Album Review: Moxie — Chamber Winds of South Dakota, led by Elizabeth Robinson

There is a spirited sense of discovery running through Moxie, the compelling new release from Chamber Winds of South Dakota led by flutist Elizabeth Robinson. True to its title, the album radiates boldness, imagination, and character, offering a thoughtfully curated program of contemporary works that are both adventurous and deeply expressive. Under the direction of Don Linn, these performances reveal an ensemble playing with precision, color, and unmistakable commitment.

The title track, Moxie by Nicole Chamberlain, immediately sets the tone with its infectious energy and inventive writing. Chamberlain’s musical language is unmistakable, and listeners familiar with her work will recognize the playful extended flute techniques and rhythmic vitality that have become hallmarks of her style. Yet these effects never feel merely decorative; they contribute to a work of wit and momentum, expertly realized here by an ensemble fully attuned to its theatrical flair and nuanced textures.

In striking contrast, Tray by Marie A. Douglas for flute, clarinet, and horn offers a more introspective sound world. Moody, ethereal, and poetic, the piece unfolds with an almost suspended sense of time, inviting the listener into a landscape of subtle shadings and intimate dialogue. The performers capture its atmosphere beautifully, shaping phrases with sensitivity and allowing the music’s quiet emotional currents to emerge naturally.

A central highlight of the album is Concertino by Jonathan Newman for flute solo, chamber winds, and piano. Here, Elizabeth Robinson shines brilliantly. Her sound is warm and luminous, her phrasing elegant, and her technique effortless throughout even the most demanding passages. Newman’s writing gives the soloist ample room to sing, dance, and dazzle, and Robinson responds with artistry that is both polished and deeply communicative. Particularly impressive is the balance she strikes between virtuosity and lyricism, making the work feel not simply technically impressive, but genuinely expressive.

What makes Moxie especially rewarding is the album’s cohesive artistic identity. Though each work inhabits a distinct sound world, the program feels unified by curiosity, vitality, and a commitment to championing fresh voices. Chamber Winds of South Dakota performs throughout with exceptional cohesion, and Don Linn’s direction brings clarity and shape to every score.

Overall, Moxie is a unique and wonderful album—an invigorating celebration of contemporary chamber music performed with intelligence, personality, and heart. It not only showcases Elizabeth Robinson as a flutist of remarkable artistry, but also affirms the adventurous spirit of the Chamber Winds of South Dakota. For listeners drawn to inventive programming and superb ensemble playing, this recording is a delight.