"...it is remarkable how well it worked—in relation to the film and in the
interaction among members of Drummond's orchestra, Newband. 
Drummond's music is richly emotional and deeply expressive...also music
that finds considerable power in what would be cracks on a piano
keyboard...Drummond may be opening a world to people who had thought
they would never like that kind of music."  Washington Post 

"Drummond's Incredible Time (to live and die) was a work of stunning richness that seamlessly integrated flute, zoomoozophone, synthesized brass, percussion and digital drums.  It's a piece with legs, guts and wings.  Bravo!" Mike Greenberg, San Antonio Sunday Express-News

"Incredible Time, conducted by Drummond with a steady beat, contrasted bursts of action with lovely passages for flute, echoed by soft mallet music, that was downright Debussyan.  Interesting trading in arpeggios went on between flute, synthesizer and the 'phones and Cassara and Lipsey had bursts of rhythmic phrases together that build to an all-out climax."  William Glackin, The Sacramento Bee

"...the magic in this piece was in translating the smell of burning inscence into some kind of aural equivalent."
Tim Feran, The Columbus Dispatch

"Another outstanding work heard last night was a Dance of the Seven Veils, not a transcription from Strauss's Salome, but a 1992 composition by Newband co-founder Dean Drummond, whose career is devoted to the continuation of Partch's music and the possibilities it creates.  Drummond's piece showed him to be an expert composer.  He handled the sonorities available to him with assurance and, like Partch, arranged his sounds in ways that created their own coherence." 
Mark Kanny, Pittsburg Post-Gazette

"...and as the evenings climax, Mr. Drummond's gaudy, thrilling Dance of the Seven Veils for the full array of Newband instruments."
Alex Ross, New York Times

"The zoomoozophone is the invention of Mr. Dean Drummond, a founder of Newband.  It is an enormous vibraphone of sorts with 31 tones per octave (as opposed to the usual 12) that allows the composer to write microtonal music.  In Weill Hall, the instrument made a tremendous racket, ricocheting piercing tones off the walls.  For Mr. Drummond's Ruby Half Moon, the zoomoozophone was augmented by a range of percussion instruments---
hi-hat, Chinese cymbals, Javanese woodblocks, bongos, bowls, gongs, bells---and together they created a great din.  The piece placed these forces against a brass quartet that played cool slightly jazzy material set in three-quarter time, and the clash of sounds brought forth intriguing timbral effects."  Michael Kimmelman, New York Times

"In Mr. Drummond's Columbus, three players are set loose on the zoomoozophone, and its full force filled the ears to capacity and rang powerfully within them."  Bernard Holland, New York Times

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