"When the acclaimed percussion group Hands On’Semble voted recently not to record a new album, the only ‘Aye’ vote belonged to Gloss, who then proceeded to record his debut solo album, The Ayes Have It, Vol. 1. ‘Aye’ might as well have been spelled ‘I’, as Gloss has done it all himself, producing, recording, mixing, and playing a myriad of rhythmic and melodic percussive instruments. Gloss is a true master of almost anything that can be hand-struck, which he so eloquently demonstrates with sounds and textures that blend together in a delicious confectionary for the ear. It’s as musically compelling and sonically pleasing as a percussion album can be." - LA Weekly

 “Not only does Gloss tap a sensually appealing range of instruments, he plays each with extraordinary sensitivity and, most important, arranges the multilayered sounds in compositions that draw you in and take you to a place of involvement and peace. Breathe.” – metaljazz.com

"Randy Gloss's new solo percussion release "The Ayes Have It" is a superb album. HIs advanced percussion technique is breathtaking even as it serves the soulfulness, beauty and spirit of his larger musical vision. " - Adam Rudolph (percussionist, composer, bandleader, and author-Pure Rhythm)

"The fact that he is one of John Bergamo’s most astute students is evident throughout the album as Randy Gloss’s performances and ideas exude homage to the great American percussion master on this debut solo recording. The recording is available as a CD, digital download, and double-gatefold vinyl LP from Orenda Records with detailed liner notes on each piece. My only criticism is that the colors and fonts chosen for the cover and liner notes are difficult to read in hard copy.  That said, the album is worthy of much praise as not only do we hear Gloss is an impressive assortment of performances, but one can finally hear solo performances by this outstanding musician who for much of his career has been heard in ensemble and soundtrack contexts (which I have always found to be as equally impressive). The recording quality has a humble clarity to it that makes you feel as if you are attending a private solo concert by Gloss, who possesses an unassuming quality coupled with a deep talent to express musically that I have long admired. His varied background in jazz drumming, Western percussion, and a variety of world percussion traditions offers the listener an engaging kaleidoscopic musical experience, and this album delivers impressively in the technical aspects of his performances and the creative genesis of his compositional style.  The album begins with the improvised introduction “Warmer Waters” for Chinese and South Korean gongs, water gongs, and water timbres. Gloss’s ever impressive pandeiro playing is featured in three solos in five beats each on “From McBean to Hasley Cyn Parts 1–3.” A more light-hearted approach and a nice choice in variety are the improvised pieces “The Hang” for handpan and caxixi and “Experiment on the Nature of Water #1” for electronic drumset featuring an array of digital percussion soundscape timbres. “Prelude to the Onion” is the densest piece on the album in 33 beats (in three cycles of 11 beats in Raag Malkauns and a quote from John Coltrane’s “A Love Supreme”), featuring Gloss overdubbing himself on drumset, Paiste melodic gong set, and kalimba in a grooving and swinging showcase that at times made me feel like Elvin Jones had been channeled. “Suburban Desert Oasis” (dedicated to John Bergamo) is a solo on an 18-inch Cooperman tar in seven beats in three sections each requiring a different grip (freehand, lap style, and hand-held, respectively). There is at once an original style to Gloss’s frame drumming in his use of Bergamo techniques with the Persian riz and Carnatic rhythmic cadences. “In a Cycle of Nine” closes the album with a tabla solo in nine beats with tala, tamboura, and swarmandel accompaniment. For percussionists, this album is an opportunity to hear one of America’s great percussion virtuosi in a solo context in which Randy Gloss quite literally brings you a percussion worldview few have to offer. - N. Scott Robinson, Percussive Notes

"A ride through rhythm, texture, and mood

Essentially a solo percussion record with few overdubs, Randy Gloss’s debut works as a study piece for the different instruments he uses as well as a soothing collection of music to relax to.  His technical skill with a frame drum is evident on “Suburban Desert Oasis”, on which he works the seven beat pattern with lyricism and control.  On the multipart “From McBean to Hasley Cyn”, Gloss employs a pandeiro (Afro-Brazilian tambourine) to great effect, mimicking the kick drum and backbeat and using the jingles to fill in the space orchestrally.  There are improvisations for electronic drumkit (“Experiment of Nature of Water #1”), hypnotic gong pieces (“Warmer Waters”), and an extended tabla performance (“In a Cycle of Nine”), so you get to experience diverse styles and Gloss’s accomplished execution.  And if the one-man percussion vibe isn’t your thing, you can simply chill to this on a Sunday morning." -  Ilya Stemkovsky, Modern Drummer