Acme Jazz Garage — Ascending?

I seldom write about my own projects here, but thought I’d throw out a quick note about the CD recently released by my band, Acme Jazz Garage, on my Solar Grooves label.

relix review

Acme Jazz Garage is gaining momentum via national jazz-radio airplay, and good reviews in magazines and newspapers.

A few updates:


  • Our CD is in its fifth week of airplay on jazz stations across the US (check its progress on the JazzWeek chart).
  • It has aired on Tampa’s WUSF and WMNF; WFCF in St. Augustine, FL; KEWU in Cheney/Spokane, WA; WCLK in Atlanta, Ga.; WAER in Syracuse, NY; KSDS in San Diego, CA; Jazz From Gallery 41 in Berkeley, CA; WTJU in Charlottesville, Va.; WSHA in Raleigh, NC; WWSP in Stephens Point, WI; KRTU in San Antonio, TX; KCCK in Cedar Rapids, Iowa; and KRFC in Fort Collins, CO, among other stations.


  •   Relix magazine critic Wayan Zoey calls the CD “a solid collection of revivalist funk and swing … influences are rooted in ’70s fusion, and the various contemporary pop styles that surrounded it … a much more enjoyable experience than your average ‘trad jazz’ album … a capable excursion through one of the most playful eras of America’s cultural history.”
  • Creative Loafing/Tampa just gave us a four-star review: “The 10-track set is not only fun but a rather excellent demonstration of what four vet musicians can accomplish with some quality time in the studio and a little help from their friends.”
  • Howard Mandel, president of the Jazz Journalists Association and a contributor to NPR, says the CD “mixes the best bits of the Meters, Santana, Robben Ford, Grover Washington, Anita O’Day, Joe Sample, Roy Ayers and Marcus Miller into a refreshingly breezy sound.”
  • “Some funky R&B, and straight-ahead jazz, and it coule be one of the outstanding local releases of 2016,” says Randy Wind, program director at WMNF in Tampa.
  • ” ‘Resonance’ immediately made me think of Steely Dan,” says Louis Maistros, New Orleans singer/songwriter and acclaimed novelist. “And (I hear) hints of the Crusaders. The rest felt like its own thing. This is really a hot little combo. Mission accomplished. It’s a damn fine record. Bravo!”

Acme Jazz Garage, the band’s debut full-length set of original compositions, features an eclectic mix of original jazz compositions played by the core quartet (Matt Swenson, guitar; Bryan Lewis, keys; Tim Diehl, drums; me on bass) plus special guests.

We were joined by conga master Gumbi Ortiz; who tours with Al Di Meola; singer Whitney James; saxophonists Jeremy Powell (Arturo O’Farrell Afro Latin Jazz Orchestra), Rick Runion and Austin Vickrey; vibraphonist Sam Koppelman; and trumpeter Ron Wilder. The music was recorded and engineered by John Stephan at his Springs Theatre studio in Tampa, and mixed in L.A. by Ruairi O’Flaherty.

The tracks:

^  “Mongo Strut” (Booth) — Latin-edged funk spiked with congas

^ “Resonance” (Lewis) — multipart contemporary fusion (some folks hear Steely Dan)

^ “Sandprints” (Booth) — a 5/4 piece inspired by Wayne Shorter, featuring Powell on soprano sax

^  “Last Call” (Booth) — a retro vocal tune (Manhattan-romance theme) with vocals, trumpet and vibes

^  “Acmefied” (Booth) — straight-up jazz funk

^  “Zag” (Booth) — straightahead, swinging jazz with two tenor saxes (Vickrey and Runion) and vibraphone

^  “Mr. G.P.” (Booth) — New Orleans-style R&B named for Meters bassist George Porter, Jr., with a tpt-tenor-bari horn section

^  “Rubberman” (Booth) — jammy-leaning jazz with flute (Vickrey) and tenor (Runion)

^ A bluesy version of “America the Beautiful” (arr. by Lewis) — think Ray Charles; perfect for airplay on the July 4 weekend.

To get your very own copy of the CD, as a physical disc or download, click here

For more information on the band, visit us on Facebook; go to our web site; or stop by Solar Grooves. Twitter: @acmejazzgarage



What the Critics Are Saying About Acme Jazz Garage

Acme Jazz Garage (Solar Grooves SG-001) is available here.

“Without a doubt, Acme Jazz Garage is the Tampa Bay area’s most adventurous jazz band. Its debut recording project finds the 5-year-old quartet in a jam-band groove, dipping its collective toes into straight-ahead jazz, Latin-tinged funk, R&B and a more modern jazz/fusion sound.

Bassist Philip Booth, drummer Tim Diehl, keyboard ace Bryan Lewis and guitarist Matt Swenson comprise the core band on this eponymous session, with a little help on various tracks from a variety of musical friends with whom the players have worked over the years. Lewis’s keyboard work, particularly on Hammond B-3, and Swenson’s melodic, often searing, guitar, dominate the group sound, layered over an infectious groove set by Booth and Diehl.

And who, you ask, stopped by to have a bit of fun on this session? Singer Whitney James is featured on Booth’s Manhattan romance- and-bebop-inspired “Last Call.” Veteran Al Di Meola percussionist Gumbi Ortiz spices up “Mongo Strut” and “Mongo Jam.” Jeremy Powell, now making his mark on the New York jazz scene in a variety of top-flight bands, is featured on soprano sax on “Sandprints,” a clever 5/4 piece inspired by Wayne Shorter’s best-known jazz classic “Footprints.”

Saxophonists Rick Runion and Austin Vickrey, vibes player Sam Koppelman and trumpeter Ron Wilder also bulk up the band on a variety of tracks, most notably “Zag,” “”Rubberman” and “Mr. G.P.,” the latter a N’awlins groove tribute to The Meters’ bassist George Porter Jr.

From start to finish, Acme Jazz Garage and friends make it clear that the Tampa area is blessed with great jazz talent.

–KEN FRANCKLING, author/photographer, “Jazz in the Key of Light”; Ken Franckling’s Jazz Notes; contributor, JazzTimes, Hot House,


“Have you ever had a CD get stuck in your player? Not physically, but because it is so darn good you need to hear it over and over again?

That’s what happened when I popped the new recording from Acme Jazz Garage into the player. I’ve seen these guys in different settings, from purely straight ahead to all-out funk, but I simply wasn’t prepared for a disc this superb, start to finish.

They come out swinging straight out of the starting gate with “Mongo Strut,” a reworking of a tune by bassist Philip Booth. This jazz/funk outing features guest percussionist Gumbo Ortiz, long a Tampa Bay area star and Al Di Meola bandmate. Bryan Lewis gives his clavinet a workout, and Ortiz and drummer Tim Diehl are in perfect sync, powered by Booth’s electric bass.

The next track, “Resonance,” still blows me away, and that’s after more than a dozen times through the disc. Composer Lewis opens with electric piano, and then Matt Swenson gets to work. His playing throughout is nothing short of spectacular. This tune goes through a variety of changes, and he nails every one. Booth and Diehl are a monster rhythm section. Lewis takes a great solo as well.

“Sandprints” is Booth’s homage to Wayne Shorter’s “Footprints,” magnificently rendered with Jeremy Powell on soprano saxophone. Powell is another Tampa Bay area jewel who moved to New York. (Jeremy and NYC trumpeter brother Jonathan played with Booth in Ghetto Love Sugar). Rick Runion, a fine tenor player from Lakeland, plays harmony with Jeremy here. The track begins with Booth’s beautiful double bass tones, then Jeremy and the band join in.

Booth adds a vocal tune to the mix with “Last Call,” his impressions of New York City during his time there and historically as well. Whitney James is the singer here, and her voice perfectly accents Booth’s lyrics. The tune also features vibraphonist Sam Koppelman, a truly impressive player whose contributions here and on “Zag” are first-rate. Ron Wilder plays trumpet… and he was Booth’s jazz instructor back in the day!

“Zag” is a gorgeous tune Booth used to play with Trio Vibe. Koppelman is perfect here, and Austin Vickrey and Runion join in on tenors, with a solo from Vickrey. This song swings so hard, driven by Booth on bass. Beautiful acoustic piano from Lewis adds to the sheer delight of this track.

Booth next honors George Porter, Jr., the king of New Orleans bass players and a member of the legendary Meters, with “Mr. G.P.” (a reference to Coltrane’s tune “Mr. P.C.”). If you’re going to do NOLA, you’re gonna need a horn section: Wilder, Runion, and Vickrey (this time on baritone sax). Swenson takes another blistering guitar turn while Booth and Diehl channel that second-line rhythm.

Badass bass launches “Rubberman,” the oldest tune in Acme Jazz Garage’s repertoire. Vickrey plays gorgeous flute here with Runion on tenor. Lewis stands out on Hammond B3 organ, funk dripping from every note. Diehl nails this one, and Swenson delivers a beautiful solo invoking so many great jazz guitarists. Booth gets an extended feature as well.

“Acmefied” opens with a nifty drum roll into the tune, another fine funky jazz piece. Swenson again channels the masters beautifully, and Diehl’s work on the kit is of special note. Lewis comps underneath with great electric piano.

Lewis arranged a very bluesy version of “America the Beautiful” which was released in time for Independence Day. His gospel-tinged Hammond B3 provides a very different reading of this, reminiscent perhaps of Ray Charles.

The disc closes with a percussion workout with Diehl and Ortiz, “Mongo Jam,” a logical extension of the opening tune.

This wonderful recording was enhanced by the remarkable production job done at the Springs Theatre, where local Tampa musicians have been producing music of the highest quality.

–SCOTT HOPKINS, “Colors of Jazz” announcer, WMNF, 88.5 FM;; editor-in-chief,


“The influences felt scattered (which is good), but the song ‘Resonance’ immediately made me think of Steely Dan. That, too, is a good thing. Oh, and (I hear) hints of the Crusaders now and again. The rest felt like its own thing. This is really a hot little combo. Mission accomplished. It’s a damn fine record. Bravo!”

LOUIS MAISTROS, New Orleans singer/songwriter and writer, author of acclaimed novel “The Sound of Building Coffins,” and former jazz record store owner

Louis Maistros’ The Sound of Building Coffins (Review)

The Sound of Building Coffins, by New Orleans author Louis Maistros, is an intriguing tale of jazz and voodoo. I recently reviewed the novel the-sound1for the St. Petersburg Times.

Click here to read the review, published Sunday. Maistros’ creative web site devoted to the book is here.

Read the full text (“director’s cut”) of my review, below:

The Sound of Building Coffins

By Louis Maistros

Toby Press, 358 pages, $24.95

New Orleans fiction has its comic juggernauts (John Kennedy Toole’s A Confederacy of Dunces), literary reveries (Walker Percy’s The Moviegoer), gothic horror stories (by Anne Rice) and crime novels (by James Lee Burke).

Now comes The Sound of Building Coffins, by first-time novelist Louis Maistros. It’s a macabre and utterly hypnotic feat of literary imagination, an extended tale of voodoo and jazz in the Crescent City, circa the turn of the 20th Century. The novel is so fluently delivered that it sometimes feels as if it were being channeled via the same spirits — evil and good — that inhabit these richly drawn characters.

Maistros, a New Orleans record-store owner and former forklift operator with no formal training as a writer, has crafted a work, spiked with historical characters and events, so striking and original that it probably deserves a place on the shelf of great fiction from his adopted hometown.

The novel, written before Hurricane Katrina, closes with another mighty flood, as a fictitious version of real-life musical innovator Buddy Bolden — sometimes credited with inventing jazz — stands on the roof of a building that’s being dismantled by the storm. He raises his beloved cornet to his lips, and sends a song of salvation into the darkened skies. The same night, corpses, loosened from graves built in a city below sea level, rise by the dozens.

“As the city dies, so the city is reborn,” Maistros writes, wielding a sentiment of hope that’s been expressed frequently in New Orleans in recent years.

That’s just one of many engaging set pieces, if you will, that sustain a distinctively strange narrative centered in part on the vibrant life and tragic loss experienced by the Morningstar family, a clan led by a gospel preacher who chose to name all of his children for diseases.

“The Sound” opens with a singularly bizarre sequence, as nine-year-old Typhus Morningstar pulls a trio of aborted babies from a burlap sack, and places them in the waters of the Mississippi River. There, he performs an act of magical realism, his pure love and his singing of an old spiritual combining to provide the fetuses a “water birth” during which they are transformed into catfish.

The book’s extended cast of characters, including the Morningstars, whose home is located little more than a mile away from storied Congo Square, live in a world that’s often unkind and seldom gentle. The men, aside from Bolden, are mostly gamblers, drinkers, con men, abortionists, sailors on leave, prison guards, gravediggers, and Yankees looking to make a killing down south. The women, other than Gloria Morningstar, who died giving birth to Typhus, and voodoo queen Malvina Latour (another historical character), are hangers-on, mourning mothers, barmaids, and Storyville sex workers, some of whom claw their way up from claustrophobic street-front “cribs” to upscale houses of ill repute.

An historical event forms the backdrop for the story: In 1891, nearly a dozen Italian immigrants were lynched by a mob seeking revenge for the murder of Police Superintendent David Hennessey. The imagined sequel to the hate crimes has a group of seven including Noonday, Typhus and daughter Diptheria Morningstar, Bolden, and a newspaper reporter face down a demon possessing the soul of Dominick Carolla, the one-year-old son of one of the lynched Sicilian man.

The exorcism results in bloody murder, and the events of that day resonate throughout the novel, as Buddy’s playing grows in power and stature, Diptheria gains fame as a high-class lady of the evening, and Typhus runs headlong into a twisted love affair. And the Mississippi rushes on, playing witness to and sometimes participating in multiple acts of birth, death, and rebirth.

Maistros handily gets inside the heads of his characters, using vivid descriptions and apropos vernacular to bring to life a wildly conceived world, one informed by accounts of the actual place and time. He occasionally takes risks, gambling that readers will follow him through dark byways with no clear payoff. The results, more often than not, are transporting.

Tampa writer and musician Philip Booth blogs at

The Sound of Building Coffins, by Louis Maistros

the-soundI recently finished reading, and reviewing, The Sound of Building Coffins, by Louis Maistros, a New Orleans record-store owner and first-time novelist.

Not sure what the general reaction will be, but I found the book to be one of the most fascinating that I’ve read in a long while. It’s a tale of turn-of-the-century New Orleans that has the author taking readers deep inside the heads of a cast of remarkable characters.

Its twisting, hypnotic story of voodoo and jazz — and birth, death and rebirth — is marked by some singularly strange passages.

But anyone who has spent much time in New Orleans, and has a feel for the musical and artistic creativity that seems to flow from that patch of Mississippi River-fed earth, will get the vibe, I think.

And even those who don’t know what I mean by all that may well be captured by Maistros’ vivid, gripping storytelling.

I’ll post a link to the review once it’s published.

For now, you can find out more about the novel by visiting the remarkable web site that Maistros (and/or his web designer) has created to accompany the book.

Just click on the ghost of Buddy Bolden, and you’re in.