Rick Stone

Today, there are no doubt more great jazz guitarists in the world than at any time in history. Certainly the Guitar Boom and the so-called British Invasion of the Sixties were largely responsible because most players who had undeniable talent almost invariably gravitated toward jazz. Vic Juris, for instance, took up guitar as a youngster because of his love for Chuck Berry's music. Bucky Pizzarelli told me that his son, John, another tremendous player, could play rock with the best of them when he was a teenager. So, it's our good fortune to enjoy such a plethora of fine artists. Still, a consequence of having so many talented players is the fierce competition for recognition. Fortunately, sometimes the system works so the finest artists become the most successful. Rick Stone is among the rarified few who seem destined for success.

In his handsomely packaged CD, Samba de Novembro, Stone demonstrates why he belongs with the big boys. His lyrical lines and imaginative ideas on a mix of originals and hip standards reflect his maturity as an interpreter of great tunes and his mastery as an artistically adept player. His tone is bright and crisp, some would say traditional, and his ideas are fresh.

Stone's swinging rhythm section, Tardo Hammer on piano, Yosuke Inoue at the bass and Matt Wilson on drums provides plenty of interesting interplay while giving the guitarist room to roam. And there's good comfort and chemistry among the ensemble. Three of the four work together often while quartet newcomer, Wilson, is a veteran of over a hundred recording sessions and handles his chores well indeed.

Standouts are Roger and Hart's "My Romance," on which Stone creates a nice rubato intro that evolves into a mid-tempo stylish swinger. Pianist, Hammer, sits this one out but the trio format works well. "Duck, Duck, Blues!" is cool and straight-ahead with Stone at ease on this bopper that's reminiscent at times of both Burrell and Martino.

Stone's introspective, "Rain Forest" features discriminating percussive work by Wilson that's nicely captured in the mix. A lushly reharmonized intro of "I Can't Get Started," is a laid back precursor to a four minute declaration of the blues. Of course these aren't prosaic blues changes but the guitarist's moody solo tells us the story just the same. And he appropriately takes us uptown while doing it. A solo Stone explores Bill Evans' gorgeous "Song for Helen." It's a sensitive rendition and a showcase for beautifully expressed phrasing and a muted delivery.

The group, again sans piano, has fun updating the traditional folk tune, "Careless Love." There's lots of counterpoint going on but the three get to stretch out and get their licks in with terrific solos by all. Wilson, again, impresses with a drum solo that actually has you hearing the melody. This is the kind of arrangement, played live, that would be a real crowd pleaser.

Rick Stone and his peers are important in the world of jazz guitar because they're perpetuating a great tradition. Nice to know that the legacy is in such good and talented hands. More please, Rick. - Review by Jim Carlton

Today, there are no doubt more great jazz guitarists in the world than at any time in history. Certainly the Guitar Boom and the so-called British Invasion of the Sixties were largely responsible because most players who had undeniable talent almost invariably gravitated toward jazz. Vic Juris, for instance, took up guitar as a youngster because of his love for Chuck Berry's music. Bucky Pizzarelli told me that his son, John, another tremendous player, could play rock with the best of them when he was a teenager. So, it's our good fortune to enjoy such a plethora of fine artists. Still, a consequence of having so many talented players is the fierce competition for recognition. Fortunately, sometimes the system works so the finest artists become the most successful. Rick Stone is among the rarified few who seem destined for success.

In his handsomely packaged CD, Samba de Novembro, Stone demonstrates why he belongs with the big boys. His lyrical lines and imaginative ideas on a mix of originals and hip standards reflect his maturity as an interpreter of great tunes and his mastery as an artistically adept player. His tone is bright and crisp, some would say traditional, and his ideas are fresh.

Stone's swinging rhythm section, Tardo Hammer on piano, Yosuke Inoue at the bass and Matt Wilson on drums provides plenty of interesting interplay while giving the guitarist room to roam. And there's good comfort and chemistry among the ensemble. Three of the four work together often while quartet newcomer, Wilson, is a veteran of over a hundred recording sessions and handles his chores well indeed.

Standouts are Roger and Hart's "My Romance," on which Stone creates a nice rubato intro that evolves into a mid-tempo stylish swinger. Pianist, Hammer, sits this one out but the trio format works well. "Duck, Duck, Blues!" is cool and straight-ahead with Stone at ease on this bopper that's reminiscent at times of both Burrell and Martino.

Stone's introspective, "Rain Forest" features discriminating percussive work by Wilson that's nicely captured in the mix. A lushly reharmonized intro of "I Can't Get Started," is a laid back precursor to a four minute declaration of the blues. Of course these aren't prosaic blues changes but the guitarist's moody solo tells us the story just the same. And he appropriately takes us uptown while doing it. A solo Stone explores Bill Evans' gorgeous "Song for Helen." It's a sensitive rendition and a showcase for beautifully expressed phrasing and a muted delivery.

The group, again sans piano, has fun updating the traditional folk tune, "Careless Love." There's lots of counterpoint going on but the three get to stretch out and get their licks in with terrific solos by all. Wilson, again, impresses with a drum solo that actually has you hearing the melody. This is the kind of arrangement, played live, that would be a real crowd pleaser.

Rick Stone and his peers are important in the world of jazz guitar because they're perpetuating a great tradition. Nice to know that the legacy is in such good and talented hands. More please, Rick. - Review by Jim Carlton

Only two pieces on guitarist Rick Stone's refreshing Samba de Novembro (Jazzand) are Brazilian in flavor. The upbeat title track cycles through a series of fetching modulations, while the slower "Rain Forest" lends an air of mystery. But Stone's focus, even on the Brazilian tunes, is straightahead jazz. His custom archtop sounds exquisite, and so do his partners on this recording-pianist Tardo Hammer, bassist Yosuke Inoue and drummer Matt Wilson. Stone is a relentless quote-fiend on "Blues Enough," one of two hard-bop blues originals. His deft, contrapuntal intros and subtle reharmonizations on "My Romance" and "I Can't Get Started" (both trio cuts) are a pleasure. He duets with Hammer on Kenny Werner's "Autumn in Three" and the original "In Loving Memory," and gives Bill Evans' "Song for Helen" a fine unaccompanied gloss. Inoue's "West Side Waltz" is another trio highlight, along with Monk's "Played Twice." Stone's axe work is articulate but never rigid, impeccably clean yet well-versed in dirt. - "Brazilian Tinge" by David Adler

Only two pieces on guitarist Rick Stone's refreshing Samba de Novembro (Jazzand) are Brazilian in flavor. The upbeat title track cycles through a series of fetching modulations, while the slower "Rain Forest" lends an air of mystery. But Stone's focus, even on the Brazilian tunes, is straightahead jazz. His custom archtop sounds exquisite, and so do his partners on this recording-pianist Tardo Hammer, bassist Yosuke Inoue and drummer Matt Wilson. Stone is a relentless quote-fiend on "Blues Enough," one of two hard-bop blues originals. His deft, contrapuntal intros and subtle reharmonizations on "My Romance" and "I Can't Get Started" (both trio cuts) are a pleasure. He duets with Hammer on Kenny Werner's "Autumn in Three" and the original "In Loving Memory," and gives Bill Evans' "Song for Helen" a fine unaccompanied gloss. Inoue's "West Side Waltz" is another trio highlight, along with Monk's "Played Twice." Stone's axe work is articulate but never rigid, impeccably clean yet well-versed in dirt. - "Brazilian Tinge" by David Adler

Rick Stone is a veteran jazz guitarist who has always flown a bit under the radar. Here, he gets a chance to show his stuff in several settings - solo, duo, trio, and quartet. And he's quite at home in all of them. He has a complete command of the instrument. Of the dozen cuts here, almost half are originals. They all show an imaginative composer who lets his guitar do his talking for him.

His chops dominate the title cut. After a minute of beautiful solo guitar, a moody jazz samba emerges. By the time things get going, his chops, tone, and wonderful choice of notes are pushing a strong swing tune over the top.

"Blues Enough" is a hard boppin' blues. Same goes for "Duck, Duck, Blues!" It's got a great title and incredible playing by Stone. "In Loving Memory" is a gorgeous
ballad.

Rick tackles fine tunes to cover, and does a nice job with them. His take on Thelonius Monk's "Played Twice" has all the quirkiness you'd expect from one of his songs and gives Rick a chance to take extended chord and single-line workouts.

Bill Evans' "Song For Helen" gets as nice a treatment as a jazz guitarist is likely to present. Same with the classic "I Can't Get Started."

Like I said earlier, Stone is comfortable in any number of settings. His chops are impeccable, as is his feel. Fans of traditional jazz guitar should check this one out. - "VG Hit List" by John Heidt

Rick Stone is a veteran jazz guitarist who has always flown a bit under the radar. Here, he gets a chance to show his stuff in several settings - solo, duo, trio, and quartet. And he's quite at home in all of them. He has a complete command of the instrument. Of the dozen cuts here, almost half are originals. They all show an imaginative composer who lets his guitar do his talking for him.

His chops dominate the title cut. After a minute of beautiful solo guitar, a moody jazz samba emerges. By the time things get going, his chops, tone, and wonderful choice of notes are pushing a strong swing tune over the top.

"Blues Enough" is a hard boppin' blues. Same goes for "Duck, Duck, Blues!" It's got a great title and incredible playing by Stone. "In Loving Memory" is a gorgeous
ballad.

Rick tackles fine tunes to cover, and does a nice job with them. His take on Thelonius Monk's "Played Twice" has all the quirkiness you'd expect from one of his songs and gives Rick a chance to take extended chord and single-line workouts.

Bill Evans' "Song For Helen" gets as nice a treatment as a jazz guitarist is likely to present. Same with the classic "I Can't Get Started."

Like I said earlier, Stone is comfortable in any number of settings. His chops are impeccable, as is his feel. Fans of traditional jazz guitar should check this one out. - "VG Hit List" by John Heidt

Sporting a crack band in pianist Tardo Hammer, bassist Yosuke Inoue and drummer Matt Wilson, guitarist Stone applies his smooth-to-the-touch tone to an assortment of originals and standards. At times recalling a '70s-era Pat Martino, Stone is at ease playing Latin, ballads and blues--he even pulls out Thelonious Monk's "Played Twice," a rarity for this setting. Special features include his focus-on-guitar duets with Hammer, "Autumn In Three" and "In Loving Memory," where one gets to hear him up close and tranquil. - "Warm Guitars" by John Ephland

Sporting a crack band in pianist Tardo Hammer, bassist Yosuke Inoue and drummer Matt Wilson, guitarist Stone applies his smooth-to-the-touch tone to an assortment of originals and standards. At times recalling a '70s-era Pat Martino, Stone is at ease playing Latin, ballads and blues--he even pulls out Thelonious Monk's "Played Twice," a rarity for this setting. Special features include his focus-on-guitar duets with Hammer, "Autumn In Three" and "In Loving Memory," where one gets to hear him up close and tranquil. - "Warm Guitars" by John Ephland

Guitarist Rick Stone strums into Samba de Novembro's opener, the title tune, with a clear, crisp, precise sound, joined twenty seconds later by Tardo Hamer's succinct and delicate piano notes—like raindrops into a pond. Uptempo, fluid, an enticing South American mood. The guitar and piano—tangy versus sweet—bounce off each other nicely; and Matt Wilson, who seems to be sitting in the drummer's seat on everyone's sets these days, weaves subtle and sinuous textures behind it all. An auspicious opening for a straight through marvelous disc.

Rodgers and Hart's "My Romance" has Stone going trio, showcasing his deft hand at playing a classic, faithfully, with an easy swing to the sound. "Rainforest," another Stone original, slows the pace; and the guitarist brings the legendary Wes Montgomery to mind here, as Matt Wilson wields his cymbal splashes behind the guitarist's clean lines.

And so it goes, solo, duo, trio and quartet modes alternating, with five originals and a some nicely chosen classics—Thelonious Monk's "Played Twice" and Bill Evans' "Song for Helen" stand out for this ear. Stone's ringing sound and sharp notes fit right into Monk's oddly beautiful logic on the former; and on the latter—a solo effort—Stone gets inside the melody with a wistful affection.

On "West Side Waltz," penned by the set's bassist, Yosuke Inoue, listen to the buoyant lift the bass and drums give to the wandering melody.

A first rate jazz guitar effort. - Review by: Dan McClenaghan

Guitarist Rick Stone strums into Samba de Novembro's opener, the title tune, with a clear, crisp, precise sound, joined twenty seconds later by Tardo Hamer's succinct and delicate piano notes—like raindrops into a pond. Uptempo, fluid, an enticing South American mood. The guitar and piano—tangy versus sweet—bounce off each other nicely; and Matt Wilson, who seems to be sitting in the drummer's seat on everyone's sets these days, weaves subtle and sinuous textures behind it all. An auspicious opening for a straight through marvelous disc.

Rodgers and Hart's "My Romance" has Stone going trio, showcasing his deft hand at playing a classic, faithfully, with an easy swing to the sound. "Rainforest," another Stone original, slows the pace; and the guitarist brings the legendary Wes Montgomery to mind here, as Matt Wilson wields his cymbal splashes behind the guitarist's clean lines.

And so it goes, solo, duo, trio and quartet modes alternating, with five originals and a some nicely chosen classics—Thelonious Monk's "Played Twice" and Bill Evans' "Song for Helen" stand out for this ear. Stone's ringing sound and sharp notes fit right into Monk's oddly beautiful logic on the former; and on the latter—a solo effort—Stone gets inside the melody with a wistful affection.

On "West Side Waltz," penned by the set's bassist, Yosuke Inoue, listen to the buoyant lift the bass and drums give to the wandering melody.

A first rate jazz guitar effort. - Review by: Dan McClenaghan

Like many musicians, guitarist Rick Stone's opportunities to record as a leader are sporadic, but he makes the most of them when he gets into the studio. Joined by pianist Tardo Hammer and drummer Matt Wilson (who are both fine leaders in their own right) and bassist Yosuke Inoue, the quartet gels like a band that has regularly worked together. Stone mixes up his program with standards and jazz works by others, along with his own delightful originals, especially the perky opener, "Samba de Novembro." Stone's approach to the guitar is consistently swinging, though he obviously believes in leaving room for his bandmates while also letting the music breathe, such as in his spacious and lovely solo introduction to "My Romance." His subtle "Duck, Duck, Blues!" would have fit right in during the height of the hard bop era. His arrangements of Kenny Werner's tricky "Autumn in Three" and Bill Evans' "Song for Helen" are masterful. Inoue contributed the exotic "West Side Waltz," which opens with a superb bass solo before transforming into a swinging waltz. Hopefully, Rick Stone will not have to wait another decade before recording his next release as a leader. Recommended. - CD review by Ken Dryden

Like many musicians, guitarist Rick Stone's opportunities to record as a leader are sporadic, but he makes the most of them when he gets into the studio. Joined by pianist Tardo Hammer and drummer Matt Wilson (who are both fine leaders in their own right) and bassist Yosuke Inoue, the quartet gels like a band that has regularly worked together. Stone mixes up his program with standards and jazz works by others, along with his own delightful originals, especially the perky opener, "Samba de Novembro." Stone's approach to the guitar is consistently swinging, though he obviously believes in leaving room for his bandmates while also letting the music breathe, such as in his spacious and lovely solo introduction to "My Romance." His subtle "Duck, Duck, Blues!" would have fit right in during the height of the hard bop era. His arrangements of Kenny Werner's tricky "Autumn in Three" and Bill Evans' "Song for Helen" are masterful. Inoue contributed the exotic "West Side Waltz," which opens with a superb bass solo before transforming into a swinging waltz. Hopefully, Rick Stone will not have to wait another decade before recording his next release as a leader. Recommended. - CD review by Ken Dryden

Rick Stone, though his 1994 CD Far East with Kenny Barron was successful by numerous measures, waited ten years to release his second album as a leader. Listening to Samba de Novembro, one could wonder what could stall the release, for Stone’s latest CD contains all the signs of fluid exposition of ideas, mature technique and deep understanding of the material he plays. It turns out that, fortunately, Stone has been busy with numerous obligations, including family and his teaching positions at Hofstra University, the Brooklyn Conservatory of Music and City College. With a purity of tone, understated elegance and economy of execution like Jim Hall at times, Stone wastes no notes, all of them apparently falling into place, if only that were the case. The actual explanation for such ease at the guitar is Stone’s years of work with masters like Barry Harris, Hal Galper and Billy Hart, not to mention his guitar duos performed around New York with Peter Bernstein, Mark Elf and Roni Ben-Hur, among others.

Still, Stone, apparently modest and thoughtful about his recorded work, wanted to make sure that he had something unique to say when he went into the studio again. The mentorship of guitarist’s guitarist Attila Zoller had a deep influence on Stone (as he did on Pat Metheny as well), and Zoller’s advice that "each string has its own voice" was adopted by Stone, as the melodic and harmonic lines intertwine. More importantly, Zoller suggested that Stone work to develop his own style, an extension of his own personality, and Stone took the guidance to heart. Now, in 2004, Stone feels that he’s ready to lead a recording again, this time with his own quartet consisting of Tardo Hammer on piano, Yosuke Inoue on bass and Matt Wilson on drums. The result is a deceptively leisurely excursion through the CD’s twelve tracks, the facility a result of the absolute professionalism of the musicians.

Stone pays tribute to Zoller’s influence with his own composition, "In Loving Memory," that he wrote upon Zoller’s passing from colon cancer in 1998 in his beloved home in Vermont, where he founded the Vermont Jazz Center. A reverie of just guitar and piano creating peacefulness through melodic description, the song combines quiet reverence with a statement of the guitar’s potential for beauty, and Stone played it again when his mentor Ted Dunbar and then when his own father passed.

But Samba de Novembro, dazzling in its musical effulgence, contains numerous gems, all of which remaining consistent with Stone’s seemingly casual craftsman-like style. Even Thelonious Monk’s "Played Twice," normally jagged with lunging accents, is tamed to conform to Stone’s burnished sound as it provides the opportunity for the insertion of numerous quotes, including "Pop Goes the Weasel" and "Well You Needn’t," as Wilson buys into the sly quirkiness of the interpretation with his typically loose off-the-beat accents and crashing cymbals. Bill Evans’ "Song for Helen" fits into the groove that Stone establishes throughout the CD, its luminous changes and sensitivity appropriate for the mood of the rest of the CD. So is "My Romance," on which Stone accompanies himself during his own solo, the responding contrapuntal line coloring the rubato melody, before the prismatic coruscation of the resulting chords when bass and drums are added, more as a whisper than an assertion. Inoue’s "West Side Waltz," introduced by his own solo, possesses a buoyancy that the bass lines support, and still Stone’s rich tone brings out the rippling flow in three.

Samba de Novembro calls attention to a guitarist who should have been included in the ranks of the top jazz guitarists, eloquent and spare, but for his lack of widespread exposure. He certainly deserves repeated listening. - by: Don Williamson

Rick Stone, though his 1994 CD Far East with Kenny Barron was successful by numerous measures, waited ten years to release his second album as a leader. Listening to Samba de Novembro, one could wonder what could stall the release, for Stone’s latest CD contains all the signs of fluid exposition of ideas, mature technique and deep understanding of the material he plays. It turns out that, fortunately, Stone has been busy with numerous obligations, including family and his teaching positions at Hofstra University, the Brooklyn Conservatory of Music and City College. With a purity of tone, understated elegance and economy of execution like Jim Hall at times, Stone wastes no notes, all of them apparently falling into place, if only that were the case. The actual explanation for such ease at the guitar is Stone’s years of work with masters like Barry Harris, Hal Galper and Billy Hart, not to mention his guitar duos performed around New York with Peter Bernstein, Mark Elf and Roni Ben-Hur, among others.

Still, Stone, apparently modest and thoughtful about his recorded work, wanted to make sure that he had something unique to say when he went into the studio again. The mentorship of guitarist’s guitarist Attila Zoller had a deep influence on Stone (as he did on Pat Metheny as well), and Zoller’s advice that "each string has its own voice" was adopted by Stone, as the melodic and harmonic lines intertwine. More importantly, Zoller suggested that Stone work to develop his own style, an extension of his own personality, and Stone took the guidance to heart. Now, in 2004, Stone feels that he’s ready to lead a recording again, this time with his own quartet consisting of Tardo Hammer on piano, Yosuke Inoue on bass and Matt Wilson on drums. The result is a deceptively leisurely excursion through the CD’s twelve tracks, the facility a result of the absolute professionalism of the musicians.

Stone pays tribute to Zoller’s influence with his own composition, "In Loving Memory," that he wrote upon Zoller’s passing from colon cancer in 1998 in his beloved home in Vermont, where he founded the Vermont Jazz Center. A reverie of just guitar and piano creating peacefulness through melodic description, the song combines quiet reverence with a statement of the guitar’s potential for beauty, and Stone played it again when his mentor Ted Dunbar and then when his own father passed.

But Samba de Novembro, dazzling in its musical effulgence, contains numerous gems, all of which remaining consistent with Stone’s seemingly casual craftsman-like style. Even Thelonious Monk’s "Played Twice," normally jagged with lunging accents, is tamed to conform to Stone’s burnished sound as it provides the opportunity for the insertion of numerous quotes, including "Pop Goes the Weasel" and "Well You Needn’t," as Wilson buys into the sly quirkiness of the interpretation with his typically loose off-the-beat accents and crashing cymbals. Bill Evans’ "Song for Helen" fits into the groove that Stone establishes throughout the CD, its luminous changes and sensitivity appropriate for the mood of the rest of the CD. So is "My Romance," on which Stone accompanies himself during his own solo, the responding contrapuntal line coloring the rubato melody, before the prismatic coruscation of the resulting chords when bass and drums are added, more as a whisper than an assertion. Inoue’s "West Side Waltz," introduced by his own solo, possesses a buoyancy that the bass lines support, and still Stone’s rich tone brings out the rippling flow in three.

Samba de Novembro calls attention to a guitarist who should have been included in the ranks of the top jazz guitarists, eloquent and spare, but for his lack of widespread exposure. He certainly deserves repeated listening. - by: Don Williamson

"His custom archtop sounds exquisite . . . deft, contrapuntal intros and subtle Reharmonizations . . . Stone's axe work is articulate but never rigid, impeccably clean yet well-versed in dirt."
- JazzTimes

"Rick's fingers slide like silk across the strings, enticing you to dig evermore deeply into the mystery that well-played jazz often is. . . This gets a MOST HIGHLY RECOMMENDED from us, as well as the "PICK" of this issue for "best jazz guitar".
- Improvijazzation Nation

". . . an imaginative composer who lets his guitar do his talking for him . . . His chops are impeccable, as is his feel. Fans of traditional jazz guitar should check this one out."
- Vintage Guitar Magazine

“Stone's playing combines the economy of Hall with some of the soul of Wes Montgomery, a little of Pat Metheny's lyricism and a deeper, darker-hued tone that brings to mind Pat Martino but with an approach that is more sparing. The result of this blend is an all-encompassing sound that is still fully cognizant of the value of the spaces between the notes . . . is an artist who, with a clear and consistent musical vision that pays homage without losing site of individuality, really ought to record more. He clearly deserves broader recognition”
- John Kelman, All About Jazz

"Rick Stone strums into Samba de Novembro's opener, the title tune, with a clear, crisp, precise sound . . . An auspicious opening for a straight through marvelous disc. . . A first rate jazz guitar effort.
- Dan McClenaghan, All About Jazz

"Guitarist Rick Stone's warm, swinging tone and impeccable taste in standards (Monk, Evans, Rodgers & Hart) as well as the consistently high quality of his own compositions make this quartet date a pure pleasure from start to finish. Pianist Tardo Hammer, bassist Yosuke Inoue and the ubiquitous Matt Wilson on drums provide strong and sensitive accompaniment. Highlights include a cool take on "Played Twice" and Stone's "Blues Enough." Recommended to all jazz collections."
- Rick Anderson, CD Hotlist , October 2004

"His lyrical lines and imaginative ideas on a mix of originals and hip standards reflect his maturity as an interpreter of great tunes and his mastery as an artistically adept player. His tone is bright and crisp, some would say traditional, and his ideas are fresh."
- Just Jazz Guitar

“His may not yet be a household name but Rick Stone shows he's worthy of the accolades that have come his way . . . . Subtle swing and a complete grasp of single note playing are strong cards in Rick Stone's deck. Let's hear more from him.”
- Jazz Society of Oregon

“Stone’s playing is a bit reminiscent of Kenny Burrell; his tone is warm and clean and the blues never seem to far away from what he is doing.”
- Ted Kane, Jazz Review

"Samba de Novembro, dazzling in its musical effulgence, contains numerous gems, all of which remaining consistent with Stone’s seemingly casual craftsman-like style."
- JazzReview.com

“Really innovative. . . not like anything you've heard before, yet with the whole jazz guitar tradition built in. Rick's sound is just beautiful. Dark and smooth but punchy and very even. . . pushes the envelope beyond the Jim Hall/Bill Evans duets, and I don't use that comparison lightly! Rick's time feel is fantastic. Always rhythmically varied, swinging and always in the pocket at any tempo and he's always going for interesting harmonic ideas rather than licks. A true master of jazz guitar.”
- Dan Adler, rec.music.makers.guitar.jazz

“On the way into work this morning, I was listening to a killin guitar player this local radio station was playing. At the end of the song, the DJ said that was Rick Stone. Outstanding playing, fantastic!”
- Dan Thayer, Fan

“The sound you get on the CD is probably one of the best recorded archtop guitar sounds I’ve heard in a long time (yeah, I know it’s all in the fingers, but…), and that says a lot coming from a guy who owns about 6,000 Jazz CDs and owned a record company affiliated with Concord Jazz, Riverside, etc and I’ve been playing and recording for over 30 years! Congratulations, the CD is superb.”
- Morey Richman, Fan

“Good morning, Rick –
Man, I love the record! I’ve been playing it almost every night on "Jazz After Hours" and I’ll try to squeeze it in on the "Morning Show" next week when I sit in for Gary; It ‘s got such a nice balance of tunes; that shouldn’t be a problem… Your labor of love is an excellent one, my man.
All the best, (and Happy Halloween!)”
- Brian Delp, WBGO Jazz88 FM - Short reviews and excerpts, scroll down for complete reviews.

"His custom archtop sounds exquisite . . . deft, contrapuntal intros and subtle Reharmonizations . . . Stone's axe work is articulate but never rigid, impeccably clean yet well-versed in dirt."
- JazzTimes

"Rick's fingers slide like silk across the strings, enticing you to dig evermore deeply into the mystery that well-played jazz often is. . . This gets a MOST HIGHLY RECOMMENDED from us, as well as the "PICK" of this issue for "best jazz guitar".
- Improvijazzation Nation

". . . an imaginative composer who lets his guitar do his talking for him . . . His chops are impeccable, as is his feel. Fans of traditional jazz guitar should check this one out."
- Vintage Guitar Magazine

“Stone's playing combines the economy of Hall with some of the soul of Wes Montgomery, a little of Pat Metheny's lyricism and a deeper, darker-hued tone that brings to mind Pat Martino but with an approach that is more sparing. The result of this blend is an all-encompassing sound that is still fully cognizant of the value of the spaces between the notes . . . is an artist who, with a clear and consistent musical vision that pays homage without losing site of individuality, really ought to record more. He clearly deserves broader recognition”
- John Kelman, All About Jazz

"Rick Stone strums into Samba de Novembro's opener, the title tune, with a clear, crisp, precise sound . . . An auspicious opening for a straight through marvelous disc. . . A first rate jazz guitar effort.
- Dan McClenaghan, All About Jazz

"Guitarist Rick Stone's warm, swinging tone and impeccable taste in standards (Monk, Evans, Rodgers & Hart) as well as the consistently high quality of his own compositions make this quartet date a pure pleasure from start to finish. Pianist Tardo Hammer, bassist Yosuke Inoue and the ubiquitous Matt Wilson on drums provide strong and sensitive accompaniment. Highlights include a cool take on "Played Twice" and Stone's "Blues Enough." Recommended to all jazz collections."
- Rick Anderson, CD Hotlist , October 2004

"His lyrical lines and imaginative ideas on a mix of originals and hip standards reflect his maturity as an interpreter of great tunes and his mastery as an artistically adept player. His tone is bright and crisp, some would say traditional, and his ideas are fresh."
- Just Jazz Guitar

“His may not yet be a household name but Rick Stone shows he's worthy of the accolades that have come his way . . . . Subtle swing and a complete grasp of single note playing are strong cards in Rick Stone's deck. Let's hear more from him.”
- Jazz Society of Oregon

“Stone’s playing is a bit reminiscent of Kenny Burrell; his tone is warm and clean and the blues never seem to far away from what he is doing.”
- Ted Kane, Jazz Review

"Samba de Novembro, dazzling in its musical effulgence, contains numerous gems, all of which remaining consistent with Stone’s seemingly casual craftsman-like style."
- JazzReview.com

“Really innovative. . . not like anything you've heard before, yet with the whole jazz guitar tradition built in. Rick's sound is just beautiful. Dark and smooth but punchy and very even. . . pushes the envelope beyond the Jim Hall/Bill Evans duets, and I don't use that comparison lightly! Rick's time feel is fantastic. Always rhythmically varied, swinging and always in the pocket at any tempo and he's always going for interesting harmonic ideas rather than licks. A true master of jazz guitar.”
- Dan Adler, rec.music.makers.guitar.jazz

“On the way into work this morning, I was listening to a killin guitar player this local radio station was playing. At the end of the song, the DJ said that was Rick Stone. Outstanding playing, fantastic!”
- Dan Thayer, Fan

“The sound you get on the CD is probably one of the best recorded archtop guitar sounds I’ve heard in a long time (yeah, I know it’s all in the fingers, but…), and that says a lot coming from a guy who owns about 6,000 Jazz CDs and owned a record company affiliated with Concord Jazz, Riverside, etc and I’ve been playing and recording for over 30 years! Congratulations, the CD is superb.”
- Morey Richman, Fan

“Good morning, Rick –
Man, I love the record! I’ve been playing it almost every night on "Jazz After Hours" and I’ll try to squeeze it in on the "Morning Show" next week when I sit in for Gary; It ‘s got such a nice balance of tunes; that shouldn’t be a problem… Your labor of love is an excellent one, my man.
All the best, (and Happy Halloween!)”
- Brian Delp, WBGO Jazz88 FM - Short reviews and excerpts, scroll down for complete reviews.

I find myself transported back to days (& nites) of listening to jazz guitar by guys like Wes Montgomery & Kenny Burrell... but make no mistake, Rick Stone has his own distinctive style, a sound you'll recognize for years to come. It's actually a quartet, with Yosuke Inoue on bass, piano by Tardo Hammer & Matt Wilson on drums, but from the opening bar, it's clear that Stone's guitar is the highlight. There are plenty of originals, & (as I fully expected), that's what keeps your ears "on edge". Rick's fingers slide like silk across the strings, enticing you to dig evermore deeply into the mystery that well-played jazz often is. This isn't "car music" - in other words, it's more enjoyable in the comfort of your living room... but it can't be pigeonholed into the (dreaded) "smooth jazz" category, either. You don't have to be a hardcore jazzhead to groove to this Samba, either - more conventional listeners will find hidden meanings between the notes as easily as I did. This gets a MOST HIGHLY RECOMMENDED from us, as well as the "PICK" of this issue for "best jazz guitar". - Dick Metcalf, aka Rotcod Zzaj

I find myself transported back to days (& nites) of listening to jazz guitar by guys like Wes Montgomery & Kenny Burrell... but make no mistake, Rick Stone has his own distinctive style, a sound you'll recognize for years to come. It's actually a quartet, with Yosuke Inoue on bass, piano by Tardo Hammer & Matt Wilson on drums, but from the opening bar, it's clear that Stone's guitar is the highlight. There are plenty of originals, & (as I fully expected), that's what keeps your ears "on edge". Rick's fingers slide like silk across the strings, enticing you to dig evermore deeply into the mystery that well-played jazz often is. This isn't "car music" - in other words, it's more enjoyable in the comfort of your living room... but it can't be pigeonholed into the (dreaded) "smooth jazz" category, either. You don't have to be a hardcore jazzhead to groove to this Samba, either - more conventional listeners will find hidden meanings between the notes as easily as I did. This gets a MOST HIGHLY RECOMMENDED from us, as well as the "PICK" of this issue for "best jazz guitar". - Dick Metcalf, aka Rotcod Zzaj

The media, jazz producers and club owners all seem to value the extremes when it comes to musicians' ages. Young Lions in their 20s and 30s - as well as those players old enough to be declared living legends - garner much of the attention and the gigs. Meanwhile, mid-career musicians, although often creating music more accomplished than that of Young Lions and more compelling than old legends, get short shrift.

Two guitarists who work frequently in the NY-NJ metro area, Rick Stone and Vic Juris, both born in the mid-1950s, have new albums out that present fine summations of their art at mid-career.

Rick Stone's Samba de Novembro (Jazzand) finds the guitarist playing a hollow-bodied electric with a warm, mellow tone in a variety of contexts and settings, from samba quartet to solo ballad. Originals and pieces by other jazz musicians are interspersed with standards for an appealingly eclectic CD program. Stone is joined by two regular members of his working bands, pianist Tardo Hammer and bassist Yosuke Inoue, plus drummer Matt Wilson. Since the bassist is also a member of Wilson's working quartet, this is a delightfully cohesive rhythm section.

The title tune kicks off the album in rousing fashion, the quartet digging into Stone's lilting samba line, spurred on by Wilson's rollicking rhythms. Stone is out front on "My Romance," the rhythm section quietly supportive, while his "Rain Forest" is carried by a high-stepping processional rhythm accented by toms and cymbals. "Duck, Duck, Blues!" breaks up the form and adds interest, alternating stop-time solos with ones in 4/4; and Stone dirties up his tone in bluesy fashion. The only other quartet number, "Blues Enough," is a more conventional jazz-blues in a swinging groove.

Two guitar-piano duets explore differing approaches to collaboration. "Autumn in Three" is all cat's cradle interplay and counterpoint, while "In Loving Memory" is ruminatively lyrical, piano accompanying and echoing guitar. Bill Evans' "Song for Helen" serves as a solo tribute to Stone's grandmother.

Four fascinating guitar-bass-drums trio tracks round out the album, each displaying a different facet of Wilson's wonderfully intuitive, impressionistic drumming, from the New Orleans second-line parade rhythms of "Careless Love" to the splashy cymbal accents on the Monk tune "Played Twice."

. . . .

Both Juris and Stone prove their mettle as accomplished, creative guitarists on these exemplary albums.
- Record Roundup Holiday Gift Guide by George Kanzler

The media, jazz producers and club owners all seem to value the extremes when it comes to musicians' ages. Young Lions in their 20s and 30s - as well as those players old enough to be declared living legends - garner much of the attention and the gigs. Meanwhile, mid-career musicians, although often creating music more accomplished than that of Young Lions and more compelling than old legends, get short shrift.

Two guitarists who work frequently in the NY-NJ metro area, Rick Stone and Vic Juris, both born in the mid-1950s, have new albums out that present fine summations of their art at mid-career.

Rick Stone's Samba de Novembro (Jazzand) finds the guitarist playing a hollow-bodied electric with a warm, mellow tone in a variety of contexts and settings, from samba quartet to solo ballad. Originals and pieces by other jazz musicians are interspersed with standards for an appealingly eclectic CD program. Stone is joined by two regular members of his working bands, pianist Tardo Hammer and bassist Yosuke Inoue, plus drummer Matt Wilson. Since the bassist is also a member of Wilson's working quartet, this is a delightfully cohesive rhythm section.

The title tune kicks off the album in rousing fashion, the quartet digging into Stone's lilting samba line, spurred on by Wilson's rollicking rhythms. Stone is out front on "My Romance," the rhythm section quietly supportive, while his "Rain Forest" is carried by a high-stepping processional rhythm accented by toms and cymbals. "Duck, Duck, Blues!" breaks up the form and adds interest, alternating stop-time solos with ones in 4/4; and Stone dirties up his tone in bluesy fashion. The only other quartet number, "Blues Enough," is a more conventional jazz-blues in a swinging groove.

Two guitar-piano duets explore differing approaches to collaboration. "Autumn in Three" is all cat's cradle interplay and counterpoint, while "In Loving Memory" is ruminatively lyrical, piano accompanying and echoing guitar. Bill Evans' "Song for Helen" serves as a solo tribute to Stone's grandmother.

Four fascinating guitar-bass-drums trio tracks round out the album, each displaying a different facet of Wilson's wonderfully intuitive, impressionistic drumming, from the New Orleans second-line parade rhythms of "Careless Love" to the splashy cymbal accents on the Monk tune "Played Twice."

. . . .

Both Juris and Stone prove their mettle as accomplished, creative guitarists on these exemplary albums.
- Record Roundup Holiday Gift Guide by George Kanzler