"... virtuosic...  pulsing, tricky Afro-Cuban (and sometimes Bulgarian) rhythms take over their bodies and tap shoes."

Brian Seibert, The New Yorker, August 4th, 2008

"... Max Pollak, tapster par excellence."

Jennifer Dunning, The New York Times, December 7, 2007

"... adventurous Afro-Cuban style, creating a wonderfully textured sound ... The dancers rubbed their palms together, slapped their thighs and used their breath, before letting their feet take over and Pollak led them by this path into a spiritual realm."

Robert Johnson, The Star Ledger, July 13, 2007

"... wittily phrased..."

Jennifer Dunning, The New York Times, July 17, 2007

"... essentially a full-bodied experience... dancers slap their bodies while singing and tapping. Instruments aren't entirely necessary in such a realm, but in Max Pollak's... tap and musical drama... musicians are every bit as integral as the dancers."

Gia Kourlas, The New York Times, April 7th, 2007

"... a stylistically satisfying blend of polyrhythms and percussive landscapes... infectiously charming... moving his torso fluidly while attacking the floorboards with assertive zeal."

Maura Nguyen Donohue, The Dance Insider, March, 2007

"... groundbreaking..."

Claudia LaRocco, The New York Times, May 5, 2006

"... excellent... Pollak's unique synthesis with Latin rhythms reeks of originality complex feet and rhythms meshed throughout the body."

Jane Goldberg, Dance Magazine, May 2006

"…the most knowledgeable jazz tap artist out there today, a very literate musician as well as dancer."

The Boston Herald, 2006

"... a splendid, idiosyncratic performer, his tapping forceful, swift and sly."

Tobi Tobias, The Village Voice, 2006

"One of the finest young tap artists on the planet!"

Gregory Hines