“A strong, heartfelt series of performances served up in remembrance to the album’s primary composer, the late Brendan Romaneck…very listenable, leaving one to ponder what might have been.”
-Downbeat Magazine, Feburary 2010 (4 stars)

“Coming Together is memorable as a living musical will, compositions that can fuel future imaginations."
–Jazz Police

“The performances of the players involved are exceptional and the listener can tell that it meant a great deal  to be involved in creating this special project…An emotional recording of coming together and making music in the spirit of remembrance and the mixed joy and sadness for a life cut short too soon, but also celebrated and treasured for what was accomplished in a brief lifetime.”
-JazzChicago (Honorable Mention, Top Recordings of 2009)

“An excellent tribute to a lost talent…never cliché."
–Pittsburgh Tribune

“Intriguing…Lovely tunes on which Potter takes great risks…With Wilson and Stafford, they really rip on ’11-02.”
–Newsreview.com

“This is an excellent, excellent album…Jazz lovers are fortunate that Javors was able to have it released on his new indie label……This is jazz of the very highest order.”
-Audiophile Audition

"A remarkably poignant record…Potter has seldom sounded so passionate.”
-Jazzwise  (4 stars)

“Wilson and Stafford tackle the originals with relish…Wilson delivers on all fronts and the clarity of Terell’s horn is a joy.”
-UK Jazz Journal

“An emotional recording of passion…filled with ‘what ifs’ but intriguing while it stands up on its own.”
-Jazzweekly.com

"Will stay on the playlist forever…jazz that will last through the eons.”
-Improvijazzation Nation, Issue #99 (Pick of the Issue)

“Swings wonderfully.” 
-Davis Enterprise 

“Although the background to this release contains elements of tragedy, the result is some exceptional music making…It is eminently clear that his death has robbed contemporary jazz of a melodic master."
-Swing2bop.com

“Romaneck must have been something special to have inspired such lovely, searching music.
-Cadence Magazine

“The whole project is a masterpiece of imaginative understatement...Yet, it's liveliness and underpinning of energy is appealing in total… this CD project is particularly mysterious in its ability to create an air of delight and leisure and I relegate and suggest that my readers imbibe it's transcendant qualities.”
-Caberet Exchange

"On The Bright Side attempts to say it all, melding attitude, a serious backbeat and a hopeful message (an alternative to the mindless rage of much modern rap music) across all nine tracks."
-Downbeat Magazine, Feburary 2010 (3 ½ stars)

“I admit to unfamiliarity with rap and to a predisposition not to like it. If On the Bright Side is representative of the genre, which I doubt, it is more appealing than I expected.”
–Cashbox Magazine, January  2010 (3 stars)

“The cynicism I may have expected was overcome by a verbal and musical plea to the human spirit to hang…All the players are absolutely at the top of their form, and do their performance with the power I would’ve expected from the ‘’60s rap icons I grew up with and with a streetwise elegance than can challenge any high-speaking, well-educated fool that thinks he knows what life is all about.  No shuck and jive…jazz that will will urge your aura to achieve new heights."
-Improvijazzation Nation, Issue #99 (Interview and Pick of the Issue)

“A memorable modern mainstream jazz set that also mixes together aspects of Oleg’s Russian heritage, many adventurous moments, and subtle unpredictability…the type of forward-looking recording that grows in interest with each listen and is a perfect example of 21^st century jazz.”
-Scott Yanow, author and jazz critic

“As close to being a flawless mainstream jazz album in this age as you can get.”
-SomethingElseReviews.com

“An enjoyable album that bridges the mainstream/contemporary divide with aplomb."
-The Jazzmann

"Kireyev and Javors have a lot of common ground and the two of them are very much in sync…Kireyev’s rapport with Javors is as strong on the contemplative ‘What Is Love’ as it is on the mildly funky ‘Chinatown.”
-Jazz Inside Magazine

“When it come to lascivious tenor, the Russian Oleg Kireyev is your man…A classy session and one which breaks down the barriers between mainstream and modern.” 
-TheJazz Breakfast (Word Press)

“Quite attractive contemporary jazz...I like ‘Rhyme and Reason’ ”.
-Gapplegate Music Review

“One of those records you’ll find yourself playing often when you can’t decide what you want to listen to.”
-Jazzwise Magazine, United Kingdom

“Javors works seamlessly with Kireyev…This quartet played with purpose, polish and precision. But most importantly, they still swung.”
-Jazz Society of Oregon

“A perfectly good Bud Shank album….Lovely.”
-Voice Jazz Consumer Guide (A- Rating)

“Springtime begins with an interlude that seems totally improvised, showcasing Kozlov’s bowing skills, Kireyev’s ability to sputter through high-speed flurries of notes, and Javors’ more aggressive tendencies before launching into a high-speed workout…A very well-played, utterly mainstream, straightahead record.  If you need one more of those in your collection, this is a good one.”
-BurningAmbulance Blog

“Executions are well-crafted songs are quite long and well arranged, intelligent architecture, designed to coordinate that four without the banality of jam sessions. A listening repeated disk allows you to appreciate them for what they do from this point of view. "Chinatown" is a beautiful composition, the rest, however, is all material value and well arranged (and this is the strong point of the album).”
-All About Jazz - Italy  

“Audacious music such as these tracks written and performed here by Lomax are capable of getting one's band laughed off a bandstand. No laughing here, as the trio has plenty of bite to go with its bark…The task they perform is above reproach, burning through the energy jazz piece, each player standing his ground to deliver an unflinching tour de force.” 
-All About Jazz

“Lomax’s ferocious cadences urge Edwin Bayard’s tenor sax into a constantly escalating emotional ride and set the stage for a haunting solo by bassist Dean Hulett."
-Jazziz

“Mark Lomax and Trio have created a program that is visceral and soul-searching, music that should be heard "live."  That it sounds this vital as a recording makes one believe it could be breath-taking in a concert setting,”
-StepTempest Blogspot.

“Wonderful, skin color – black or white – listen to relish this interesting jazz…An excellent album”
-CD Ismertetok

"A ‘kick tail record project.’ Perhaps getting hit by meaning and beauty is the state we hope all America could be in, but if Black music could do this again in the world it would begin here.”
-Bill Barfield, Composer and Author

“Something Trane would have found worthy…”
-Jazzscene (Jazz Society of Oregan)

"This release by drummer/leader/composer Mark Lomax might be an uncompromising record with its origins in the issues of racial and artistic politics but it is also a thoroughly absorbing,convincing and, on its own terms, enjoyable musical work in its own right."
–The JazzMann

“This is an impressively conceived and executed piece of work from the drummer-leader, one in which the gravitas of the title is adequately matched byt he depth of both the composing and improvising of the trio.”
- Jazzwise Magazine (UK)

"One of the year's best jazz records."
-Point of Departure

"Fascinating, entertaining, provoking."
-Blogcritics.com

“A stunning success.”
-LucidCulture

"This consistently rewarding album ends with a solid dose of the down and dirty blues.  Good stuff.”
-The IRJRC Journal