Knut Reiersrud ( N )
  Han var har i 2005 og gjorde stor suksess.  Frå Dagbladet sin omtale av CD'en "Pretty Ugly" som Reiersrud fikk Spelemannsprisen for i 2004:  Knut Reiersrud er først og sist en ekte bluesmann.  Men han er også en nysgjerrig verdensmusiker som elsker å eksperimentere. «Pretty Ugly» er en bluesplate, men det hadde ikke vært en Reiersrud-plate om det ikke også var et snev av noe annet her - f.eks. soul, jazz (kanskje inspirert av makker Knut Borge i «BluesAsylet» på NRK P2) og folkemusikk, som så mange ganger tidligere. Og - «Pretty Ugly» er hundre prosent Reiersrud. Her har han virkelig fått bruk for tørrtreninga på Tandbergs spolebåndopptaker som ung gutt, for det er bare én utøver på dette albumet. Han heter Knut Reiersrud, og han spiller gitarer, piano, orgel, fender rhodes, munnspill, glockenspiel, bass, trommer og perkusjon - og han synger bedre enn noen gang. Er det virkelig gitarfantomet Reiersrud som triller kule pianotoner på «Worried Life Blues» ?

Frå Knut Reiersrud si webside
When he was ten, Knut Reiersrud recorded Miles Davis and Mikael Urbaniak from the radio on his sister's cassette player. Two years later, he and his brother bought themselves guitars after seeing Buddy Guy and Muddy Waters on TV. At eighteen, Knut became an overnight sensation when the same Buddy Guy and Otis Rush, having heard him for the first time, embraced him and immediately invited him home to Chicago.

Knut Reiersrud (1961) is known to most people as a guitarist. It's now twenty years since he had the honour of playing with his legendary heroes. Since then he has played at 5,000 concerts, made more than 100 records, of which he has considered only five to be worthy of releasing under his own name, and in between times learned to master ten different string instruments. The problems arise when you try to explain what kind of guitarist he is. A man who always travels around with eight guitars because they have been tuned differently according to where the music comes from is versatility personified.

Reiersrud's unique talent shines out through all this versatility. In some inexplicable way, he creates an aura around the notes that is pure Reiersrud, whether he is playing African, Indian, Norwegian or American folk music, whether he dwells sobbingly, dances with cat's paw virtuosity over the strings or is downright noisy. It sometimes sounds as though he is giving birth to the notes right there and then, possibly as a result of his never using a plectrum because he wants to be close to the strings. His playing seems to find the essence; it evidences fundamentality, understanding and a sense of origin. All this is due to his insatiable curiosity and enviable openness. On the other hand, he can also be surprisingly conventional, as when he maintains that modern blues consists of good and less good copies of the great masters.

Les meir på websida hans.