"Global traditions also held sway in Shirish Korde’s “Tenderness of Cranes,” inspired by the shakuhachi, a Japanese bamboo flute, and given a lively performance here by the flutist Alice Jones." |
"Dear Alice, Thank you for the excellent |
"I just want to thank you and Mary for your performance. You take care of the score and its meaning with passion and emotion, and that was not only for my piece."
-Fabio Monzù Rosselli, composer, November, 2014 |
Praise for Ensemble 365's CD Eastern Currents from Colin Clarke in Fanfare Magazine, March/April 2018
"The standard of performance throughout by all performers is pretty much faultless."
"The performance here [of Frangiz Ali-Zadeh's Three Watercolors] is fabulous, the aching loneliness of “Narcissus” for soprano and flute (itself implying a shakuhachi) balanced by the angular play of “The Boatman.”
"Mary Hubbell is a most expressive soprano, and Alice Jones the perfect partner (the two parts are very much equals). The deep flute resonance of the opening of the final movement, “Dream Song,” and the way Hubbell’s blanched tone morphs with the flute sound is a spectacular sonic feat that captures the fluidity of sound that lies at the heart of Lam’s music."
"A phenomenally interesting release... required listening."
"The standard of performance throughout by all performers is pretty much faultless."
"The performance here [of Frangiz Ali-Zadeh's Three Watercolors] is fabulous, the aching loneliness of “Narcissus” for soprano and flute (itself implying a shakuhachi) balanced by the angular play of “The Boatman.”
"Mary Hubbell is a most expressive soprano, and Alice Jones the perfect partner (the two parts are very much equals). The deep flute resonance of the opening of the final movement, “Dream Song,” and the way Hubbell’s blanched tone morphs with the flute sound is a spectacular sonic feat that captures the fluidity of sound that lies at the heart of Lam’s music."
"A phenomenally interesting release... required listening."
"Alice Jones, beast of a flute player... is a total gem: she comes to rehearsals with excellent knowledge and analyses of the works, and helps create beautiful interpretations of the music we present on our programs. She's literally down for just about anything as well—looking for a sound? I bet you she can make it on one of those flutes! She's a total team player, and we couldn't be happier to get to work with her... [H]ear her ROAR!"
-Whitney George, composer and director of The Curiosity Cabinet, May, 2015
-Whitney George, composer and director of The Curiosity Cabinet, May, 2015
"You guys were so good. The composers are RAVING about it."
-Nick Nelson, composer and professor at CUNY Brooklyn College, April 2017
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"You... sounded so fantastic! It was exactly how I wanted the piece to be played! Thank you again for playing my music!"
-Ming-Hsiu Yen, after a performance of her piece Kuang Tsao for flute and piano in March, 2015 "And thank you so much for choosing my little piece and putting so much thought and musicianship into the performance! I enjoyed the entire concert, but especially yours and Mary's contributions." -Andrew Haile Austin, November, 2014, after the premiere of his piece Départ for flute and soprano "I just listened more closely to the recording of Mondschein, and it's really fabulous! You guys sound beautiful. You're both so expressive (and yet precise)." -Carrie Magin, December, 2014, after the premiere of her piece Mondschein for flute and soprano "That's a very very beautiful version of the piece, it's just perfect. I'm simply sooo happy!" -Libero Mureddu, July, 2013, after a recording of his woodwind quintet, Movements in Possible Histories |
"I just had the pleasure of watching the videos of the Fifteen-Minutes-of-Fame “Belle Epoque”, and I would like to thank you and Mary for your beautiful performances of my piece “Coeur qui as tant battu”. Listening to you did make my heart beat!"
-Louis Sauter, January, 2015, after a recording of his piece Coeur qui as tant battu for flute and soprano "Thanks for a really gorgeous performance, Alice. It was delicate and passionate with beautiful articulation and dynamics. You understood exactly what I wanted. Rehearsals were a pleasure, polishing what was already there. I couldn't have asked for better... I also enjoyed the energy of you as a duo [with Cesare Papetti, percussionist], especially in the Kraft and Richardson pieces where there was a lot of delicate interaction in the scores." -Eleanor Cory, November, 2010, after a performance of her piece for solo flute, Epithalamium |
