For decades, percussionist Randy Gloss has been recognized as one of the world’s leading hand percussion virtuosi, with an astounding breadth of knowledge and cultural understanding. An expert in musical traditions from across the globe, he brings a deep and expansive approach to rhythm and percussive sounds as he once again dives into personal exploration. As Gloss’s new solo album’s title suggests, “…The Ayes Have It” Vol. II: Self-Portraits in Percussion is, on one hand, a seamless continuation and companion to Vol. I (released on Orenda Records in 2015), while on the other, a stand-alone narrative, showcasing new directions, different facets, instruments, and ideas not explored on the first. On both, Randy Gloss explores an extensive palette of sonic possibilities through a deeply reflective and personal approach, with the world of percussion and rhythm as brush and canvas, utilizing the double LP vinyl record format as it’s frame.

all music composed, performed, recorded and produced by Randy Gloss; mixed by John Baffa; mastered by Stephen Marsh; original artwork by Eron Rauch, and extensive liner notes by Randy Gloss.

“When you dream that a musician will escort you to unfamiliar environs, sometimes the guide just has to be a percussionist or a drummer…This time the trip comes courtesy of Randy Gloss, a long-practiced SoCal slapper and striker of many world instruments, sometimes electronified. In Vol. II of his "The Ayes Have It" series, he focuses more tightly on composition, so we soak up not only the sensuality, flow and expertise of his sounds (which would be enough), but a greater sense of resolution. Take the opener, "The Ninth Anything," which starts as a processional overture and moves through cooking tabla, a bellydance tar bridge, psychedelic rain and dublike echo -- like, yikes! "Led by the Hand," too, is a multipart excursion highlighted by weird twangs on the mysterious electronic aFrame instrument and a traps groove attributed to Led Zeppelin's "When the Levee Breaks"; you're gonna need your subwoofer for this one, and for the enormous kick and ear-tingling cymbals of "Estuaries." The treats keep on comin' with Whitmanesque variety, such as the vibraphone over heavy Afro drums on the Latinate "Super Obrigado," and the electro noise, gamelan clock of doom, and hand drums poking like a carrion bird on "Shadowlight Soundtrack," all arranged just so. But musicians, oh those musicians, will come back for the rhythmic sophistication, as on "Solo for Three Congas," where Gloss circulates a bunch of time signatures and magically resolves them, or "A Folk Drum Solo," where he seems to use a drum, handclaps and a triangle to suspend time entirely -- these are things great jazz ensembles sometimes do, and Gloss is doing them alone. More important, Gloss is doing all this entertainingly. MetalJazz first listened to "Ayes II" on the same night as "Sabbath Bloody Sabbath," "Sketches of Spain" and Lee Perry's "Rainford." Perfect.”

- Greg Burk, metaljazz.com

“Randy Gloss's album " .. .The Ayes Have It" -Vol. II is a hand drum world tour exploring modern applications for everything from pandeiro to riq, from congas to aFrame (an electro-organic frame drum). Each piece is thoughtfully written and performed and has a specific and personal meaning and origin for the composer. The album blends acoustic instruments with electronic ones, traditional playing techniques with modern timbres.

The tracks are at times improvisatory and at other times carefully composed. The album serves as a consumable gateway to these instruments for new listeners. Even the drum set solo, "A Little Change in the Pocket Blues;' includes a recited tabla theka in the second half. The influence of traditional Middle Eastern rhythms flows throughout the album, moving alongside the influence of various modern musical styles and the inspiration of other musicians.

The use of various metallic instruments and extended techniques gives a cinematic flavor to many of the tracks. Constantly fluctuating and complex rhythms and meters make the pieces groovy but unpredictable. Track to track, the listener never knows what soundscape will be presented next.

Existing somewhere between ambient music, danceable rhythms, and the avant-garde, " ... The Ayes Have It" is worth the listen for anyone who loves rhythm, is fascinated by the capabilities of drums, or simply loves music that is crafted with both love and talent.”

-Marilyn K. Clark Silva, Percussive Notes