This is the fourth volume dedicated to John Cage’s works for percussion, and also the 52nd volume of the monumental Complete John Cage Edition on the label Mode. Cage allowed for some of his works to be combined and performed simultaneously. Percussionist Bonnie Whiting has created uniquely virtuoso solo-simultaneous realisations of some of these works for “speaking percussionist.” 51’15.657” for a speaking percussionist is Whiting’s solo-simultaneous realisation of all of 45’ for a speaker (1954) and 27’10.554” for a percussionist (1956). Cage wrote 45’ for a speaker to perform himself. He wrote on thirty-two subjects and added a series of gestures (gargling, lighting a match, coughing etc.) to be performed during the delivery. Like the percussion piece, each page is one minute long. Between 1984 and 1987 Cage composed 17 pieces called Music for__, where any of these pieces can be performed alone or together in any combination; here Whiting combines one of the percussion versions with the version for voice. Her recital is completed by Cage’s two beautiful, classic, early pieces for voice and piano: The Wonderful Widow of Eighteen Springs and A Flower. Here the piano is used as a percussion instrument, never played on the keys but rather knocked and slapped on by the pianist. Like for the larger works, Whiting performs a tour de force of performing both parts simultaneously. As a bonus, Whiting’s mentor Allen Otte (of Percussion Group Cincinnati) performs his work for speaking pianist/percussionist which is created around works of Cage and utilising Cage’s compositional “tools” for both the music and text.