"The latest record by L.A. fusion stylist Andrea Balestra combines the trippy, the ethereal and the intense. Performing original compositions and gems by Jimi Hendrix, John Coltrane, and Joe Henderson, Balestra blends art, jazz and super chunky blues guitar. Trinity is a beautifully orchestrated document of rich chord voicings and tantalizing rhythms. Highlights include We'll meet again" - Vintage Guitar Magazine
" With ample passages of jazz or prog rock deftness, there is also no loitering or monotony in any of the nine presentations. With smatterings of fusion giants such as Scott Henderson and Oz Noy in his holster, Balestra nonetheless is more enraptured by the vintage gunnery and execution of Jeff Beck and unworldly trappings of Mr. Hendrix." - All About Jazz
"From funky wah-wah workouts to simmering jazz explorations, Balestra demonstrates the upside of virtuosity." - M Music & Musicians Magazine
"Virtuosity, taste and originality are very rare qualities. Andrea Balestra demonstrates all these traits, that show beyond any doubt that he is a complete musician." - Musicoff.com
"The music of Andrea Balestra comes from the natural jazz of his soul. Elements of the music the Andrea hears outside of his work relies on the man’s nature to let the sound soak into his skin, and slowly strike a path back into the universe, like the tasteful guitar note pattern that opens “Painting on Silence”, sparkling as it dabbled liberally across the audio canvas." - The Alternate Root
"This one’s easy. This is a beautiful solo guitar album with megawatt guest stars lending a hand. Dripping with creativity that comes from the heart first, this is what you want to be hearing in a semi-dark room, well after hours, when your ears need some sonic silk that comes at you from different directions. With enough jazz running through it to call it jazz if you need to, this is simply killer contemporary instrumental music. Hot stuff." - Chris Spector, Midwest Record
"Traversing the golden contours of his Fine Arts Avenue should elicit feelings of euphoria in anyone who appreciates the instrumental brilliance of a Jimmy Herring or a Julien Kasper. Balestra’s own particular flair derives not only from his masterful manipulation of the six strings, but in his compositional skills, and keen focus on beautiful ensemble playing. His pieces are reflective, exciting, knotty, and refined." - Hittin the Note Magazine
"If you’re searching for a truly inspiring jazz rock instrumental piece then this is surely it. This offering from Andrea Balestra is stoically unpretentious still it manages to give a different slant to that thoroughly overworked instrumental format.
“Painting on Silence” is the kind of album that will bring solace to anyone in search of spiced up, excitement packed and enriched jazz rock. The competition may be stiff, still Andrea Balestra has what is takes to emerge on top. " - The Rocktologist, Slovenia
"The music on Balestra’s new CD will appeal to both jazz and blues enthusiasts as he seems to be able to strike a balance between the two related styles that avoids alienating fans of either.
The Beatles cover is particularly good, and while Balestra takes some definite liberties with the tune, the basic structure of the song remains intact, ensuring that even hard-core fans of the Fab Five will likely get something out of a listen.
For an album that doesn’t contain a single spoken word, Balestra has definitely crafted a collection of songs that speak volumes." - Charlston Scene
"Dark White Skies, with Julien Kasper, is a trip back to the day when Ronnie Montrose went solo in that highly overlooked but delicious solo slab Open Fire, both fretbenders here choosing lyricality over flash and speedstering in the kind of song that isn't composed much any more, more's the pity, the tune being a poem, not a burndown. That gives way to Bulldozer, with Henderson, and a very bluesy approach containing plenty of sharp-edged definition but also a slice of that earlier Montrose narrative mixed with Frank Marino and a skosh of Jeff Beck. The take on Monk's Round Midnight continues those shadings, a Blow by Blow-ish approach rather than what was wrought in Andy Summers' highly impressive disc (Green Chimneys, the best thing he's ever done)." - Mark S Tucker, FAME magazine