Read James McQuillen's article on Hollis.

Press about Frames and Boxes:
A breath of fresh air in the violin world, composer-performer Hollis Taylor here presents two suites remarkable for their ingenuity and inventiveness, not to say virtuosity and downright enjoyable sense of fun.  Box Set is a transcription of Bach's Partita No. 1 for Solo Violin, for, er, solo violin. Reimagined as a set of dances drawing on contemporary styles—jazz, salsa, blues—the work is an unusually satisfying and instrumentally exhilarating example of the crossover genre.  Trail Mix is a more serious work, in a way, offering a highly personal view of American history, utilising scordatura tunings that were common practice in American folk-fiddle music to provide unfamiliar chords and sonorities.  The musical influences this time are from the folk-fiddle genre, and the piece is both dramatic and full of the unexpected, and also rather moving, suggesting a long-dead pioneer culture brought vividly back to life.
—Records International.

Congratulations and wow!  This is some major, major stuff. Great playing too.  This record blows the socks off any solo record I've ever heard.
—American fiddler/jazz violinist Darol Anger.

Press about Unsquare Dances:
Well, this is just fascinating; a "Cook's Tour" of (mostly) Eastern European folk melodies reworked as violin duos, combining the utmost inventiveness in violin technique and texture with great respect for the original idioms (and a vivacious sense of humor which never distracts from the musical purpose).  A classically trained violin virtuoso who has always striven to look outside the obvious pathways of music history, Taylor has mined a rich vein of material here, taken from traditions in which folk-fiddling is an integral part and reimagined in a most vital and appealing manner.
—Records International

What's that—Bartok on acid?!
—Cajun fiddler Michael Doucet, BeauSoleil.

Taylor has preserved a collection of European tunes while, like Bartok, stamping them with her own unique and lively imprimatur.  Her violin duo arrangements make use of a wide array of fiddling tricks—including slides, various bowings and breakneck pizzicato—as well as a harmonic vocabulary that lends some of her versions a jazz inflection.  Her virtuosity and her quick musical wit unify the collection.
—James McQuillen, Willamette Week,Oregon.

If you're a fan of the art of fiddling, this album is a must.
—Mason Williams.

Wizard fiddler Hollis Taylor's new CD shares a spirit of adventurousness with Dave Brubeck's classic "Time Out" and, like Brubeck's 1959 album, includes liner notes listing the time signature of each tune.  Unsquare perfectly describes the tension built by the intertwining violins as they trill and soar through melodies that sound as exotic as a sleigh ride through a dark Translyvanian forest.  They feel like a sleigh ride, too, in the sinuous pulse of the music.  Without landmarks such as the snare-cracking backbeat of rock 'n' roll or the one-two-three sashay of a waltz, the road signs here are much more subtle.  Meters pile atop one another, and the players syncopate until Western feet scarely know where to tap: It adds up to an album of exotic, exciting music.
—John Foyston, The Oregonian.

I've got to start trusting my theories.  Experience has taught me to keep a lookout for musicians with wide-ranging interests, and it's a dependable rule that composers whose music matters also will be active performers.  Hollis Taylor fits both profiles, and I love her new work.
—David Maclaine, Willamette Week, Oregon.

Press about Twisted Fiddle:
As Monty Python would say, ". . .and now for something completely different."  Ms. Taylor's fiddling style epitomizes the term "virtuoso" every bit as much as any classical or jazz performer you can name.
—Cadence, The Review of Jazz & Blues, New York.

Tricks never submerge or obscure Taylor's musicality.  Every line she plays is stamped with the sweetness—the rightness—of a musician who perfectly balances the holy trinity of head, hands, and heart.
—John Foyston, The Oregonian.

Taylor's playing is fluid and inventive, using lots of jazz scales and delivered with a deep, meaty violin tone.  Twisted Fiddle isn't really jazz, it is only occasionally western swing, and only rarely sounds like old time or bluegrass.  Instead, it is an intriguing hybrid of all of the above, spiked with good musicianship and a sense of humor.
—Mike Parrish, Dirty Linen, Maryland.

Not in a long time have I felt so enthusiastic over a new release, and this enthusiasm grew each second, third, etc. time that I listened to this CD, which I strongly suggest for immediate purchase. . . .Taylor possesses a pure, clean sound and is able to master diverse musical pieces in a newly-flavored harmony which betrays her classical training.  All comes in a fresh and joyful spirit which touches every line of the album.
—Bluegrass Music Association of Italy.

 Hollis Taylor is fiddle royalty in the U.S.
—Mark Bode, The Sunday Times.