Short quotes (scroll down for full-length reviews):

Zvonimir Tot is the hot new voice in the world of jazz guitar virtuosos.
Judy Roberts, Chicago Jazz Magazine

...Blue Quest is always grooving, from first note to last. (...) All in all, this is a spectacular disc...
Paul Abella, Chicago Jazz Magazine

His “Lady Agatha,” (…) has a deliberate delicacy, a ballad that unfolds at a measured pace, with Tot's playing glowing with a beautifully ethereal quality.
Dan McClenaghan, All About Jazz

...Tot throws out some greasy guitar licks that are simply fantastic.
Dan Bilawsky, Jazz Improv Magazine

(Z.T.) ...is an extrovert soloist who plays from the heart. He improvises with a typical Balkan singing quality, an intense feeling for the blues, rich imagination, and unbelievably fast fingers.
Jeroen de Valk, Dutch jazz critic, Het Parool, Amsterdam

...Travels and Dreams is a remarkable disc and Zvonimir Tot is someone deserving far greater recognition.
Rich Friedman, All About Jazz

Zvonimir Tot's rapid fire guitar sets the pace in this fine ensemble. His ballad style also highlights this recording with soulful elegance. (...) 4 stars.
John Gilbert, ejazznews.com

His virtuoso guitar technique (...) has much to offer to the adventurous and serious jazz lover.
Prof. Richard Wang, Jazz educator and publicist, Former President, Jazz Institute of Chicago

His sound is inspired by all, from Kenny Burrell to Pat Metheny but yet distinctly his own.
Marshall Vente, Jazz Institute of Chicago

Tot is an inspirational player of the guitar; (...) his largamente style feels like one big stretch.
Ferdinand Maylin, JazzNow

Blue Quest Reviews:

Of all of the monster talents that Chicago can boast, one of the more recent ones is Zvonimir Tot. Zvonimir's not only a fantastic guitarist, but he's also a teacher around town as well, spreading his formidable knowledge to new generations of jazz players throughout the Chicago area. If you've heard the name, but haven't yet had a chance to hear the man, Blue Quest is a perfect place to start. Tot's guitar is up front and personal on Blue Quest, just as it should be. His tone is reminiscent of Scofield, albeit with fingers that fly faster than Sco's. His flourishes and runs remind me more than a little bit of fellow Chicagoan Fareed Haque. Put all of that together with a rock solid time feel, and you've got all of the ingredients together for a heady sound that grooves solidly from beginning to end. And the focus is most certainly on grooving throughout the course of Blue Quest. That groove may take on different forms, whether its fat and funky, as is the case on "Just a Closer Walk with Thee" or "Groove Me Wah", or if its a little more subtle, as is the case on "Prince of Belgium", but Blue Quest is always grooving, from first note to last. The three ballads on Blue Quest are all top notch as well. "Dear Maestro", especially, deserves special notice for the beautiful tone Tot gets, as well as the interplay between Tot and the always tasteful Larry Gray. All in all, this is a spectacular disc which will hopefully win Zvonimir Tot a lot of fans throughout Chicago and beyond.

Paul Abella, Chicago Jazz Magazine

Zvonimir Tot's path to jazz is a story that is almost as intriguing as the music he presents with his trio on Blue Quest. Tot is a native of Vojvodina, "the northern province of Serbia", and he left his home in 1990 to avoid the draft. Luckily, he managed to steer clear of what would become Europe's bloodiest sectarian conflict of the decade. Tot traveled to Budapest, where he earned a Bachelor's degree in jazz guitar and music education from the Franz Liszt Academy of Musical Arts. He then earned another Bachelor's degree in jazz performance from the Amsterdam Conservatory in the Netherlands. Following that, he ended up in Hannover, Germany. Tot's travels eventually brought him to America, in 2000, and he brings his varied life experiences to his music. Blue Quest begins with a funky up-tempo workout on "Just A Closer Walk With Thee." Bassist Larry Gray and drummer Charles Heath lay down some tight funk patterns underneath Tot's tightly focused guitar lines. From the get-go, Tot demonstrates his crystal clear, clean and precise phrasing during his solo on this track. While this arrangement disowns the breezy nature and tempo that is so often used for this hymn, the spirit and essence of the melody remains intact. Following Gray's solo, the opener comes to an end when Heath turns in some solid drum soloing over a vamp. "Dear Maestro (For Morricone)" is Tot's tribute to the work of Ennio Morricone. Neil Tesser's liner notes hit the nail on the head when he uses "simple (though not simplistic)" to describe the result of the diatonic nature in Morricone's compositions. This is a gorgeous piece of music with some interesting harmonic shades and Tot's solo is one of his most soulful on the album . Heath, with brushes in hand(s), paints wonderful lines beneath Tot and Gray. The title track is a swaggering, hip, bluesy stroll through Tot's musical mind. While the clean and crisp tone, attack and general feel of his guitar-work remains in place, a certain amount of grit does come through on this tune. Whether soloing or just staying in the pocket with his groove, Charles Heath's drumming on "Groove Me Wah" is both, fierce and funky. Gray, who contributes some electrifying solo work here, is on the same musical page as Heath from start to finish. "Lady Agatha," Tot's musical nod to Agatha Christie, is slightly ambiguous in nature and despite the fact that it's well played, is not the most memorable of tunes. Tot wrote "Prince of Belgium (for Philip Catherine)" to honor the Belgian guitarist and this mid-tempo musical affair shows Tot at his raunchiest. Heath lays down a nice groove in three and Tot throws out some greasy guitar licks that are simply fantastic. "Gray Matter" begins with a bass solo that acts as a showcase for Gray's arco playing. When the band enters, about two minutes into the piece, Gray's bowed bass remains the melodic focus as Tot and Heath coast beneath him. This piece is a bossa nova in nine [9/4 time] that gently glides through the speakers. Gray's tone, which is never too thin or fat, and intonation help to make this such a great performance. "Wiretap This!" is a 24 bar blues which features Tot's edgiest guitar sound on the album. One of the highlights of this track is the dialogue between Tot and Heath. The guitarist shreds his way through the tune and Heath ably comps underneath with a strong, swing feel. "Fugue for N.P." is dedicated to Nikola Petin, one of Tot's teachers, and the piece begins with a stately theme that gives Tot a chance to show off the more classically oriented side of his musical persona. The influence of baroque music, in addition to jazz and a hint of gypsy music, can be felt on this piece. "Above and Within (Ron's song)" is anchored by a slow, militaristic drum cadence at the outset of the piece. Gray's bass, sounding remarkably large here, creates a layer of sound for Tot to build on. This dreamy composition closes out a highly enjoyable album of well-performed originals from Zvonimir Tot and his musical partners.

Dan Bilawsky, Jazz Improv Magazine

Serbian-born, Chicago-based guitarist Zvonimir Tot opens up his second CD as a leader, Blue Quest, with the old American church hymn, “Just a Closer Walk With Thee.” There's reverence in the sound, but it's not a tranquil or meditative approach. Tot and his trio—which includes bassist Larry Gray and drummer Charles Heath—soup the tune up considerably. It sounds as if that dude with whom they are walking is a pretty hip guy, and is not in anyway averse to getting deep into the groove.

The group has a beefy, hard-driving edge, with lots of unabashed extroversion. Tot’s distinctive approach and tone—single notes and harmonies—rings with a juiced up reverberance.

The title tune is a slow, muscular, groove, a bluesy sound tinted with some gypsy colors; and “Groove Me Wah” has a South Side of Chicago feeling, with Tot's solos brimming with batches of sharp, succinct notes.

With the exception of the church hymn opening number, all of the compositions on Blue Quest are from Tot's pen. His “Lady Agatha,” for the British mystery writer Agatha Christie, has a deliberate delicacy, a ballad that unfolds at a measured pace, with Tot's playing glowing with a beautifully ethereal quality. “Prince of Belgium” is dedicated to Philip Catherine, a guitarist with a distinct European sound. Tot's dedication has a more American, rock music quality. “Wiretap This” features an ominous bass line and some of Tot's most fiery playing.

The set's second tune, “Dear Maestro,” for the Italian film composer Ennio Morricone, feels like a misstep. It has some background string sounds—synthesizers is the guess—and is a pretty piece of work, but it breaks the grooving, sometimes gritty mood of the disc, and might have been better placed at the end of the show.

Blue Quest is a very fine introduction to a new guitarist on the jazz scene.

Dan McClenaghan
All About Jazz

Travels and Dreams and Other Reviews:

On his stunning new CD, TRAVELS AND DREAMS, guitarist Zvonimir Tot successfully blends the passion of his eastern European roots with his unique journeys into contemporary American jazz. Backed by the great team of trumpeter Art Davis, bassist Nick Tountas and drummer Rusty Jones, Zvonimir showcases his dazzling technique and soulful heart on an eclectic array of dynamic and appealing originals.

Zvonimir Tot is the hot new voice in the world of jazz guitar
virtuosos.

Judy Roberts
Chicago Jazz Magazine

Jeroen de Valk
Dutch jazz critic
Het Parool, Amsterdam

Zvonimir Tot's rapid fire guitar sets the pace in this fine ensemble. His ballad style also highlights this recording with soulful elegance.

"Jungle Walk" is a fast paced tune showing Tot's dexterity along with a fine trumpet solo by Art Davis. Ideas run rampant in the exchanges, making for a most interesting listen.It is apparent that Rusty Jones is a seasoned drummer with impeccable taste as he guides the rhythm without going into overdrive.

"Pamela's Song"..Pamela is a fortunate lass to have this lovely tune dedicated to her. A solid ballad featuring trumpeter Davis's thoughtful solo.

Maybe the centerpiece of this album is "Who Shot The Guitarist" This song has a boppish feel with the blues underscoring matters. Art Davis 'gets after it' with a swinging soliloquy and Tot ambles along gracefully with a fine message of his own. Rusty Jones again demonstrates his skill as an in the pocket drummer. The four bar shots with Jones are a conversation that goes right to the heart of hip.

This is another fine addition for the jazz lovers of the world to add to their collection... 4 Stars

John Gilbert
ejazznews.com

What makes jazz so vibrant is its sponge-like ability to incorporate different styles and cultural perspectives. On Travels and Dreams guitarist and composer Zvonimir Tot, who now calls Chicago home, skillfully mines his Eastern European roots and virtuoso technique to produce an especially appealing mix of ballads, bop, funk, bossa nova and bluesy originals. A team of trumpeter Art Davis, bassist Nick Tountas, and Rusty Jones, on drums, the quartet delivers tunes that are skillfully composed, packed solid with rich imagination, and most importantly, a delight to hear. Take, for example, “Song for my Mother (Pesma Za Moju Majku),” a melodic duo on which Tot and Tountas trade relaxed solos. Another outstanding ballad, “The Rainbow Bridge,” in 3/4 time, showcases the solo talent of all the quartet’s members. The pace picks up substantially on “King’s Ransom,” a burner featuring Zvonimor’s dynamic chord changes and devilishly quick single-note vamps. On “A Sketch for Libby,” a short three-minute tune, Zvonimir, finds a way to include a variety of styles: gypsy folk music, American blues, and a small touch of flamenco. Because of his eclectic style it’s impossible to compare Zvonimir to other great jazz guitarist such as Joe Pass, Jesse van Ruller, Bucky Pizzarelli, Joshua Breakstone, or Pat Metheny. Suffice it to say that Travels and Dreams is a remarkable disc and Zvonimir Tot is someone deserving far greater recognition.

Rich Friedman
All About Jazz

Marshall Vente, WDCB 90.9 FM, Chicago on CD, Jazz Institute of Chicago

There is much to recommend on this CD of original compositions by Zvonimir Tot. His virtuoso guitar technique heard in the company of three of Chicago's finest jazz musicians has much to offer to the adventurous and serious jazz lover.

Prof. Richard Wang
Jazz educator and publicist
Former President, Jazz Institute of Chicago

Zvonimir Tot, guitar; Art Davis, trumpet, flugelhorn; Nick Tountas, bass; Rusty Jones, drums; guests, Steven Hashimoto, electric bass; Bryan Nichols, keyboards

Zvonimir Tot offers us some interesting sounds and styles with this new CD; all songs were composed and arranged by him, with the exception of the traditional "Voda Zvira", which he arranged. A good set of musicians line up to play with him; the cool, electric trumpet playing of Art Davis is most noticeably to the fore; he possesses a pure straight tone that would enhance any set of tunes. Tot is an inspirational player of the guitar; one would never guess his eastern European roots; he is a physically large man, and can be an expansive player, an example of this is "Magician's Kingdom", his largamente style feels like one big stretch. "Pamela's Song", is a delightful ballad played sensitively on the flugelhorn by Art Davis, a player who has no side to him; his sound goes straight to the heart. The tunes move through fusion, funk, bossa nova, swing, ballads and a touch of bop. In "A Sketch For Libby" Tot plays solo guitar and proves what a fine player he is. The two front men have just the right support from the bass of Nick Tountas and the drums of Rusty Jones. A CD with plenty to offer.

by Ferdinand Maylin, JazzNow