pen but with two standards from the great American songbook and one each from
modern songwriters the balance sits well. For those who may not be familiar with Jackson's work his playing displays shades of Kessell,
Wes and Benson. Nice clean runs coupled with delicate picking. His own material has enough thematic quality to sustain interest enabling
the whole album to mesh together as a stylish outing. Teepe and Dudli match the leader's skill with intuitive subtlety especially on
his more personal compositions. A very pleasant set and one for the connoisseurs of guitar jazz. (Available through North Country
distribution or cdbaby.com/ronjackson).

Jazzreview.com, Paul Wright
" The Dream I Had is a wonderful collection of modern jazz guitar playing that provides the listener with a medium of rich,
dynamic sound. A cool, funky beat. Flowing from quick rhythms to slow, melodious harmonies, it's an excellent acoustic
backdrop to anyone's domestic environment. Jackson uses his international music know-how, and combines many flavors
to produce this collection of eclectic tunes."

DION PARSON, FEATURING THE 21st CENTURY BAND
Berman Music Foudation
http://www.bermanmusicfoundation.org/cdrev04.htm#Parson
By Butch Berman

While in New York City last month, my wife Grace, Norman Hedman and I decided to drop in on our old friend recording
wizard Lou Holtzman and check out his "digs" at his newly relocated Eastside Sounds in Manhattan's Lower East side.

Lou just happened to be conducting a recording session for a new, and very talented young lady named Teraesa Vinson who
by coincidence had three members of drummer Dion Parson's 21st Century Band as her back-up ensemble.

We were greeted warmly by all, and Dion made sure I had his new released CD, "People Music" on Tahmun Records,
safely tucked away within my belongings for future perusal.

Well, it's "People Music" all right and totally top-flight jazz. You could almost call it "world music," as it combines sights, sounds,
swirls, textures and deep grooves from around the globe, coast to coast with a touch of a New Orleans shuffle thrown into this
mighty mix. Truly one of the most diverse efforts drawn towards any music I've heard for awhile that appears to work well on
all genres displayed. I was eagerly looking forward to hearing this fine CD for the third time since my return home in preparation
to writing this review.

Even though I've not caught Parson "live" yet, you can tell by his command of the proceedings and sheer power and energy set forth
on this CD that he's a virtual drum machine. Hard-driving, intense, yet subtle when called for with the ability to soothe the listener
as on his lovely creation "Lullaby For Belle," one of the warmest and heartfelt instrumentals I've heard captured on disc in ages.

Saxophonist Ron Blake, who's been deservingly making his way up the ladder as of late, just melts you with his lush, languid tone.

I dug the whole CD, and their rendition of one of my fave Monty Alexander compositions "The River Rolls On" in its own way nearly
equals the perfection of the original as the magical beauty of it all takes you out. Percussionist Robert Thomas Jr. leaves his
indelible mark on this track among others as the whole band cooks behind Parson's leadership.

Keyboardist Carlton Holmes continually weaves a soulful web of enchantment throughout including some funky down-home
organ playing. Reuben Rogers skillfully shifts between acoustic and electric bass like a champ-tight, punchy with a great fat
sound. Ron Jackson on guitar has an unexplainably different approach to his axe work. It cleverly draws your attention towards
the fluid chops he displays from cut to cut without ever overplaying.

Special guests Jeremy Pelt on trumpet and Denise Jannah on voice and additional percussion round out this solid
deal dealt by Mr. P. Kudos to Michael Carvin for his deft production work on this Tahmun Records release of merit.

If this review helps Dion Parson's "People Music" get into more people's homes and deejays' playlists …I've done my thing right.