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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

Third Coast Percussion at The Nasher Sculpture Center

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October 20, 2017

by Scott Cantrell

The Nasher Sculpture Center‘s “Soundings” would be hard to dethrone as the area’s most inventive, even provocative, classical concert series. Curated by pianist Seth Knopp, it mainly focuses on new music, but often with illuminating associations with older fare.

The 1966 Bill Mason film Paddle to the Sea, itself based on the eponymous 1941 children’s book by Holling C. Holling, was the engine of Wednesday’s performance by Third Coast Percussion, a Grammy Award-winning ensemble in residence at the University of Notre Dame in Indiana. The program drew a literally SRO audience to the Nasher’s basement auditorium; even after additional chairs were brought in, some people were left standing.

Facing a side wall, the audience was arranged in semicircles around an array of tuned and untuned percussion instruments. Episodes from the film, about the waterborne adventures of a child’s small, hand-carved American Indian in a canoe, were projected on a large screen over the musicians. Undulating abstract patterns by video artist Joseph Burke sometimes alternated with and sometimes overlaid images from the film.

The printed program listed musical titles by Philip Glass and Jacob Druckman, plus original creations by Third Coast Percussion. Although musical connections to water were mentioned in program notes, the selections weren’t obviously illustrative. With one’s attention so much fixed on the video, one piece tended to elide into another.

There were hypnotic burblings of marimba, occasional punctuations and assaults of drums, tinkles of tiny bells, clops of wood blocks and bongs of cowbells, sometimes undergirded by synthesizer bass patterns. At the end, a Zimbabwean song calling forth water spirits was performed with four tinkling mbiras, small hand pianos played with thumbs, and with vocalizations for the four players.

All told, it was an arresting and enjoyable way to spend an intermission-less 65 minutes. Music from this program will be featured on a compact disc to be released by the Cedille label in February.


Chicago Philharmonic Presents New Work by Augusta Read Thomas with Third Coast Percussion

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October 18, 2017
by BWW News Desk

The Chicago Philharmonic returns to Harris Theater on November 12 for the third year, proudly presenting the world premiere of Augusta Read Thomas’ Sonorous Earth with 2017 Grammy award-winning Third Coast Percussion. This celebration of commonality across cultures and the “extraordinary beauty and diversity inherent in bell sounds” (Thomas), was inspired by her 2012 composition Resounding Earth with the groundbreaking Chicago percussion ensemble and features heavily Thomas’ trademark use of bells with over 300 pieces of metal sourced from a range of cultures and historical periods.

The Chicago Philharmonic Society commissioned this work by Thomas, an acclaimed Grammy winning and Pulitzer nominated composer who is currently University Professor at the University of Chicago. Thomas devoted 18 months to composing Sonorous Earth, which can be heard as a “United-Nations-of-Resonances.” The work is also co-commissioned by the Eugene Symphony who will present the West Coast premiere in April 2018.

“A world premiere by Augusta Read Thomas is always a momentous occasion; and a collaboration between the Chicago Philharmonic and Third Coast Percussion is a moment to cherish. How exciting to bring both events together in a single concert!” – Chicago Philharmonic Artistic Director Scott Speck

Accompanying the new work is Joan Tower’s fifth Fanfare for the Uncommon Woman, an ode to risk-taking and adventurous women across the world by a composer who herself paved the way for women to find their musical voice. And rounding out the program is the exhilarating and transcendent Symphony No. 41 (“Jupiter”), Mozart’s last symphony.

“Bells can be used to celebrate grand occasions, hold sacrificial rites, keep a record of events, give the correct time, celebrate births and weddings, mark funerals, caution a community, enhance any number of religious ceremonies, and are even hung around the necks of animals. As carriers of history and culture, of numerous shapes, sizes, types, decorative patterns, and of diverse weights, functions, and cultural connotations, bells enrapture and inspire.” – Augusta Read Thomas

“This work embodies everything that has made Augusta Read Thomas one of our favorite collaborators over the years: an ambitious enthusiasm, precise attention to detail, thoughtful sense of craft, and deep understanding of sonic colors.”
– Third Coast Percussion


Third Coast Percussion Soars After Winning Grammy Award

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August 29, 2017
by Louis Harris

Last year’s Ear Taxi Festival put Chicago’s vibrant contemporary art music scene on display, demonstrating a deep and talented community of local composers and performers. One of the brightest lights of our scene is Third Coast Percussion, a quartet of classically trained musicians who specialize in hitting objects with mallets, drum sticks, hammers, hands, fingers—anything that elicits a rhythmic sound from another object.  …  Their music is not centered on bongos or a drum kit; rather, it features marimbas, vibraphones, bells, triangles, cymbals, chimes, gongs, and all manner of resounding objects.

The ensemble has now won their first Grammy, toured internationally, and completed their first collective musical compositions. In reflecting on TCP’s aspirations, Skidmore said, “To continue to reach new audiences is a big thing for us, and that means not just here in the States but also overseas. We’d like to do more international touring, including Europe, Asia, Africa, South America.” Summing it up, he said, “I think that the work that we’ve done so far is indicative of the work that we want to do. We want to continue to champion this music. It will always be new to somebody; it’s such a new art form. If we spent our lives playing concerts for people who have never heard of percussion concerts, that would be enough, that would be a fantastic idea to me.”

They are proud for these concerts to take place in Chicago, their starting point and still their home. “What we found about Chicago is that it is an incredibly thriving artistic scene,” explained Skidmore, “but it doesn’t come with the prohibitive price tag of New York, San Francisco, or certain other cities. To be an artist here, you can start young, really scrappy, just pulling together work here and there, and doing what you’re really passionate about. It’s hard, just as hard here as anywhere else. But there’s a support structure, there are other people who are into what you’re doing. … I think it’s an amazing place to be as an artist.”

Read more about their past, present, and future here. 


CD Reviews: The Book of Keyboards

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by Blair Sanderson
August 29, 2017

For its third release on the New Focus label, the Chicago-based ensemble Third Coast Percussion presents works by the French composer Philippe Manoury in an album of intriguing tone color studies called “The Book of Keyboards.”   …   The performances have a hypnotic quality, and Third Coast Percussion delivers plenty of atmosphere, though the ensemble’s playing is clearly well-rehearsed and precise.

Click here to read the full review. 


CD reviews: a Reich retrospective.

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April 15, 2016
by Patrick Rucker

REICH: Third Coast Percussion: Cedille Records

In artistic matters, labeling anyone “the greatest” almost always boils down to oversimplification or hyperbole. But it is difficult to argue with Kyle Gann, who wrote that Steve Reich “may be considered, by general acclamation, America’s greatest living composer.” Reich turns 80 in October, and the Chicago-based group Third Coast Percussion has devoted its latest recording to works spanning his long career. TCP — Sean Connors, Robert Dillon, Peter Martin and David Skidmore — describe themselves as “second generation” Reich interpreters, meaning that none of them worked with the composer and all of them came of age when his music was already established in the repertory.

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Three Takes on a Minimalist Pioneer

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by Allan Kozinn
July 4, 2016

Not so long ago, new recordings of Steve Reich’s music, while intended, on one level, for the enjoyment of the composer’s fans, were just as importantly in the business of documenting Mr. Reich’s evolving style. Most of the performances were by his own ensemble, Steve Reich and Musicians, or by the musicians who commissioned the works, usually with Mr. Reich supervising. It was not certain that these works would ever have second recordings, and at the time that didn’t matter: When you have music that is essentially rhythm-driven, with motoric surfaces and a modernistic rejection of emotionalism in favor of precision, what more do you need than a recording made under the composer’s imprimatur?

As it turns out, Mr. Reich’s work is as interpretable as the Beethoven string quartets or the Boulez piano sonatas. Alarm Will Sound made that point with its debut recording, a 2002 pairing of “Tehillim” with a revised version of “The Desert Music” that offered fresh views of works listeners thought they knew thoroughly. Since then, there has been a flood of Reich recordings made without the composer looking on. And with his 80th birthday approaching (on Oct. 3), three new discs join the queue: the London Symphony Orchestra Percussion Ensemble’s “Sextet | Clapping Music | Music for Pieces of Wood” (LSO Live); Third Coast Percussion’s “Steve Reich” (Çedille) and Ensemble Signal’s “Double Sextet/Radio Rewrite” (Harmonia Mundi).

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In a 1977 live recording from the Kitchen (Orange Mountain), Mr. Reich and company give a speedy, almost breathless account. Exciting as it is, there is something to be said for slowing the pace, as both the LSO percussionists and Third Coast Percussion do. The LSO version is oddly muted, though it has a measure of dynamic nuance, particularly in the work’s middle section, that Mr. Reich’s reading lacks. But it pales in comparison to the Third Coast performance.

For starters, Third Coast uses slats of purpleheart wood, which produce a rounder, more resonant tone than the claves Mr. Reich prescribes, and its performance, while rhythmically strict, has moments of dynamic suppleness that make the piece breathe in ways its competitors’ versions do not.

A similar difference in clarity defines the Third Coast and LSO readings of the magnificently contrapuntal Sextet (1984). Both take a less sharp-edged, aggressive view than Mr. Reich and his own ensemble did on their 1987 recording (Nonesuch), and where the balances on Mr. Reich’s discs sound carefully manipulated at the mixing board, the Third Coast and LSO recordings sound natural and organic.

But the LSO recording has a gauzy quality that makes the work’s keyboard and percussion timbres (sometimes bowed) sound seamlessly blended. The remarkable clarity of the Third Coast version, which gives every instrument a distinct profile, is more effective. Third Coast’s program is more generous as well: The disc also includes vital, bright-hued accounts of “Nagoya Marimbas” (1994) and the richly chromatic, three-movement “Mallet Quartet” (2009).

 

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Click here to read the original article.


Top 10 Classical Albums

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December 23, 2016
by Zoë Madonna

REICH: MALLET QUARTET, SEXTET, NAGOYA MARIMBAS AND MUSIC FOR PIECES OF WOOD

Third Coast Percussion These Chicago-based percussion adventurers ride Reich’s phasing waves with a subtle hint of slink. This is a record so translucent and playful that the phrases seem to leap out of your headphones, and individual blocks of wood melt into a blissful flow.

Click here for original article. 


New Sounds: With Third Coast Percussion

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May 25, 2017
by John Shaefer

Members of Chicago-based quartet Third Coast Percussion, Robert Dillon and David Skidmore, present an exclusive preview of a rehearsal recording of major piece for percussion by Irish composer Donnacha Dennehy. It’s a large work for tuned drums, inspired by the traditional frame drum, the bodhran, and based on the overtone series. Players get to bend the pitches and venture into the world of microtonal music. Listen to these tom tom drums with surgical tubes attached for a player to exhale and alter the pitch of the drum by expanding the column of air inside in Dennehy’s piece, “Surface Tension.”

Also, hear Reich’s “Nagoya Marimbas” along with “Mallet Quartet,” from their brand new recording of music by Steve Reich. A fun aside: Third Coast Percussion has created a mobile app for users to interact with Steve Reich. Look for the app “Third Coast Percussion, the music of Steve Reich,” coming soon to an iPhone near you.

Plus, listen to a work from drummer/composer David T. Little for Third Coast Percussion, “Haunt of Last Nightfall,” which looks to a tragic 1981 massacre at El Mozote, El Salvador.

Click here to listen to the full interview.


One With Nature: Musical piece encompasses Artosphere values

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May 19, 2017
by Jocelyn Murphy

What do you get when you bring together just shy of 100 musicians, spread them around an outdoor venue and give them a piece of music that celebrates and blends with the nature around it?

“Inuksuit” swells to a very chaotic, very climactic middle section, and then recedes back into the soundscape of the garden, shares Sean Connors with Third Coast Percussion. The Grammy-winning percussion ensemble will host the striking musical piece at the Botanical Garden of the Ozarks tonight. “And one of the cool things that happens, at least in every performance I’ve been a part of, is the piece ends with some flutes and glockenspiels emulating bird calls, and we’ve always experienced birds singing back to us, so the last sound you hear are living, real wild birds.”

Click here to read the original article.