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Harmonious World Podcast interviews William Susman
Posted At : February 17, 2021 12:00 AM
A Quiet Madness features three piano pieces, a piano and violin duet, a series of seven scenes for four flutes and a solo accordion piece that was composed as a response to Hurricane Katrina. The album immerses the listener in a photorealistic sound world of understated beauty. At once calming and thought-provoking, it allows the ear and mind to make their own connections without feeling overwhelmed by thematic constraints. William Susman's precise harmonic and rhythmic languages invite us into a subdued, enchanting expression of madness that roams all over the map, akin to the mind wandering during a rainy day-or, perhaps clairvoyantly, akin to the strange passage of time spent in self-isolation during the collective trauma of COVID-19.
Harmonious World Podcast's Hilary Robertson conducts her first podcast with William Susman and extracts from the composer's music. LISTEN TO THE SEGMENT
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The 48 minutes of William Susman's 'A Quiet Madness' offer more than their fair share of listening rewards / textura
Posted At : January 24, 2021 12:00 AM
textura writes.....A Quiet Madness is somewhat of a curious title for William Susman's latest release. The composer's music is seldom hushed, and neither is it deranged-not that there's any suggestion the title should be taken literally anyway.
The influence of classical minimalism on Susman's melodious music is undeniable, but he uses it as a foundation upon which to construct his own distinctive edifice. These settings enchant as they wend their way through different instrumental groupings, from the violin-and-piano serenity of the opening Aria on through the wholly transporting Seven Scenes for Four Flutes and beyond. Though its material was written between 2006 and 2013 and recorded on two continents, a cohesive impression forms due to the through-line of the composer's voice and the smart sequencing. By distributing three parts of the solo piano work Quiet Rhythms in amongst the other pieces, the album conveys a unified character capable of accommodating dramatic contrasts between the earthy and the ethereal.
For now, the forty-eight minutes of A Quiet Madness offer more than their fair share of listening rewards as a representative sampling of his artistry.
READ THE FULL textura REVIEW
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Harmonious World podcast discusses 'Scatter my Ashes' with composer William Susman
Posted At : October 24, 2020 12:00 AM
American composer William Susman has created a distinctively expressive voice in contemporary classical music, with a catalog that includes orchestral, chamber, and vocal music, as well as numerous film scores. In addition to his work as a composer, he spearheads the contemporary ensemble OCTET and Belarca Records. AllMusic calls him an exemplar of "the next developments in the sphere of minimalism," and textura describes him as "not averse to letting his affection for Afro-Cuban, jazz, and other forms seep into his creative output." His music has earned praise from The New York Times for being "vivid, turbulent, and rich-textured," from Gramophone as "texturally shimmering and harmonically ravishing," and from textura for being "entrancing . . . harmonious and vibrant."
Scoring the documentary Fate of the Lhapa was an inspiring experience. Susman worked with a marvelous director, Sarah Sifers, who trusted his musicianship and gave him the freedom to compose a score that attempts to capture the place, culture, spirit and passion of the Tibetan Shamans and their broader historical context.
Scatter my Ashes reached No. 1 on Amazon's Classical Hot New Releases, No. 8 on Billboard's Classical and was featured in iTunes Classical New and Noteworthy.
Harmonious World podcast producer; Hilary Robertson interviewed composer William Susman focusing on Scatter My Ashes.
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William Susman flavors the setting of Sarah Sifer's 'Fate of the Lhapa' beautifully / STAGE & CINEMA
Posted At : October 20, 2020 12:00 AM
t amazes me how many films today have a soundtrack that isn't informed by the movie itself. This interchangeable claptrap has made it almost impossible to review. But composer William Susman flavors the setting of Sarah Sifer's Fate of the Lhapa beautifully. Interestingly enough, I saw this documentary many, many years ago, and it truly affected me, but I never knew the soundtrack was available until it was sent to me to review 13 years after its original release. Go figure.
While there are certainly traditional forms of Western instrumentation such as harp, Susman has incorporated sounds we would associate with Nepal: There is no list, but I believe we are hearing drums - such as the dhimay, madal, and khin - a bansuri (a bamboo flute), a plucked string (perhaps the tunga), tingsha cymbals, a sringa (a large "C"- or "S"-shaped horn which is also a political symbol), and more. Along the way is minimalism that is so transporting it would make Philip Glass proud, as it helps achieve a sense of bittersweet spirituality so prevalent in the film. (Glass is also a fierce proponent for Nepal's freedom and Buddhist principles - the latter evidenced in his opera, Satyagraha.)
At first, part of the fun for me was parsing out the instruments (wait - is this sound that conch shell that has both ritual and religious importance in Hinduism?), but magically by the seventh of eleven tracks, they merge into a higher plane of trance-inducing balminess that lovingly elucidates the subject matter. While it's accurate to say that the music of Susman (who also performs) blends that mysterious, uncanny long-established Asian music with those soul-moving Western strings evokes what the press notes call an "ancient healing tradition in danger of extinction," this is music that stands alone from the film - in fact, this journey requires you to listen with headphones on and your eyes closed. The mixing by Stephen Hart at Berkeley's Fantasy Studios makes everything sound crystal clear.
READ THE FULL STAGE & CINEMA REVIEW
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90.7WGXC - The Jazz Disturbance discusses; 'Scatter My Ashes' with William Susman
Posted At : October 5, 2020 12:00 AM
In this special live Essential Radio Pledge Drive edition of The Jazz Disturbance, host Cheryl K speaks with composer William Susman. His newest release, "Scatter My Ashes" is on his Belarca Records label and features the premiere of the New York-based Octet Ensemble. The release features his music including two song cycles, featuring poems by Sue Susman, as well as the instrumentation of American popular music, and the harmonic and rhythmic influences from Jazz and Afro-Cuban music.
A show featuring jazz and other improvisational music from local, regional, worldwide and world-class artists and connects listeners with the people and places presenting in the area. Live from Hudson, NY on 90.7WGXC - The Jazz Disturbance playlist and news are available at www.facebook.com/ckdisturbance and at agregariousmisanthrope.blogspot.com.
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'Hot Time' from William Susman's 'Scatter My Ashes' featured on Punto Radio's animajazz
Posted At : May 19, 2020 12:00 AM
In episode 919 of "ANIMAJAZZ", conceived and conducted by BRUNO POLLACCI , broadcast TUESDAY 19 May at 20.30, on PUNTORADIO, also streaming on www.puntoradio.fm and in an immediate podcast of the evening includes; "Hot Time"; from William Susman's "Scatter My Ashes."
OCTET''s inaugural album has been recorded over the past few years with renowned engineer John Kilgore and was released by Naxos on the label Belarca. The album features the music of William Susman including two song cycles (with poems by his sister Sue Susman) Scatter My Ashes and Moving in to an Empty Space performed by soprano Mellissa Hughes, as well as his Piano Concerto and the ensemble work Camille.
"William Susman's remarkable achievement is to take the familiar instrumentation of American popular music, harmonic and rhythmic influences from jazz and Afro-Cuban music and sinuous melodic lines that are uniquely his own and weave them into something new and fresh, yet timeless and haunting. Memorable yet enigmatic, simple yet profound, Susman's music is irresistible." - John Kilgore (Grammy Award-Winning Classical Engineer)
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William Susman's 'Scatter My Ashes' is true, undiluted neo-classicalism imbued with Impressionist and romantic overtones / acousticmusic.com
Posted At : May 5, 2020 12:00 AM
In another review this month, I mention there are certain guitar stylists I don't dare begin listening to unless I'm prepared to go through their entire catalogues: Grant Green, Gabor Szabo, George Benson, etc. That's because I get so damned captivated even despite a deep enamorment for the wild fretbenders (John McLaughlin, Robert Fripp, Ritchie Blackmore, that ilk). Well, the same is true on the progressive music side of the house with cats like Mike Oldfield, Barclay James Harvest, and Phillip Glass, especially Glass. There's just something in how he handles the serial minimal task that aces everyone else (Reich, Adams, Nyman), his work filled with a luminescence particular to the man's genius. However, I also listen closely to all those 'somebody elses' and now can add William Susman to the list of hyper-competent composers broadening an oft-embattled field ('n what the heck is wrong with people that they don't understand the sublime genius of work like this?).
His 2009's Music for Moving Pictures (here) was a knockout, but Scatter My Ashes is definitely more refined into the serial / operatic vein, true undiluted neoclassicalism heavily imbued with Impressionist / Romantic overtones and baselines. There are 18 movements here to four song cycles written between 1992 and 2011, one of them rescored for octet, but, really, everything flows in linear and circular motion as though a beautifully eccentric segmented ballet simultaneously restrained and exuberant, more than once ecstatic. Mellissa Hughes, who has worked with top-shelfers Steve Reich and John Zorn among many others, encants Sue Susman's libretti (two cycles), interesting meditations, at times extended haiku-esque, first on elementalities and then the myriad enigmas of earth's most quizzical life form: human beings and their baffling shenanigans.
READ THE FULL acousticmusic.com REVIEW
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William Susman's 'Scatter My Ashes' w/OCTET ENSEMBLE makes PublicRadio90 - Genre Fluid Fridays
Posted At : February 28, 2020 12:00 AM
Genre Fluid Fridays on Classiclectic: Music exploration and discovery through the lens of classically-minded composers and musicians. Explore beyond the horizon of classical music, Fridays on Public Radio 90, beginning just after 9:30am ET.
OCTET''s inaugural album features the music of William Susman including two song cycles (with poems by his sister Sue Susman) Scatter My Ashes and Moving in to an Empty Space performed by soprano Mellissa Hughes, as well as his Piano Concerto and the ensemble work Camille. Recorded with renowned engineer John Kilgore and released by Naxos / Belarca, the instrumentation of the piece has OCTET take an American big band and scale it down to a brass section of saxophone, trumpet, and trombone and a rhythm section of piano, electric piano, double bass and drums plus vocals.
William Susman's 'Scatter My Ashes' w/OCTET ENSEMBLE makes PublicRadio90 - Genre Fluid Fridays
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Performances are superb on William Susman's 'Collision Point' as crystalline music shines / Fanfare
Posted At : January 23, 2020 12:00 AM
Back in Fanfare 38:2, I wrote about a disc of William Susman's music entitled Scatter My Ashes. Like the current disc, similarly on the Belarca label, playing time was short, but a sense of fun and enjoyment of life was long. Susman's minimalist tendencies are fully on display again in this release, itself entitled Collision Point.
Scored for flute, alto sax, violin, cello and piano four-hands, Camille (2010) is based on the Afro-Cuban clave rhythm, with 3+2 layered against 2+3 in the first movement, "Vitality". Susman suggests the aural equivalent is that of Escher's woodcut Illustrations, where the eye can choose to concentrate on wither white fish or brown fish; here, it is the ear that opts which division of the measure to concentrate on. Booklet annotator David Sanson puts it well when he refers to Susman's music as a "labyrinth of rhythms, a perpetually moving trompe-l'oeil," a statement that seems to fit particularly well with Camille. The contrasting second panel "Tranquility," is like a slowly turning kaleidoscope, before the pulsating finale, "Triumph," emerges. The work was written for the current ensemble and is performed with the sense of rhythmic cleanliness and exactitude minimalist music requires.
The 2010 piece Clouds and Flames finds the scoring reduced to piano trio. Seven short movements are inspired by events in Colum McCann's novel Let The Great World Spin and also by the tightrope walk of Philippe Petit between the World Trade Center towers on August 7, 1974. The central theme of Clouds and Flames is remembrance and loss, nowhere more evident than in the fourth movement, "The Alphabet of Dying". The title of the next movement, "Collision Point," a restrained movement built on slow-moving piano against pizzicato strings, also forms the title of the disc as a whole. The scoring for piano trio gives the piece a brilliant sort of clarity completely different from the ensemble used or Camille; again, the performance is beyond criticism.
The two remaining pieces date back into the 1990s. Based on cyclical melodies and chord progressions, Motions of Return for flute and piano (1994) takes its title from Francis Bacon's 1627 The New Atlantis and is, like Camille, based on the idea of illusion. The agile flute part is superbly rendered by Alessandra Amoreno; Fabio Silvestro is the most fluent-fingered of pianists. Together, they negotiate the tricky asynchronous passages with great confidence.
The disc is bookended by ensemble pieces, that for The Starry Dynamo (1994) only one pianist short of that used for Camille; the original clarinet part has been replaced here by the alto sax of Claudia Di Pietro to fit in with the line-up of Piccolo Accademia degli Specchi. And, as in Camille, it is an Afro-Cuban rhythm that forms the basis, this time especially the montuño, a repeated syncopated figure. It is a poem by Allan Gunsburg, HOWL, that forms the inspiration for The Starry Dynamo, including the line, "angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night". This is a work that, in one continuous movement of nearly 15 minutes, goes further than any on this disc to offer a sense of immersion into Susman's world.
Performances are superb throughout, while the recording is perfectly judged, enabling the crystalline aspect of Susman's music to shine through. Recommended. Colin Clarke
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William Susman's 'Collision Point' finds a middle-ground between pure charm and Reichian repetition / ANEARFUL 'Best Of Classical 2019'
Posted At : January 13, 2020 12:00 AM
As far as music that I covered throughout 2019, this is the second largest category. Find the best in composed music about which I've already written along with special items that I either missed along the way or that came out late in the year.
Piccola Accademia Degli Specchi - William Susman: Collision Point - While the name of the title piece may imply drama or even violence, this album is instead an inviting collection that finds a middle-ground between the pure charm of those mid-70's Claude Bolling albums and Reichian repetition. The culmination of a 10-year collaboration with "the little academy of mirrors," the pieces reflect Susman's deep engagement with their unusual instrumentation of flute, saxophone, violin, cello, and piano four-hands, and the players fulfill their briefs with an appropriately light touch.
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William Susman - Collision Point. An enjoyable and original version of today's minimalism / Fanfare
Posted At : January 6, 2020 12:00 AM
On the face of it this album of chamber works by the accomplished Chicago-born composer/pianist William Susman is very accessible, delivering ingenious variations on Minimalism's familiar techniques from a confident and fertile musical imagination. But bit of exploration into Susmnn's biography reveals an intriguing story, a capsule history, in fact, of where modern American music has traveled over the past decades.
Born in 1960, Susman studied both classical and jazz piano. He is probably the only performer who learned from both a student of Artur Schnabel's (Pauline Lindsey) and a pianist with Louis Armstrong (Steve Behr). He founded his own jazz ensemble when he was 13 and later performed with big bands and Afro-Cuban groups. That's merely the beginning of a complex web of influences that led him to gravitate toward Xenakis and Ligeti in the Eighties. At 25 he enjoyed a major breakthrough by becoming the youngest composer to be awarded a commission from Harvard's prestigious Fromm Foundation. There were graduate studies in computer-generated music at Stanford and an invitation from Pierre Boulez to engage with IRCAM in Paris.
For a composer rooted in the European avant garde, using arcane methods based, for example, on Fibonacci sequences to generate rhythmic repetitions, his eventual encounter with American Minimalism came as an "aesthetic shock" and a kind of spiritual awakening. In a booklet note Susman relates that "The way Riley, Reich, and Glass incorporated the things they liked-Indian or African influences, for example into their music led me to think about the things I knew and admired."
As listeners we are so accustomed to following our personal tastes that it might be hard to relate to a young composer tightly identified with mid-century Modernism (and receiving commissions and praise for adhering to that idiom), but Susman's awakening moment was a kind of liberation. In a much publicized shift, another arch Modernist, the conductor Esa-Pekka Salonen, had a similar conversion to Minimalism as a composer.
In none of these cases does the shift represent a move from complexity to simplicity. No one could be more theoretical than Glass or more steeped in the Modernist styles he rejected. The hidden texture inside today's Minimalism consists of personal and private influences being brought to bear. For Susman, his style today is inspired by Afro- Cuban montuño, medieval hocket and isorhythm from the École de Notre-Dame de Paris, and jazz.
I've gone into these facets out of fascination but also to illustrate how these four chamber works came about-you couldn't guess it by ear alone. The instrumentation varies from a duo for flute and piano (Motions of Return) to a standard piano trio with violin and cello (Clouds and Flames), with a sextet, Camille, and quintet, The Starry Dynamo, that call upon the largest complement of the Rome-based ensemble, Piccola Academia degli Specchi (Little Academy of Mirrors), which is flute, alto saxophone, violin, cello, and two pianists (they play four-hand in Camille). While listening to Camille, which opens the program, I thought that Susman should consider writing film scores, because he uses Minimalism to express a range of feelings that can be unusually tender or bold. My impression was justified, as I discovered later, because Susman has composed a number of award-wining film scores.
Needless to say, Minimalism has evolved into more than one thing, and for me, Susman's version is appealing because it isn't mechanical and the harmonic shifts don't occur with glacial slowness. This is quick-witted music guided as much by emotional change as rhythmic and harmonic modulations. The flute and piano duo, Motions of Return, is necessarily fairly monochromatic, so here the focus is on rhythmic changes that might well be mathematically based. The quintet and sextet, since they use piano and alto sax, are more colorful and jazzy, I'd say, although Susman is capable of considerable surprise and unpredictability.
In all, I recommend this release to fans of Minimalism and more broadly to general listeners interested in an intriguing American voice. The performances are energetic and committed, the recorded sound excellent. - Huntley Dent
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William Susman's 'Collision Point' is a delightful and engaging journey / New Music Buff
Posted At : December 30, 2019 12:00 AM
I first encountered this man's music in a concert by the San Jose Chamber Orchestra. I subsequently reviewed his album Scatter My Ashes . Now fresh off the presses is the present disc which is a collaboration between Mr. Susman and Piccola Accademia Degli Specchi, a chamber ensemble specializing in new music. It is a delightful and engaging journey to a region stylistically inhabited by the likes of Mikel Rouse whose post-minimalist chamber works on the Made to Measure label were a revelation to this listener in the early 90s. What always perplexed me was why I had been unable to find more writing like this. Well, here it is in all its glory. These are standard concert length works (15-20 min range) which engage and sustain the listener easily leaving anything obviously experimental behind while also touching an artistic depth that satisfies. Is there an untapped genre of well written post-minimalist chamber music? If so, this disc belongs there.
The disc contains four works, two from the 90s and two from 2010. The first, Camille (2010) is the three movement work that opened the lovely Scatter My Ashes album from 2014. Like the second work on this disc (the seven movement Clouds and Flames for violin, cello, and piano also from 2010) it utilizes a very personal take on post-minimalist ideas creating music of a quasi romantic nature with echoes of Brahms as well as Lou Harrison. By which I mean to say simply that they seem to be a mature integration of what the artist has learned in school and since then as well.
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William Susman's 'Camille: I. Vitality' makes KCRW: Rhythm Planet - New Music Favorites
Posted At : November 13, 2019 12:00 AM
This week's playlist features a mix of jazz, world, tropical Latin, and crossover classical new releases that I'm enjoying now. I love to feature new jazz sides in each playlist, so here is a whole bunch of new stuff. First, from William Susman in a chamberistic style.
Susman's new album 'Collision Point' on Belarca Records features Rome-based ensemble Piccola Accademia degli Specchi and features music inspired by love, loss, redemption, and the writings of Allen Ginsberg, Colum McCann and Francis Bacon. The album brings together four premiere recordings including two pieces for the full ensemble: Camille (2010), which was written for the ensemble, and The Starry Dynamo (1994), as well as a piano trio, Clouds and Flames (2010) and a duo, Motions of Return (1996) for flute and piano.
SEE KCRW: Los Angeles - Rhythm Planet's New Music Favorites FULL PAGE
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Enjoy, be inspired, and expand your mind with William Susman's 'Collision Point' / The Mindful Bard
Posted At : November 6, 2019 12:00 AM
The Mindful Bard loves music inspired by literature almost as much as literature inspired by music, which is why William Susman is one of our favourite composers, so adept is he at paying homage to language with his mesmerizing sounds.
Susman's new album, Collision Point was released on the 11th of October. The ensemble Piccola Accademia degli Specchi, based in Rome, play these pieces as if they were written with them in mind, which they likely could have been. After having worked with the composer on other projects for at least ten years the ensemble members are old pros at playing Susman's occasionally challenging music with all the verve and skill it demands.
The pieces on this album have all the thrilling impetus you find in the best works by Philip Glass and Steve Reich, but the sounds are all utterly new. Enjoy, be inspired, and expand your mind.
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Splendid performances on William Susman's 'Collision Point' / textura
Posted At : November 1, 2019 12:00 AM
American composer William Susman (b. 1960) is well-served by the splendid performances his contemporary classical material receives at the hands of the Rome-based ensemble Piccola Accademia degli Specchi (Little Academy of Mirrors). What's especially interesting about Collision Point is that of the four original works presented (all of them premiere recordings), two stem from 2010 and the others the mid-‘90s. Whether by accident or design, the music therefore offers a fascinating opportunity to assess whatever changes might have transpired in his composing style between then and now. Without wishing to oversimplify matters, the earlier pieces noticeably reflect the influence of American minimalism, whereas the later ones indicate a less derivative style, Susman having absorbed the influence of Glass, Riley, Reich, et al. so thoroughly it's less conspicuous.
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On 'Scatter My Ashes,' William Susman evokes a latter day Mozart with music that communicates directly / New Music Buff
Posted At : April 3, 2019 12:00 AM
This 2014 CD on the Belarca label contains four of Susman's works from 1992-2010 and is a fine sampling of his work. All works are here performed by the Octet Ensemble which includes: Alan Ferber, trombone; Mike Gurfield, trumpet; Melissa Hughes, vocals; Elaine Kwon, piano; Eleonore Oppenheim, double bass; Demetrius Spaneas, saxophone; Greg Zuber, drums and percussion; and William Susman, electric piano.
There are four pieces on 12 tracks. The disc begins with Camille (2010), a very listenable post-minimal chamber work. It is followed by a melancholy song cycle, Scatter My Ashes (2009) on poems by the composer's sister Sue Susman.
The third piece is a wonderful piano concerto. There are not a lot of convincing concertos in the minimalist genre but this one is a candidate for being a poster child. It is for piano with chamber ensemble. Here the composer goes not for the finger busting virtuosity that seems to be the current vogue but rather he evokes a latter day Mozart with more technically modest but highly entertaining music that communicates directly. Curiously (is this a carry over from the Steve Reich and/or The Philip Glass Ensemble?) he uses a wordless vocal (Hughes) as a part of the instrumental texture. Elaine Kwon handles the featured keyboard part. It works very well.
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William Susman's 'Scatter My Ashes' w/Octet Ensemble makes 'textura top cd's for 2014'
Posted At : December 16, 2014 12:00 AM
As always, the selections for this year's annual round-up were made in accordance with a simple principle: only those releases that were submitted to textura for review consideration during the year in question were deemed eligible. Shown below, then, are the recordings to which we repeatedly returned and which repeatedly rewarded that return (links to the original reviews are included in all cases).
Thoughts of minimalism come to mind as one listens to Octet Ensemble's Scatter My Ashes, the outfit's debut album featuring works by Octet founder William Susman, though perhaps not in the way one might expect. First of all, Susman would seem to be part of a post-minimalism generation of composers whose music suggests the influence of figures such as Reich and Glass without being overly beholden to it; stated otherwise, echoes of minimalism reverberate within Susman's music without holding it hostage. Secondly, the Octet Ensemble project is minimalistic in a more literal sense in its instrumental makeup, given that it functions as an orchestra but in miniature form with each multi-member orchestra section represented by a single player. Generally speaking, the material on Scatter My Ashes is resplendent and melodious, and easy to embrace when its fresh blend of neo-classical, jazz, and popular song-based forms sparkles so effervescently.
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William Susman's 'Scatter My Ashes' w/Octet Ensemble is KING: Second Inversion 'Album Of The Week'
Posted At : December 16, 2014 12:00 AM
I have always considered poetry to be the distant cousin of music. After all, both combine elements of rhythm, sound, lyricism, and storytelling. However, after listening through the OCTET Ensemble's performance of "Scatter My Ashes," I thought perhaps these two artistic mediums may be even closer than cousins; perhaps they could even be brother and sister.
"Scatter My Ashes" is a series of five poems written by Sue Susman about life, death, and darkness. Her brother, composer and keyboardist William Susman, then transformed the poems into a five-movement composition for OCTET, his New York-based contemporary music ensemble.
OCTET is essentially a jazzy big-band-turned-a-little-smaller: their sound features one of each instrument in the brass section plus rhythm. The ensemble is composed of soprano vocalist Mellissa Hughes, saxophonist Demetrius Spaneas, trumpeter Mike Gurfield, trombonist Alan Ferber, composer and keyboardist William Susman, pianist Elaine Kwon, double bassist Eleonore Oppenheim, and drummer and percussionist Greg Zuber.
"Scatter My Ashes" is the title track on OCTET's debut album, where it is brilliantly framed by three other works which combine a neoclassical sound with jazz and pop elements. Hughes' dazzling vocals soar above each piece, transitioning flawlessly from singing lyrical poetry to percussive wordless vocals depending on the composition.
William Susman's 'Scatter My Ashes' w/Octet Ensemble is KING: Seattle - Second Inversion 'Album Of The Week.' SEE THE PAGE
