Adam Lion

“Towards the end, I began to feel my entanglement as an audience member as well as your (Sarah's) entanglement as composer networked in with the relationship of the two players in a big web of interconnectedness. I felt the voice shift from third-person (when the two played together) to first-person when one of the musicians played alone. That really shifted the narrative space for me, towards a non-linear feeling of time unfolding in all directions.”

- Katie Wood, in response to the Chicago premiere of Sarah Hennies "The Reinvention of Romance." 

“(Two Way Street) was deeply effecting, introducing emotion to the banal in a way that I have never could have anticipated.”

 

- My performance with Harold Budd, Mary Latimore, and Nief-Norf during the 2019 Big Ears Festival was included in the New York Times top 15 performances of the festival: 

https://www.nytimes.com/2019/03/25/arts/music/big-ears-festival-best-music.html

- My performance with the bang on a can all stars and Nief-Norf during the 2018 Big Ears Festival was included in the Rolling Stones top 10 performances of the festival:

https://www.rollingstone.com/music/music-live-reviews/big-ears-2018-10-best-things-we-saw-204317/

- My recording of Mark Applebaum's "30" with the Southern Oregon University Percussion Ensemble was reviewed by Sequenza: 

http://www.sequenza21.com/cdreviews/2015/10/mark-applebaum-30/

- My recording of Electric Rebel Poetry with the Southern Oregon University Percussion Ensemble was reviewed by Percussive Notes:

https://oca.sou.edu/sou-percussion-ensembles-cds-reviewed-percussive-notes/

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