Screeching Owl is a project that evolved from the "Zakk Jones 5tet", now focusing more on original compositions and arrangements. I was very excited at the opportunity to record my music with Kody Orris, and I knew this group would provide the core element needed for the EP's (hopeful) success. I used my love for all musical styles in writing for the group, with influences ranging from Modern Jazz (Chris Potter, Alex Sipiagin etc.) to Heavy Metal and Drum 'n Bass. My goal was to create accessible, conversational and exciting music!

You can find more information about myself, or directly contact me via:

Zakkjones.com
Zakkjonesguitar@gmail.com

Review from Jazzcolumbus.com

"The intro to “Coif,” the EP’s opening track, is a bit deceptive, as John Allen’s thick bass line seems to belong in a 1970s funk hit, but then the wordless vocals of Kelsey Hillock soar into picture and transform the song into a fusion workout, with assistance from a strong horn section and the vibraphone of Kyle Gentile. Hillock employs a similar tactic on “Flood Meadow,” but the relaxed Brazilian feel of the piece, with warm solos by Jones and trumpeter Steven Jacobs, results in a leisurely Sunday afternoon vibe. The choppy swing of “Under the Wire,” led by Jacobs on trumpet and Matt Hakes on tenor saxophone, bounces along into a call-and-response climax that highlights the drums of Matthiessen Nisch Quan. Danny Bauer’s hazy keyboard part that opens “Falling Up the Stairs” slows down the proceedings for a bit, but then the tune springs to life powered by the rhythm section of Nisch Quan and electric bassist Will Strickler, allowing Jones and Bauer to eventually blast into the stratosphere. The counterpoint of Jacobs’ flugelhorn and Hakes’ soprano saxophone is the focus of the title track, which remains subdued until Jones takes the lead near the end and sets the stage for Nisch Quan to solo under the ensemble. The EP ends with “Screeching Owl,” which finds Jones playing a harder-edged part juxtaposed with an uplifting horn section, a combination that slides into a hot, bluesy solo for Jones while the rhythm section struts. The horn players follow with additional excellent solos that delve into effects, and the tune returns to the chorus just in time for a precise finale. While Dreams of Yesterday is only thirty-one minutes long, Jones uses the time wisely to make a concise statement of his songwriting abilities, and the varied, well-paced contents are a strong culmination of the abilities of a very musical ensemble."