[from a review of Acoustic Romance and The Good Stuff: A Tribute to Charlie Byrd (Noteworthy)]

While electric instruments dominate the jazz guitar world, a minority of players choose to use the acoustic nylon-string, not only for its sonic properties but also because it more agreeably supports fingerstyle technique, which opens up a whole specturm of musical possibilities not otherwise obtainable. One of the finest players among this discerning breed is Gene Bertoncini, whose command of harmony and texture can transform even the most mundane tune into an intriguing, multidimensional masterpiece, something he does with certainty on both Acoustic Romance and The Good Stuff, varying projects that showcase the scope of his consderable abilities. Lurking behind Acoustic Romance's schmaltzy title and 60s-era graphics are some serious solo guitar and trio performances (with bassist Rufus Reid and drummer Akira Tana), recorded in 1992. In the former category, "Edelweiss" and "'Round Midnight" undergo a series of brilliant variations that encompass details like varied textures and sublime reharmonization. Ensemble tracks like "Girl Talk," "Gone With The Wind" and "Emily" have many of the same qualities; however they [sic]

Acoustic Romance is more polished than The Good Stuff, a more impromptu outing, but both offer excellent views of Bertoncin's impressive scope as an arranger and improviser that would have Charlie smiling. Beautiful work from one of the guitar's greatest underhailed players.

— Jim Ferguson
© 2004 JazzTimes