In 2005 the magazine Percussive Notes (PAS) published a review of 5 compositions, which are for sale via this website. They are all quality compositions that really deserve an international audience.

The full review is included in this PDF, in order to get an impression of what reviewer Terry O’Mahoney thought of these works at the time.

And even though this review is more than 15 years old, these compositions have lost none of their musical power!

Massai [L. Camp]

… is an eight-minute percussion octet that begins with a driving 3/2 African “march” feel, followed by a pensive exposition section and concluding with a fast, 7/8 dance section. Chimes, snare, vibraphone, claves, cabasa, drumset, four toms, wooden chimes, guiro, congas, marimba, finger cymbals, claves, bass marimba, four timpani, bass drum, tam tam and cowbell are required. With its catchy, pop-music inspired melody and keyboard parts that require only two-mallet technique, “Massai” should be a hit with high school students and audiences alike.

Samba por Carlos [F. Frijns & H. Mennens]

This percussion ensemble for 14 players begins more like a Cuban cha-cha, which then proceeds into a samba section. Following the initial Latin pop melody, “Samba por Carlos” introduces a percussion soli break and composed vibraphone solo. The work is really a vibraphone feature with the percussion parts fulfilling primarily repetitive, timekeeping roles. The medium tempo and eighth-note syncopated rhythms make this suitable for a high school ensemble with an advanced mallet player. The score requires vibraphone, glockenspiel, xylophone, four-octave marimba, snare, timbales, congas, guiro, bass drum, rhythm guitar, solo guitar, keyboard, bass guitar and drumset. The piece could probably be performed with fewer players, as it is densely scored.

The Tracks [A. Stout]

This seven-minute percussion ensemble for 15 players is scored for xylophone/glockenspiel, two vibraphones, four marimbas, bass, timpani, five percussion (crotales, field drum, triangle, brake drum, woodblock, temple blocks, cymbals, gong, four toms, bass drum, tambourine, rainstick, chimes) and drumset. It features challenging vibraphone, marimba and xylophone parts, and frequent meter and tempo changes. Its catchy melody and pop/funk/swing/march nature would probably be appealing to the advanced high school ensemble.

Crush [D. McCloud]

“Crush” is a percussion octet that might best be described as a musical cross between a Brazilian-inspired Pat Metheny tune and the shifting meter interludes of the
Mahavishnu Orchestra. Its main theme is a light, dance-like melody that is driven by rhythmic, chordal mallet accompaniment. Musical sections are usually punctuated by an intricate rhythmic motive that vacillates between 5/4 and 7/8 time. The opening section is balanced by a less densely scored middle section that transitions into a rock-oriented closing. The score required glockenspiel, vibraphone, chimes, two fouroctave marimbas, bass guitar, suspended cymbal, bongos, congas and drumset.

Ma petite Bé-mol [I. Weijmans]

This work for 12 players quickly glides from an opening andante chorale section to a jazz-like vibraphone feature ballad. The piece has nice contrapuntal writing as the tempo moves quickly through several development sections before quietly resolving. It is scored for solo vibraphone, two bells, two xylophones, two marimbas, chimes, timpani, four percussionists (ride/crash cymbal, maracas, large gong, windchimes, triangle, suspended cymbal, temple blocks, antique cymbals, bass drum and two concert toms). The marimba parts require four mallet technique, while the xylophone parts are all twomallet.