JoAnn Falletta, conductor of the Buffalo
Philharmonic Orchestra, has written about Lee's
Symphony No.1 and its score:
I listened and found it to be a really beautiful work! ... I am happy to
have it and look forward to studying it.
Personal communications to the composer, used with permission.
The Eclectix Chamber Orchestra's premiere of McClure's composition,
Hiatus, won the praise of The New York Times critic Tim Page, who
It was probably the most distinguished piece on the program: the harmonies
had bite and the musical ideas seemed both organic and Mr. McClure's own.
McClure is the founder and director of the new-music concert series
Eclectix, which has presented the music of
over 100 living composers in New York City. The New York Times
Devoted to Melody — Eclectix, a group dedicated to presenting melodic
music in the tradition of Debussy, Gershwin, and Ellington, performs in New York.
[M]ost this repertory grew out of a tonal, melody-accompaniment tradition,
and a lot of it by way of American popular culture.
Played on 40 radio stations in the United States, Lee's CD
A Jazz Christmas Like You've Never Heard
was reviewed by D. Oscar Groomes in O's Place Jazz Magazine:
This is not your traditional Holiday album. For sure Lee has managed to transform, twist
and provoke our imaginations. The music is great and the lyrics are familiar.
In a staged reading at the Cathedral of St. John The Divine with a
libretto by the Pulitzer-Prize-nominated playwright Ron Whyte, the opera
Mother and Child was reviewed in The New York Times by Bernard Holland, who
Mr. McClure's music is, for better and worse, eclectic. It veers from Broadway
to sentimental pop ballad to angry instrumental harmonies to a recitative style
that at times implies total dissonance. ... [T]his is truly an embryo
of a production waiting to be born.
Herb Boyd wrote in The New York Amsterdam News:
A rather adventurous foray into the realm of improvisation by cellist
Paul de Jong and flutist Lee McClure
, the series' director,
opened the evening. Both musicians played electrified instruments, and
their best moments occurred when de Jong settled snugly behind McClure's
flute, which sounded like a bowed bass fiddle. The duo's often lively
performance stood in contrast to the dark, brooding music of [Toni and
Gordon Parks' song cycle, "In Love"].