Banner photos (in order they appear) by: Ilene Cutler, Kirk Tuck and Amanda Hinkle-Wallace


“...acoustic guitar fans have to raise him to the pantheon of the greats.” — Midwest Record

Midwest Record — Chris Spector
April 27, 2016

“Sturm is one of those heaviest cats you’ve heard but never heard of, he’s appeared on such a diverse array of albums that it would be hard to have missed him but unless you’re a real guitar head, the name might be new to you, even at this stage of his career. Here we find him doing his six string guitar thing solo on a set where he pays tribute to Youngs Neil and Victor (just because, ok?) showing how he’s such a master of the form that you better get to know him by name. One of those super lovely solo albums that leaves a distinct footprint all it’s own, acoustic guitar fans have to raise him to the pantheon of the greats. No wonder you dug all those albums he was lurking in the background on. It might be a sweet, graceful album but that doesn’t diminish it’s heat quota one iota. Hot stuff.”

"★★★★ ...10 acoustic performances that resonate with verve." — DownBeat

DOWNBEAT, Six-String Magicians — James Hale
February 2011

“Veteran guitarist and educator Rolf Sturm steps away from the band he co-leads with his bassist brother and delivers 10 solo acoustic performances that resonate with verve. Balance (Water Street Music 124; 50:59 ★★★★) is divided between jazz standards like “Stella By Star- light” and “Out Of Nowhere” and an equal number of originals that take whimsical anagrams as their titles (“Alone Together” becomes “To Get Her Alone,” for example). Sturm’s style encompasses elements of classical, American roots music and flamenco, and he mixes them so seamlessly and constantly that they become their own anagram. Regardless of his approach, each piece is suffused with tremendous energy and movement.”

"...masterful... astounding fingerstyle player... should be required listening for all fans of contemporary music." — Minor 7th Webzine

Minor 7th Webzine, Short Takes — James Scott
January/February 2011

“Rolf Sturm’s “Balance” is truly a remarkable recording, showcasing ten masterful solo acoustic guitar performances. Five of the pieces are Jazz standards and the other five are musical anagrams of those standards. Sturm is an astounding fingerstyle player effortlessly alternating between swinging jazz chords and beautifully executed single note lines. His improvisational abilities are both impressive and expressive. The son of teachers Sturm studied music at Berklee, while congruently pursuing a degree in liberal arts. He also studied with Joe Pass, Bill Frisell, and John Abercrombie. Throughout “Balance” one hears echoes of the late Joe Pass in Sturm’s tuneful virtuosity. His readings of “Stella by Starlight” and “Black Orpheus” are flawless. Furthermore, the musical anagrams are clever derivatives of the originals and take on a new and refreshing musical identity all their own. Sturm is a prodigious talent and is an unparalleled virtuoso of the nylon stringed guitar. “Balance” is highly recommended and should be required listening for all fans of contemporary music.”

"Rolf is also a master of scrumptious chord motion...In addition, Rolf has chops to burn." — Tony Trischka

Liner Notes — Tony Trischka (Banjo Legend)
April 12, 2005

Shawangunk is a hugely satisfying blend of heartfelt impulses and technical expertise. Rolf brings these qualities to bear on a sterling array of tunes—mostly originals, with a smattering of music by Mancini, Garcia/Hunter, and Herbie Hancock–august company, and Rolf’s compositions more than hold their own.

“If I’m waxing laudatory, it’s because I spent five years playing electric bluegrass-jazz-rock (or whatever you call it) with Rolf. I can’t think of that many guitarists that could effectively split all those different atoms with such aplomb. He would continually wipe me away with his note choices and tasteful and effective use of effects and whammy bar. Every solo possessed potent emotional content—whether a blazing distortion riven tear-down, or a sotto-voce implication!

“Over the years, Rolf has created a strikingly original electric sound (and about how many guitar players can you say that?), as well as fielding a distinct and compelling acoustic voice. Shawangunk is the pure expression of his nylon-strung artistry.

“In Rolf’s not-plugged hands “Watermelon Man” maintains its vivid funk pedigree—no small feat for one person sans amp.

“Margie,” written for his mother, is achingly beautiful and deserves to be a standard. Rolf has a sturdy melodic sense, imbued with a sense of inevitability. Witness “Alexander,” “Oh Father,” and “Winter Solstice” .

Rolf is also a master of scrumptious chord motion, as the above tunes and many others on this disc bear witness.

In addition, Rolf has chops to burn. But his technique never overpowers the music. It just acts in its service.

Having spent not a few hours in cramped, highway quarters with Senor Sturm, it quickly became obvious that he is a decent, ethical person with an oceanic heart. To my ears these traits permeate the music on this album, as well as all of the other wondrous sounds he spins out of his guitars.”

“...the duende lives in the very soul of the guitar and in its blessed legacy of modern soul mates such as Rolf Sturm." — Jazz Inside Magazine

Jazz Inside Magazine — Bob Gish
December 2010

“The nylon-string acoustic guitar, pure or amplified, is an instrument capable of capturing the essence of the guitar. And although there are many smooth jazz artists who utilize the soft and pliant sounds of the instrument, not since the likes of Charlie Byrd, Laurindo Almeda, Bola Sete, Eddie Duran, and Gene Bertoncini has the classic guitar made such a successful cross over into jazz.

“Django, of course, had his own special gypsy sound; however, it was not classical in its phrasing and textures. Whether classical works or jazz tunes are played with classical technique is perhaps not the issue. What is at issue is a feel, a sensibility for jazz and its phrasing, rhythms, manifested in its most elemental sound and sense.

“Enter Rolf Sturm and his wonderful ability to “balance” classical technique with jazz sensibilities. Thus this CD, so aptly named BALANCE, is a locus classicus in the evolving adaptations of pure, classical guitaristics for jazz purposes – and for the reciprocal enrichments of jazz infusions into classical guitar technique.

“The songs Sturm strums are a mix of standards, bossa-nova, and playful, lighter fare – again a fine balance. The standards, i.e. ”Beautiful Love”, “Alone Together”, “Stella by Starlight”, and “Out Of Nowhere” show a supreme sense of keenly felt, inner-interpretation of the songs, realizing all of their lovely and loving potential as melody. Sturm’s voicings bring new life into these old, and in their way classic tunes. “Alone Together” takes on even more symbolic meaning whereby Sturm is alone with his guitar in both the real and ideal sense.

“Black Orpheus” is heard in more than the usual movement and although continuing in a five-minute running time is all too brief, given the ever deep and thick invitations of the song. This is another aspect of Sturm’s sense of balance in that most of the cuts are more than four minutes long, some, as in the case of “A Foul Lute Vibe” (a wonderfully plangent, subdued yet at times frisky flamenco rendering), extend to seven minutes, while “Straight Belly Salt” stop at the threshold of four minutes. Taken together, the songs, arrangements, and interpretations give testimony to defining balance as freedom under girded with discipline.

“The lute and the guitar have a long relationship with the duende (the soulful muse as sought after in particular by Spanish guitarists). BALANCE is hard and fast evidence that the duende lives in the very soul of the guitar and in its blessed legacy of modern soul mates such as Rolf Sturm.”

“He is a guitarist of expansive facility...” — All About Jazz

All About Jazz — C. Michael Bailey
April 25, 2016

“Guitarist Rolf Sturm has found himself on two recent and exceptional recordings: Roswell Rudd and Heather Masse’s August Love Song (Red House, 2016) and Jenna Mammina & Rolf Strum’s Spark. He is a guitarist of expansive facility and a sense of humor, to boot. Take his present Young as an example. The release began conceptual life as a collection of Victor Young compositions. You know…the guy who wrote “When I Fall in Love,” Moonlight Serenade,” “Love Letters,” My Foolish Heart,” “Stella by Starlight,” and “I Don’t Stand a Ghost of a Change with You.” Yes, that guy. Well, Sturm decided to address several of these, but when he saw the album art, could not resist throwing in some Neil Young compositions too. Victor Young and Neil Young…that makes of strange bedfellows indeed!

“So interspersed among these pre-1950 Great-American- Songbook standards, mostly show tunes, are four Neil Young classics. The old a new meld into an informed continuum serving to remind us that all music as a thread passing through civilization connecting all time. Sturm studied with John Abercrombie, whose influence donated an abstraction to Sturm’s style, which is as informed by gypsy jazz as it is by the New Orleans—Kansas City— Chicago triumvirate. “My Foolish Heart,” Stella by Starlight,” pair oddly well with “Pocahontas” (from Rust Never Sleeps (Reprise, 1979). An assertive, muscular “Cowgirl in the Sand” rubs against a chaste and introspective “Ghost of a Chance” offering a contrast as impressive as an abstract “Tell Me Why” enhances a dark and rich “Golden Earrings.” Sturm successfully navigates two disparate composers to make a cogent whole. Good Show.”

“... beautiful touch... dexterously executed... spot-on harmonics and crisp clean lines... true artistry.” — The New York City Jazz Record

The New York City Jazz Record — Elliott Simon
April 2016

“Despite their last name, Victor and Neil Young have little in common musically but this solo release from acoustic guitarist Rolf Sturm changes that. Composer/ arranger Victor Young helped to define a time when movie music was written with an ear toward generating hit records from jazz bands, popular musicians and vocalists. His tunes are harmonically interesting yet invite lyrics. Standards like “Stella by Starlight” and “My Foolish Heart” have provided inspiration to jazz musicians for generations with good reason. Guitarist/ singer/songwriter Neil Young represents the antithesis of this approach with a 50-year career of country- inspired songs that have become rock/folk anthems. Victor Young’s catalogue is custom made for Sturm’s beautiful touch, harmonic appreciation and musical acumen but Sturm also unexpectedly finds a similar essence in Neil Young’s compositions.

“Sturm impresses with how he can take Victor Young songs from as early as 1918 that have been performed to death and make them his own. Opener “Sweet Sue, Just You” is delicately portrayed yet retains hints of Django Reinhardt’s version while closer “Golden Earrings” preserves subtle shades of its original mysterious Gypsy ambiance. “A Weaver of Dreams” is dexterously executed with fragile chords, spot-on harmonics and crisp clean lines and “I Don’t Stand a Ghost of a Chance” is made over through creative syncopation within a gentle yet harmonically powerful approach. The poignant ballad “When I Fall in Love” is expanded through unhurried intimate examination and the tantalizing romance in “Love Letters” is tastefully deconstructed—true artistry.

“Sturm impressively recasts the four Neil Young songs that are judiciously sprinkled throughout the program: the whine of “Cowgirl in the Sand” is thankfully tempered with warm chords; “One of These Days” has its syrupy wistfulness downplayed by highlighting its country roots; “Pocahontas” receives an elegantly complex facelift; and “Tell Me Why” has its happy/sad message softened. Young will not disappoint fans who have come to expect the inventive nylon string stylings for which Sturm is known.”

“... it's lovely. Such nice touch, very warm interpretations...” — Howard Mandel

Howard Mandel (President of Jazz Journalist’s Association)
February, 2016

“I’ve just been listening to “Young”, and it’s lovely. Such nice touch, very warm interpretations and yes, who’da thought Vincent and Neil are related like this. My favorites in first listening are Cowgirl in the Sand and When I Fall in Love. Thanks for the splendid music. I’ll talk it up as I get opportunities.”

"...unparalleled guitar-driven music...reaches further than probably anything you've heard from six strings prior to now." — Cadence Magazine

Cadence Magazine — Dave McElfresh

“Listening to the outside playing of guitarist Rolf Sturm, you’d never think that he’d once backed country feller Eddie Arnold. God knows what his former boss would think of the unpredictable, twisted writing and playing featured here. Maybe all those lessons he took with John Abercrombie, Bill Frisell, Jim Hall, and Joe Pass sucked the hillbilly out of him – though, as Frisell has done, you can picture the guitarist turning out some wonderfully demented album of wa-hoo, clogging-in-hell White trash music. Maybe next time. This time he, brother Hans and percussionist Velez lay out un paralleled guitar-driven music that’s just a little too progressive to ever earn them a cover photo on Guitar Player Magazine. The band isn’t outside as in Cecil Taylor-outside, but their stuff still reaches further than probably anything you’ve heard from six strings prior to now. The trio knows how to balance melodicism and stretching out, as ‘Dream Milonga’ proves. Rolf, who’s equally creative on acoustic and electric, has created a disc that could very well carry a sticker declaring it cliche-free. Definitely something to check out if you’re a picker tired of those damn scale exercises.”

“Guitar virtuoso Rolf Sturm...” — The Daily Item

The Daily Item — Rick Dandes
February 25, 2016

“SUNBURY — Guitar virtuoso Rolf Sturm’s 16th music CD combines the old and the new in an elegant collection called Young, featuring — what else — classic tunes by Victor Young, and contemporary compositions by Neil Young.

“About the theme. I had realized that there were a number of Victor Young tunes in my repertoire,” explained Strum, who grew up in Lewisburg, but now lives near New York City. “A few years ago, I started researching his compositions. It turns out that he was a very prolific composer so I considered making a recording of just his material. And during this process, I thought it would be funny and sort of ironic to call the recording ‘Young’ and have a picture on the front cover of me with my grey beard. But once the front cover was created I thought, ‘If I saw this cover with the title Young, I’d think Neil Young.’ I immediately went back and recorded four Neil Young tunes and wove them into the recording.”

“The Victor Young tunes on the recording that are most well known are “When I Fall in Love,” “My Foolish Heart” and “Stella by Starlight.” Sturm tends to gravitate towards tunes that have an interesting harmonic rhythm; songs whose chord progressions flow nicely and go to interesting places, as opposed to songs that focus primarily on the melody over top of a simple repeating chord progression.

Sturm used the same criteria for the Neil Young tunes.

“I watched footage from various solo Neil Young concerts on the internet and almost immediately found the four that I decided on,” he said. “These are tunes that I really like so it was pretty easy to come up with my own versions of them for this recording.”

“Sturm said he’s a Neil Young fan.

“I know that there are folks who have a hard time with his voice or his guitar playing, but there is something so honest and heart felt about his music,” he said. “I am drawn to musicians who play from their heart and not just from their head. Of course, I appreciate musicians who have achieved virtuosic capabilities, but I also appreciate musicians who have lived life and have something to say.”

“Sturm released the CD on his own label, Water Street, named after the Lewisburg Street on which he grew up.

“He is booked to play in Lewisburg on August 4th at the Ridgecrest Centennial celebration.

“I may get to do another performance at the Elias Center for the Performing Arts in Mifflinburg,” he added.”

"... a deft chordal/melodic encounter... crystalline chord voicings...enchanting melodies." — All About Jazz

All About Jazz — Eliott Simon

“…Rolf Sturm’s Shawangunk is a deft chordal/melodic encounter that reveals its spirit like a brilliant Hudson Valley morn… featuring the pure-as-mountain-snow sound of his nylon strings…his crystalline chord voicings intermesh with enchanting melodies.”

“Rolf Sturm’s Shawangunk is a deft chordal/melodic encounter that reveals its spirit like a brilliant Hudson Valley morn.

“Whether it is the Dead’s “Ripple”, played at a relaxed leisurely pace, an intriguingly swinging version of Herbie Hancock’s classic “Watermelon Man”, or personal compositions that speak of people, places and events, Rolf Sturm strums and picks with just the right touch. Comfortable in multiple milieus, in addition to fronting his own modern country group, Sturm has played with the Knitting Factory/Tzadik crew and been part of klezmer, tango and bluegrass projects.

“For Shawangunk, he hopped on the thruway and headed north to the Catskills for some “country” re-inspiration to present a varied hour of new takes on well-known tunes and sweet, fresh material, all featuring the pure-as-mountain-snow sound of his nylon strings. “Egberto” pays tribute to Brazilian instrumentalist Egberto Gismonti with a pretty melody and the Latin-tinged “O Galo” does the same for pianist Michel Camilo, while guitarist Jim Hall’s “Down From Antigua” is recast as “Down From the Hallway”, with a breezy picked melody. Sturm’s personal reflections like the haltingly beautiful “Kant Strasse”, innocently lovely “Green Arches” and touchingly composed “Oh Father”, “Margie”, “Alexander” and “Earl Jean” are standouts where his crystalline chord voicings intermesh with enchanting melodies.”

“...careful, calm, commanding virtuosity...” — Howard Mandel

Howard Mandel (Down Beat, Jazz Times, Swing Journal, the Wire, and President of Jazz Journalists Association)

“ …very pretty “recital,” that lets (Rolf) demonstrate (his) considerable range; nicely played, careful, calm, commanding virtuosity…”

"...exceptionally gifted... Sturm shines brilliantly..." — Paul Zollo

Paul Zollo (Variety, Billboard, and Rolling Stone)
Review of Tomas Ulrich’s Cargo Cult “Lonely House (Covers)” recording

“… eloquent coloring by the exceptionally gifted Sturm”
“Sturm’s playing throughout is joyful – with tastes of country and folk mixed in with jazz voicings and eloquently clean solo lines.”

“…Sturm shines brilliantly in his accompaniment, which is eloquently quirky and great, and then solos with an inspired blend of Django, Chet Atkins, and more.”

"Sturm is a talented and versatile player..." — Cadence Magazine

Cadence Magazine — Kurt Gottschalk
Review of a Tomas Ulrich recording on CIMP Records
June 14, 2010

“Sturm is a talented and versatile player, having worked in the past in country and bluegrass (Eddy Arnold, Tony Trischka), groove jazz (Billy Martin, Illuminati), klezmer (Glora Feidman) and tango (The New York-Buenos Aires Connection). He can utilize the tactile noisiness of the electric without spinning out of control, and he can just as easily supply subtly metered flamenco stylings, as on his lovely composition “Blue Mood.”

"Guitar virtuoso returns to his roots." — The Daily Item

The Daily Item — Rick Dandes
July 31, 2008

“Each time guitar virtuoso Rolf Sturm steps on stage in his hometown of Lewisburg, his growing number of dedicated fans don’t quite know what to expect.

After all, Sturm, who specializes these days in acoustic jazz, has an eclectic rock and jazz background, having played with everyone from classic rock superstar Jorma Kaukonen, of the Jefferson Airplane, members of the Grateful Dead and Buddy Cage, of the New Riders of the Purple Sage, to country crooner Eddy Arnold and 1950s pop star Pat Boone.

Strum likes to keep people on their toes, musically.

Last year, he played a well-received solo acoustic set in the park before a large and enthusiastic crowd. This year, at the Aug. 6 Music in the Park concert series in Hufnagle Park, Strum will be playing as half a jazz duo, with trumpeter Rob Henke, a longtime collaborator .

“We’ll probably be playing some standards, some originals, and maybe we’ll improvise on some ancient liturgical music,” Sturm said.

Although this will be a quick trip into town, Sturm always enjoys the chance to mingle with old friends and family. While in Lewisburg, he’ll get a chance to stay with his father, Douglas, who taught at Bucknell University and mother, Margie, a former English teacher at Lewisburg High School.

“I really do look forward to coming back to Lewisburg,” he said. “I wish that I could come back on a more regular basis to do some playing. It’s something that I need to devote some more energy towards. Lewisburg holds a very special place with me.

“So, yes, I really am looking forward to coming home on the 6th.”

While here, he might also run into some old bandmates. As a teenager, Sturm played in local bands such as the Marquee and The PPits.

“I had a wide range of musical tastes even back then,” he said.

After college, Sturm turned professional in 1984 and moved to northern New Jersey, where he still lives.

“I started with any gig I could get,” he said. “Honestly, it’s what you have to do when you start out as a session musician in the business.”

When he’s not playing on the road, Sturm is busy in the studio, preparing the next batch of releases on his own Water Street label, named after the street he grew up on in Lewisburg.

Will the new music be cool jazz or rock?

Just when you think you can categorize him, Sturm throws you a curve. His most recent release, “Just Cause, Standards,” was filled with Irish country standards and Dixieland music.

“I’m getting ready to release three new CD’s,” Sturm said. “One of them is from the band ATB (All Terrain Band). It was a band that I was in from about the mid-80s until around 1996. A fantastic rock band that mixed rock, rap and reggae. It had a couple of horn players that were tremendous. In fact, one of the original horn players in the band was Rob Henke, who is coming back with me to perform on August 6th.”

The second CD is rock project that Henke put together back in 2000. He called the band Kloomp!, a faux German metal band that played to a story that he had written titled “A Tale Of Trevor Nor.” The third CD is a collection of three film scores that Sturm composed for the band 4FiveVI.

“It’s a six-piece band I play in. I’ve been trying to make this an enhanced CD so that two of the films will be on the disc if you play it on your computer. It should be done by mid-September.”

In his spare time, Sturm has finished two string quartets and is now working on a larger work for orchestra and choir.

“It’s a three-movement piece based on the theme of “Pacem In Terris” (peace on Earth),” he said.”

"...Rolf is subtle and deft on the guitar...He has a way to touch your senses...masterful." —

Shawangunk — Viki Ackland

“The Shawangunk is a lovely mountain in New York, where the crystal clear streams sparkle in the sunlight and cobalt skies are endless. You can stand at the edge of smooth gleaming white cliffs and watch as water falls into the ravine below. Rolf Sturm’s new acoustic solo recording of the same name also has the same ambiance.

“Rolf Sturm has had numerous recordings, and has performed and/or toured with banjo pioneer Tony Trischka, drummer Billy Martin, country singer Eddy Arnold, the Argentinean tango group New York-Buenos Aires Connection, the Grateful Dead big band Illuminati, klezmer clarinetist Giora Feidman, and the Walter Thompson Orchestra. He also leads his own New York City area bands Feed The Meter and Just Cause.

“Rolf Sturm’s chords dance as if suspended; his improvisation is reminiscent of Lenny Breau’s 1975 CD Cabin Fever . Rolf is subtle and deft on the guitar, and like the mountain, his range is wide, with a sudden burst of rock edge. He kicks into gear for track 5, the chords are lively and folksy with an eclectic quality.

“On this CD, he smoothly moves through eighteen original compositions, proving his talent as both composer and a musician. He has a way to touch your senses with his music. It is the unique combination of improvising and moody arrangements, which are masterful. It is beyond smooth, which is the thing that gives it the perfect edge.

“Sit back, close your eyes and enjoy the view.”

"His prowess in different styles gives the trio even more range... fine acoustic playing by Sturm..." — IAJRC Journal

IAJRC Journal — Stuart Kremsky
June 2010

“Rolf Sturm’s unhinged electric guitar on the opener gives way to his delicate Mexican-flavored acoustic guitar on the moving Blue Mood. His prowess in different styles gives the trio even more range. The album’s lone standard, a deeply affecting version of Beautiful Love, features more fine acoustic playing by Sturm…”

"...beautiful sound... all instrumentalists should listen to see how a musician can sustain a lengthy solo performance." — Jazz Improv Magazine

Jazz Improv Magazine — Marshall Zucker

“…beautiful sound…Sturm takes more than one minute to introduce the melody of “Days Of Wine And Roses”, and the melody’s appearance is akin to Orson Wells’ appearance in The Third Man–you have waited for it, and are not at all disappointed… Although guitar players in particular will appreciate this CD, all instrumentalists should listen to see how a musician can sustain a lengthy solo performance.”

Various Other Quotes

“He is one of the best solo acoustic and electric guitarists in the business, an in-demand sideman, comfortable in almost any style, and much admired by established artists of all genres.”
The Daily Item — Rick Dandes
June 2007

“…guitarist Rolf Sturm kicked out the jams…jaw-dropping instrumental virtuosity…”
TIMESUNION.COM — Review of live Tony Trischka Band concert

“…music that is sublimely sensitive, while still maintaining an undercurrent of mystery with an improvisational edge…A truly expressive guitarist…”
Bill Milkowski (writer Downbeat & Jazziz) — Review of unreleased Rolf Sturm Quartet recording

“…guitarist Rolf Sturm…pushed around the harmony and made everything gel. In doing so, he works toward the greater good and creates his voice.”
Musician Magazine — Review of Billy Martin’s Illy-B band at the Knitting Factory (East Houston St., NYC)

“Where no guitar has gone before… Rolf Sturm.”
The Bergen Record — Article about Dave Torn and the new guitarists that he has inspired

“…superb work by guitarist Rolf Sturm.”
JazzTimes, New York Art Party: Celebrating Roswell Rudd – Evan Haga
January 13, 2018 — Review of Roswell’s 82nd birthday concert at Dizzy’s Club Coca-Cola. Performance with Heather Masse, Rolf Sturm, Mark Helias and Archie Shepp, and other groups.

“Rolf Sturm, a broadminded guitarist…”
New York Times — Review of a Tomas Ulrich’s Cargo Cult concert

“First-class penmanship, which doesn’t talk down to the listener, guarantees that you won’t get bored listening to thess tunes. What a treat!”
— Diane Patrick (JazzTimes, Jazziz, Wire) — Review of unreleased Rolf Sturm Quartet recording

“…skilled…musical…eclectic…unique…guitarist Rolf Sturm.”
Backstage Show Guide — Review of Strike Anywhere Performance Ensemble show

“In the new band, Rolf’s skill with weepy blues, angular jazz and plaintive country expanded their musical horizons and acted as the ideal interactive springboard for Tony’s (Trischka) banjo.”
— J.D. Edwards (music critic — Review of live Tony Trischka Band concert

“Excellent new CD… a virtuoso guitarist… an eclectic mix of classic tunes and Sturm originals are impeccably performed.”
The Daily Item
September 23, 2010