Thomas Flippin

Guitarist & Composer

STLTODAY.jpg

ST. LOUIS POST-DISPATCH, Guitarists Duo Noire get 'a little weird' at Ethical Society concert
It’s always a special pleasure to have Duo Noire back in town, and Saturday night at the Ethical Society was no exception. Classical guitarists Thomas Flippin and Christopher Mallett created a relaxed, informal atmosphere as they presented an eclectic program that included two world premières...With its incredibly transparent and lightly textured delivery, spectacular precision, delightful commentary, and a wide range of guitar techniques, Duo Noire produced another engaging and profoundly enjoyable program. After all its applause, the audience was rewarded with an elegant version of “The St. Louis Blues” which, like Piazzolla’s tango, was all dressed up for the concert hall.

I CARE IF YOU LISTEN, Where Classical Guitar Meets Minimalism
"Figments, composed by Raymond Lustig and performed by the virtuosic pair, Duo Noire (Thomas Flippin and Christopher Mallett) is a unique and entrancing album that exists at the unusual intersection of minimalism and impressive classical guitar technique...The technique in this piece, with the rapid scale passages, sounds ripped from a Rodrigo y Gabriela album, and all the talent to execute the challenging passages with it. Flippin and Mallett definitely don’t disappoint...The impressive technique displayed by Duo Noire is perfectly suited to Lustig's delicious compositions, and you wouldn't regret getting a hold of this; if you like acoustic guitar, bluegrass, minimalism, blues -or music at all- you'll definitely enjoy this excellently produced and mastered album."

THE GUARDIAN, Voodoo review – a lost Harlem Renaissance opera soars
"Underneath that late-Romantic two-part vocal harmony, Freeman’s orchestra featured bluesy scales, gorgeously shaped on this night by the Harlem Chamber Players’ strings. Eventually, the stylistic threads converged...Throughout the night, this dynamic delivered one surprise after the next – as when [Flippin's] banjo plucked its way to a greater prominence in the orchestra, or when the rhythmic phrasing of a vocal line would close off with a subtle nod in the direction of American swing. This exquisite ambiguity mirrored the tensions at the core of the opera’s narrative..."
 

THE NEW YORK TIMES: 'Voodoo,’ by H. Lawrence Freeman, Has First Staging since 1928.
"Years in the making, this “Voodoo,” a collaboration among the Morningside company, Harlem Opera Theater and the Harlem Chamber Players, conducted by Gregory Hopkins, is the fruit of much labor and love...And passages of the score, an intriguing if overcautious mixture of traditionally operatic and folk styles, are lovely: [Flippin's] banjo’s plangent astringency and the saxophone’s croon cut effectively through the textures of a standard orchestra." 
 

ARTFORUM INTERNATIONAL, Northern Soul
"It was just this kind of phenomenal experience- of solace and sublimity, communion and catharsis- that Alicia Hall Moran conjured into being for an intimate crowd in February at Cambridge's Regattabar...Accompanied by an equally brilliant and worldy ensemble- operatic baritone Steven Herring, guitarist Thomas Flippin, bassist Tarus Mateen, taiko drummer Kaoru Watanabe, and Hall Moran's husband, jazz musician Jason Moran."

 

CLASSICAL GUITAR MAGAZINE: Review of Something New album
"The opening Casseus trilogy is great stuff....these indeed, are three little gems...The Brouwer pairing is always a winner...tuneful and warmly evocative music [that is] beautifully played here...The Mompou...remains one of the 20th Century's most beautiful and original guitar works [and] Flippin does it full justice...With Flippin's own pieces...there are many beautiful moments...A fine recital with some attractively performed and recorded music." 
 

PARTERRE BOX, That Sly Come Hither Stare (Voodoo Opera Review)
"This group was short on strings and heavy on brass, but individual touches made their effect. Melodies from [Flippin's] banjo (sometimes as continuo, sometimes as local color) were echoed by harp, as if caught by a breeze in the willows.
 

The Saint Louis American: Saint Louis Classical Guitar Society Welcomes Duo Noire to Town
"In the ten years since classical guitarists Thomas Flippin and Chris Mallett formed Duo Noire, they have become trailblazers."

JAZZTIMES, Alicia Hall Moran: Deliberate and Natural
"On Friday, June 21, at Manhattan’s Highline Ballroom, Hall Moran reprised her critically acclaimed motown project, a surreal reimagining of classical, soul and pop music that laid Mozart and Marvin Gaye side by side over the strange brew of husband Jason Moran on Fender Rhodes, Tarus Mateen on electric bass, Kaoru Watanabe on the ancient Japanese taiko drums and bamboo flute, Thomas Flippin on guitar and theorbo (a towering, largely outmoded lute) and the baritone Steven Herring. It should have been a sendup. Instead, the result was a kind of musical decanting...making dust-covered arias sweat and steam..."

 

GUITAR FOUNDATION OF AMERICA - SOUNDBOARD MAGAZINE:
"Figments is a substantial piece over half an hour in length...At times the effect is similar to the early minimalism of pulse-pattern works, but fragmenting much sooner than the music of Philip Glass or Steve Reich & Terry Riley...captured in crystalline sound...both composer Lustig and Duo Noire are to be congratulated for their work. I look forward to hearing more from them." 

 

ACOUSTIC GUITAR MAGAZINE: GUITARS FOR GOOD
Needy schools benefit from nonprofits bringing guitars into the classroom...The St. Louis Classical Guitar Society didn't get involved in the Ferguson protests, but took the message of those signs to heart nonetheless...[and] instituted the Ferguson Guitar Initiative...Students of Johnson Wabash Elementary School in Ferguson Missouri pose with Artists-in-residence Thomas Flippin and Chris Mallett of Duo Noire. 

 

ALL ABOUT JAZZ: Review of Alicia Hall Moran's "Heavy Blue"
"the acoustic guitar of Thomas Flippin grounds a transformed "Flow My Tears," in which we feel the evergreen pulse of its composer, John Dowland, but awaken to the lucidity of operatic diction and lyrics flown in from Smokey Robinson's "Cruisin.'" This shift finds new parallels in the unceasing love song to haunting effect."

 

 

THE NEW YORK TIMES: Heavy Blue Review
"[Alicia Hall Moran's] debut album, 
“Heavy Blue,” runs less than 40 minutes but covers some ground, moving with purpose through an African-American spiritual, a Duke Ellington overture, a Renaissance lute song and a few emotionally potent originals...she understands what a bit of ragged intensity can do and she seeks out provocative partners."

THE NEW YORK TIMES: Art, Ancestry, Africa: Letting It All Bleed.
 “Bleed” was neither about jazz nor about opera, per se, though it contained some of both, and much else: film, video, dance, poetry, lecture, diary, journalism and alternative medicine. It offered 26 performances, including Ms. Moran singing operatic arrangements of Motown songs backed by harp, piano, [classical] guitar and percussion...“Bleed” was pretty extraordinary in breadth, depth, planning and execution.

UNIVERSITY OF CHICAGO MAGAZINE:
"I’ve spent more than a few hours back in Chicago listening to the videos on Thomas’s website. Who knew guitar could sound this glorious?"
 

Classical Guitar Insider Podcast with Bret Williams. Discussing the state of guitar as well as race, gender, and class dynamics in the field. 

 

 

 

"An amazing job! Flippin was very professional and really understood the nature of the series. His playing is musically compelling and precise, with good stage presence and great contact with his audience. I look forward to the next time."
-Marija Ilic, Artistic Director of the OSilas Series


"What a pleasure it was having Duo Noire on our series.  Not only was their musicianship brilliant , but also the diversity of their programming was exceptional.  The two provided delightful on-stage commentaries, adding tremendously to our audience's appreciation of each selection.  How gratifying it is to see young artists so devoted to their craft."  
-Music Programming Director, Placitas Artists Series


"His performance was outstanding - skillful technique, beautiful repertoire, & sensitive interpretation." 
-Gloria Collins, Presenter, Church of the Holy Trinity, Philadelphia


"an extraordinary performer...they loved him."
-Patricia Fahy, VP, Windsor Art Center. 
 

"Thomas Flippin and Chris Mallett of Duo Noire are the kind of teaching artists that the guitar world desperately needs now. They’re both fantastic recitalists and teaching artists, equally loved by students and community audiences alike. Reach out to them—they belong on your next series!"
-Wiliiam Ash, Executive Director of the St. Louis Classical Guitar Society
 

"...a wonderfully engaging, natural & dynamic performer."
-Benjamin Verdery, Prof. of Guitar at Yale University.


"transitions so artistically created, thanks to the subtle magic of Thomas Flippin's classic guitar."
-Destination Chelsea, Friday Night in The Kitchen.
 

"Duo Noire were impeccable...charming musicians performing gorgeous, slow-blooming, stereophonic.guitar music. Everybody fell in love with them."    
Conrad WIndslow, Juilliard composer


"Duo Noire bring a creative artist's vitality to all the music they perform, as if the music were being written before your very eyes." 
-Ray Lustig, Juilliard Composition Faculty