“A concert of inspired takes on standards … breathe(s) fresh air … more than aggressively fine … a thematic throughline that ties these songs together into an overall suite …” — DownBeat magazine (January 2022)

“There is so much to admire at an Acme Jazz Garage concert. The Tampa-based band leaps with enthusiasm into a wide-ranging bag of influences to deliver music that is distinctly its own. The band's expanded sextet version performed Sunday, December 6 for the Tampa Jazz Club as part of the Hillsborough Community College Performing Arts Series at HCC's Mainstage Theatre in Ybor City. Bop, bossa nova, R&B, a bit of Cuban rumba, some soul jazz and a few jazz standards - filtered with Acme's high-energy jam-band enthusiasm - made for a powerful afternoon.” — Ken Franckling’s Jazz Notes, (Dec. 6, 2021)

“Lewis opens “Sharkskin Suit” on Steinway. Since the time of its original release, several layers were added to the track, near perfect to begin with. Swenson’s plaintive guitar moves the song along, with Booth on fretless bass guitar. He also adds French horn, an instrument he has dusted off since the shutdown, to great effect. You can also hear Lewis’ synths weave in an out. Washington and Close make a great rhythm team. Lewis’ piano solo is simply magnificent. … “Rumba Misterioso” is a wonderful blend of traditional and modern Latin jazz, connecting the dots from Tito Puente and Eddie Palmieri to Maqueque and Miguel Zenon. Close and Washington enter first, followed by Booth and Lewis. The solos by Swenson and Lewis and flourishes from Lewis all depend upon the pulsating rhythm created by Close, Washington, and Booth, who lay down a dynamic platform to build the song on. … “Springs Piano Interlude No. 1” (2:16) is the first of three improvisations by Lewis, a true keyboard wizard. The Steinway at The Springs Theatre is magical, and after Lewis sat down during a break in the action to play, it was so impressive that they captured several others.” … “Phil’s Blues” [Booth] (6:15) was already a swinging number when originally recorded, but here Booth and arranger Sam Fagaly up the ante considerably with the addition of the horn section of Belliveau, Run-on, and Mr. & Mrs. Ryan. Swenson recalls the jazz greats with his solo, and then Booth takes his double bass out for a spin. Lewis follows suit on B3, and the horns are spot on. … Lewis handled the arrangement on “When October Goes,” such a gorgeous ballad. Reinhardt’s soft touch on brushes offers the perfect accompaniment, along with a tender Swenson solo and Booth on bass and French horn. Lewis also plays B3, and then Swenson digs into a deeply soulful groove. … They take “Nature Boy” at a great pace, with Reinhardt and Washington giving the track great life. Christian Ryan’s baritone is heard during the first stanza before a tenor solo by Jeremy Powell, who was prominent on the Tampa scene before making it in New York, where he recorded his solo remotely. Lewis again dances over the Hammond B3. Booth’s outing here is sublime before they return to the head. Reinhardt helps close the tune with a nice drum feature before a quick Powell coda. … “Mercy Mercy Mercy” is gospel-drenched, much the way the group’s recording of “America the Beautiful” is. Lewis is responsible for the reharmonizing here, with Swenson rocking over Lewis’ B3 work. Lewis’ solo is playful, dancing around the melody.” — Scott Hopkins, Music Fest News (Oct. 23, 2021)

”Since 2011, Acme Jazz Garage has been entertaining audiences from across Central Florida with their blend of traditional jazz, jazz fusion, blues and funk. Oct. 24, the Tampa-based music ensemble makes its second appearance in St. Petersburg ‘s Palladium Theater, featuring songs from their latest recording, Sharkskin, released Aug. 27.” — Paul Catala, Creative Loafing/Tampa (Oct. 21, 2021)

”On Sunday, Tampa’s Acme Jazz Garage – laying down jazz, blues, funk and fusion – plays in celebration of a new album release (Sharkskin). The band includes guitarist Matt Swenson, pianists/keyboardists Bryan Lewis and Jody Marsh, bassist Philip Booth, saxophonist Rick Runion and drummer Dave Rudolph, with Shelby Sol on vocals. All Palladium event info and tickets here.” — Bill DeYoung, St. Pete Catalyst (Oct. 21, 2021)

AUDIO version of Kurt Loft’s story (below), as read by Susan Giles Wantuck (WUSF), interweaving tracks from the new album — Arts Coast Magazine/Creative Pinellas (Oct. 20, 2021)

“The group’s new CD, Sharkskin, features 12 numbers, mostly originals written by Swenson, bassist Philip Booth and pianist Bryan Lewis. The first three cuts alone are worth the price of admission – Sharkskin Suit, Watching the River Flow and Rumba Misterioso – and the sleeper When October Goes anchors everything around it. … What makes Sharkskin, the group’s second CD, so engaging is its variety. The band swings effortlessly through such styles as straight-ahead jazz, funk, blues, Latin rumba and ballads. … The group’s diversity speaks to its brio and ability to synthesize varied ideas into a unified yet agile sound. — Kurt Loft, Arts Coast Magazine/Creative Pinellas (Oct. 19, 2021)

“There is much to love on this second recording from Tampa FL-based Acme Jazz Garage, with support here and there from some of the quartet’s musical friends. Moods shift from tune to tune as they dig deeply into a mix of straight-ahead jazz, blues, funk and Cuban rumba – all filtered by the band’s modern sensibilities. Core band members Philip Booth (bass), Bryan Lewis (keyboards) and Matt Swenson (guitar) have been fine-tuning the band’s sound for more than a decade. Favorite tracks: the multi-faceted ‘Sharkskin Suit,’ a showcase for Swenson’s guitar artistry and Lewis’ inventiveness at the piano; Booth’s lush ‘Rumba Misterioso’ featuring flutist Peggy Morris; and the horn-section-fueled ‘Phil’s Blues Deluxe.’ The band put an exuberant jam-band spin on ‘Nature Boy,’ infusing the Booth-arranged standard with a Cuban rumba beat and a funky Hammond B-3/guitar/baritone sax cushion for Jeremy Powell’s tenor sax solo. Lewis’ re-harmonization and B-3 mastery fuel the band’s gospel-tinged exploration of Joe Zawinul’s ‘Mercy, Mercy, Mercy.’ “ — Ken Franckling’s Jazz Notes (Sept. 21, 2021)

“Sharkskin is Acme Jazz Garage’s second album, and … there’s no sophomore letdown. It’s a wonderful mix of jazz, blues, rumba, funk, and other styles in a fairly taut, 12-song package. Bryan Lewis is outstanding on Steinway grand piano in the opening number, “Sharkskin Suit,” in which the band steps back and gives him generous elbow room for soloing. Rhythm and blues/soul singer Shelby Sol performs on only one song, but it’s a sweet cover of a Bob Dylan piece, “Watching the River Flow,” which slows the tempo and becomes a good mood-setter. There’s also a cover of the Eden Ahbez classic, “Nature Boy,” which Nat King Cole turned into a No. 1 hit in 1948 and later was covered by the likes of George Benson, Frank Sinatra, Sarah Vaughan, Tony Bennett, Lady Gaga, Peggy Lee, Celine Dion, Aaron Neville, and even David Bowie. Yet it doesn’t feel tired or overdone on this disc. Likewise, there are unique covers of Joe Zawinul’s “Mercy Mercy Mercy” and Barry Manilow’s “When October Goes.” But, really, this disc isn’t about covers. It’s about imaginative writing and musicianship. The music’s romantic, inspiring, playful, joyful, and contemplative at different junctures.” — Tom Henry, Toledo Blade (Sept. 8, 2021)

“Noteworthy jazz events:  Sunday, October 24 – Acme Jazz Garage CD release concert for its new recording Sharkskin. Hough Hall, Palladium Theatre, St. Petersburg. 4 p.m. — Ken Franckling’s Jazz Notes (Sept. 8, 2021)

"Sharkskin's iridescent, color-shifting quality is its essence: Jazz, blues, rumba, funk, standards, piano reflections and contemporary balladry are interwoven with accents including a hot vocal, romantic sax emerging from jammy organ-and-horn passages, and dance rhythms turning into fandangos. All spring from bonded personnel, who, with assists from a few pals, seem capable of anything." — jazz critic and author Howard Mandel, from the liner notes to our forthcoming Sharkskin album (releasing Aug. 27, 2021)

“Slick, 12-track album … the band has refined its sound over the last 10 years but took a risk and opened up its aesthetic and approach as it welcomed a host of collaborators including Sol and the Imperial Polk Horns, who all recorded just a few miles away at Sulphur Springs’ historic Springs Theatre.” — Ray Roa, Creative Loafing/Tampa (Aug. 26, 2021)

“This album will not be released until August, but it is superb. Philip Booth & company have reworked three songs they released last year, worked four great cover songs, and turned pianist Bryan Lewis loose for three beautiful interludes.” — Scott Hopkins, Music Fest News (June 26, 2021)

“With the future of Hyde Park’s Timpano on hold, it’s tough to find a place to regularly see one of Tampa’s longest-running groups, Acme Jazz Garage. But for now, Ella’s has stepped in to fill the void. ‘Acme Jazz Garage returns to one of its favorite haunts, after a long break because of the thing,’ the band wrote in an event description. “Come on out for an afternoon of jazz, blues, funky stuff, bossas, and more.” This show is free, early (3 p.m.) and socially distanced because the Seminole Heights restaurant is still operating with limited capacity and mask rules in place.” — Ray Roa, Creative Loafing (April 29, 2021)

“On April 9, Tampa-based outfit Acme Jazz Garage plays a sold-out show on the Evy’s Bistro rooftop, which can accommodate about 80 people, situated at first-come, first-served four-person hightops that put the performers at eye level with the audience.” — Ray Roa, Creative Loafing (April 2, 2021).

“You can’t catch Acme Jazz Garage playing its regular gig at Timpano (the Hyde Park restaurant is temporarily closed as the state figures out coronavirus), so a spin with the band’s latest single, “Phil’s Blues” will have to do. The song—retro jazz-blues recorded at the Springs Theatre in Sulphur Springs—arrived in late July, but was a regular staple during the band’s aforementioned Timpano residency. Upright bassist Philip Booth told CL that he hopes to combine the cut with some other tracks—some in the can, some yet to be recorded—and emerge with some kind of full release at some point.” — Ray Roa, Creative Loafing (Aug. 20, 2020)

“ ‘Sharkskin’ goes in a different direction, recalling beautiful fusion ballads of the 1970s.The song, released in May, has four sections. Lewis begins on unaccompanied piano, a gorgeous intro, and the sound is superb. Then Swenson takes over with an unhurried solo reminiscent of Jeff Beck, Pete Carr, and Al di Meola, truly wonderful. In the background, in addition to piano, Lewis spreads a wash of synth strings underneath. Meanwhile, Booth and Close provide the perfect foundation.” — Scott Hopkins, Music Fest News (July 23, 2020)

“ ‘Phil’s Blues’ … is a good old-school blues, jazzy AJG-style, written by Booth. It starts with the vamp, centered on Booth’s upright bass and both piano and organ from Lewis. Swenson launches into a swinging jazz blues solo, Close keeping everybody in line with his precise time. When Booth gets some fine solo space, Close supports, then Swenson and Lewis comp beneath him. His bass tone is just so fat. Lewis then hits that soul blues groove, swinging all the way. As they return to the theme, Close closes with a real flourish.” — Scott Hopkins, Music Fest News (July 23, 2020)

JazzOnLockdown: Tampa’s Acme Jazz Garage on hiatus — JJA News (March 29, 2020)

“Acme Jazz Garage’s New Tune ‘Rumba Misterioso’: Lithe, Undulating Sexy — The group, with Philip Booth, basses; Matt Swenson, guitars; Bryan Lewis, keyboards; Pat Close, drums; and Michael Washington, percussion, are in the process of recording new material for another album. The first composition to emerge is “Rumba Misterioso,” and it represents a new peak for this seasoned and renowned group. This song, which also features Peggy Morris on flute, was recorded, mixed and mastered by engineer John Stephan at the historic Springs Theatre in Tampa, where many area musicians go to take advantage of impeccable recording conditions. It is a wonderful blend of traditional and modern Latin jazz, connecting the dots from Tito Puente and Eddie Palmieri to Maqueque and Miguel Zenon.” — Scott Hopkins, Music Fest News (Jan. 24, 2020)

“Thursdays belong to Acme Jazz Garage and its residency at Timpano in Hyde Park (former Tampa Tribune critic Philip Booth plays in Acme, which also performs at Timpano on Fridays).” — Ray Roa, Creative Loafing (July 17, 2019)

“(Timpano) offers live music each Tuesday and Thursday through Sunday, with highly regarded progressive fusion combo Acme Jazz Garage leading the way on Thursdays and Fridays.” — Jay Cridlin, Tampa Bay Times (July 16, 2019)

FULL INTERVIEW AND LIVE PERFORMANCES -- WUSF, 89.7 FM (Oct. 28, 2016)

"We’re excited to welcome Acme Jazz Garage, along with some special guests, to the Side Door this Saturday. Our friends at WUSF Radio are also excited about the show. Acme will be appearing on All-Night Jazz this Friday night, talking and playing some new music, at 9 p.m. with Mike Cornette on WUSF 89.7 FM. Tune in to the show on Friday, then get your tickets to see Creative Loafing’s“Best of the Bay” jazz winners in the intimate Side Door Cabaret on Saturday night starting at 8." -- Paul Wilborn, PalladiumPaul's  Blog (Oct. 27, 2016)

"We’ve got three nights of “Best of the Bay” winners in the Side Door Cabaret this Thursday, Friday and Saturday. Pick a show and you won’t be disappointed with these groups that earned Besties from Creative Loafing. Saturday night, it’s another 2016 winner, Acme Jazz Garage, which won as Best Jazz-Jam Fusion group. Here’s what CL said about Acme: 'This quartet of vet jazz players (Matt Swenson, Bryan Lewis, Philip Booth and Tim Diehl) have been kicking out jams around town for the past five years. Acme Jazz Garage recently released a self-titled full-length, their first, which earned a glowing review in Relix magazine and showcases their brand of jazz-funk line-blurring and maintains their dynamic live appeal even with its impeccable production qualities. Add to that a super fine roster of guests (including conga master Gumbi Ortiz, NYC-based sax master Jeremy Powell and jazz singer Whitney James) and you have one damn fine musical infusion.' -- Paul Wilborn, PalladiumPaul's Blog (Oct. 26, 2016)

"If you simply want some chimichangas with your jazz-fusion, then head to Seminole Heights, where Ella’s stages their famous Soul Food Sundays and Tampa’s own Acme Jazz Garage play tunes to sooth your full belly. (Ella’s Americana Folk Art Cafe, Tampa)" -- Ray Roa, Creative Loafing (Oct. 18, 2016)

"This quartet of vet jazz players (Matt Swenson, Bryan Lewis, Philip Booth and Tim Diehl) have been kicking out jams around town for the past five years. Acme Jazz Garage recently released a self-titled full-length, their first, which earned a glowing review in Relix magazine and showcases their brand of jazz-funk line-blurring and maintains their dynamic live appeal even with its impeccable production qualities. Add to that a super fine roster of guests (including conga master Gumbi Ortiz, NYC-based sax master Jeremy Powell and jazz singer Whitney James) and you have one damn fine musical infusion." -- Creative Loafing Best of the Bay Best Jazz-Jam Fusion award, by Leilani Polk (Sept. 28, 2016) 

"Acme Jazz Garage, which is based in Tampa, Florida, performs funky jazz, soul jazz and Latin-flavored r&b grooves. While its music is danceable, it also features excellent musicianship and strong solos. The music, which is comprised of nine originals plus a heartfelt “America The Beautiful,” is spirited and well-played. Acme’s Jazz Garage’s recorded debut is quite accessible, consistently fun, and well worth picking up." -- Scott Yanow, L.A. Jazz Scene (August 2016)

"The Tampa quartet (you'll often seem them at Timpano in Hyde Park) is most comfortable in the sort of loping, jammy grooves one might associate with Phish; Medeski, Martin and Wood, or the Meters. Acme Jazz Garage is for those who like their jazz a little fluid, a little groovy." -- Jay Cridlin, Tampa Bay Times (July 17, 2016) 

""The self-titled debut by the Florida-based four-piece is a solid collection of revivalist funk and swing. Influences are rooted in '70s fusion, and the various contemporary pop styles that surrounded it. It makes for a much more enjoyable experience than your average 'trad jazz' album. The entire record is a capable excursion through one of the more playful eras of America's cultural history."   -- Wayan Zoey, Relix magazine, June 2016

"Their playing (WMNF Tropical Heatwave) was great, first a cover of 'Watermelon Man,' with lots of fun twists and turns, and then a great reading of keyboard player Bryan Lewis's tune 'Resonance' from the new self-titled album. Matt Swenson rises to the top of this one on guitar, and he was superb. Philip Booth and Tim Diehl anchored the proceedings on bass and drums with flair." -- Scott Hopkins, Tie Your Shoes Reviews (May 5, 2016)

"Recorded at the historic Springs Theatre Studio in Tampa, Acme Jazz Garage finds the instrumental quartet branching out from their genre roots and joined by a roster of special guests that include conga master Gumbi Ortiz, jazz singer Whitney James and NYC-based sax master Jeremy Powell, among others. 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" -- Leilani Polk, Creative Loafing (May 4, 2016)

Tropical Heatwave review: "Acme Jazz Garage (filled) the normally fiesta-happy Tequilas with heated jazz." -- Jay Cridlin, Tampa Bay Times (May 1, 2016)

“A little funk, a little fusion, a little soul, some blues, and some hints of Latin-tinged jazz and New Orleans R&B influences meld together for a soothing debut from Tampa-based Acme Jazz Garage.” — Tom Henry, Toledo Blade (April 21, 2016)

"Without a doubt, Acme Jazz Garage is the Tampa Bay area’s most adventurous jazz band. This eponymous 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. 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. From start to finish, Acme Jazz Garage and friends make it clear that the Tampa area is blessed with great jazz talent." -- Ken Frankling's Jazz Notes (March 9, 2016)

"After 5 years, Gasparilla Music Festival still spotlighting local talent" (Acme photo) -- Jay Cridlin, Tampa Bay Times (March 9, 2016)

"In 2013, jazz and jam quartet Acme Jazz Garage was a first-time GMF performer. They played early in the day, and later got to meet some of their heroes, the Meters' George Porter Jr. and Phish's Page McConnell. This year, Acme Jazz Garage joins the rare fraternity of return local acts at GMF. They'll perform on the main stage at 11:30 a.m. Sunday." -- Jay Cridlin, Tampa Bay Times (March 8, 2016)

"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." -- Scott Hopkins, Tie Your Shoes Reviews (Feb. 2, 2016)

 "Acme Jazz Garage 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 of their own, and makes 'America the Beautiful' soulful as it ought to be. Hooray for AJG's good-time groove!" -- Howard Mandel, Jazz Journalists Association president, NPR arts reporter (2016)

"Some funky R&B, and straight-ahead jazz, and it could be one of the outstanding local releases of 2016." -- Randy Wind, program director., WMNF, 88.5 FM

"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 & acclaimed novelist (2016)

"AJG recorded a magnificent version of “America the Beautiful,” arranged by Bryan Lewis, which was played on several local radio stations over the Independence Day weekend." -- Scott Hopkins,

Acme Jazz Garage had expanded to a quintet for the evening, with Rick Runion on tenor sax. He got off to a good start with a nice solo on the opening “Hamp’s Hump.” An Eric Gale tune (“When Tokyo?”) followed with some interesting time changes. If your group plans to attempt the Crusaders’ 'Put It Where You Want It,' the guitar player had better nail his part. Matt Swenson was all over it, as I grinned ear to ear. Runion had fun with this one, too. I was sitting on the bench right next to Bryan Lewis, keyboard player for Serotonic and AJG. On Thursday, he had a baby grand to work with. For this funky workout, Lewis had a keyboard that worked as electric piano and organ equally well, and it was a blast watching him play. AJG is working on recording songs for a new CD, and next we heard two of bassist Philip Booth’s compositions. 'Mr. G.P'” was written in honor of Mr. George Porter, Jr., the king of New Orleans bass. The title harkens back to Coltrane’s tune for his bassist, Paul Chambers, the classic 'Mr. P.C.' It was Meters-inspired, and Booth stepped out nicely." -- Scott Hopkins, Tie Your Shoes Reviews (Feb. 7, 2015)

"Acme Jazz Garage's version of "America the Beautiful" has been released through AJG Records. This one-take recording of Bryan Lewis's arrangement is available for streaming and download through CD Baby, Spotify, Amazon, iTunes, and can also be heard on YouTube and Soundcloud. You can also hear their funky blues/jazz music every Thursday and Friday at Timpano in Tampa’s Hyde Park Village, plus in upcoming shows." -- Staff, Creative Loafing (Jul 04, 2015)

"This was jazz quartet music as good as you could hear anywhere. Anywhere. ... This is the best way for me to demonstrate the superb quality of this quartet: taking material from movies and pop tunes and making them as jazzy and relevant as the great standards. And it is a brilliant move, because you do want to engage the patrons." -- Scott Hopkins, Tie Your Shoes Reviews (Feb. 5 ,2015)

"... adding more funky energetic brassed-out grooves to the jazz sounds that remain by way of ... local blues-funk heavyweights Acme Jazz Garage, expanded by guest vocalist singer Belinda Womack and a two-horn section, Rick Runion (saxophone) and Ted Murphy (trombone)." -- Leilani Polk, Creative Loafing (Oct. 17, 2013)

"The funky, bluesy organ-fueled jazz quartet made up of vet local musicians — bassist Phillip Booth, guitarist Matt Swenson, drummer Tim Diehl and keysman Mike Aloia — lands at Ella’s for some Thursday night rocking and grooving" -- Leilani Polk, Creative Loafing (Jan. 31, 2013)

"Acme Jazz Garage at Ella’s -- Grown-ups, get a sitter and celebrate Halloween with the superb Acme Jazz Garage and special guests. Free. 9 p.m. 5119 N. Nebraska Ave., Tampa. ellasfolkartcafe.com." -- Leilani Polk, Creative Loafing (Oct. 15, 2013)

""I will definitely be calling on you again" -- Julia Gorzka Freeman, Tampa Museum of Art (Fall 2013)

"Thanks for putting on a great performance! Hope we can have you guys again soon. I heard nothing but great things about you guys from my friends who were in attendance." -- Allon Sams, chair of Clearwater Jazz Holiday music committee (October 2012)

“Ease into your Sunday with soul food flavors and a performance by an all-star group of musicians otherwise known as Acme Jazz Garage; low-end maestro Philip Booth (Trio Vibe, Ghetto Love Sugar) and beats maker Tim Diehl make up the grooving rhythm section, guitarist Matt Swenson delivers jazz and blues-informed guitar licks and riffs, and keys man Mike Aloia jams the organ funkiness.” -- Leilani Polk, Creative Loafing (2012)

“Jazz fusion jam band Acme Jazz Garage plays Yeoman's Road Pub on Friday night.” -- Leilani Polk, Creative Loafing (2012)

“Acme Jazz Garage: Artist of the Day -- There’s no telling what sort of project local bassist, writer and all-around jazz scene leader Philip Booth is going to get into next. He’s played with groups like Trio Vibe, Greenwich Blue and his own Philip Booth Quartet, not to mention an array of solo gigs with artists like Bo Diddley. These days he’s focusing on Acme Jazz Garage, a jammy, jazzy, organ-driven group made up of local favorites: Tim Diehl (drums), Matt Swenson (guitar), Mike Aloia (keys) and occasionally singer Angela “Gee” Washington.” Looking for a comparison? Medeski Martin and Wood is a good place to start —Booth describes their sound as “a mix of jazz, blues, funk, fusion and R&B.” At the recent WMNF Talking Animals Music Night at New World Brewery, they played a soulful mix of funk and jazz songs that all dealt with chickens, including John Scofield’s Chicken Dog and Ron Levy’s Chicken Fried Snake. ” -- Jay Cridlin, TBT/St. Petersburg Times (April 16, 2012)

"Great set at 'Talking Animals'! Acme Jazz!!! Wow!" -- Cheryl Mogul, DJ, WMNF, 88.5 FM (2012)

"Catch a local supergroup comprising reputable jazz and funk musicians" -- Leilani Polk, Creative Loafing (2012)