Johnson’s “Ton yo han mek fashan” opened the night with a squawk and a trill, the work of Paul Cigan on bass clarinet and Lee Hinkle on marimba. Over the following 13 minutes, Cigan and Hinkle would be in rapt conversation, the clarinet digging earthen low notes and sounding snarling calls that could have come from the treetops. Johnson’s selection of instruments refers backto the Mento bands of his native Jamaica, with Hinkle’s marimba evoking the rumba box or marimbula, described in the program as similar to “a large thumb piano.”
Hinkle’s light and lithe touch yielded bouncy rhythms with a radiant timbral glow (like a steel drum at a great distance), a perfectly odd coupling to Cigan’s burly warbles. It was excitinglistening to the two instruments find different ways to relate and transform — as when Hinkle doubled his mallets with a pair of shakers, an unexpectedly evocative rhythm section appearingfrom nowhere. This was the second chance I’ve had to hear the consort present work by Johnson (like all of their performances, January’s “Singular Beauty” program is available to watch onYouTube), and, frankly, I’m hooked.
A concert inspired by Chanel and Stravinsky serves style and substance
Brodeur, Michael Andor, “A concert inspired by Chanel and Stravinsky serves style and substance,” The Washington Post, February 2, 2025, online & print
The recording quality is fantastic. Every instrument is crisp and clear throughout. Hinkle’s playing, regardless of instrument, is superb.
Cassie Bunting, Percussive Notes, Volume 62, No. 4 – August 2024 “Album Review, Lee Hinkle: Modern American Percussion Concerti.“
Album Review, Lee Hinkle: Modern American Percussion Concerti.
Hinkle’s mastery of each instrument is never in doubt . . .
Gramophone Magazine, June 2024, (online & print), London, United Kingdom
Guy Rickards, “Album Review, Lee Hinkle: Modern American Percussion Concerti.”
Modern American Percussion Concerti impresses as both a remarkable musical statement and logistical achievement . . . Hinkle excels in every context and to his credit achieves a fine balance between abandon and control . . .
textura, May 2024, (online only), Ontario, Canada
Album Review, Lee Hinkle: Modern American Percussion Concerti.
. . . full of liveliness . . .
Sonograma Magazine, April 2024, (online, translated from Catalan), Spain
Josep Bosch, “Disc Supplement, Modern American Percussion Concerti.”
Album Review, Lee Hinkle: Modern American Percussion Concerti
Kieran Gresko recognized the work from his percussion class and came in support of his professor, Lee Hinkle, the drummer onstage.
“TLC” by Juri Seo, a Korean American composer, began and carried out a bombardment of percussion sounds, ranging from the standard drum kit to electronic beats, accompanied by various background noise and music.
“There’s a composer that I’ve been exposed to a lot lately named Juri Seo in my percussion class,” Gresko, a third-year music education major, said. “I think it’s really cool that (Hinkle’s) performing a piece by that person.”
Kippi Hall, “Penn State School of Music Celebrates Lunar New Year with concert.” The Daily Collegian, February 6, 2024
“I have found that for academic jobs, and specifically academic jobs in music, so much of the cultural vibe within a department is ‘felt’ as part of being on the ground surrounded by the faculty, staff, and students that you might be working with,” said Lee Hinkle, a music professor who joined Penn State during the COVID-19 pandemic and had only remote interviews. “Obviously, this is a hard thing to gauge when you are in the resume and phone interview stages of an academic search.”
Leah Jackson, “Look for These 8 Signs of a Positive Work Culture During Your Interview.” HigherEdJobs.com, September 11, 2023
“Hinkle, an accomplished performing and touring percussionist who came to Penn State from the University of Maryland, has ambitious goals for the percussion area just as Armstrong did. After taking the baton, Hinkle began to hone his vision for what a Penn State percussionist could be in the industry.
For Hinkle, an entrepreneurial mindset is at the center of his music pedagogy. Whether touring or performing in orchestras or ensembles, musicians in the modern workplace are essentially independent contractors, and embracing that approach is key to having solvency within a career in music, he said.”
The beat goes on: 40 years of percussion education at PSU
“For Hinkle, this was the last performance with the university percussion ensemble before moving on to a new job at Penn State . . . Hinkle has been working as faculty at this university since 2009 and said leaving is bittersweet, but the job at Penn State is his dream job . . . ‘I’m thankful that we were able to do any in-person stuff this year whatsoever and I am very thankful to at least have one last in-person concert with students, so that’s definitely very special,’ Hinkle said.”
“You can’t stop the beat”: UMD percussion ensemble celebrates year with hybrid concert
“The whole ensemble save two students who Zoomed into the rehearsal from their homes was physically present. The voices of different members popcorned around the room, trying to solve this little problem in timing or that little hiccup on a syllable. No one directed; Hinkle was facilitating the conversation, but not dictating it. . .This kind of collaborative problem-solving attitude is a trademark attitude of percussion players, Hinkle said.”
Amid a pandemic, the UMD Percussion Ensemble finds a bit of normalcy
Morris, Elana. “Amid a pandemic, the UMD Percussion Ensemble finds a bit of normalcy.” The Diamondback Monday, November 9, 2020, Online & Print.
“. . . When the eight-piece ensemble (plus artistic director and conductor Christopher Kendall) filed in, they spread out as far as space would allow. Whatever was left, they filled with vibrant, kinetic sound. . .”
As the novelty of Zoom wears off, classical music reluctantly embraces its new virtual reality
Brodeur, Andrew Michael, Washington Post, October 31, 2020
“. . . ‘It’s amazing how impactful these experiences are virtually,’ Hinkle said. ‘Because the artists are at home and have access to everything in their repertoire, students can engage them in new and unique ways.’ . . .”
In a Virtual World, Students Get Personal with Visiting Artists
Weiss, Jessica, College of Arts and Humanities News, University of Maryland – College Park, October 15, 2020
“. . . Hinkle and fellow percussionist Paul Keesling are completely surrounded by their instruments, hidden away from view in a normal concert setting. The shots that Moon includes allows us to see how truly acrobatic the musicians have to be as they dance and spin to hit the right instrument at the right time in the piece. . .”
How a Concert Film Brought a Postponed Performance to Life in a Whole New Way
Gaddy, Kristina, Washington City Paper, March 23, 2020
” . . . the 21st Century Consort did them one better; this group reliably offers some of the best and most interesting programming in Washington . . . a new work by the composer Andrea Clearfield, called A Space Between, which had four string players and a percussionist repeating bits of a Gertrude Stein text as their instruments sparkled out little dynamic motifs. Now that’s a nice program; and the playing did it full justice . . . “
Six concerts in search of a composer: D.C. fetes Bernstein centennial
Midgette, Anne, “Six concerts in search of a composer: D.C. fetes Bernstein centennial.” Rev. of 21st Century Consort concert “Lenny’s Legacy,” Washington Post Monday, February 19, 2018. Print and Online.
” . . . this stellar performance of a space between featuring percussionist Lee Hinkle was a world premiere, made possible by Global Premiere Consortium Commissioning Project as led by Lee Hinkle, Douglas O’Connor, and Baljinder Sekhon. . .”
Alenier, Karren LaLonde, A Space Between. Rev. of the Music in Mind Concert, Marimba and Strings, Dr. Lee Hinkle, Faculty Recital, Scene4 Magazine February 2018. Print and Online.
” . . . The orchestra is under the baton of Zak Sandler and features him at the piano, Ben Bokor on woodwinds, Aron Rider on cello, and Lee Hinkle doing a yeoman’s task on percussion. . .”
BWW Reviews: SWEENEY TODD is Bloody Good at Signature Theatre
Shubow, Charles, BWW Reviews: SWEENEY TODD is Bloody Good at Signature Theatre. Rev. of Sweeney Todd at Signature Theatre, Online.
Review of “Theatrical Music for Solo Percussion: Lee Hinkle, Percussion and Voice,” Albany Records, TROY1524
“. . . sublimely beautiful and haunting moments evoked with Hinkle’s resonant baritone voice. . .”
Lane, John. New Percussion Literature and Recordings: Selected Reviews. Percussive Notes May 2015, Page 76. Print.
“. . . An amusing theatrical rendition. . .”
Battey, Robert. U-Md.’s “Little Match Girl” Never Quite Catches Fire. Rev. of University of Maryland TEMPO ensemble concert. The Washington Post Thursday, October 29, 2009: Page C05. Print.
“. . . Lee Hinkle handles the percussion duties with a notable sense of flair [sic]. . .”
Hathaway, Brad, “Singing Shakespeare,” Rev. of Singing Shakespeare at Signature Theatre, April 2007. Online.
“. . . rock-steady snare drumming from Lee Hinkle. . .”
Malone, Andrew Lindemann. “U-Md. Symphony Finds Its Way to Synchronicity.” Rev. of University of Maryland Symphony Orchestra concert.The Washington Post Monday, December 4, 2006: Page C07. Print.