Here's an interview that I did with David Miller of All About Jazz. (I had no idea I say the word "stuff" so much-sorry about that!).” - David Miller

Allaboutjazz.com

Jamie Fox When I Get Home (Rare Cat) Jamie Fox is a very original musician. His guitar tone is dry but flexible, his writing contains unusual structures and a mixture of light funk and straightahead sections, and he stands out in a crowd. While his music at various times recalls Keith Jarrett in the 1970s, Pat Metheny and possible Kenny Wheeler and Ralph Towner, Fox has his own fresh conception of jazz improvisation, using melodic development in unexpected ways. His quiet solos and that of his sidemen are natural extensions of his songs’ themes. On When I Get Home, Fox performs ten of his originals with such musicians as pianist Kenny Werner, saxophonist Dan Willis, bassist Stephan Crump, drummer Michael Sarin and occasionally Peck Almond (on saxophones and trumpet). The tunes are upbeat and likable without every being predictable. The little surprises keep one guessing and, while Fox’s style is open to folk music, tangos and the lyrical side of rock, the end results sound natural and distinctive. This is a subtle set that will grow in interest with each listening, available from www.jamiefoxguitar.com.” - Scott Yanow

Los Angeles Jazz Scene

When I Get Home Jamie Fox | RareCatRecords (2007) By Mark F. Turner There are many musicians flying under the radar of the limelight who are just as masterful as those receiving more notoriety. Having played in various bands, some notable (singer Joan Baez, Blood Sweat and Tears), some eclectic (Combo Nuvo), and a memorable contribution to jazz bassist Stephan Crump’s Rosetta (Papillon Sounds, 2006), its clear that guitarist Jamie Fox is one such player. Impeccable chops, a seasoned and modern sound, when you hear him play, there’s something special, as heard on When I Get Home. There’s a sense of the storyteller who captivates his audience with interesting anecdotes and thoughtful tales, centered around exquisitely performed music by Fox and his adroit band members, including veteran pianist Kenny Werner. Like the title implies, the music has a welcoming invitation—the overall mood is calming yet without saccharin in its delivery—of familiar surroundings and fond memories. Listening to the recording is like opening up Pandora’s box (but in a good way) and finding a few surprises. The deceptive samba-like ease of “Five One & A Half” is pleasant, but the twist comes in a stellar solo by Fox and the band’s tight delivery, elevating things beyond typical elevator music. Next comes the earthy rural-esque “Row After Row,” with Crump's resonant bass and Fox strumming tranquil chords, with gentle traps by drummer Michael Sarin. “All In Time” has an interesting melody and clever guitar/sax/clarinet arrangement, the melody moving from a leisurely walk into a funky stroll, showing that things are just a little different in Fox’s neck of the woods. Whether it’s laidback licks on “Leisure” or the eccentric tango-ish “Ognat,” Fox’s playing is immaculate. Fine performances by everyone, a touch of Americana mixed with inventiveness, all make this a recording that fits comfortably traveling on the road or in the confines of your home.” - Mark F. Turner

Allaboutjazz.com

Elegant is not a word used very often to describe guitarists, but it fits Jamie Fox like a glove-an expensive driving glove. "Stylishly graceful, and showing sophistication and good taste" could easily refer to the music as a whole. "Executed, or made with a combination of skill ease and grace" might well be talking about the man's considerable, but never flashy chops, as he negotiates the tricky turns of the opening tune, "Five One & A Half." And "satisfyingly and often ingeniously neat and simple" perfectly limns compositions such as "Ognat," a tango in reverse (check the title). Or "Mine & Yours," with its deceptively basic melody that changes in odd places, and its bars of two that never upset the lyrical flow. These are not easy tunes over which to solo, but Fox and pianist Kenny Werner make it sound as if they are barely breaking a sweat. Elegant indeed." - Michael Ross” - Michael Ross

guitarplayer.com

What an admirable musician! A veritable revelation for me, Jamie Fox is one of the finest guitarists currently active. Formed of a good school (Charlie Christian, Kenny Burrell, Joe Pass, not to mention “our” Django Reinhardt), he’s forged an irresistibly seductive personal style. We’ll savor the inventiveness and harmonic richness of his improvisations, always rigorously constructed. His elegant and thoroughbred melodic discourse, powerful vector of emotion, is never sacrificed for facility; and it’s a true feast to hear him throughout the entire repertoire, of which he is also the author, and which bares evidence to his real gifts as composer. On the magnificent theme Five One & A Half, his perfectly rendered octave play evokes the great Wes Montgomery. He surrounded himself with top-flight partners (special mention to the fine pianist Kenny Werner and saxophonist Dan Willis, often close to Stan Getz), all irreproachable soloists and accompanists, with whom he finds himself in total osmosis. This is a disc to enthusiastically acquire without hesitation.” - Claude Oberg

— Dictionnaire du Jazz

Jazz guitarist Jamie Fox reflects the true spirit of jazz, even down to how he sets the tone of his guitar. His sound output almost commands you to listen, etc. Fox's melodic and linear innovations & improvisations are important in that he seems to free himself from the more mundane occurrences of bebop changes & bar lengths. Jamie seems to reach for the more individual approach, & succeeds in doing so in my humble opinion. Eclectic & witty, Jamie is definitely a classicist & inveterate romantic in a jazz world. I predict Jamie to become & remain an important unique sounding jazz guitarist whose distinctive soul can cut through any 'blowing' with his subtle musical curves & whispered nuances.” - George W. Carroll

ejazznews

Guitarist Jamie Fox, not to be confused with the movie actor Jamie Foxx, has had a diverse career, performing with artists as different as Carla Thomas, Joan Baez and Blood, Sweat and Tears. However, his new album, When I Get Home, is jazz all the way. This album, featuring ten Fox originals, is a laid-back record that has an instantly appealing charm to it. “Five One & A Half ” starts the album and features a groove with an underlying Latin feel. While the saxophone states the melody at the outset, Fox takes control with the first solo in the piece. While drummer Michael Sarin and bassist Stephan Crump are content to provide the rhythmic foundation and stay in the background on this piece, they have great interaction with Fox on “Row After Row.” The chemistry between these three musicians reminds me of the musical rapport between Bill Frisell, Kenny Wollesen and Tony Scherr. The direction that some of these songs take bolsters that perception. While the tone quality isn’t close to Frisell’s, many of Fox’s compositional and solo directions exist in the same realm. “All In Time” has a slightly quirky melody that features saxophone and guitar in tandem. Crump and Sarin take things in a slightly funky direction later in this piece and things become event more fun when saxophone and guitar intertwine to create some solo madness toward the end of the song. “Moniker” is a showcase for saxophone and guitar. The saxophone solo is bright and jaunty in feel and Fox follows with a solo that fits well within this context, but provides enough contrast to keep things interesting. “Ognat” has a jazz-meets-tango sound and features some great soloing from Crump, Fox and Werner. “Leisure” lives up to its title and is one of the most peaceful pieces on this album. Stephan Crump’s bass, moving between bouncy half notes and a lightly Samba-inflected groove, controls the feel on “Mine & Yours.” Werner’s piano and Fox’s guitar have a nice blend on this track. Werner’s bluesy touch gives off the perfect feel during his outstanding solo here. Background horn figures help to give the piece some added energy and contribute to what is one of the best pieces on the album. Sarin moves to brushes for the wistful “Childhood.” This song, one of several on the album that only uses the core trio, is a beautiful ballad that tugs at the heartstrings. “New News” has a strong swing feel for the majority of the tune and starts off with bass and drums establishing the groove. Saxophone and guitar work their way through the melody and Fox takes the first solo on this piece. While the groove occasionally moves in different directions and takes on new ideas, Sarin and Crump always move back toward the swing pulse and help the soloists achieve their musical objectives. The saxophonist on the majority of this material, who I’m going to assume is Dan Willis, deserves credit for putting his own stamp on the material and contributing some intriguing solo work. My previous remarks about similarities to Bill Frisell’s material might simply be a case of both artists embracing a certain Americana-influenced music, clearly demonstrated on the title track which closes the album. This piece could have easily floated off of Frisell’s Nashville album and it is just as appealing and engrossing as anything from that record. Peck Almond and Dan Willis provide horn work on this track, which helps fill out the harmony and gives the piece a much thicker texture. “When I Get Home” is a joyous track that closes an absorbing album by a guitarist who is clearly deserving of greater recognition. ©2007 Cadence Jazz Magazine” - Dan Bilawsky

Jazz Improv NY

Guitarist Jamie Fox has crafted a recording of modern jazz with mainstream flashes and contemporary fusion flair. In tandem with tenor saxophonist Dan Willis, Fox plays upon and executes music derived from the style John Scofield and Joe Lovano created in the mid-80s, as represented on the Blue Note label efforts Meant To Be, Time On My Hands and What We Do. In addition to Willis, Fox employs the rising star bassist Stephan Crump, veteran pianist Kenny Werner and drummer Michael Sarin. This band can do very little wrong. All of these tracks are written by Fox, with the quirky "New News" the highlight, the bluesy "Moniker," bass led lazy wonder of "Childhood" and playful "Mine & Yours," with the addition of multi-instrumentalist Peck Allmond most reflecting the Scofield-Lovano affiliation. A free intro tacked onto the neo-bop tune "All In Time" recalls Michael Brecker's '80-'81 album. A cowboy twang ala Bill Frisell takes Fox into a different realm on the loping title track, helped by Allmond's trumpet, as does the soulful "Row After Row," an easy laid back piece combining Frisell with sky-church Pat Metheny. At its wittiest, even cute, there's the backwards tango "Ognat," while "Five & One-Half" is a breezy light bossa unison melody, showing Willis and Fox most clearly on the same page. This is a sleeper; a very good effort that, while somewhat revelatory in its voicings and compositional derivations, still yields a fresh contemporary approach to modern jazz that should appeal to many.” - Michael G. Nastos

allmusic.com

The first thing you notice about Jamie Fox's fine release is the mastery he has of various forms of jazz. The playing and compositions are subtle, but always easy to grasp. Chops are not an issue in translating the tunes, and the supporting cast, with the likes of Kenny Werner on piano and Dan Willis on saxophone, are perfect.” - John Heidt

— Vintage Guitar magazine

With his focus on smooth melodies and graceful rhythms, guitarist Jamie Fox brings us a comfortable ride that honors the impact of great jazz melody-makers such as Joe Pass, Charlie Byrd, Jim Hall, Pat Metheny and George Benson. Interpreting ten original songs with his core trio and added guests, Fox creates impressions as varied as tango and modern jazz. Originally from Southern California, the guitarist identifies with a smooth West Coast sound on this session that provides impressions of Santa Barbara and San Francisco. Along with bassist Stephan Crump and drummer Michael Sarin, Fox lets his melodies flow casually. Tenor saxophone, bass clarinet, trumpet, euphonium and piano—guests Dan Willis, Peck Allmond and Kenny Werner—enter the picture for selected songs, giving the mix a relaxed harmonic texture along with its easygoing rhythms. As a semifinalist in the 1995 Thelonious Monk International Jazz competition, Fox found common threads between his artistic goals and those of other professional artists. He served as musical director for Joan Baez from 1989-91, guitarist for Blood, Sweat & Tears from 1998-2000 and currently records and performs with singer Jen Chapin as well as the acoustic band Combo Nuvo. Both his “Moniker” and “New News” represent hard-driving, in-your-face, modern jazz, while ballads such as “Five One & a Half” and “Childhood” represent gentler family values. The album’s title track travels in a different direction that follows rolling hills and grassy meadows toward a familiar melodic destination. The horn mix interrupts Fox’ tranquil trio picnic, however, with several pesky asides that change the mood adversely. The guitarist and his trio provide a beautiful lyrical flow for most of When I Get Home. Adding guests on occasion for textural change in several places, however, causes radical changes that interrupt the logical flow of the session.” - Jim Santella

All About Jazz

These days it’s all too easy to hear the reference points for younger guitarists. Metheny, Frisell, Scofield… it’s hard to find up-and-coming players who haven’t been touched by at least one of these benchmarks, and Jamie Fox is no different on his debut as a leader, When I Get Home. Still, one would be hard-pressed to find any artist who hasn’t some frame of reference in other artists past or present. The question is: what are they doing with it? It would be too easy to dismiss tracks like “Five and One Half,” with its light Latin tinge, or the Midwestern ambience of “Row After Row,” as Metheny-esque, especially with Fox’s choice of a warm, hollow body electric tone. And while he chooses a steel-string acoustic for the ambling title track, the horn arrangements—played by Dan Willis and Peck Almond—feel like something straight out of John Scofield’s Quiet (Verve, 1996) or This Meets That (Emarcy, 2007), despite the latter disc being recorded well after When I Get Home was in the can. Other tracks reveal a broader mindset. “All in Time” opens as turbulent rubato, with bassist Stephan Crump—on whose Rosetta (Papillon Sounds, 2006) Fox played—and drummer Michael Sarin seamlessly moving through an episodic composition that turns to gentle pulse and, ultimately, more visceral funk. The groove may be undeniable, but as Fox and Willis create complex counterpoint the guitarist’s expansive personality shines through. He may wax lyrical like Metheny, but he’s no clone; navigating the changes with an ease that belies an under-the-hood harmonic complexity. “Moniker” swings lightly, bringing to mind some of Scofield’s mid-1990s Blue Note discs with Joe Lovano; Dan Willis’ dexterous tenor completing the reference. Fox’s solo cleverly combines rich chordal passages with blues and bop-inflected lines that manage to combine the best of his stylistic references into something different. It’s that ability to wear his influences on his sleeve without losing sight of who he is that makes Fox a guitarist worth watching. And when he moves into tango territory on “Ognat,” he completely distances himself, as he does on the elegant bossa-meets-Americana of “Leisure,” where his solo is the definition of economy and unremitting invention. Throughout, Crump and Sarin are ideal accompanists, with Crump delivering a number of memorable solos. Willis and Almond join in on a few tracks, as does pianist Kenny Werner, who contributes some characteristically in-the-pocket support and graceful soloing on the harmonically deceptive yet accessible “Mine & Yours.” But it’s the trio tracks, including the soft ballad “Childhood,” where Fox is at his best, specifically because he’s on his own to create an expansive soundscape that’s as much about space and sustain as it is lithe playing. It’s one of a number of understated moments on When I Get Home, a debut that may not make its statement with power and chops (despite the certainty that Fox possesses both), but continues to reveal greater depth with each successive listen.” - John Kelman

All About Jazz