Percussionist Rob Power, based in St. John’s, Newfoundland, is a musical jack of all trades, although contrary to the conclusion of the popular saying, he is seemingly a master of all of them. In addition to teaching at the percussion faculty at Memorial University, he performs with symphonies, rock bands, and improv groups, premiers concertos and chamber music, and collaborates with leading musicians in a variety of genres. He has also invented and constructed new percussion instruments and composed a number of noteworthy works for percussion. His new solo recording features seven of his compositions written between 2000 and 2013. Touch is a beautifully produced album with a great variety of style and instrumentation. Though one might be tempted to look for compositional influences (at certain points, I was reminded of Philip Glass, John Wyre, and Ghanian drumming), Power’s use of sometimes lopsided, odd-metre rhythms and his distinctive harmonic language mark a very personal style. Highlights on this disc include the captivating large-ensemble piece Tunnel Mountain (notable for the short but intriguing theme that carries through the work, and for the inclusion of a glass marimba), the gorgeous blending of marimba and vibraphone on Untouchable, the rhythmic and slightly quirky Cappahayden, and the beautiful combinations of instrumental textures in Amalgamation. Touch is an engaging portrait of Power’s work, and a worthy addition to any chamber music library.