“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.”
“. . . 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. . .”
“. . . ‘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.’ . . .”
“. . . 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. . .”
” . . . 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 . . . “
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. . .”
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.