If anyone is going to succeed in rescuing good music from the ghetto called “early jazz”, it will be the pianist Andrew Oliver. There’s definitely something about his combination of technical brilliance and go-for-broke dynamism that just grabs you.  If the skill, intricacy and sheer variety of these 18 pieces tell us anything it’s that “early” doesn’t mean “primitive”. – The Observer

In these days when so much of jazz piano is rarified and experimental, though there’s nothing wrong with that, it’s good to know there are still traditionalists around, and that they’re also ready to experiment with compositions and styles, which weren’t always totally successful first time around. Andrew Oliver is one such pianist and this CD is a tribute to his commitment to playing whatever he chooses at the highest level. It’s a thoroughly enjoyable selection and I loved it. – Vintage Jazz Mart

Oliver and Horniblow play with a freshness and creativity within the style that is undeniable even to those who wouldn’t normally have ears to hear. What these two accomplish with these compositions is a testament to Morton’s greatness but also to their own unquestionable talent and to the power of jazz itself to be ever new, raw, and moving. – The Syncopated Times

If you haven’t already come across it, I suggest you catch up online with the Complete Morton Project. Each week, pianist Andrew Oliver and clarinettist and saxophonist David Horniblow record and post two Jelly Roll Morton compositions. Everything is phenomenally well played, with a freshness that dispels any suspicion of solemn archaism.This is especially true of Oliver, who wears his authentic style – not to mention his technique – lightly. – Dave Gelley, Jazz Journal UK

“One thing we tend to forget, squabbling over discographies, is how sexy this brand of early jazz can be.  It’s easy to assume that Jelly Roll Morton, Sidney Bechet et al can’t speak to a younger generation, but the pianist Andrew Oliver’s quartet lays that notion to rest.” – The Sunday Times

It’s impossible not to be fall prey to the charms of David Horniblow’s clarinet, Dave Kelbie’s kinetic rhythm guitar, Tom Wheatley’s growling bass, or to feel the almighty wallop of Andrew Oliver’s incredible pianism. – Jazz Da Gama

On this release from London quartet the Dime Notes, Oliver mines the earliest days of the music’s existence in New Orleans, digging up tasteful tunes by masters like Jelly Roll Morton and W.C. Handy and placing them in all-new but classic-sounding arrangements.  Oliver adds one of his own compositions to the book as well; it is a twisting melody called “Otis Stomp,” inspired by the town of Otis, Oregon. Holding down the sizzling groove is the bass-guitar team of Tom Wheatley and Dave Kelbie, who handle their traditional roles with grace. Indeed, it is the easy-going interplay between slapped bass and chugging rhythm guitar that make the Dime Notes’ music feel far more alive than the museum piece it could have become. – Jazz Society of Oregon Jazzscene Magazine

The Vitality Five is inherently not the same as many other bands performing Twenties hot repertoire.  I know it’s heresy to some, but the Vitality Five performs at a level that is not only equal to the great recordings, but superior to them.  A substantial claim, but the disc supports it. – Michael Steinman, Jazz Lives

“The Bridgetown Sextet’s new album release “Stomp, Defined” is the quintessential representation for the vintage jazz and swing renaissance exploding across the globe. What sets The Bridgetown Sextet apart as arguably the most talented vintage hot jazz and swing ensemble in the Pacific Northwest is their ability to not only harness, but intensify the unbridled energy of their musical antecedents.” – Jon Taylor, 

The Kora Band doesn’t really sound like any other group. This is an amazing feat, in a century supersaturated with music of every hue, and a convincing testament to the innovative sound of a jazz band successfully incorporating non-Western traditional instruments. **** – All About Jazz

If M.C. Escher had led a band, this would be the sound of it. The group weaves in jazz, neo-classical, African dance, tango, pop, twang, blasts of crunch-rock and subtle odd-metered funk.  The Ocular Concern’s music ultimately charms with a melodic and almost innocent sense of wonder. ****  – Downbeat

One of [Tunnel Six’s] greatest attributes is the ability to make a sextet sound like a miniature orchestra. Each player has their own sound, a feat in this day and age when there are literally thousands of clones out there.  Oliver is a unique pianist, devoid of cliches as well. He never seems to play “licks” or the conventional jazz lines that we’ve all heard a million times. All of the playing here is a breath of fresh air. – Jazz Society of Oregon Jazzscene Magazine

The sextet treated the crowd to a terrific evening of their diverse brand of jazz.  Bandleader and composer Andrew Oliver directed the band from the piano with delicacy and ease. His clean and rhythmic lines established a base for the others to expand upon. Oliver plays a wide range of styles, linked by restraint and an understanding that less is often more. Instead of excessive fury, he dazzled with moments of subtle, calculated composure.  For those who wonder about the future of jazz, the Oliver Sextet gives a brilliant display of what younger jazz musicians in Portland have to offer. – KMHD Jazz Notes