""High Rolling" reminds me of the old British folk guitarists like John Renbourn and Bert Jansch ... a little bit of America's Kottke and a touch of John Fahey. Nice fingerstyle. Smooth.."
Patricia Lynch, Reverbnation
Giancarlo Susanna, Distorsioni
"Take a look at Jake Aaron’s website and you’ll find he calls himself “… a British guitarist, singer songwriter” … accurate though that might be, simply calling Aaron a guitarist and songwriter is a little like calling Warhol a painter … it misses the mark by miles. The complexity engendered by the few songs on his debut EP is dramatic, the lyric-driven images are poetic and powerfully presented by a low-toned, engaging vocal that occasionally moves towards a ‘spoken word’ approach. Add a guitar style that’s both rich and intricate, warmly wrapping itself around the songs and you’re closer to describing this music.
The enigmatic ‘1790’ holds a tender appeal, by contrast ‘Record Player’ makes a hard-as-nails statement that’s difficult to ignore, while the instrumental ‘High Rolling’ allows you time to take in Aaron’s fluid guitar. Although I’m pretty certain that ‘Dalston Kingsland’ is the only song in existence built around a North London Line railway station, it makes its ‘street life’ message clear and true. To round out the EP, Aaron closes with the no-nonsense 'Constitution Blues’.
I enjoyed Aaron’s EP and the unassuming way it lays down its markers of music and lyric. There's certainly a thoughtful songwriter at work here, combining humour and understanding with, when needed an acid sharp wit. Put all that together and that begs for an album to follow."
Tim Carroll - FolkWords
" ... the instrumental, High Rolling, shows what he can do when he lets his fingers loose, earning comparisons to the likes of Fahey and Kottke"
Mike Davies, Folkradio.co.uk
"This next one is a treat. It's something you've probably never heard before and it's extremely rare as a format. It's actually an instrumental single. And like all instrumental singles they are supposed to create a picture in your head, they're supposed to evoke some picture that is true to the music. This one is fun, it's creative, it's written very intelligently, it's played very well by Jake Aaron the guitarist and the band - Steve Lodder on Hammond, Guy Pratt on bass, Marc Parnell on drums, Steve Waterman on trumpet - some of the best players in the UK. It's unusual, it's also gonna put a smile on your face. Think Mariachi, think 1800s, kind of Western, America, Mexico and this will finally seal it for you - the track title - Give Me Your Horse! Give Me Your Horse! What a brilliant name! I think there's a Movie Soundtrack in this one actually ... "
Linley Hamilton, BBC Ulster
Jazz World with Linley Hamilton
"Once heard, Jake Aaron isn't an artist to be forgotten and "Fag Ash and Beer" will further cement his growing reputation."
Paul Jackson, FATEA RECORDS
"The cover and album title says Brit Guitar Band and Oasis wannabe. The presence of one time Pink Floyd Bassist Guy Pratt, Jazz legend Steve Lodder on keyboards and drummer Marc Parnell, son of Jack, brother of Ric from Atomic Rooster, grabs your attention for sure. Bookended between two Hammond organ jazz work outs, “Elvis Has Left The Building and “Give Me Your Horse”, think slightly proggy Jimmy Smith, this is a musically surprising album from the start. Jake Aaron is an interesting guitarist, whether on spry acoustic instrumentals like “For B” and the very Davy Graham “Allegro” by Carcassi, the insistent rhythm on “Jonah Part 1”, or the fine lead on the superb “New Mexico”. The Davy Graham comparison is a valid one across the album with the mix of classical, jazzy instrumentals and songs feeling like a 60s Graham album.
Jake is also a fine vocalist and songwriter. “Genevieve Alright” with its rippling jazzy piano and the epic “Jonah Part One” are delivered in a knowing voice, think a less louche Kevin Ayres, that draws you right into the narrative. If you have a hole in your collection for an interesting guitarist with strong songs backed by a band who can be Jimmy Smith, Traffic or a funkier less up themselves Emerson Lake and Palmer then this is it. Just look past the cover and imagine a gatefold Henry Diltz photo of Aaron and band sitting on a porch next to old shutters in New Orleans, that’s more on the money."
Marc Higgins 02/11/19, Time Past and Time Passing
"It’s a phenomenal album. Yes, it’s got solo acoustic in it, but it’s got so much more in it. It’s incredible. It was such a surprise. It’s varied, and excellent with it. It could have been all over the place but it holds together really well. You’ve got soul funk grooves, solo acoustic, urban poetry . . . So I’m going to play three in a row and you can be as surprised as I was."
Rick Stuart, Roots and Fusion