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Praise

“Virtuosity and deft, precisely timed wit”
-Washington Post

“Commandingly elegant”
-New York Times

“Vibrant…superb”
-Alex Ross, The New Yorker

“An inspirational sense of fun and curiosity”
-Minnesota Star-Tribune

“The group performed with absolute aplomb”
-Boston Globe

“Dynamic”
-Chicago Tribune

“Mysterious, funny, endlessly inventive”
-Boston Classical Review

“Brilliant”
-Independent (UK)

“Technical precision, palpable groove and outstanding sound”
-Time Out New York 

“Hard-grooving”
-New York Times

“Savvy and hyper-talented young percussionists”
-Musical Toronto

“Fluency and zest”
-Andrew Clements, the Guardian (UK)

“Undeniably groovy…masterfully performed”
-Time Out Chicago

“One of the country’s finest new music ensembles”
-Chicago Reader

“The musicality and fierce focus of Third Coast Percussion electrified the room.”
-Sarasota Herald-Tribune 

Reviews and Features

John Cage percussion music a springboard of sonic possibilities

June 29, 2012
by John Terauds

William Walton, Dmitri Shostakovich and Samuel Barber wrote pieces 70 years ago that are now part of the classical canon. While mainstream audiences still look away in anxiety when anyone mentions the name of John Cage, a new wave of savvy and hyper-talented young percussionists may be able to change fear to love (or at least respect).

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Live: Third Coast Percussion Celebrates John Cage’s 100th Birthday at MoMA

August 13, 2012
by Steven Thrasher

Third Coast Percussion
MoMA Sculpture Garden
Thursday, August 9

Better than: Watching almost any contemporary DJ, since Cage was mixing vinyl and live radio with live performance before World War II.

Some 69 years ago in 1943 (more than a decade before the first issue of the Village Voice was published), a 30-year-old composer named John Cage made his debut at the Museum of Modern Art. What he presented, some wrote at the time, was described more as “noise” than as “music,” but that may not have bothered him too much.

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John Cage: The Works for Percussion 2 Album Review

June 21, 2012
by Doyle Armbrust

The Works for Percussion 2 reminds us just how undeniably groovy John Cage’s percussion canon can be. In “Third Construction,” 3CP moves beyond precision to nimbly demonstrate the mesmerizing quality of Cage’s rotating rhythmic structure. David Skidmore breaks into an ecstatic, double-fisted kashishi breakdown, as Peter Martin shoots blasts from a conch shell.

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Beat the Heat: Austin Chamber Music Center Summer Festival 2012

July 26, 2012
by Andrew Sigler

Third Coast Percussion’s performance at Bates Concert Hall featured works by Reich and Cage, as well as two pieces written by the performers. Fractalia by TCP member Owen Clayton Condon was a perfect piece to start the show; a short, inviting amuse bouche to whet the appetite. Moto perpetuo figures echoed between marimbas, these figures complimented and set off by occasional accents on toms. The Condon was followed by Reich’s Mallet Quartet, which started off with many of the classic Reich tropes but showed some newer ideas in the second movement. Asymmetrical phrases populated symmetrical sections featuring two marimbas playing four bars figures followed by two vibraphones playing 16 bars, the entire form repeated several times. There was something of a music box texture in the vibes as their chords rang out above large structures in the bass register of the marimba, the latter sounding like strummed guitar chords. On the surface, Third Construction by Cage has a number of features that mark it as a precedent to groups like Stomp and Blue Man Group, whose bread and butter stems largely from creating compelling rhythmic constructions from unorthodox sources. continue reading »


Sounds Heard: Third Coast Percussion – John Cage: Works for Percussion 2

July 10, 2012
by Alexandra Gardner

John Cage’s centennial year has resulted in a gaggle of new recordings, multimedia offerings à la 4’33″, as well as festivals and events around the country. Whether or not one embraces wholeheartedly Cage’s later integration of chance procedures and conceptual thought into his works, there is no denying that some of his most compelling music is the early compositions for percussion, which provide a wealth of insight into the composer’s internal musical landscape. At the time these pieces were created, his sonic palette, which consisted of pretty much everything and the kitchen sink, was somewhat revolutionary, though it has now become a common language for percussionists. The Chicago-based ensemble Third Coast Percussion has released a new CD and separate surround sound DVD on Mode (available either individually or together) of six early percussion works that will perk up the ears (and eyes, if you choose to include the DVD) of anyone even remotely interested in percussion music performance and/or John Cage.

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Steve Reich’s 75th marked in youthfully energetic style

August 23, 2011
by Wynne Delacoma

The occasion may have been a 75th birthday celebration for American composer Steve Reich, but the atmosphere Monday night at the Pritzker Pavilion was remarkably youthful.

With its relentless pulse and short, obsessively repeated melodies, Reich’s music bristles with energy, and two young Chicago-based groups — eighth blackbird and Third Coast Percussion — along with some talented friends, plunged into its flow with high-octane drive.

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East meets West in bracing style at Chinese Fine Arts Society concert

August 1, 2011
by Michael Cameron

Zhou Long may be the first Chinese-American composer honored with a Pulitzer, but predecessors of his heritage have achieved great prominence on the concert stage. One of the most acclaimed is Tan Dun, the only composer represented who has flirted with the Western avant-garde. His Elegy: Snow in June is a haunting work for solo cello and percussion quartet that, like most of the others, finds inspiration in ancient legends. continue reading »