"[Phil Hawkins'] music is incredible; It's imaginative, deep, fun, well arranged, and a facinating blend of musical cultures. And . . his band burns!" - Greg Murai, The Jazz School, Berkeley, CA

"With steelpans as the lead instrument and a lineup that also includes drums and percussion, there is little doubt that H2O will have an emphasis on groove. Of course, while the churning bottom is an undeniable focus of the music, Phil Hawkins has also composed some light, airy melodies to float above the beats. The music is unfailingly relaxed and possesses a breezy Caribbean lilt that seems to assure that everything will get done in it's own sweet time." - Stephen Latessa, All About Jazz

"A perfect musical mix, from smooth Brazilian sounds to hardcore Latin jazz to awesome Caribbean grooves, bringing together soca, reggae and calypso. The soloing throughout the entire album is excellent; Phil Hawkins is the new virtuoso in steeldrums, amazing compositions, excellent recording quality and concept. Must buy album, it deserves airplay everywhere in the US and abroad for music lovers to enjoy." - Benjamin Munevar, Miami, FL

"My wife once said to me indignantly: “Can’t you play something else? It’s Andy, Andy Andy…” Well she’ll be happy to know there is something else now: “It’s Phil, Phil, Phil…Hawkins, that is.” Phil just dropped his new CD entitled H2O and already it’s lighting up memories of the early glory days of Andy Narell’s evolution in the San Francisco Bay Area. Andy’s absence from the Bay has been felt, but his disciples are blossoming and the panjazz is alive again in the Bay. H2O is a mostly instrumental album that showcases Hawkins’ incredible talents as a composer and steel pan player. His extensive background as a jazz drummer is reflected in the interactive nature of the music. Hawkins’ arrangements seamlessly merge his passion for improvisation with a genuine respect for traditional Caribbean, Brazilian and Afro-Cuban grooves. Andy’s influence on Phil’s music is evident but that’s only as the originator of that style I like to call the ‘BayPan’ sound that is present in the music of Bay Area panists such as Pan Ramajay’s Tom Miller, and Derek Smith. But, enough about Andy. What Phil has done in H2O is brought his own sweetness and originality to that genre. Phil is prolific, and his music is exquisite." - Harry Best, Kakesa.com

"The musicians are having fun, they're enjoying the music and they know how to keep your attention." - Lee Prosser, JazzReview.com

"The latest album, The Cosmic Buzz, (Grosz has a way of using eye-catching themes for his albums), is a bit more varied. While still featuring Grosz compositions, the play list is seasoned with works by Thelonious Monk, Charles Mingus, a couple by drummer Phil Hawkins and two standards. Maybe it has something to do with the technical preparation of the CD, but Grosz's playing is much crisper, less muffled, than on the first effort. This is apparent on such cuts as the bop anthems “Bernie's Tune” and “Nostalgia in Times Square”. Bob Brumbeloe contributes major guitar licks on this tune making it one of the album's highlights. Another winner is “Do You Know What It Means to Miss New Orleans” featuring bass player Jim Kerwin carrying the tune with Grosz doing the rhythm for most of the cut creating a compelling deviation from the norm." - Dave Nathan, All About Jazz

"In this refreshing trio-plus date, vibraphonist Gerry Grosz finds himself in the good company of bassist Jim Kerwin and drummer Phil Hawkins, joined by Bob Brumbeloe on guitar on a few tracks. Proving that good things can come out of jam sessions, the core band started gigging together at Grosz’s Tuesday night session at the Beach Chalet in San Francisco’s Ocean Beach area. Out of this sense of interplay and tightness that comes from live dates, the band decided to record both their own tunes and standards; the CD has a fifty-fifty mix between the two. Grosz has significantly developed his craft after moving to the Bay Area some years ago, and the results are evident on this CD: the emotional range, use of color and texture so important in vibes playing, all comes through. The support from his rhythm section, small as it is, adds to the intimacy of this date. The ballad "Remembrance," written by the leader, shows Grosz's ability to gracefully comp behind the guitarist, while uptempo tunes like "Grimble’s Blues," written by Hawkins, has everyone taking solos out front. And with only three players on most tracks, there’s no safety net -- and these guys really don’t need one. " - (MH), Jazz West