Quantum Dances...definitely not lightweight or superficial music. This music deserves to be widely heard....magnificent, other-worldly compositions.”

— After Touch - New Music Discoveries

...the restless high energy...brings a mercurial wildness to each and every piece...”

— Discoveries - Keyboard Magazine

...active and engaging music for serious music enthusiast on the lookout for daring and innovative sounds.”

— Time and a Word - The International Music Newsletter

Quantum Dances" by Glenn Meade is billed as Music for Synthesizer Orchestra. Having been trained in classical piano, I looked forward to getting my CMC listening pile down far enough to this CD. I was a bit "disappointed" when I opened the CD because there were no liner notes. But after reading the song titles and listening to the music, I understood why. There's nothing more to say. Of course, you know me well enough by now that that won't stop me. Seeing orchestra, I expected music in a classical vein. And more or less, that holds true. But there is much more. My favorite track is "Into The Accelerator - Impact" (the song titles relate to quantum physics, hence the album name). It contains some great percussive tracks, with a bit of African flavor. A good part of the music would fit into a spy or private-eye movie. I can hear strains of the Orient in one, others provide moods (like searching for clues) more than locations. Another example of apt song titles is "Gluons: The Strong Nuclear Force". It combines soft, dark passages, representing the "inner core", with driving passages, representing the force. "Electron Clouds" is an airy tune. The well-name spectrum of physics shows a diverse knowledge of elements (of music, not the periodic table). Quantum Dances" shows a great sense of orchestration. I think it contains enough diversity to appeal to a wide audience.” - Brad Biondo

— Reviews - Geocities.com

Glenn Meade's 1998 release, "Gloria, for Choir And Orchestra", is one of the finest pieces of music I have ever had the pleasure to hear. It is a flawless performance of an outstanding octet of singers combined with Meade's masterful electronic orchestra. While many versions of the Gloria are in the classical genre, Meade takes his original interpretation of the piece in a broader setting. Sopranos Carol Loverde and Martha Reese, altos Susan Lerner and Heidi Woll, tenors Cary Lovett and Trevor Mitchell, and basses Jonathan Miller and Tom Orf, under the direction of Miller, offer a startling blend of voices that Meade seamlessly mixes with his orchestrations. The time signatures and harmonics that they produce are as beautiful as they are unconventional. It would be interesting to know if the vocal parts were recorded as a whole or in pieces, because the intricacies that Meade has woven into the piece make it seemingly difficult to perform. The end result is an astonishing recording. The nine tracks that compose this CD form a perfect melding of voice and instrument to form a rendition that can be enjoyed on many levels. You need not have an appreciation for religious music/themes or the classical genre in order to get something out of this recording. The richness of the sounds produced stand on their own merit. There is a variety of musical settings combined into a coherent whole, with majestic passages, mysterious phrases, pastoral sections, and simply great music. This is one you should definitely not miss!” - Brad Biondo

— Reviews - Geocities.com

Glenn Meade's 1998 release, "Open Road", is somewhat of a departure from his previous albums. He continues to write music that definitely has his signature deeply imbedded, but on this CD, he stepped back from the performer's seat and is admirably replaced by pianist Stuart Leitch in a solo setting. The full title of the album is "Open Road Suite for Jazz Piano". But the first cut, "Entrance Ramp", immediately illustrates that this is not your typical jazz. It is neither traditional straight-ahead jazz, nor is it today's "smooth" jazz. In fact, it borders closely along classical solo piano lines. I'd call it Sergei Prokofiev meets Jazz. For those familiar with Meade's prior works, his footprints are very noticeable starting with "Entrance Ramp" and culminating in the last cut, "Rush Hour". The latter is a masterpiece finale to a very interesting collection of nine tunes, all having titles based on the album's "Open Road". The title cut, which appears second, pulls a little closer to what you might typically consider to be jazz, and it is a good example of the excellent articulation that Leitch brings to the keyboard. Then "Down Shift" shows off a great mixture of a more typical jazz melody combined with an atypical set of harmonies. It is an awesome collaboration between the songwriter and the performer, in contrast to Meade's work up to this point, where he had direct control over all the music. Night Drive", as can be guessed from the title, is a very illustrative piece, containing some gorgeous harmonies. "Sunday Driver" is another gorgeous tune on which Leitch gives a very expressive performance. This piece has strains that are the closest to more traditional jazz, with a definite Gershwin flavor, at least for the first two minutes. Then Meade's touch takes over. There are several ebbs and flows to this collection, and each turn delights the listener. Chalk up another winner for Glenn Meade, with an important assist from Stuart Leitch. Whether you like jazz or classical music, the solo piano work should be well worth your journey.” - Brad Biondo

— Reviews - Geocities.com

Glenn Meade Brilliant! Glenn Meade’s latest release, a 2-CD set of 26 pieces entitled “Patmos – John’s Vision of the Apocalypse”, is a collection of music electronically orchestrated by Meade, with lyrics adapted from and based on “The Revelation of John” from the New American Standard Bible. He utilizes a vocal octet named Chicago a cappella, under the direction of Jonathan Miller. They are Carol Lo Verde and Kathleen O’Brien – sopranos, Deborah Guscott and Heidi Woll – altos, Cary Lovett and Trevor Mitchell – tenors, and Matthew Greenberg and Miller – basses. Much of this group appeared in a highly acclaimed earlier work of Meade titled “Gloria For Choir And Orchestra”. They are very well suited to this project, showing their abilities in several styles of music. “Patmos” is a superb demonstration of Meade’s compositional and arrangement skills. Part rock opera in the vein of Jesus Christ Superstar, part classical work in the vein of the masters, part gospel music, and part musical wizardry, this 26-part aural presentation of the Book Of Revelation astounds this reviewer to the point of running out of superlatives. The constant mixture of musical styles that runs throughout this 98-minute adventure totally enthralls the listener. Just as you think a particular cut is going to be in one style, the piece abruptly, but seamlessly, changes to another style, and then changes back again. Additionally, Meade even manages to have the orchestral accompaniment be in, say, a rock style while the vocalists maintain a classical four-part-harmony style. But the octet also manages to “loosen up” on some cuts, replacing the usual rigidity of classical singing with the many nuances that Meade’s arrangements provide. The singers take turns in soloing, and provide some rousing harmonies. In many ways, Meade has departed from his signature style of past recordings. And yet, there are some classic Meade elements present. In fact, the beginning of “Great And Marvelous” comes from “Into The Accelerator – Impact” from his first CD, “Quantum Dances”. It is evident that a lot of work went into this recording. “To God and to the Lamb” serves as an example of a excellent vocal arrangement that the chorus handles beautifully. The title of the song is the entire lyric, repeated in many parts, sung a cappella. Even the level of attention to the rhyming scheme of the lyrics shows off the immense amount of effort taken. “Babylon The Great” is an interesting example. It begins “Squatting upon the earth, evil in all its girth,/ Babylon counts its worth in silver.” The way Meade rhymes “earth” and “girth” with “worth” before the end of the second line is repeated throughout this piece. The final cut, “Behold, I Am Coming Quickly/ Come, Lord Jesus/ Alleluia, Amen”, is simply amazing. The octet produces Meade’s harmonies stunningly, and it serves as a wonderful ending to a wonderful masterpiece. Words cannot do this recording justice. I highly recommend you buy a copy of “Patmos – John’s Vision of the Apocalypse”. It will provide hours and hours of entertainment.  ” - Brad Biondo

— Reviews - Geocities.com