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Wendy Loomis


"Artistic director, pianist and composer Wendy Loomis paints with a broad palette of jazz, classical, new age, avant garde and world colors, fusing styles ranging from Debussy to Thelonius Monk. Her dynamic performance at the piano throughout 'Later Than You Think' by turns floats through the soundscape, supports the other instrumentalists, vamps under poet Royal's voice, then drives the ensemble with funky rhythms and jabbing, percussive chords."

Kelley Dolan - NoHands Records


"Thanks for your CD...Piano and Friends. Very nice! Especially your solo (thoroughly 20th - 21st Century pieces... ) the ones that "classical types" would appreciate. Survival, M/F1, M/F2, M/F3."

Ricard de la Rosa - Pro Piano

Phoenix Rising


Mystic Places – PHOENIX RISING (compositions by Wendy Loomis; arrangements by Monica Williams)

In '09, Phoenix Rising issued Ascension, a New Age/classicalist CD limning the sort of work most deserving of the sobriquet of 'meditation music', an intelligent blend of pastoral music and moody reflection that cajoled the listener into a slower regard for life and its moments. However, not everything in it was in largo mode though each track was well imbued with serious songsmithing and expanded borders. Well, it's now 2014, and, as good as that disc was, this one's even better. In fact, the opening Atlantis is stunning, something Oregon, were that glorious ensemble still existent, would be envious of.

As before, Phoenix Rising is just two women, Wendy Loomis (keyboards, percussion) and Monica Williams (winds), but their attention to craft and dimension fills up every measure of the 14 compositions. They need little else, their partnership more than sufficient. As readers of my work over 30 years will attest, I'm not noted for forbearance when it comes to New Age music, but this duet's materials hark back to the birth of the genre from the cradle of pop rock and serious World traditions. Where Paul Winter left off and eventually became largely schlocky, Williams and Loomis remained behind and stole ever more deeply into the heart and soul of the thinking that made those germinal days so striking and appealing. Ah, but the secret is that they understood and thus injected themselves into the task of keeping such heady rapturous forms of expression alive, transcending time considerations, ignoring the so-called 'eras', making music that never ages a day.

What I'm saying is that this is very rare stuff. It's almost scary how damn good it is. I was genuinely thrilled as thunder pealed in the opening to Piseco, Williams' flute owl-gliding in an arbor as Loomis laid down Native percussives, everything becoming ever more revealing as a second flute, this one played by the 11-year old Native American Taylor Alyssa Lai in breathtakingly beautiful accompaniment, wove itself into the three-dimensional tableau. I've hiked the forest being sketched—Lake Cuyamaca and environs in my case, but it doesn't matter which tract the players had in mind—and the short succinct song captures it to a 'T'.

When I listen to work this stratospheric in elementality, I all of a sudden remember what a damn shame it was when the Windham Hill label shut down and especially when William Ackerman's pristine work ceased. Well, with Mystic Places, that pain is well assuaged.


Everything's Coming Up Music at CAE

On May 30 at 7:30 pm at the Shadelands Auditorium, CAE’s Jazz Band and Flock of Flutes (FOF) combine for another exciting evening of music. The Jazz Band will be swinging to the beat of such Big Band favorites as Tommy Dorsey, Benny Goodman and much more. Meanwhile, the flock will perform “Night on a Bald Mountain” by Mussorgsky, “Barber of Seville” by Rossini, and Korean Folk Songs arranged by Kelly Via. A highlight of the evening will be “Poem for Innocence” by local composer/pianist Wendy Loomis.

“Wendy is known for mixing it up in her compositions, fusing styles that range from Debussy to Thelonious Monk,” says FOF director Monica Williams. Most recently, Wendy’s composition “Egyptian Fantasy” was licensed to documentary director Lillie Paquette for her upcoming film We Are Egypt: The Story Behind the Revolution. As a solo pianist, and with various ensembles, Wendy has performed in London, Los Angeles, Austin, Boston, Pittsfield, Nashville, and throughout the San Francisco Bay Area.

“FOF actually commissioned Wendy to write 'Poem for Innocence' for us,” says Monica. “We first performed it in 2005 and look forward to playing it again at our joint concert with the Jazz Band.” The piece utilizes a narrator, the flute choir and an optional percussion part that features an Afro-Cuban rhythm played in contrast with the flutes. “The idea of the piece is that a sense of innocence was present on the days before major disasters,” explains Wendy. “We all remember what we were doing on 9/11, but does anyone remember the day before? While the narrator lists specific dates when major disasters took place, the piece has an optimistic view that the universe, as we know it, will continue.”

Tickets are $10 and can be purchased by calling (925) 943-5846 or online.


"One of the more interesting releases so far this year, Ascension from Phoenix Rising (pianist Wendy Loomis and flutist Monica Williams) musically interprets the seven charkas using an assortment of acoustic instruments played by both the duo and six different guest artists. Despite this mixed bag approach, the CD's musical theme is manifested by the presence of Loomis (who composed the tracks) and Williams (who arranged them). Other artists on the CD are Jennifer Lim on guzheng, Debra Podjed on tabla, Jessica Styler on hang drum, Suellen Primose on cello, Irina Mikhailova on vocals, and Karen Segal on guitar. You can tell by these diverse global instruments that the album bears some world music influences, but overall this is better described as contemporary acoustic music. Or you could simply say these eight women craft music of warmth and beauty that touches the heart and soul with gentleness and grace. Either way, Ascension is a musical delight to be cherished."  

Bill Binkelman - New Age Retailer


"The title track for Phoenix Rising's Ascension begins with an emotionally dense composition that plays heavily in a classical style, but does not have any of the stuffiness or must associated with the classical style. Rather, what Phoenix Rising does during this track is weave a rich narrative through the entirety of the track's 7 minute runtime. For the act, there does not need to be anything vocal present; the intrepid and talented arrangements that act as guideposts for listeners here ensure that a vocal side to Phoenix Rising is not needed at this juncture. For individuals that may have been educated on the virtues of vocal music, purchasing a copy of Ascension is vital to increase the appreciation that one can have for music. I know that I am typically not a fan of instrumental music, but what is done with each of the album's seven cuts is glorious, providing the listener with heady music that will require multiple spins before that time when they can truly get everything that the members of Phoenix Rising have included on Ascension. There may only be seven tracks on Ascension, but do not let it seem as if Phoenix Rising is just riding out a few themes. Rather, the extended length of the tracks on Ascension allow Phoenix Rising to essentially expand on different topics and themes to their logical conclusion, rather than being forced to cram in a brief array of thoughts and feelings into a space that is decidedly too short for it. Furthermore, the tracks on Ascension¬Ě have links between each other, as well to the conception of the album itself. That is to say, the thoughts and emotions touched on during Creation constitute an album-wide phenomenon, which means that for full enjoyment, listeners should secret themselves away to a quiet room and fully enjoy what has been committed to disc by the members of Phoenix Rising. When I am looking for a clean and crisp set of compositions, Ascension will be the first album that I reach for. I eagerly anticipate the band's future recordings, if not only to see the new ground the act will touch upon in the years to come."

NeuFutur Magazine


"A press release that Delvian Records sent out with 'Whispers' described this 2005 release as "a film score awaiting a film." All too often, labels get so caught up in their own hype that they make statements in press releases that are far removed from reality. But in the case of Whispers, the phrase "a film score awaiting a film" does have some validity; there are times when this 54-minute CD -- like a lot of new age releases -- really does sound like it could be used as a soundtrack for some type of European art film. But 'Whispers' isn't new age in the strict sense; actually, the music that acoustic pianist/composer Wendy Loomis and flutist Monica Williams (who comprise the Bay Area duo Phoenix Rising) provide on this disc is essentially acoustic post-bop jazz that has been influenced by European classical and chamber music as well as some of the more substantial new age recordings. 'Whispers' can, at times, be slightly avant-garde, but for the most part, Loomis and Williams are lyrical and fairly accessible -- and the type of jazz improvisers who have had the greatest influence on this duo are folks like Keith Jarrett and Ahmad Jamal, not radically avant-garde free jazz agitators. Despite being an American duo and having a lot of American influences, Phoenix Rising often projects a European quality; again, it isn't hard to imagine parts of this album being used in an artsy film from Spain, Italy, Belgium, or France. Although a bit uneven, 'Whispers' has more ups than downs and indicates that Phoenix Rising is worth keeping an eye on."

Alex Henderson - All Music Guide


"I first heard Phoenix Rising at Listen & Be Heard Poetry Cafe last month, and I was impressed. Wendy Loomis is the composer/pianist and Monica Williams plays flute. They are delightful performers and extraordinarily talented. I was instantly and completely enthralled by the mythic quality of their music. Their debut CD, 'Whispers', is inspiring. Though the music transcends classification, you'll find it listed as New Classical/Jazz. It definitely has a classical influence, as I swear I can hear George Gershwin in Wendy's piano playing. But then the haunting melodies of Monica's flutes are reminiscent of Native American spiritual music. Stir that combination with jazz and just a sprinkling of spoken word, and you've got the delicious blend of Whispers cooked up by Phoenix Rising..."

Cyndi Combs - Listen + Be Heard


Copus – “We All Bleed Red” – Single Review

And the message read simply:  “Greetings!  We are Copus from San Francisco CA.  Copus is an acronym for Creation Of Peace Under Stars” – that was all it took for me to be interested in what I might hear from this new four-piece band…I dig that kind of sentiment for sure.  But there you have it, in print for all to see; their acronymic name is also a blueprint of the mission they’re on.  Through the new single “We All Bleed Red” you get the full picture of their ambition as they look to help heal the growing divide between the people and remind us of the values that are most important in this world we share.

So…ambition and intent are fantastic things to have and certainly something I’d always love to support – but how does this song really come out?  It’s gotta be impossible to bag on a song that is doing its best to create social awareness, peace and unity right?  I mean…I agree…it would be tough to do; thankfully I don’t have to worry about that today with the lively, unique & inspired performance from Copus.  Through ace musicianship and a wild, bright & bold sound, they capture the magic they’re seeking to create on “We All Bleed Red” – it’s like a combination of Quincy Jones meets Baz Luhrmann…theatrical & dramatic in nature with great storytelling, set in an old-school setting that incorporates modern-day movement in the structure and reflecting on the current state of the world lyrically.  It’s really not a typical tune in any sense of the imagination…in my heart-of-hearts I know this overall style/sound is a tougher sell to the people than most…but the message Copus is spreading through their words is one that people are ready to hear, receive and respond to more than ever before.  It took me a couple spins to really adjust to the uniqueness in this project…there’s no doubt that it’s much different from what you’ll typically find out there right now; but just like you can’t express full-thoughts in only 140 characters…sometimes it takes more time for a strong idea to fully sink in.  “We All Bleed Red” essentially gives you as much for your brain to chew on musically as it does through the lyricism.

What I think it’ll come down to is the response to the main lead-vocals…that’s the polarizing element of the song.  At first I wasn’t quite sure of them myself…both the tone and the way the words wound themselves around the bars…but the more I listened to the words themselves, I came to appreciate the way he delivers the message of this tune.  The lyrics are well thought-out and in my opinion, as accurate as can possibly be; this is mobilization music for the resistance and a call for us all to stand up for our collective rights as human beings on a shared planet – “We All Bleed Red.”  At the end of the day, I ended up really enjoying the lead-vocals…it took some convincing at first, but eventually I felt like I came around to hear the style, passion and heart in the performance as it was intended to come across.  The lyrics are truly poetic and the lead-vocals are closer to a spoken-word performance when it comes right down to it – sometimes it takes a bit of an adjustment to fully get into artistic expressions like these.  For me…I’m a poetry guy and definitely on the side of equality for all…I suppose it was only natural that within a couple of spins, I got right into “We All Bleed Red” – but I think most people would come to love this song from one angle or another.  Hard tune not to love…well played Copus, well played.

Because regardless of how you react & respond to the lead-vocals, I’m convinced you’d connect to the words themselves and everything surrounding them quickly enough to keep you listening and repeating the experience.  The female-driven chorus-hook of this song is VIBRANT and sounds absolutely electric in her tone and approach, giving the song a really unique texture added into the overall idea and sound.  As far as the musicianship goes…get out of here…unless you really want to sit here all day long and read a story about a band getting everything RIGHT from every angle, you’re best to correctly assume that Copus has indeed brought their A-game.  I’d honestly be willing to bet Copus is a band comprised of a core of studio-musicians and songwriters…it’s no accident that this song’s ambition in its message is matched perfectly by the expressive talents in the music.  You can easily identify killer instrumentation happening in the rhythm section through the rhythm in the drums and intense grooves of the bass…they’re crushin’ it; the keyboard-piano parts drive the melody with bright, empowered & inspired tones alongside’em.  Combine that with the two completely different styles, sounds and approaches to the vocals on “We All Bleed Red,” and you really have a song that’s seriously compelling to listen to.  It stands out…it truly, truly does…I have the feeling this is a song I’ll completely remember.

And just in case there are ANY doubters out there…listen to the way they exit this tune!  The professionalism & precision is stunning – perhaps the most impressive moment in the instrumentation actually comes right in the final ten-seconds or so!  The transitions have been rock-solid all the way through the song as Copus moved through the structure and storyline of “We All Bleed Red” – but that ending…ohhhhhh that ending is a glorious one!  You can almost picture it live…those final ten-seconds and then just completely cut the lights as it finishes on its ultra-conclusive and decisive ending.

Find out more about Copus from their official homepage at:


"From San Francisco group Copus comes one of the most intriguing, challenging and ultimately satisfying albums of the year. The core of the group is composer, musical director, and co-producer Wendy Loomis. Together with poet Royal Kent, they produce music that is part jazz, part classical, cerebral and sexy."

Tom Kidd - Music Connection Magazine


"Copus is a musical group with some of the most talented musicians that I have yet come across. The music is a mixture of spoken word, jazz, a touch of blues, and a hint of classical styles. This music is a little difficult to compare to anyone else because I have never really heard anyone like this group. The jazz styles are very complex and the music that is created is absolutely masterful. The musical virtuosity of the members in this group is absolutely amazing. Having this much talent in one band should be a crime. The music develops into a sort of scenic painting in your mind as it is played. The warmth and soul of the musicians is almost seamlessly produced throughout the entire album. This is musicianship and songwriting at its best...I recommend this be one of the first choices for Spoken Word Album of the Year..."

Michael Allison -


"I was deeply impressed by the COPUS CD. It is very fine music you have made!"

Christopher deLaurenti - KSER FM Radio Seattle