Jack Price Founding Partner / Managing Director

Marc Parella Partner / Director of Operations

Mailing Address: 520 Geary Street Suite 605 San Francisco CA 94102 Telephone: Toll-Free 1-866-PRI-RUBI (774-7824) 310-254-7149 / Los Angeles 415-504-3654 / San Francisco

Email: jp@pricerubin.com mp@pricerubin.com Website: http://www.pricerubin.com Yahoo!Messenger pricerubin

Contents:

Biography

Ron Jackson Bio

Norbert Marius Bio

Hiroyuki Matsuura Bio

Reviews

Interviews

Burning Gums - Biography

Burning Gums is Jazz that Burns and Spreads Representing three continents, Burning Gums is a fresh new color on the seemingly endless palette of jazz guitar bands. The trio's debut album contains nine exciting tracks showcasing high caliber musicianship expertly navigating between the many styles of music from samba to swing. Interesting compositions and unusual arrangements of classics like So What and Killer Joe will keep listeners pleasantly alert. Norbert Marius’ smooth bass grooves provide solid foundation for guitarist Ron Jackson’s sophisticated improvisations, which are expertly matched by Matsu Hiroyuki’s energetic drumming, all creating the very special sound of Burning Gums. Burning Gums has performed at the Zinc Bar, The Shapeshifter Lab, Somethin Jazz Club, The Brooklyn Conservatory, Jules Jazz Bistro and Footprints Cafe. A sound that will make its mark! A true jam. The Burning Gums is Ron Jackson-Guitar (USA)Norbert Marius-Bass(Hungary) Hiroyuki Matsuura-Drums and Percussion.(Japan)

Ron Jackson - Biography Ron Jackson is a New York based jazz guitarist, composer, arranger, producer, recording artist, and instructor. To say Ron Jackson is well traveled would be an understatement. He has performed and recorded in over 20 countries as a bandleader and ensemble performer, and is well established in the international jazz scene. Ron's style of guitar playing and compositions is a blend of jazz, and other American styles such as soul, rhythm and blues, pop that is influenced by his roots of the Philippines. Ron is experienced in many musical idioms and brings it all together in his unique approach to playing jazz guitar. Ron has recorded and performed with jazz, blues and World music, greats such as, Taj Majal,Little Anthony and The Imperials, James Spaulding, The Boys Choir of Harlem, The Metro Mass Choir, Mor Thaims Drums of Fire, Irene Reid, Hal Singer, TK Blue, Sarah Dash, Gene Anthony Ray, Cecil Brooks III, TAO, Melvin Rhyne, Jimmy McGriff, 5 Guitars Play Mingus,Cissy Houston, Kevin Powell, Ralph Peterson, Russell Malone, Larry Coryell, Jack Wilkins,Don Braden, Craig Handy, David Krakauer's Klezmer Madness, Renee Manning, Earl Mcintyre, Clark Gayton, Benny Powell, The Metro Mass Choir, Benny Golson, Randy Weston, Ron Carter, Oliver Lake, Leo Wright, Jaki Byard, Mulgrew Miller, Winard Harper,Akua Dixon, Kenny Drew Jr., Olatunji, Gwen Guthrie, Dee Dee Bridgewater, Raul Midon Jimmy Cobb, Rufus Reid, Larry Coryell, Jeff “Tain”Watts, Bernard Purdie, Dewey Redman, Howard Johnson, Benny Powell, Dr. Lonnie Smith, Gary Bartz, John Hicks, Ron Blake, Akira Tana, Pucho and the Latin Soul Brothers and Candido among many others.

Norbert Marius - Biography Norbert Marius started taking piano lessons at the age of eight. After developing an interest in jazz and funk, he began playing upright and electric bass at the age of 14. He studied at theBartok Bela Jazz Conservatory in Budapest, the Cologne Music Institute, earned numerous scholarships before graduating from Berklee College of Music in 1987. Since moving to New York City in 1988, Mr. Marius has performed with the Fifth Dimension,Melba Moore, Screaming Headless Torsos, and many others. He has toured the US, Europe and Japan. Besides being a bassist, Norbert is an active composer, and producer of dozens of instrumental and vocal tracks. Screaming Headless Torsos, David Fiuczinsky, The Fifth Dimension, Melba Moore, JoJo Mayer, Rodney Holmes, Jackie Terrasson, Ed Cherry, Roy Meriwheather, Gil Silverbird,Arturo Tappin, Mark Johnson, Delmar Brown, Bill Sims Jr., Denzell Miller, Marlon Browden,Jerome Van Rossum, Victor Jones, John Lang (Mister Mister)

Hiroyuki Matsuura - Biography Hiroyuki Matsuura has performed and/or recorded with Grammy winning bassist, Hector "Maximo" Rodriguez (Spanish Harlem Orchestra); Grammy winner, Oriente Lopez; multi-platinum producer/musician, Vernon Jeffrey Smith (Whitney Houston, Paula Abdul, Heather Headley, Des’ree, The Family Stand); Grammy nominated R&B/jazz pianist, Marc Cary, Harry Whitaker, Sheila Jordan, Ray Gallon; distinguished composer/arranger, leader and pianist of the Gotham Jazz Orchestra, Mike Holober, jazz trombonist and author, Scott Reeves; the most sought after guitarist of the generation, Adam Stoler (Richard Bona, Keiko Matsui), classically trained R&B singer-songwriter, Yahzarah (Grammy winning Erykah Badu), jazz~gospel singer/Broadway legend, Boncellia Lewis, Shelley Nicole’s blaKbushe; Yaz Band; reggae legend, Milton Henry; jazz~reggae guitarist, Justin Rothberg; the best reggae/ska band in NY,Jammyland Allstars; world music~African reggae singer from Ivory Coast, Sekouba Diakite;Welfare Poets, percussionist of 2005 Latin Grammy nominated Los Pleneros de La 21, Juan Usera, R&B~hip hop star, Akil Dasan ( T h e R o a d T o S t a r d o m With Missy Elliot on UPN), Sophia Bastian. He has shared the stage with such Grammy winners, hip-hop group The Roots,Corey Glover of Living Color, and legendary jazz bassist Charnett Moffett.

Burning Gums - Reviews “Burning Gums” is also a trio setting. Jackson is joined here by Norbert Marius (bass) and Matsuura Hiroyuki (drums and percussion). Marius penned the opening track “Samba de Quejio.” It is a fine showcase for the trio as a whole, and Marius and Hiroyuki definitely keep it moving forward in solid fashion. “Killer Joe” and “So What” are two jazz classics included in the playlist. Jackson contributes “Excerpt of Tina III,” “Sacred Love,” “Going Bush” and “Park Slope.” His compositions are interesting and well developed. Bassist Marius adds “Mangrove Do Re Mi” and “Madras Parallel.” His bass lines are spot on and solid as a rock. This CD combines elements of funk, swing, and latin styles. The trio definitely works well together and creates an interesting fifty three minutes of music together. Ron Jackson has a distinct sound and voice to offer and is well worth a listen. September 19, 2011 Vince Lewis - www.guitarinternational.com

Ron Jackson is not a newbie but one of those incredibly talented musicians that remains hidden by some of the more commercially oriented clutter obscuring the jazz landscape today. As I have always said they call it the music business for a reason but that doesn't mean artistic output has to be bland and uninspired. "Burning Gums" is a testament that Jackson's time studying jazz composition and arranging at Berklee was indeed time well spent. "Burning Gums" has this diverse trio exploring a myriad of influence from Brazilian samba of "Samba de Quejio" to an Afro-Caribbean inspired "Going Bush." A diatonic revamp of the Miles Davis classic "So What" and a more contemporary take on the Benny Golson classic "Killer Joe" showcase the inventive and unique progressive sound that is Ron Jackson all while sidestepping artistic categorization. The focus here would seem to be pushing the musical envelope to present a swinging look at the many influences that make up the cultural melting pot we know as jazz. This cooperative trio is rounded out with an impressively lyrical performance by Hungarian born bassist Norbert Marius and an inspired and energetic display put on by Japanese drummer Matsuura Hiroyuki. A Pat Metheny musical frame of reference would not be wrong here based on some of the more stretched out world music offerings but this is Ron Jackson and Burning Gums playing music their way. Looking for something new, something fresh? Burning Gums is a fresh, funky and incredibly fun release that seems to only get better with each spin. Tracks: Samba de Quejio; Excerpt of Tina III; Killer Joe; Sacred Love; Going Bush; So What; Mangrove DoReMi; Madras Parallel; Park Slope. Personnel: Ron Jackson: guitar; Norbert Marius: bass; Matsuura Hiroyuki: drums. September 10, 2011 Brent Black - digitaljazznews

http://www.guitarnoise.com/review/burning-gums/

It almost seems quaint and cliché in this day of seemingly instantaneous worldwide

connections to say that music is a universal language capable of breaking down barriers

and building friendship and understanding among people. But when you think about it, a

good reason why it’s become cliché is because it is still fundamentally true.

Take the eponymous debut disc of Burning Gums, a “new” jazz trio comprised of players

whose individual accomplishments read like a lifetime of playing every single style of

music the world has ever known. First, there’s Ron Jackson, a guitarist, composer and

arranger who’s currently based out of New York but has performed with artists as diverse

as Taj Mahal, Cissy Houston, Rufus Reid, Larry Coryell, David Krakauer’s Klezmer

Madness, the Boys Choir of Harlem and Little Anthony and the Imperials, just to name a

few. And literally, it is just a few of the many music icons he’s worked with.

Then you’ve got Norbert Marius, a bassist from Hungary who’s studied at the Bela

Bartok Jazz Conservatory in Budapest and has played with the likes of Melba Moore, the

Fifth Dimension, Arturo Tappin and Mister Mister’s John Lang.

Finally, add Japan’s Matsuura Hiroyuki on drums and percussion, who has worked with

jazz greats like Marc Cary, hip-hop stars The Roots, reggae legend Milton Henry and

even the Ivory Coast’s Sekouba Diakite.

Actually, to list all the musicians and musical styles of each of these three accomplished

players would take more than a dozen pages! But the cool thing is that you can hear how

it all comes together on their debut CD.

Burning Gums kicks off with Norbert Marius’ “Samba de Queijo,” a classic take on a

classic style which gives each member of the band a chance to shine and only hints at the

delights to come. Jackson’s following offering, “Excerpt of Tina III” might remind you a

bit of Weather Report, especially in the exciting interplay between guitar and bass.

Things then get downright funky with Marius’ arrangement of Benny Golson’s “Killer

Joe,” and then breathtakingly beautiful with “Sacred Love,” which while written by

Jackson, demonstrates how each member of the group feeds off of and then gives back to

the others. The interweaving of the drums and bass under the guitar provides a tangible

energy.

And it gets truly great with “Going Bush,” a percolating Afro-Caribbean tune of

Jackson’s that is so infectious that you can’t not get up and dance to it. It is so light and

delightful and ends far too quickly.

The trio then pay tribute to Miles Davis with a Marius arrangement of “So What,”

complete with hauntingly melodic guitar, amazing grooving bass and compelling (and

propelling) drums.

Two more pieces of Marius follow – first “Mangrove DoReMi” an evocative piece where

the bass sets the stage with a wonderfully melodic line, played against chirping birds. I

know that sounds a bit silly but it truly works! The angular guitar creates an arresting

counterpoint to the bass while the drums lock everyone and everything – musician and

birds – together. The second piece, a sort of bebop bossa nova called “Madras Parallel

features a wonderful solo from Matsuura.

The CD concludes with Jackson’s “Park Slope,” an eerie and moving piece that seems to

walk you right down the streets of New York. As you tag along with the band you shift

from the strange to the delightful, occasionally stopping to examine an interesting

shadow or alleyway before moving on again.

Burning Gums, like all good albums, will present something new to you with each listen.

And you’ll keep going back to find more.

Peace

Ron Jackson, CD Review “Burning Gums” Release Date: 2011 Cotton Goods Studios New York, NY Label: Roni Music www.ronjacksonmusic.com By Eric Frazier May 10, 2011 Jazz Journalist Jazz Inside Magazine Artist: Ron Jackson –Guitar Personnel Ron Jackson – Guitar Norbert Marius - Bass Matsuura Hiroyuki – Drums Ron Jackson is a worldly musician whose influences stem from vast and far reaches of the earth. This statement rings evident both literally and figuratively. Ron has roots in the Phillipines, Norbert hales from Hungary, and Matsuura comes from Japan. You can imagine that his music will draw on his international experiences and background as a well traveled artist. 1. Samba DeQueijo – Composed by Norbert Marius; This is a classic Samba which comes to fruition through the intricate guitar statements offered by Ron Jackson. Matsuura Hiroyuki lays down some very exciting rhythms as the music fades out!

2. Exerpt of Tina lll – Composed by Ron Jackson, Opens with energy and an unmistakable drive that is syncopated and hormonal. Ron’s guitar playing blends wonderfully with the syncopated drum back drop and the steady hand of Norbert Marius on bass. Ron and Norbert communicate effortlessly back and forth on their instruments at one point. It is then followed by a concise and quite interesting drum solo by Matsuura. 3. Killer Joe – Composed by Benny Golson, Arranged by Norbert Marius on this project; Here is a unique version of Killer Joe. It is quite funky and will bring out the dance in you! Norbert sets the tone on this one with a standout bass funk. Ron brings the message home as he reminds you of the guitar licks from some of the great seventies music in the past. It is very interesting to hear how tasteful Ron brings the melody out on guitar. 4. Sacred Love – Composed by Ron Jackson; The very first note lets you know that it is a special tune. It recalls the easy listening setting for Jazz lovers and for someone special to be with while taking in music that gives such a wonderful feeling. Norbert’s bass solo accentuates the thought. Matsuura’s drum solo allows the imagery to materialize as he aids in constructing the picture of love that is put forth on guitar by Ron. 5. Going Bush – Composed by Ron Jackson; Gives you a Caribbean flavor. Ron presents the melody quite eloquently on guitar. You will surely visit the Caribbean Islands here if your vacation is not set yet! 6. So What – Composed by Mile Davis, Arranged by Norbert Marius on this date; This a wonderful example of an arrangement that makes a classic come alive again. Ron delivers beautiful guitar lines while Norbert plays freely on bass and captivates you with a solo that unknowingly draws you in from his free style. Ron enters with the melody and you can then consider yourself to be in guitar heaven. It is all held down by matsuura on drums making the rhythm consistent, electrifying and forward.

7. Mangrove DoReMi – Composed by Norbert Marius; The guitar and bass open this song as if they were speaking to you in words from a far away land. The sound of birds tweeting in the background serves to open your mind to the possibilities of nature and an appreciation for all that simulates beauty in it. The guitar leads into a bass solo which then blends back into the melody guitar, the birds and the accents delivered by the drums. This tune definitely inspires the tranquility inside you. 8. Madras Parallel – Composed by Norbert Marius; gives a bossa nova type feeling that moves so freely into an up tempo bebop mood during brief junctures. Matsuura takes this tune out with a riveting drum solo during its conclusion. 9. Park Slope – Composed by Ron Jackson; is thematic of the quaint and viberant Brooklyn, New York neighborhood. Ron paints a sultry and inviting mood in the storyline of his guitar notes. The notes seem to represent his fondness for the neighborhood and its beauty which evidently he appreciates in a great way. “Burning Gums” is a CD you will no doubt appreciate through and through. This recording is exquisitely original, tasteful and a must for your music collection. Visit www.ronjacksonmusic.com, www.burninggums.com to get your copy.

Artist: Burning Gums

Album: Burning Gums

Review by Nick DeRiso

Reviewyou.com

A stylistic tour de force, this self-titled trio effort manages to take in many of jazz

music’s most notable influences, even tosses in a dash of Pacific island flavor, but it

never falls into the rote imitative traps of so many of today’s more traditionalist

recordings.

That’s a credit to executive producer Ron Jackson, a guitarist of mature yet inventive

dexterity.

“Samba de Oueijo” finds Jackson leading the threesome through an echoing, atmospheric

journey across a humid nightscape. His guitar work recalls, by turns, Pat Metheny’s

sleek modernity and Wes Montgomery’s riffy elation. Meanwhile, bassist Norbert

Marius is a propulsive counterpoint, moving with cat-like quickness underneath

Jackson’s impressive runs. Neither manages to catch drummer Matsuura Hiroyuki,

however. He is always a cymbal-tap ahead of them. Together, they create an album-

opening statement of purpose.

The following “Excerpt of Tina III” takes a more considered turn, dropping the

undulating rhythms. But Jackson, a New York-based recording artist and instructor,

stays firmly rooted in a clean, percussive groove. He’s just as adept at playing these

fleet swinging turns as he was with a lyrical samba. Marius’ bass solo is deeply

expressive, but never showy.

Fasten the seat belt, and place your tray in the upright position, though. For all of the

reserved classicism of “Except,” Burning Gums then proceeds to turn “Killer Joe” --

Benny Golson’s soul-jazz classic -- into a greasy R&B number. Jackson and Marius dive

into a deep-fried series of riffs, with Jackson taking over the familiar horn signature, even

as Hiroyuki works the sizzling edges. Playing over clips that sound like they come from

news broadcasts, a police scanner, or maybe a NASA transmission, the trio proceeds to

transform into a bouncing, nasty little funk group. This ends up being more soul than

jazz, and to thrilling effect.

“Sacred Love,” alas, is a more conventional jazz trio number -- a pretty ballad, but not

much more. It’s not long, however, before Burning Gums has ramped up into “Going

Bush,” which features a lilting, sun-splashed island beat. Marius, who produced Burning

Gums, at first takes a backseat on this one to the concise interplay between the elegant

and vivid runs by Jackson and these brilliant bursts of syncopation from Hiroyuki. But

the bassist then dashes to the front with an impish solo that eventually defines the track.

When Jackson returns, it’s at a quickened pace, almost like he’s skipping along --

seemingly emboldened by what came before.

“So What,” a signature Miles Davis composition, begins as a dreamy, almost psychedelic

exploration into the far reaches of imagination. Jackson’s tone, warbly and expressive at

first, eventually coalesces into a sharply incisive series of improvisations. Meanwhile,

Hiroyuki bashes away with an insistence that eventually frames the song’s middle

portion. Marius’s solo, quietly effective but never completely at rest, represents the final

stop before Jackson returns the song to a mirage-like reverie. “So What” ends as it

began, with an undefined expressiveness, not unlike the free-form experiments Davis

himself was at work on a decade after he originally cut the song in the late 1950s. This

new version wouldn’t be out of place on signature fusion projects like In A Silent Way.

“Mangrove DoReMi” takes Burning Gums further into this contemplative space, adding

environmental sounds to an initial free-form structure that allows the trio to explore their

instruments with an impressive tone and deftness. Jackson eventually hits a note, and

repeats it, then repeats it again and again, sparking a flurry of activity from the others.

Their symbiosis is such that the song instantly takes flight.

The subsequent and soulful “Madras Parallel,” though it doesn’t approach the rib-sticking

R&B delights of Burning Gums’ remake of “Killer Joe,” underscores again this trio’s

ability to blend contrasting styles. They are as funkified as they are swinging as they are

influenced by Jackson’s roots in the Philippines. “Park Slope” then concludes Burning

Gums on ruminative note, as Jackson constructs concentric circles around a portentous

rhythm from Marius and Hiroyuki.

Even at the end, it’s clear that there isn’t much these three can’t do. This self-titled

release could have been twice as long, and never gotten old.

Review by Nick DeRiso

Rating: 5 stars (out of 5)

On Sat, May 14, 2011 at 2:37 AM, Robert Silverstein <breakthru87@nyc.rr.com> wrote:

Ron

here's a few questions for the mwe3.com review / interview page. I will format your

email reply and add photos and links to the page:rs

mwe3.com presents an interview with RON JACKSON

mwe3.com: Where did you grow up and what first drew you to the guitar?

My father was a Marine in the US Military, so moved all over the country. I was actually

born in the Philippines, stayed there on off till I was 5, move to allot of states then finally

settled for high school near Boston. When I was in High School I had friends who played

guitar, mainly rock. So I started playing rock guitar then got into jazz. I saw allot of

music when I was a kid from heavy metal to jazz. I composed a lot of tunes as a kid,

mainly rock and instrumental folk.

Also what were some of your earliest memories of studying guitar?

I was actually self-taught, I learned from friends etc. I really started studying privately

when I went to Berklee in Boston. I was actually a Jazz Composition and Arranging

major at Berklee and consider myself a composer and arranger first.

What was your first guitar that you played or practiced on?

It was a Fender JazzMaster.

mwe3.com: How would you compare your jazz guitar style and your love of the jazz

greats and the songwriting classics with say your appreciation of the music of the Beatles

and other giants of the post '60s rock era?

I would compare myself to Wes Montgomery, George Benson, and Pat Metheny. I like

adapting popular tunes into jazz. I think good songwriting from any era can be adapted to

jazz.

mwe3.com: Burning Gums and Flubby Dubby are your two latest CD releases. What

were some of the different approaches between the your guitar styles and compositional

styles on the two albums?

Flubby Dubby was based on the classic Hammond Organ group such as Jimmy Smith,

Jimmy McGriff(who I played with)"Flubby Dubby" is reminiscent of the funky James

Brown groups with saxophonist Maceo Parker and the group Soul Live.

Also it is a re-issue CD. I have an independent label, 1st cover and artwork was not very

appealing. I did decided to do all over again, the right way.

This is recorded live featuring my soul-jazz originals and his arrangements of popular

tunes and standards. My late mentor and teacher guitarist Melvin Sparks produced this

CD. My playing was more blues based (which Melvin recommended that I play

stylistically on the date) on this session that was recorded live.

Burning Gums is collective band that I am part of with Norbert Marius-Bass (Hungary)

Hiroyuki "Matsu" Matsuura-Drums and Percussion. (Japan). Actually Norbert had hired

me for local in NYC. He had Matsu on drums. We had great chemistry and so we decided

to record a CD. Our approach was fresh, spontanious and adventurous. The musicians on

the CD are well versed on different styles. I contributed 4 songs and the backing to make

this group CD possible.

You can hear how differently I play on each session. I adapt my playing style according

to each situation that I perform in.

mwe3.com: Why did you call the album Burning Gums and can you say something

about that great cover art for the Burning Gums CD?

Actually the bassist Norbert came up with everything, the name of the group, he

produced and mixed the CD, did all the artwork and hired the model on the CD cover. I

contributed 4 tunes and my guitar playing.

Also the cover of of Flubby Dubby is fantastic. Can you say something about the cover

art of the CDs? Are you a big fan of album cover art?

My manager Steven Gardner (www.3rdalternative.com) designed the album cover; he is

a great photographer as well. I love great album coves r, the nicer or more unusual the

cover, the more people are attracted to the CD, even if they don't know the music inside.

mwe3.com: When did you start Roni Music and how many CDs have you released so

far? I started this little home label in 2002, with my 1st release,” The Dream I Had". I

have 3 releases so far with a 4th I am trying to finish the mixes to my new acoustic guitar

CD called "Akustik Adventures". I started this label because I wanted to be independent

from the record labels. I wanted to have complete control.

Also are you planning any further CD or DVD releases? I have a 4th CD I am finishing

the mixes called "Akustik Adventures". I plan to release at least 1 CD a year.

Are you planning to record or perform with other artists in the future? I am always

hired to record or play as a sideman with someone. I working with manager to

mwe3.com: Can you say something about the guitars that you featured on the Burning

Gums and Flubby Dubby CDs? On both is the exactly the same guitar, my 1993 Gibson

L-5 Studio modified with two Benedetto Pickups that I got from my pick=up

endorsement with Seymour Duncan, with .014 George Benson Tomastik Strings. My

guitar was mixed differently on each CD. On Burning Gums my guitar was recorded

direct, Nobert added effect after. On Flubby Dubby, my guitar was played through my

Fender Deluxe Amp with 2 mics, with just a little reverb.

What are some of your favorite guitars that you own and what new developments in

the guitar world interest you most?

I love all my 12 guitars, but particularly my Gibson L-5 Studio, my custom built Flyde

Acoustic steel string guitar from England, my PRS hollow body and 516, and my Godin

classical guitar.

I don't really keep up all the guitar developments. I just try to keep up with just getting

better as a musician so I can play the guitar well.

MusicWebExpressReviewInterview Ron Jackson, “Burning Gums and Flubby Dubby”

http://www.mwe3.com/archive/pastfeature/featureMusicRevMay2011.htm

A much respected guitarist, composer and producer based in NYC, Ron Jackson has cut a

wide range of albums over the past couple decades. Jackson is renowned for tastefully

blending his love of rock, R&B, World Beat, jazz, funk and even classical within the

framework of his sonic guitar sound. Subsequently, there aren't many styles of music that

Jackson hasn’t covered on record. Moving forward on his esteemed musical legacy,

Jackson also released a 2011 CD from his latest project, entitled Burning Gums. I guess

the title fits in well with the young lady on the cover of the Burning Gums CD art, who

looks like she’s about to bite into a red hot chili pepper. In contrast, the music on the

Burning Gums CD is quite cool actually with Jackson’s smooth jazz instrumental sound

and vision getting suitable backing from Norbert Marius (bass) and Matsu Hiroyuki

(drums). All types of jazz guitar lovers will completely dig this record which covers a

wide range of styles and sounds—from smooth jazz to soul-jazz and fusion to Brazilian

style jazz samba. Even with so many instrumental guitar-based moves on hand, the key

here is the groove that Jackson and company brings to the forefront on this thoroughly

enjoyable instrumental guitar-centric fusion CD. Coinciding with the release of his 2011

CD with Burning Gums, NYC guitar hero Ron Jackson also has a companion 2011 CD

rerelease of his 2009 album, Flubby Dubby. Featuring a Hammond organ inspired group,

and produced by Jackson mentor Melvin Sparks, the Flubby Dubby CD was recorded at a

live Jackson date from West Orange, N.J. with the guitarist featuring the core trio of

Jackson, Kyle Koeler (organ) and Otis Brown III (drums), along with a smoking horn

section. Flubby Dubby is another electrifying, uptown instrumental guitar fusion from

Ron Jackson. After six albums to his credit, each of these CDs accurately portrays Ron

Jackson as a vital fretboard force in the world of 21st century jazz-rock.

www.BurningGums.com / www.RonJacksonMusic.com / www.CDBaby.com

mwe3.com presents an interview with

RON JACKSON

mwe3.com: Where did you grow up and what first drew you to the guitar?

RON JACKSON: My father was a Marine in the U.S. military, so we moved all over the

country. I was actually born in the Philippines, stayed there on and off till I was 5, moved

to a lot of states then finally settled for high school near Boston. When I was in high

school I had friends who played guitar, mainly rock. So I started playing rock guitar then

got into jazz. I saw a lot of music when I was a kid from heavy metal to jazz. I composed

a lot of tunes as a kid, mainly rock and instrumental folk.

mwe3.com: What were some of your earliest memories of studying guitar?

RJ: I was actually self-taught, I learned from friends. I really started studying privately

when I went to Berklee in Boston. I was actually a jazz composition and arranging major

at Berklee and consider myself a composer and arranger first.

mwe3.com: What was your first guitar that you played or practiced on?

RJ: It was a Fender Jazzmaster.

mwe3.com: How would you compare your jazz guitar style with your appreciation of the

music of the Beatles and other giants of the post '60s rock era?

RJ: I would compare myself to Wes Montgomery, George Benson and Pat Metheny. I

like adapting popular tunes into jazz. I think good song writing from any era can be

adapted to jazz.

mwe3.com: Burning Gums and Flubby Dubby are your two latest CD releases. What

were some of the different approaches between the your guitar styles and compositional

styles on the two albums?

RJ: Flubby Dubby was based on the classic Hammond organ group such as Jimmy Smith

and Jimmy McGriff, who I played with. Flubby Dubby is reminiscent of the funky James

Brown groups with saxophonist Maceo Parker and the group Soul Live. Also it is a

reissue CD. I have an independent label. The first cover and artwork was not very

appealing. I did decided to do it all over again, the right way. This is recorded live

featuring my soul-jazz originals and arrangements of popular tunes and standards. My

late mentor and teacher guitarist Melvin Sparks produced this CD. My playing was more

blues based, which Melvin recommended that I play stylistically on the date on this

session that was recorded live.

Burning Gums is a collective band that I am part of with Norbert Marius - bass (from

Hungary) and Matsuura Hiroyuki - drums and percussion (from Japan). Actually Norbert

had hired me for local work in NYC. He had Matsu on drums. We had great chemistry

and so we decided to record a CD. Our approach was fresh, spontaneous and

adventurous. The musicians on the CD are well versed on different styles. I contributed 4

songs and the backing to make this group CD possible. You can hear how differently I

play on each session. I adapt my playing style according to each situation that I perform

in.

mwe3.com: Why did you call the album Burning Gums and can you say something about

that great cover art for the Burning Gums CD?

RJ: Actually the bassist, Norbert came up with everything, the name of the group, he

produced and mixed the CD, did all the artwork and hired the model on the CD cover. I

contributed 4 tunes and my guitar playing.

mwe3.com: The cover of of Flubby Dubby is fantastic. Can you say something about the

cover art of your CDs? Are you a big fan of album cover art?

RJ: My manager Steven Gardner (www.3rdalternative.com) designed the album cover.

He is a great photographer as well. I love great album covers, the nicer or more unusual

the cover, the more people are attracted to the CD, even if they don't know the music

inside.

mwe3.com: When did you start Roni Music and how many CDs have you released so

far?

RJ: I started this little home label in 2002, with my first release, The Dream I Had. I have

three releases so far with a fourth, I am trying to finish the mixes to my new acoustic

guitar CD called Akustik Adventures. I started this label because I wanted to be

independent from the record labels. I wanted to have complete control. I plan to release at

least 1 CD a year. I am always hired to record or play as a sideman with someone...

mwe3.com: Can you say something about the guitars that you featured on the Burning

Gums and Flubby Dubby CDs?

RJ: On both is the exactly the same guitar, my 1993 Gibson L-5 Studio modified with

two Benedetto pickups, that I got from my pickup endorsement with Seymour Duncan,

with .014 George Benson Tomastik strings. My guitar was mixed differently on each CD.

On Burning Gums my guitar was recorded direct, Nobert added effects after. On Flubby

Dubby, my guitar was played through my Fender Deluxe Amp with 2 mics, with just a

little reverb.

mwe3.com: What are some of your favorite guitars that you own and what new

developments in the guitar world interests you most?

RJ: I love all my twelve guitars, but particularly my Gibson L-5 Studio, my custom built

Flyde acoustic steel string guitar from England, my PRS hollow body and 516, and my

Godin classical guitar. I don't really keep up all the guitar developments. I just try to keep

up with just getting better as a musician so I can play the guitar well.

Thanks to Ron Jackson @ www.RonJacksonMusic.com / www.BurningGums.com