"While Gruenling proves a master of chromatic harp, he isn't explicitly trying to ape (George) Smith's gut-busting approach. He has his own agenda here, and harp players - as well as lovers of blues and swing music - should pay attention! Gruenling's tone is particularly well-adapted to such a task (using low-tuned harps); it's warm and round and fluid, with little metallic edge. That may be due in part to his choice of harps, but much of it is pure mastery of his craft. (LOw-pitched harps are notoriously difficult to fill with air, their notes harder to shape, yet Gruenling pays them with finesse.) On some tracks, like "Jump Time" and "Rooftop Swing", he sounds remarkably like a muted trombone. And Gruenling plays rhythm parts as effectively as his hot leads. The goal isn't to dazzle with solo pyrotechnics; his approach is an ensemble one, with strong jazz/big-band influences. Listeners of goood jazz and blues, as well as those charting new directions for harp, will find Gruenling's album an essential purchase." - BLUES REVUE 1999 "Gruenling himself has garnered the reputation of being a young phenom/prodigy on blues harp and while I'd been a fan of his writings over the last two or three years, this is the first opportunity I've had to hear his harp work and, I must say, I'm astounded by the level of talent/performance by this young man, especially since he's just been playing several years. Gruenling has enlisted a killer supporting cast on this jumping and wailing West Coast-style blues debut. Gruenling has ensured that he has surrounded himself with the very best players of the jump blues/West Coast swing genres and with such a foundation it gives him a base from which he can fly - and fly he does. Swooping and soaring a la' George Smith, Gruenling takes the listener on a great big ride. High energy, good time jumpin' and jivin'blues of the highest order permeate this disc. He plays like someone who's absorbed 40 or more years of music and influences, a trait common amongst prodigies. The opening cut, "Blowin' My Top", and original instrumental sets the tone for the disc with that big fat Smith-style soaring and the cover of The Clover's 1950's hit "Your Cash Ain't Nothin' But Trash", is done with taste and gusto with Marchie handling the vocals. "Twelve O'clock Jump" is a stupendous original with killer horns and harp leading the charge. A knockout track! "Mr. Cat" is a smooth jazzy blues instrumental with a "Harlem Nocturne" attitude with great Joel Frahm sax work. It's obvious Gruenling has a taste for 1950's cool jazz as well as blues. When Winslow Yerxa writes of Gruenling "...with an unusual predilection for instruments pitched well into the bass clef, Gruenling has achieved a sound that promises to re-define the role of the harmonica...listeners to this album will frequently find themselves wondering if they are hearing a saxophone or harmonica." A perfect description of Gruenling's bag and direction. This is some serious harmonica disc. George Smith opened a new door with his distinctive and revolutionary chromatic techniques and players like Gruenling have expanded and explored even further. Every one of the 14 tracks is a real treat so it's hard to pick favorites when they're all so damn spectacular. 71 and a half minutes playing time, excellent sound, production and packaging make for an end result that warrants a 6 bottle rating (the highest rating). This is not just a great blues harmonica disc - it's also likely to be considered a classic trend-setting recording for years to come, and Gruenling has climbed up on the throne to share top honors with Piazza, Paul deLay and Mark Hummel as a current harmonica king. This disc is a mandatory purchase for all blues and harmonica fans and even modern jazz fans will e seeking this collection of gems out. You'll be amazed. Further proof that the best music today is happening on independent labels. Don't miss this one folks!" - REAL BLUES MAGAZINE 1999