Some comments:
From Johan Bodin Eriksson in Sweden: "I grew up playing your music. I'm 57 years old, and now, my students are playing your music. So, greetings from me and my students! I hope you understand the impact your music have, over time, to soooo many percussion players around the World. All the best from the northern part of Sweden."
Dana Wilson (Professor Emeritus/Composition, Ithaca College):
It’s been a while and I hope you’re well.
I’ve always known that your “Two Mexican Dances” were classic marimba works, but I’ve just begun really studying them (shame on me for waiting so long!) and wanted you to know that I realize just how amazing they are—how you design the materials and textures to make them idiomatic yet so musical.
Just wanted to say that and that I’m thinking about you.
Very best,
Dana
A great friend and marimba busy of mine, Larissa Venzie said: "I really hope people have the sense to purchase all this newer music from you. I think they’re the perfect combination of meaty, pretty, and satisfying to play without being ridiculous marimba Olympics or too avant-garde, you know? LV
Another great friend of mine, Adam Blackstock recently commented on a tour to Ukraine, "Your music captures the true voice of the instrument and allows the marimba to possess tangible emotions. No one else is close. Just ask the folks in Ukraine! They went fucking NUTS for your music. I played One Last Breath, Beads, Whatever’s More, Wood that Sings, Mexican Dances, and Rumble Strips. They were blown away. Four encores later, they let me sit down. ' AB
Recently, Mike Minarcek said about Never Less The Same: I was taken by how the motifs relate to one another and how there's a forward propelled groove despite meter changes, etc....that is never less the same. It really does flow and I just love the harmonies. Thanks, Mike!
