Podcasts about Canadian Brass

Get 25% off Cowboy Colostrum with code WHYFILES at https://cowboycolostrum.com/WHYFILES. Josh Cutchin is a researcher, author, and musician whose work occupies a rare space between rigorous scholarship and genuine open-mindedness. Josh Cutchin is a researcher, author, and musician whose work occupies a rare space between rigorous scholarship and genuine open-mindedness. Over eight books he has built a unified argument that Bigfoot, fairies, UFOs, near death experiences, and ghosts are not separate phenomena but facets of the same ancient, shape-shifting presence. His 2022 masterwork Ecology of Souls is considered by peers to be among the most important books in ufology in decades, and was included in Rice University's curriculum for first year PhD students in religion. His footnotes are legendary. His thinking is genuinely original. A trained tuba player who studied under Canadian Brass legend Fred Mills, Josh brings the same obsessive attention to detail to paranormal research that he once applied to music. And his central argument — that everything weird points back to the same door — is impossible to dismiss. Learn more about your ad choices. Visit podcastchoices.com/adchoices

If you want to know how to think on your feet, you need to understand something most advice on this topic gets wrong: Thinking on your feet is not a talent. It's a trained response. And the training required goes far deeper than memorizing a few “power phrases” or practicing small talk at networking events. Real mental agility, by which I mean the kind that serves you in a boardroom, on a stage, in a heated conversation, and even in physical danger, is something you earn. And to earn it requires systematic preparation across multiple domains. I know this because I've spent decades training for exactly these moments. As a university professor, I've lectured in multiple languages to rooms of students who didn't always want to be there. And to get my PhD, I had to sit for a dissertation defense in a room where some of the examiners delighted in throwing hardball questions. As a performing musician, I've improvised solos on stages where the set list changed mid-show. While performing card magic, I've recovered from botched tricks in front of audiences who were actively trying to catch me out. And as a martial arts practitioner, I've used my training to escape three real-world physical confrontations without throwing a single punch. Then there was my TEDx Talk where I had to make real time adjustments when the audience failed to even smile at my scripted laugh lines, but chuckled substantially during parts I had not planned to be funny. https://www.youtube.com/watch?v=bqtDy68-gkY How to Think on Your Feet: The Complete Training System for Mental Agility Under Pressure What I've learned across all of these experiences is that every domain of “thinking on your feet” shares one foundational requirement. It's not intelligence. It's not quick wit. It's often not even confidence. Rather, the biggest lesson I’ve learned is that thinking quickly and responding in the best possible way comes down to the systematic reduction of ego. That might sound philosophical, but it's intensely practical. And it will become the thread that connects everything in this guide. From how to recall information instantly in a conversation to how to physically escape a threatening situation without freezing. Here's what we'll cover today: Part 1: Why “Thinking on Your Feet” Is a Trained Skill, Not a Personality Trait Part 2: The Ego Problem (Why Your Self-Image Is Your Biggest Obstacle) Part 3: Mental Recall Under Pressure (How to Access What You Know When It Matters) Part 4: Verbal Agility (How to Sound Smart, Pivot, and Recover in Conversation) Part 5: Performance Under Pressure (Lessons from Music, Magic, and the Stage) Part 6: Physical Composure (How to React When Your Safety Is at Stake) Part 7: Daily Training Exercises for Mental Agility Part 8: Loading Your Mind (Why What You Memorize Determines How Well You Think) Part 9: The Paradox of Mental Silence Let’s dive in with why most people struggle with the skill of spontaneously responding in optimal ways in the first place. Why “Thinking On Your Feet” Is a Trained Skill, Not a Personality Trait As Freud pointed out, civilization is not our natural state. In Das Unbehagen in der Kultur, which is usually translated as Civilization and Its Discontents, he argues that much of our inner tension comes from how our social training represses our instincts. “Discontents” is not really a great translation for the title of this book. “Unbehagen” means something more like “unease” or “discomfort.” And since languages and skills are something we learn, we literally have to undergo a process of discomfort to learn most things. That's not a political statement. It's a neurological one. Your brain's implicit memory system, the part that handles automatic behaviors, gut reactions, and how you repeat social patterns on autopilot, was shaped by millennia of environments that looked nothing like a conference room or a dinner party. It was shaped by physical survival, tribal dynamics, and the need to read danger before it arrives. This means that when you're put on the spot in a modern context, your brain defaults to patterns it learned through observation, not through deliberate training. And those patterns were modelled on the people around you growing up. Especially in contexts like: Being asked a question you weren't expecting Getting challenged during a meeting Having someone force you to improvise a presentation at school or work In such situations, you might find yourself freezing under pressure and not realizing that you’re actually repeating how you saw a parent go cold when you were young. Or you might find yourself getting defensive in arguments the way a sibling did, or going blank during presentations based on someone else’s blip you observed. When you repeat this behavior yourself, it’s not a character flaw. That's implicit memory doing exactly what it was designed to do: replicate observed behavior. And if you’re reading this and don’t have problems thinking on your feet, chances are that you were a lucky observer of someone who could when you were young. Combatting Implicit Memory’s Hold with Reconsolidation The problem is that your default patterns are not optimized for the situations modern life throws at you. They're survival patterns, not performance patterns. Since you’ve learned to react like those you’ve observed instead of how you’d prefer to act as a fully realized being in this world, what can you do? Fortunately, quite a bit. Neuroscientists call the mechanism behind how you can shift the hold of implicit memory on your behavior memory reconsolidation. Here’s how memory reconsolidation works in brief: Every time you recall a memory, it temporarily destabilizes. Researchers call this destabilization a “labile state.” And while the memory is transitioning, the memory can be modified before your brain stores it again. This includes modifying behavioral patterns, not just facts. So when you clam up after being put on the spot and then reflect on what happened, that freezing response is briefly open to revision. This process was first demonstrated in landmark research by Karim Nader and Joseph LeDoux at NYU, which you can read about in Memory Reconsolidation. As part of their investigation, Nader and LeDoux demonstrated that even deeply encoded fear memories could be altered during reconsolidation. Unlocking Transformation Bruce Ecker and colleagues later applied this principle therapeutically. I recommend their discussion in Unlocking the Emotional Brain: Memory Reconsolidation and the Psychotherapy of Transformational Change. As you’ll read, they discovered how long-held emotional patterns can be rewritten. Not through willpower, but through a specific process of activating the old pattern, introducing a contradictory experience, and allowing the brain to re-encode. Monica Khosla explores a parallel idea in The First and Last Belief. This fascinating book is written by someone who experiences non-dual states similar to those I shared in The Victorious Mind: How to Master Memory, Meditation and Mental Well-Being. Khosla discusses how our earliest family-formed beliefs become the templates for how we respond under pressure as adults. Her work in family therapy suggests that these templates aren’t permanent fixtures. Rather, they’re “reconsolidatable,” provided you understand how they were formed and deliberately create new experiences that contradict them. This is precisely what the training in the guide you’re reading now is designed to do. Every exercise, every practice, every discipline I’ll share works by activating your default pattern (the freeze, the defensive reaction, the blank stare) and replacing it with a trained alternative in the moment it’s most labile. The Catch But there’s a catch. There’s always a catch, isn’t there? The pattern that most resists reconsolidation is your self-image. It’s also your self-image that most aggressively defends itself against change. People literally argue for hours with therapists that they cannot change. I know because I made this argument myself for years in front of my own therapists. This is precisely why thinking on your feet requires training. You cannot simply decide to be quicker, calmer, or more articulate under pressure. You have to deliberately replace your default patterns with trained responses. And use deliberate practice to ensure those responses become the new default. The training looks different depending on the context: In conversation and debate, it means learning frameworks for organizing thoughts rapidly and practicing with real people. In professional settings, it means memorizing key information so thoroughly that recall becomes effortless, freeing your mind to think rather than search. On stage or in front of an audience, it means thousands of hours of performance practice that builds a reservoir of recoveries and pivots you can draw on automatically. In physical danger, it means martial arts or self-defense training that bypasses conscious thought entirely and produces trained physical reactions. Each of these contexts has its own training methods. But they all share the same underlying principle: the trained response must be so deeply encoded that it fires before your conscious mind has time to interfere. The single biggest source of that interference? Your ego. But never fear. As big of a problem as the ego can be, you’re going to learn how to solve and resolve it. Part 2: The Ego Problem (Why Your Self-Image Is Your Biggest Obstacle) Here's the uncomfortable truth that almost no “how to think on your feet” article will tell you: The reason most people freeze, fumble, or fail under pressure is not that they lack information or intelligence. It's that they're managing their self-image at the same time as they're trying to perform. They experience serious cognitive drain as a result. Why? Well, when you're in a meeting and someone asks you a question you don't know the answer to, your mind doesn't just process the question. If your ego is not well-managed, your mind simultaneously processes: “What will they think of me if I don't know? Will I look incompetent? How do I maintain my status?” That parallel processing consumes the very cognitive resources you need for actual thinking. The Additional Cognitive Drain of Fantasizing Your Own Wit The psychoanalyst Jacques Lacan made an observation that I've found profoundly useful in this context. He once pointed out that our fantasies are almost always better than the reality. For example, when we fantasize about being the quick-witted person everyone admires, we're constructing an idealized self-image that the real moment can never live up to. At least not all the time. You’ve probably heard the phrase “the gods have clay feet.” Well, spend enough time with accomplished performers, and you’ll start to see why. No one always has: the perfect response the devastating comeback the elegant pivot But we fantasize that some people do. And then when we don't perform like our fantasy, we experience not just the failure of the moment, but also a painful collapse of our self-image. That's why a stumble in a presentation can feel catastrophic even when the audience barely notices. The ego is experiencing a much larger injury than the situation warrants. How to Reduce Ego Before It Costs You There’s no quick fix for the ego. And ego reduction exercises so you can respond with greater self-satisfaction in the moment require: Practice in advance Consistent application in a variety of situations And in a variety of ways until responding off the top of your head from a clear mind becomes your default orientation. Then you maintain the practices that get you the spontaneous mastery you want over time. Here is a powerful place to start. Practice Stoic Premeditation The Stoics called it premeditatio malorum or negative visualization. Basically, you deliberately imagine everything that could go wrong related to the situations that regularly require your response. If you regularly visualize yourself going blank in a meeting, stumbling through a presentation, or being publicly corrected, the actual event loses its power to destabilize you. You've already experienced the worst in your imagination. The real version is almost always milder. It’s the flipside of the point from Lacan we discussed above. You’ve now made the reality much better than the fantasy. Modify the Classic Stoic Exercise You can modify premeditatio malorum in two key ways. I suggest you experiment with both techniques I’m about to describe. One: Transform Old Memories of a Disastrous Performance First, you can excavate through your memory to find situations you recall where things have already been bad for you. Then, you can “cleanse” those memories by placing them in a “Happy Memory Palace.” The scientific basis for this process comes from research showing promise in therapy for trauma, such as this study of memory reconsolidation specific to declarative memory. And there is the now classic Tim Dalgleish-headed research on using Memory Palaces or the method of loci for successfully reducing depression. For more on this kind of research, the following livestream replay gives you an exact exercise and more about the memory science behind the positive outcomes: https://www.youtube.com/watch?v=vs9UHz4pVuM In terms of how I’ve used this approach personally, I sometimes wince at one particular memory from when I sang a song during show-and-tell one morning when I was in grade two. I don’t know why I used to feel embarrassed when the memory would arise as an adult, but I could feel the sting in my cheeks. And later when I first started sharing the Sanskrit phrases I’ve memorized, that little flush of shame would arise again. So to forgive that kid whatever my memory was holding against him for his squeaky little voice, I turned the classroom into a Memory Palace and used it to memorize a delightful poem. From the point that I finished learning the poem (you can learn the process from this poetry memorization guide), I can think of that episode without that old embarrassment reviving any of its sting. And I’ve used this approach to transform other lingering memories I don’t like as well, something I’ll share more in-depth in a forthcoming book. Releasing old negative memories that involve shame makes me feel more spontaneous. And I’m confident you’ll enjoy a similar benefit too. Two: Memorize Stoic Quotes Memorizing poetry is one thing, but it takes time. You can commit quotes to memory a lot faster. I share one of my favorite quotes from Seneca in this YouTube short, one that took only a few minutes to memorize, even though it’s in Latin: https://www.youtube.com/watch?v=ISvX0-CfRkk I found this quote in Kevin Vost’s Memorize the Stoics! Although it’s not on my list of best Memory Palace Books, it provides a great look at memory training through a Stoic lens. And Vost is right: The value of having ancient wisdom on tap cannot be exaggerated. Not just for correcting your ego. You’ll also find that you have more things to say when pressed to speak on the spot. Things that have stood the test of time. Meditate Specifically for Ego Reduction Eckhart Tolle, author of The Power of Now, often says in his talks that if you are empty of thought, you don’t have to worry about what to say next during a conversation. You’ll spontaneously produce the best possible reply. I often wondered how it was possible to empty my mind of thoughts until I encountered Gary Weber’s Happiness Beyond Thought and Evolving Beyond Thought amongst other works. Although Weber’s full program requires a fair amount of time, it’s worth it for the mental space and spontaneity you’ll enjoy. Two Other Tactics for Detaching From Your Ego for Greater Spontaneity While you’re experimenting with Stoicism, here are two other tactics to explore. They’re both counterintuitive, but powerful. Embrace ignorance as a position of strength Saying “I don't know, but I'll find out” is not a failure. It's a demonstration of intellectual honesty that most people find more impressive than an imaginary answer. If your ego tells you that not knowing something is a form of weakness, push back. Admitting when you don’t know something and then doing some research and following up, builds trust at the same time as it builds your knowledge base. Detach from Needing Any Particular Outcome Your job in any high-pressure moment is not to be brilliant. It's to be present and responsive. Almost as if there is no “you” longing to be perceived in any particular way. Or desiring things to play out for or against you. When you stop trying to produce the perfect response and instead focus on actually hearing the question, understanding the situation, and responding honestly, the quality of your thinking improves dramatically. And it happens largely because you've freed up the cognitive resources consumed by your egotistical needs. You’ll also enjoy your perception of the present moment much more. Part 3: Mental Recall Under Pressure (How to Access What You Know When It Matters) One of the most common experiences of “not thinking on your feet” is this: You know the information, but you can't access it in the moment. You know your mind possesses the answer. But the pressure of the situation has locked the door. There's a neurological explanation for this. Researcher Amy Arnsten has documented how stress signalling pathways in the prefrontal cortex effectively shut down under acute stress. As we know from studies in anxiety-induced memory loss, during stress, the amygdala takes prominence over the prefrontal cortex, which is responsible for working memory, reasoning, and flexible thinking. As a result, your brain redirects resources toward fight-or-flight responses that are useful for physical survival but terrible for articulate speech. This is a major reason why you can know something perfectly in a calm environment and go completely blank when asked about it in front of an audience or in a heated discussion. The information hasn't disappeared. Your brain has simply redirected resources away from the systems that retrieve it. The Alphabet Retrieval Technique When I suddenly can't recall something (a name, a fact, a point I wanted to make), I have a technique that works more often than I'd expect: I mentally run through the alphabet from A to Z. It doesn’t always bring back the information. But the technique works often enough to make it a reliable first move, hitting the correct first letter while scanning through the alphabet triggers the retrieval. When it works, it’s because the first letter acts as a cue that unlocks the rest of the word or thought. It’s also the basis of how associative memory operates. As Dr. Gary Small has explained, your brain stores information in networks that somewhat resemble neighborhoods. And the first letter of a word is often enough of a “key” to unlock the door on a full node of information. It's the same principle behind why a song's opening notes can bring back the entire melody. Or how just a word or two of a lyric can bring back an entire verse. The “Let It Go” Retrieval Technique If scanning the alphabet doesn't work, the next best strategy is counterintuitive: Stop trying. In other words, deliberately release any attempt to search your mind for the content. Instead, move on to the next point, the next topic, the next question. Often, within 5–10 minutes, the information you were grasping for will come racing back to mind. This form of recall happens because your subconscious continues processing the retrieval request even after your conscious mind has moved on. Releasing the conscious effort actually accelerates the process, because you've removed the stress that was blocking retrieval in the first place. The Anti-Digital Amnesia Discipline You Need In order to ensure your memory gets stronger over time, you need to break the habit of immediately reaching for your phone or a search engine when you fail to recall something. Every time you outsource mental retrieval to a computer, you weaken the neural pathways that perform recall. You're training your brain that it doesn't need to do the work — and over time, it stops trying. This is the phenomenon I've written about as digital amnesia, and it's one of the most insidious threats to mental agility in the modern world. Preloading: The Real Solution to In-the-Moment Recall Both alphabetical retrieval and simply letting go are recovery strategies. They're useful when recall fails. But the real solution to thinking on your feet is to ensure that recall rarely fails in the first place. This is where a variety of memory training techniques enter the picture. Not as gimmicks, but as the foundational infrastructure for mental agility. The Memory Palace Technique Using Memory Palaces provides a core means of preloading information into your mind. Because this technique allows you to encode very large amounts of information, retrieval under pressure becomes qualitatively different from trying to recall something you passively read or heard. You literally own that information, forwards and backwards. It works because the spatial structure of the Memory Palace gives your brain a retrieval path that works even when the prefrontal cortex is under stress, because spatial memory is processed partly by the hippocampus. This is a different system than the one stress shuts down. In practical terms: If you've memorized the key points of a presentation using a Memory Palace, you don't need to “remember” them under pressure. You just mentally walk to the next room. The information is there, waiting. But it’s not merely attached to a place you know as well as your own home. It has also entered long-term memory. To learn this approach, check out The Memory Palace Technique: A Complete Step-by-Step Guide. Memory Wheels and the Art of Combination Retrieving facts, quotes, even entire passages under pressure is one thing. But what about those moments when you need to synthesize information on the spot? Such as when someone poses a complex question and the right answer isn’t a single piece of information but a combination of ideas you need to assemble in real time? This is where most people’s recall fails them entirely. They might remember one relevant point, but they can’t pull together the three or four ideas needed to construct a substantive response on the spot. I use a technique for this that dates back to the 13th-century philosopher Ramon Llull, later refined by the Renaissance memory master Giordano Bruno. It’s called ars combinatoria or the art of combination. It works by pre-organizing your knowledge onto mental structures called memory wheels so that you can rotate through ideas rapidly and recombine them in novel ways during live situations. https://www.youtube.com/watch?v=Opmb-mU-KPI Here’s the simplest version of how it works in practice: Imagine a circle in your mind with the letters A through Z arranged around it. For each letter, you’ve pre-assigned a thinker, a framework, or a principle you know well. A might be Aristotle. B might be a breathing technique. C might be a core value you hold. M might be Marcus Aurelius. S might be the Stoic concept of premeditatio malorum. When a difficult question hits you in conversation, instead of grasping for one perfect answer, you mentally spin the wheel. Instead of searching randomly for something to say, you approach the task of coming up with something to say by scanning an organized inventory of your best thinking. Because you’ve pre-loaded and spatially arranged all of it, your mind can traverse what you’ve already learned quickly. Memory Wheel Example One of my favorite Memory Wheels is populated with philosophers (one for each letter of the alphabet). When I’m confronted with a complex topic, I rotate through and consider what Aristotle would say and then move on through as many philosophers as I like, all the way to Zizek for Z. I know this technique sounds elaborate and it requires having read the best philosophy books, but once you have a Memory Wheel built and practiced, the rotation takes seconds. Here’s a rapid fire discussion with a few more examples from one of my YouTube shorts from the road in Brisbane: https://www.youtube.com/shorts/29nOib2ZS_4 Please don’t overlook this technique. It produces responses that are genuinely multi-perspectival, not just whatever my default opinion happens to be. The deeper history of this technique and detailed instructions for building your own memory wheels are covered in my full guide to Ramon Llull’s memory wheel method. But the principle you can apply immediately upon developing your own memory wheels is this: If you pre-organize your knowledge into a spatial structure rather than leaving it scattered across your memory, you gain the ability to not just recall individual facts under pressure but to combine and recombine ideas on the fly. That is the difference between someone who can answer a question and someone who can think through a problem in real time. It’s not speed without purpose. It’s architecture with a sense of direction based on the shoulders of giants. Part 4: Verbal Agility (How to Sound Smart, Pivot, and Recover in Conversation) Verbal agility isn't about having a quick tongue. It's about having a calm mind with a deep well of material to draw from. The people who seem effortlessly articulate in conversation are rarely making it up on the spot. They're drawing on vast reserves of pre-loaded knowledge, practiced frameworks, and rehearsed transitions. What looks like spontaneous brilliance is actually the visible tip of an enormous iceberg of preparation. Frameworks for Organizing Your Thoughts Rapidly When someone throws a topic at you and you need to respond coherently, having a mental framework prevents the rambling that makes people sound unprepared. Here are several that work, provided you practice using them before they’re required in real-life situations: The PREP Framework PREP stands for: Point Reason Example Point It’s a very powerful formula to practice during debates as well as in conversation. When using PREP, you state your position, give one reason, illustrate with one example, then restate your position. This takes 30–60 seconds and helps keep your replies structured without sounding rehearsed. The WRAP Technique I learned this one from Chip and Dan Heath's Decisive. WRAP stands for: Widen your options Reality-test your assumptions Attain distance before deciding Prepare to fail I placed WRAP on a memory wheel and demonstrate how to run through it mentally in this ars combinatoria video tutorial: https://www.youtube.com/watch?v=0cYDmaBXvJg What to Do When You're Stumped Even with the frameworks we just discussed or tactics like running through the alphabet, you will experience situations where you simply don't have a response. Here are more strategies you can try. Pause Peacefully Although falling silent can feel painful when you first start practicing it, rest assured that it barely registers to the person listening. And in many cases, a two or three-second pause before responding signals thoughtfulness, not ignorance. Most people rush to fill silence because their ego can't tolerate appearing slow. But a measured pause followed by a substantive response is always more impressive than a rushed response followed by backtracking. Seek Clarification There’s nothing wrong with asking people: “Can you say more about what you mean by that?” or “Are you asking about X or Y specifically?” Such questions will not stall the conversation. It's genuine intellectual engagement, and it often reveals avenues for further conversation that would not be revealed any other way. Use the Truth You might not know this, but many people find it refreshing when someone admits that something is outside of their area. Nir Eyal did that on my podcast a few years ago and I’ve never forgotten his willingness to “stay in his lane,” as he put it. The best part? Nobody penalizes honest uncertainty and a request to move on if you really don’t have a settled opinion on some matter or any expertise. Practice Physical Awareness Sometimes when we’re stumped, our body tenses up. Shoulders rise, the jaw clenches and breathing shallows. This physical tension feeds back into your mental state and makes mental freezing worse. But deliberately dropping your shoulders and taking one slow breath can help break the cycle. More on this kind of physical solution is coming up in Part 6. Practice Steelmanning One of the most powerful exercises for verbal agility is practicing steelmanning. Related to the principle of charity in rhetoric, steelmanning is the practice of arguing for positions with which you disagree. But not half-heartedly. No, you make the argument in the strongest possible terms. One simple way to practice steelmanning involves getting a friend to throw topics at you randomly. Your job is not to argue your own position, but to construct the best possible argument for the opposite side. This practice accomplishes three things simultaneously: It forces you to think through ideas from perspectives you wouldn't naturally adopt, which builds cognitive flexibility. It trains you to separate your ego from your position, because you're explicitly not defending your own views. It prepares you for actual debates, because you've already rehearsed the strongest version of your opponent's argument. For more tips that will help you in this department, check out my guide to preparing for debates. The Improv Principle If you take one thing from this section and act on it, let it be this: Take an improvisation class. Why? Improv comedy training provides you with the single most transferable skill for verbal agility in any context. The core principle of improv is quite easy. You simply answer everything with either “yes, and…” or “no, but…” This simple structure teaches you to accept whatever is thrown at you and build on it rather than blocking or deflecting. This is the exact skill you need in meetings, conversations, presentations, and debates. Improv also provides the one thing you can't get from reading articles: Real-time practice under social pressure while receiving immediate feedback. No amount of theory replaces the experience of standing in front of a group with nothing planned and having to produce something. It’s been a long time since I took an improv class, or any class. But you really only need one round to create a permanent transformation. Part 5: Performance Under Pressure (Lessons from Music, Magic, and the Stage) If you've never performed music, theatre, magic, public speaking, or any other form of real-time presentation, you may not realize how much of “thinking on your feet” is simply having enough trained material that you can recover from anything. The principle applies far beyond the stage. But the stage is where the principle is most visible, so let me share what I've learned from three performance disciplines. Music: Improvisation Is Built on Structure & Self-Awareness When I studied music, I learned something that most non-musicians find surprising: improvisational soloing requires more preparation than playing a written piece. A written piece has every note specified. You practice it, you perform it, you're done. An improvised solo, on the other hand, requires you to internalize the underlying structure so thoroughly that you can navigate it in real time without conscious planning. You need to know the modes, the chord changes, the rhythmic patterns, the phrasing conventions. And you need to know them so well that they're available to your fingers before your conscious mind has time to think about which note comes next. I know this from decades of musical experience. But my life in music almost never happened at all. In grade five, I failed a recorder test. It was given as a prerequisite for joining band class in grade six. The reason, though I didn’t have the language for it at the time, was a condition then called image-deficit disorder, now known as aphantasia. I couldn’t visualize what my teachers were asking me to see on the recorder or the sheet music. And the boring mnemonic sentences they gave us for remembering the notes made no sense to me. The school’s verdict in the face of my supposed failure? No band class. My dad changed that. He rolled up to the school on his Harley Davidson and had a conversation with the administration that I wasn’t privy to. Whatever he said, it worked. I was in. So long as I played the trombone instead of my dream bass guitar. They thought trombone would be easiest for me with its one simple slide. The Art of Coping By Copying But getting into band class didn’t mean I could play. In fact, for the entire first year, I sat beside another trombonist who picked up every note like it was nothing. I survived by watching his slide positions and copying them. I wasn’t reading music. I was reading him. The next year, in grade seven, the teacher gave us separate parts, and my copying lifeline was over. I remember sitting alone in a room with that trombone, sweat rolling down my face, sheet music on the stand turning my brain into wet sawdust. It felt like staring at an explosive I didn’t know how to defuse. But something shifted as my juvenile brain worked to solve the problem. Once I was forced to actually engage with the notation instead of mimicking someone else, I started seeing patterns. The theory behind the notes began to click. My teacher noticed the transformation quickly, both in performance and on my written tests. Later that year, she encouraged me to enter a sight-reading competition. Even though I didn’t win, I remember the thrill of performing music I’d never seen before. And because my teacher saw how deeply I’d started engaging with music, she helped me secure a spot at the local summer school of music before high school. That summer changed my trajectory. I studied with a celebrated trombonist from Canadian Brass. My skills went up substantially, and after a solo I played during the final concert, I was asked to audition for the Kamloops Rube Band. I turned that invitation down and finally retired the trombone for a bass and joined a heavy metal band instead. Over the years that followed, I played in multiple bands, learned increasingly complex music, and eventually realized a lifelong dream: going on tour with an established band. Memory expert Anthony Metivier performing at a concert in Germany. The Lesson That Changed How I Perform And it was during that tour, playing with a sophisticated band called The Outside, that I received perhaps the most important lesson about thinking on your feet that music ever gave me. After a show, our drummer Tito told me I’d missed a few notes. I braced for a critical lecture, but he said something I’ve never forgotten. It was an important tip that has everything to do with the practice of thinking on your feet: “The real problem isn’t missing the notes. It’s looking like you made a mistake. If you look like you made a mistake, it is a mistake.” From that moment on, I trained myself to improvise how I looked just as much as how I sounded. A missed note played with confidence reads as a creative choice. A perfect note played with visible anxiety reads as a near-miss. The audience often doesn’t hear your mistakes, but they do see your reaction to them. This principle extends far beyond music. It shows up in meetings, presentations and conversations. Your stumbles themselves are almost never what people remember. They remember whether or not you flinched. And to tie this all back to the beginning, flinching is an ego response. It’s the visible evidence of caring more about how you appear than about what you’re communicating. Tito didn’t know he was teaching me about ego reduction back during that tour in 2013. But that’s exactly what his lesson was. Card Magic: Multiple Outs and Recovery In card magic, which is especially useful in memorized deck magic, there's a concept called “multiple outs.” I think about it constantly in non-magic contexts. A multiple out is a tactic you might never use, but always have something prepared so that no matter what the spectator does, you conclude the trick successfully. In other words, no matter which card they choose, which pile they point to, which decision they make, you have a prepared path to a successful conclusion. The spectator thinks they're making free choices. In reality, every choice leads to the same place, or to one of several equally impressive endings. This is exactly how preparation works for thinking on your feet. If you've prepared thoroughly for a meeting, you don't just have one argument. You have multiple arguments, multiple examples, multiple pivot points. If someone challenges your position, you have an “out.” If someone asks an unexpected question, you have another “out.” The more preparation you've done, the more outs you have. Magician in Trouble There's also a sub-genre in magic called “magician in trouble” where the performer intentionally appears to make a mistake, building tension before a surprising recovery. What the audience doesn't realize is that the “mistake” was planned and the recovery was rehearsed. But it only works because the performer has done thousands of hours of practice behind the scenes. If you’re having trouble acting spontaneously, learning a few magic tricks is one of the best things you can do. The more tricks you know, the more you can make mistakes and recover. If one trick goes wrong, you transition to another. If a spectator does something unexpected, you have a different trick that accommodates their choice. The depth of your repertoire is directly proportional to your ability to handle anything. Translate this to your professional life: The more tools, frameworks, examples, and stories you have memorized, the more “tricks” you can draw from when a conversation or presentation goes sideways. https://www.youtube.com/watch?v=kvtYjdriSpM Two Levels of TEDx Improvisation Where Preparation Met Reality Minutes before I was due on stage for my TEDx Talk, a long-time fan showed up without a ticket. From what I gathered, he’d traveled to attend the event in Melbourne. And I could tell he was genuinely excited. But he didn’t have a ticket. And when the venue staff told him he couldn’t come in, due to fire capacity rules, we were both frustrated. Anyone with two eyes could see that the room wasn’t actually full. But there was no time to argue the bureaucracy. I was about to deliver the most important presentation of my career, after all. This is exactly the kind of moment that derails people. Not the talk itself, but the things that happen right before you hit the stage. I’m talking about the unexpected disruptions that flood your system with cortisol at the worst possible time. My ego wanted to fight for this person’s entry. It wanted to make a scene about the absurdity of empty seats and fire codes. It wanted to be the hero who fixes things. Instead, thinking on my feet, I suggested we meet for dinner after the talk. He understood. We shook hands. And then I had approximately four minutes to completely reset my mental state before walking on stage. Here’s what I did, standing backstage where nobody could see: I placed my hands behind my back and began Kirtan Kriya. This is a four-syllable meditation (Sa, Ta, Na, Ma) combined with a sequential mudra where your fingers tap. Gary Weber teaches it in this video: https://www.youtube.com/watch?v=ehvokeZnXMM By using the technique with both hands behind my back so no one would see, I simultaneously slowed my breathing and brought myself back to center. Between breath cycles, I also ran a quick body scan from my feet to my scalp, deliberately releasing tension wherever I found it. Jaw, shoulders, hands, the major muscle groups. By the time they called my name, I was calm. Not confident in the way people usually mean. I wasn’t puffed up or “psyched” to give my speech. Just calm in the way that comes from having emptied the bowl. The fan situation was gone from my mind. The ego’s need to intervene was gone. What remained was a mind with nothing in it except a memorized talk and the willingness to deliver it to whoever was in that room. What To Do When the Room Doesn’t Follow Your Script Shortly after my talk began, the room did something I hadn’t planned for. A scripted joke that had worked perfectly to create laughter during the dress rehearsal the day before landed in silence. Not awkward silence. Just… nothing. The audience looked at me with interest but no laughter. A few minutes later, during a section I hadn’t intended to be funny at all, they laughed. Genuinely. A speaker working from notes would have been buried in their script at that moment, unable to read the room because their eyes were on the page. But my entire talk was encoded in Memory Palaces using the technique I teach in my guide, How to Memorize a Speech. I didn’t need to look at any notes. I could look at everyone and connect with them directly. So I did and leaned into their laughter. I let it breathe. I adjusted my pacing to ride the energy they were giving me rather than forcing the energy I’d planned. Going with the flow, I made an unscripted joke and it landed. And when the moment passed, I stepped to the next station in my Memory Palace and continued on with the talk. What the Audience Saw vs. What Actually Happened The audience experienced this as spontaneity. They saw a speaker who was loose, present, reading the room. What actually happened was decades of training expressing itself through a four-second decision. The musical performance training that taught me to keep playing through mistakes without flinching. The card magic training that taught me to have multiple outs when a planned effect doesn’t land. The teaching experience that taught me to read a room full of people who may not be responding the way I expected. And underneath all of it, my ego-reduction efforts shone through, including the willingness to let go of the talk I’d planned and deliver the talk the audience needed. After the event, several people told me how natural and relaxed I seemed. One person said it felt like I was just talking to them, not giving a speech. That’s the highest compliment a speaker can receive. And it was entirely the product of preparation. But nothing about that talk was spontaneous other than the joke I made up on the fly. Otherwise, every word of that talk was memorized verbatim. The audience saw someone thinking on their feet. What they were actually seeing was someone falling back on their training. That, and they witnessed someone with enough training to fall back on. That is the difference. And it’s available to anyone willing to put in the work before the moment arrives. Part 6: Physical Composure (How to React When Your Safety Is at Stake) There are situations where “thinking on your feet” has nothing to do with being articulate or quick-witted. Quite the opposite. There are many moments in life when thinking itself is the problem, especially during situations where what you need is a trained physical response that fires before your conscious mind has time to interfere. I've been in three of these situations. Each time, it was my years-long Systema training that kept me safe. In case you don’t know it, Systema is a martial art focused on breathing, relaxation, and fluid movement under stress. To be clear, it didn’t help me fight. It helped me because it stopped fights from erupting in the first place. Let me explain. Incident One: The Attempted Mugging While writing my dissertation, I was living in Washington Heights, a district north of Harlem in New York City. I was walking south, down to the 170s from the corner of 187th and Cabrini, where I’d stopped to use a bank machine. On my way out, a man stood in front of me with something resembling a gun in his pocket. Exactly as it happens in the movies, he gestured in quick spurts of energy so that my eyes dropped and looked at his pocket. “Give me your wallet and all your money,” he demanded. My Systema training kicked in. Instead of having my shoulders shoot up with anxious tension — the default I’d seen in almost every new student Emmanuel Manolakakis worked with, including me during my first lessons — my mind automatically followed the training I’d received. Without willing it, my shoulders dropped and my mind and body synced with my breath. In a way that still completely bewilders me, a smile came across my face. I don’t know what I looked like, but my expression unnerved the mugger. It created the stress in him that should have been in my body. After what seemed like an eternity, the mugger said, “Wipe that smile off your face or I’ll shoot you.” At this point, my smile grew wider and I started to laugh. An instant later, it felt right to move. I took one step forward into his space and angled to the left with the second and third steps. I didn’t break his gaze and watched as his eyes and entire head tracked me as I moved past him. Then, still operating completely on autopilot, I started to run and found myself in a cleaning supplies store filled with mops and buckets. No confrontation. No escalation. No ego. Just a trained body responding faster than a thinking mind would have. My Systema training, from breath coordination to deep muscle relaxation and long hours of practice with dropping into calm during situations of simulated threat, delivered exactly what it was designed for: bypassing the conscious mind that would have frozen me and let the body handle the situation. Incident Two: The Dark Path in Toronto Some time later, walking in Toronto, I approached a path at the end of a high school field. It was too late to be taking this popular shortcut, but there I was during a night that was far darker than I would have liked. There was just one street lamp hanging over that path, and its bulb was barely working. Before I stepped onto the path, I put a dime on my thumb. I didn’t think about why. There was no conscious strategy at work. My body simply did what training had taught it to do: prepare for the possibility of contact without committing to a plan. Sure enough, someone stepped into my path. I flicked the dime. The coin caught his gaze and seized his attention, producing a few seconds of involuntary visual tracking. This is the same reflex that makes every human eye follow sudden movement. Thanks to the distraction created by the spinning dime, I moved past him easily and paced off into the distance before his focus returned. The entire encounter lasted maybe three seconds. There was no conversation, no confrontation, no mental calculation. Just a trained response that created a tiny window of distraction and an immediate exit through it. I still think about the fact that I put the dime on my thumb before anything happened. It wasn’t a decision so much as it was a product of procedural memory — the same memory system that helps a musician’s fingers find the right fret before their conscious mind has named the note. Systema trains you to read environments the way musicians read chord changes. Not by analyzing, but by responding to patterns your body has trained to respond to inside the dojo. Incident Three: Outside the Post Office The third incident was the strangest. Outside a post office, someone with a grievance I didn’t fully understand began yelling at me aggressively. His body language was escalating and the situation felt like it could turn physical. My response was immediate: I raised my hands into a prayer gesture. With my palms together and fingers standing straight up, I found myself saying “thank you” over and over. I wasn’t being clever. I wasn’t trying to defuse the situation with wit. The gesture came from training, and it served two purposes simultaneously that I was only partially aware of in the moment. First, it put my hands in a position to quickly block any incoming strike. The prayer position is a natural guard because your hands are high, elbows close and forearms ready to redirect. I mean, it’s not going to make you bulletproof, but it’s just as disarming as the smile I delivered back during the mugging I survived in New York. Second, my response psychologically short-circuited the man’s aggression. Being thanked while you’re on the offensive is so dissonant that the brain doesn’t know how to process it. This person’s rhythm broke. His volume dropped. The escalation stalled because the script he was running had been interrupted by a response that didn’t fit. He didn’t thank me back. But at least he stopped. And I walked away unscathed. The Common Thread: No Ego, No Thinking, Just the Fruits of Training In all three incidents, the pattern is identical: Because the ego was out of the way, I wasn't trying to prove anything or “win” the encounters. There was also no conscious thinking. The responses were physical, automatic, and executed faster than mental deliberation would have allowed. Plus, there was relaxation under threat. The counterintuitive act of relaxing when threatened, which Systema specifically trains, prevented the freeze response that ego and fear typically produce. Finally, the strategy in each case was oriented toward getting away, not engaging. For anyone who wants to develop this dimension of thinking on their feet, I strongly recommend studying a martial art that emphasizes relaxation, awareness, and movement rather than aggression and force. Finding Your Own Physical Practice If personal experiences make you want to sign up for Systema, I’d encourage it. But I’d also encourage any martial art that emphasizes awareness, breathing, and relaxation over aggression and force. The point is not to become a fighter. The point is to develop a body that responds to threat with trained composure rather than untrained panic. Beyond martial arts, I practice Qigong daily and have for years. It’s not a combat discipline, but it trains the same foundational skills experienced in a gentler format: Breath coordination Bodily awareness Relaxation under tension For someone who has no interest in martial training, Qigong offers many of the same benefits for composure and physical presence without ever throwing or receiving a strike. Whatever physical practice you choose, I’d offer one caution: Don’t romanticize these practices or turn them into a glamorous fantasy. Remember the lesson from Lacan and the Stoic lessons that make sure reality is better than fantasy if and when real situations of trouble land. The three incidents I described above weren’t action sequences. They were awkward, brief, and slightly absurd. I didn’t defeat anyone. I smiled, flicked a coin, and said thank you. The training didn’t make me dangerous. It made me calm enough to exit each situation without a scratch. And that brings me to what I consider the most important physical skill of all, one that doesn’t require any formal training: situational awareness. Train for Situational Awareness In each of the three incidents, there was a moment before contact where my body registered something my conscious mind hadn’t articulated yet. In Washington Heights, I noticed the man’s posture before he spoke. In Toronto, something made me put a dime on my thumb before I entered the dark path. Outside the post office, I registered the escalation in body language before any words were exchanged. To train for greater situational awareness, walk with your phone in your pocket instead of your hand. Move around the world with your ears empty instead of listening to music or podcasts. When you enter a room, notice the exits. When you’re in an unfamiliar environment, pay attention to who is around you and how they’re moving. These aren’t paranoid habits. They’re the same environmental reading skills your ancestors used every day. Modern life has simply given us the luxury of ignoring them. There is almost no better way to think on your feet than the thinking that steers you clear of sticky situations in the first place. When it comes to physical confrontation, the best-trained response is the one you never have to use. Part 7: Daily Training Exercises for Mental Agility Everything discussed so far requires ongoing practice. Here are the specific daily exercises I use and recommend, organized from quick (2 minutes) to involved (30+ minutes). Breathing Techniques (2–5 minutes) Before any high-pressure situation, be it a presentation, a meeting or a difficult conversation, controlled breathing is the fastest way to shift your nervous system from sympathetic (fight-or-flight) to parasympathetic (calm and focused). The simplest technique: Breathe in for 4 counts, hold for 4 counts, breathe out for 6 counts. The extended exhale activates the vagus nerve and physically slows your heart rate. Do this for 2 minutes and you'll enter any situation calmer and more mentally available. For more advanced breathing techniques, check out this video tutorial I made for you: https://www.youtube.com/watch?v=YeO06_uZZcg   Progressive Muscle Relaxation (5–10 minutes) Systematically tensing and releasing muscle groups, from your feet to your face, trains your body to release the physical tension that accumulates under stress. Over time, you develop the ability to detect and release tension in real time — during a conversation, during a presentation, during a confrontation. This is the body scan component that I used before my TEDx Talk, and it's a core element of Systema training as well. The ability to scan your body for tension and deliberately release it is a physical skill that directly supports mental agility. Steelmanning Practice (15–20 minutes) Get a partner. Have them throw random topics at you. Your job: argue the strongest possible case for the position you naturally oppose. Switch roles. Do this twice a week and within a month you'll notice a dramatic improvement in your ability to think through problems from multiple angles under time pressure. Now, you might think about going to Chat-GPT or some other LLM. You can certainly give this a try. However, beware of context-dependent memory and state-dependence issues. If you only train in digital environments with a bot, you will likely find that you perform fine when sparring with a computer, but flounder with a human. As this study found, training in certain environments creates less cognitive fatigue than others. So if you come to develop certain beliefs about the difficulty of discussing things based on experiences with chatbots, you will probably not like the energy-drain you encounter when dealing with humans. Remember: we tend to fight the way we train, so practice all rhetorical argumentation in a variety of environments, never just one. Random Topic Riffing (10–15 minutes) Have someone give you a topic and speak about it for 2 minutes without stopping. What you say doesn't need to be brilliant, but work at speaking continuously. The exercise trains your brain to keep producing output even when it doesn't feel ready, which is exactly the skill you need when put on the spot. Increase difficulty by having the topic-giver interrupt you with new topics mid-stream. This trains your ability to pivot and shift directions without losing composure. Memory Palace Practice (15–30 minutes) Every time you encode information using a Memory Palace, you're doing more than memorizing. You're building the retrieval infrastructure that makes recall under pressure possible. Regular Memory Palace practice is the single most important investment you can make in your ability to access information when you need it. The more you memorize, the more you should seek to incorporate memorized material into your steelmanning and random riffing practice routines. Alphabet Drills and Multiple Mentality (5–15 minutes) One of the most unusual training systems I’ve encountered comes from Harry Kahne, a performer from the 1920s who could write with both hands simultaneously while reciting poetry from memory. He called his approach “Multiple Mentality” because it’s the deliberate practice of running several mental operations at once. His exercises sound deceptively simple. The foundational one: write out the alphabet backwards from memory. Not from Z-A printed on a card. From memory, cold. Most people find reciting the alphabet backwards surprisingly difficult the first time. But once you can do it? That’s when the real training begins. Kahne then asks you to pair the alphabet’s extreme ends mentally: A-Z, B-Y, C-X, working inward. Then start from the center and pair outward in reverse. These are pure concentration drills because they force your brain to hold a structure in working memory while performing various forms of recall. I go deeper into the full Multiple Mentality system and all of Kahne’s exercises in my detailed review of his course, including the parts I think are brilliant and the parts where I respectfully disagree with him. Part 8: Prepping Your Mind (Why What You Memorize Determines How Well You Think) Most of us know that the quality of your thinking is directly proportional to the quality of what you've committed to memory. A mind loaded with poetry, philosophy, scientific principles, historical examples, memorable quotes, and well-understood frameworks will produce richer, more nuanced, more creative responses under pressure than a mind that relies on whatever it happens to recall from last week's reading. This is not about showing off. It's about having raw material that makes you mentally dexterous. And gives you information you can use in an instant. What to Memorize for Maximum Mental Agility As you’ve seen, I strongly recommend memorizing quotes and poems. Because memorized poetry gives you access to compressed wisdom, beautiful language, and emotional resonance that you can draw on in conversation, writing, and thinking. Likewise, you can learn how to remember a story. https://www.youtube.com/watch?v=DM4TxD6ez1Y When you've memorized a poem or story, you own the content in a way that reading on its own never provides. The lines and structures become part of your mental vocabulary. I've memorized dozens of poems and passages of verse, and they surface constantly in conversation, in my writing, in my thinking about problems that have nothing to do with literature. Memorize Speeches for Mental Dexterity Likewise, you can seek out speeches from people like Churchill, Lincoln, Martin Luther King Jr. and Marcus Aurelius. The words of leaders who were themselves masters of thinking on their feet make for excellent training material. When you've memorized their words, you internalize their patterns of thought. You don't just quote them. You begin to think in the structures they used. Learn to Tell Jokes Like improv, humor provides you with one of the ultimate forms of thinking on your feet. And telling jokes is far more learnable than people assume. To get started, commit a few jokes to memory and study their structure. You’ll soon notice that a good joke is a tiny argument: The setup establishes expectations The twist violates the expectations The punchline resolves the violation in a surprising or ironic way This simple structure is not so different from the PREP framework we discussed above. Practice Parroting and Accent Imitation Imitating a famous actor might sound like a party trick, but it's actually a profound exercise in sharing another person’s perspective and behavioral patterns. To imitate someone convincingly, you have to at least try and understand how they think, how they move and how they use language. As a result, the understanding you develop translates directly to the ability to read and respond to different people in different contexts. I’m not particularly good with foreign accents or imitating people. But merely by putting time into practicing a few people, I’ve learned a lot and become more spontaneous on my feet. Reflective Thinking Practice Memorization alone isn't enough. The material you memorize needs to be processed through reflective thinking. This is the practice of deliberately considering what you've learned, connecting it to other things you know, and forming your own positions. I do a lot of my reflective thinking through journaling, through conversation with carefully chosen friends, and through a practice I've maintained for years: regularly re-reading books I've already read, looking for things I missed the first time. All of these practices transform static knowledge into dynamic intellectual resources you’ll draw upon with great ease when you find yourself put on the spot. Part 9: The Paradox of Mental Silence We've covered a great deal of ground today: ego reduction, memory techniques, verbal frameworks, performance training, martial arts, daily exercises, and the art of loading your mind with quality material. And now I want to end with something that sounds like a contradiction but is, in fact, the deepest truth about thinking on your feet: The goal is not to think faster. Rather, it’s to create the conditions where you don't need to think at all. I know this sounds paradoxical. How can “thinking on your feet” require not thinking? It’s because the highest level of performance in any domain doesn’t just look like effortlessness. It actually is, if only in the present moment. I’m talking about the musician who plays a transcendent solo. That performer isn't thinking about which notes to play. Nor does the martial artist who evades a strike sit there thinking about which direction to move. And the speaker who delivers a perfect response to an unexpected question isn't thinking about what to say. They’re drawing upon deep preparation. In each case, the performer has trained so deeply that the right response emerges from a place beneath conscious thought. The preparation started long ago. Practice has quieted your fantasies, both positive and negative. And what remains is a mind so well-prepared that it can be still during the demands and in that stillness, the right response simply appears. This outcome is common in the world of mindfulness and meditation, where practitioners describe the experience of being “full by being empty.” In order to receive the moment as it actually is (not as your ego wants it to be, nor as your anxiety fears things might go wrong), you just have to empty your mind of the noise that normally fills it. Your Next Step If this article has shown you anything, I hope it's this: thinking on your feet is not a gift. It's the product of deliberate, ongoing training across multiple domains — mental, verbal, physical, and philosophical. The foundation of all of it is memory. Not “good memory” as a vague trait, but trained memory — the ability to encode, store, and retrieve information on demand, under pressure, in any context. If you want to start building that foundation, I've created a free course that teaches you the core Memory Palace technique in four video lessons. It's the same starting point my Masterclass students use, and it will give you your first experience of what trained recall feels like. For even deeper training that includes the Memory Wheel technique, ars combinatoria, advanced Memory Palace strategies, and the Recall Rehearsal patterns that make long-term retention predictable, my Magnetic Memory Method Masterclass takes you through the complete learning system. And if you want to explore the meditation, breathing, and muscle relaxation routines I've combined with memory training for maximum mental composure, I go into all of that in The Victorious Mind. So what do you say? Are you ready to stop worrying about what you’ll say next and start training so deeply that the right response arrives on its own? Remember: the secret every performer, martial artist, and memory expert discovers is ultimately the same. You don’t rise to the level of the mome

Host Caitlin Malcuit brews up the first Friday Morning Coffee of 2026 by discussing *deep breath* Canadian Brass' tuba rendition of "Flight of the Bumblebee," the rad Lowell, Mass.-based, aptly named brass ensemble The Party Band, Somerville's HONK! Festival, and Minnesota's Brass Solidarity, "a band founded in 2021 in response to the murder of George Floyd and the ongoing fight in the movement for Black lives." Author and journalist Sam Quinones (The Least of Us, Dreamland) then returns to chat with Daniel Ford about his book The Perfect Tuba: Forging Fulfillment from the Bass Horn, Band, and Hard Work. To learn more about Sam Quinones, visit his official website. Listen to our past Friday Morning Coffee conversation with the author, as well as our discussion about his book Dreamland in Episode 253. Also check out Daniel's Friday Morning Coffee chat with his high school band director. This episode is sponsored by Libro.fm and the Is It Streaming podcast, the newest addition to the Writer's Bone Podcast Network.

Genevieve Randall talks with members of The Canadian Brass, who are in Lincoln for a concert at the Lied Center on Dec. 5.

Genevieve Randall talks with members of The Canadian Brass, who are in Lincoln for a concert at the Lied Center on Dec. 5.

“Eternal Father, Strong to Save” composed by John Bacchus Dykes and arranged by Canadian Brass. This piece was presented as the prelude to worship at First UMC - Gainesville, FL on 9 November 2025 by the Brass Ensemble.

This episode of The Other Side of the Bell, featuring trumpet soloist, chamber musician, educator, and life coach Ashley Hall-Tighe, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Ashley Hall-Tighe trumpet interview"   About Ashley Hall-Tighe:   Ashley Hall-Tighe is an internationally renowned trumpet soloist, chamber musician, educator, and life coach and her passion for authentic human connection drives every facet of her career.   As a soloist, Ashley has been praised for her “energetic joy” (Rochester Post Bulletin) and her “warm tone, stunning technique and expressive artistry” (Cincinnati Enquirer).   In 2024-2025, she performed as a soloist and chamber musician throughout Europe, Hong Kong, Australia, Canada and the United States. She has been the principal trumpet of the Cincinnati Chamber Orchestra since 2008 and from August 2023 - May 2024, Ashley was a touring member of the world-renowned Canadian Brass.   Ashley released her debut classical solo album with pianist Ana Maria Otamendi, Upcycle, in the fall of 2024 on Rezurrection Records. This collection of transcriptions for trumpet and piano created by Nathaniel Tighe offers a vision of what might have been possible if the modern trumpet was a solo instrument at the time these works were conceived.   As an educator, Ashley combines her passion for whole-person development with a methodical approach to improvement. She is on the trumpet faculty at the University of Cincinnati College-Conservatory of Music and is a sought-after clinician at music schools around the globe. As a credentialed life coach, Ashley is passionate about helping individuals unlock their potential, build mental resilience and align their creative lives with their values.   To learn more about Ashley, visit www.ashleyhalltighe.com, or follow her on Instagram @ashleyhalltighe to see frequent updates from her life both on the road and at her log cabin home with her husband and two amazing children.   Ashley is a Yamaha Performing Artist and endorses GR mouthpieces.   Podcast listeners! Enter code "podcast" at checkout for 15% off any of our Gard bags! Visit trumpetmouthpiece.com for more info.     Episode Links: ashleyhalltighe.com Latest album, Upcycle, on Maple Rise Music:  https://maplerisemusic.com/upcycle Los Angeles Brass Alliance https://www.instagram.com/losangelesbrassalliance/  International Women's Brass Conference, May 19-24, Hartford, Connecticut. Register: myiwbc.org Sign up sheet for valve alignments: bobreeves.com/iwbc International Trumpet Guild Conference, May 27-31, University of Utah, Salt Lake City. Sign up sheet for valve alignments: bobreeves.com/itg William Adam Trumpet Festival, June 19-22, Clarksville, Tennessee. williamadamtrumpet.com  Sign up sheet for valve alignments: bobreeves.com/williamadam   Podcast Credits: “A Room with a View“ – composed and performed by Howie Shear Podcast Host – John Snell Audio Engineer – Ted Cragg  

The fires in Los Angeles have captured the empathy and attention of people all over the world. Canada has sent water bombers to help extinguish the fires. And, of course, many Canadians live in southern California. Jens Lindemann is a world-renowned trumpet player. He was a member of the Canadian Brass, has an honorary degree from Hamilton's McMaster University, is an honorary fellow at the Royal Conservatory of Music in Toronto, has the Order of Canada, and tonight finds himself homeless. His house in Pacific Palisades is gone. Jens Lindemann joins Steve Paikin to share his story about the devastation wrought by the inferno.See omnystudio.com/listener for privacy information.

**Mastery Is Within Reach! Follow Brass Mastery and stay updated via email every time a new episode is released at https://brassmastery.comWe continue our conversation (recorded in 2021) with Chris Coletti, longtime member of Canadian Brass, and now professor at Ithaca College.In this segment, Christ shares the challenges and rewards of balancing a high-profile performance career with family life and an academic job. As the COVID-19 pandemic altered traditional concert opportunities, Chris encouraged his students to adapt to the circumstances by engaging in virtual gigs and remote collaborations. Now on a tenure track, he enjoys a supportive community at Ithaca, mentoring students with diverse musical aspirations ranging from band direction to sound recording technology. He emphasizes the importance of entrepreneurial skills for musicians in the modern landscape and reflects on the serendipitous aspects of his career and family life.Episode highlights:00:11 Life After Fame: Balancing Family and Career01:37 Teaching at Ithaca College02:10 Pandemic Performances and Virtual Gigs03:05 Student Ambitions and Career Paths07:11 The Reality of a Music Career07:54 Creating Opportunities in Music09:05 Conclusion and Joining the Brass Mastery Tribe This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit brassmastery.substack.com

**Mastery Is Within Reach! Follow Brass Mastery and stay updated via email every time a new episode is released at https://brassmastery.comToday we hear from Chris Coletti, longtime member of the Canadian Brass. This interview was recorded way back in 2019, just a few weeks after Chris left his full-time post with Canadian.In this excerpt, Chris reflects on his initial goals, the inspiring mentorship he received at Juilliard, and the profound changes in his outlook on life and music after joining the Canadian Brass. He also shares memorable moments performing internationally and the unique joys of connecting with a passionate fanbase.Be sure to tune in for tomorrow's edition when we dive deeper into Chris' career, including the reasons why he stepped away from Canadian Brass! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit brassmastery.substack.com

Esta semana o maestro João Maurício Galindo respondeu perguntas dos ouvintes da Rádio Cultura FM sobre qual motivo os conjuntos de sopro de metal serem chamados de "Brass" ou de "Canadian Brass", falou também do seu ponto de vista se o jovem maestro Klaus Mäkelä está ou não pronto pra reger grandes orquestras, explicou como são escritas as notas para instrumentos de percussão, elucidou um ouvinte sobre o que é a "música minimalista" e por fim, contou se é verdade que Mozart foi sepultado em uma vala comum. Descubra as respostas no resumo do "Pergunte ao maestro" desta semana. O programa ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pergunte ao Maestro⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, vai ao de segunda a sexta-feira, às 10h e às 15h da tarde pela ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Rádio Cultura FM⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ de São Paulo, 103,3.

brassmastery.com/bergmanWhen I first approached Jason Bergman about appearing on the Brass Mastery™ podcast, the first thing I asked him was, "What do you want to talk about?"It's always best to play to the strengths of your guests when one is doing a creative endeavor such as this.Jason replied he'd like to delve into the realm of self-care as it pertains to teaching brass instrumentalists.As professor of trumpet at the prestigious Jacobs School of Music at Indiana University, Jason has learned a thing or two on this topic (or one would assume), so I agreed to discuss this on the show, eager to hear what he has to say on the topic.The thing we ended up talking about the most is how shame affects our self-perception as musicians, hindering our musical output and progression - to the point some even get discouraged and leave music as a serious pursuit altogether.What is the root cause of this shame and deleterious effects it has on us? Jason opens up on some of his own setbacks as a performer and teacher, and shares some of the innovative teaching techniques he employs at IU to confront the many barriers we put up that inhibit our progress as musicians and play to the best of our ability. Episode highlights:-Brief rundown of Jason's academic career...03:00-Giving credit to impactful figures who don't seek the spotlight...05:15-One seemingly insignificant thing we say today may make a massive impact in the future...07:45-Jason's founding origins on trumpet and music...11:20-The students became the mentor...17:35-Self-awareness, and the need to care for one's self in order to best help those charged to our care...22:50-An examination of shame and how it affects our mindset and overall wellbeing as musicians...29:00-We get ourselves tied up in knots when we're thinking about the notes vs. the musical product...36:00-When you're "okay with being unokay" the mistakes magically dissipate...38:40-"A rising tide lifts all ships" i.e. when one succeeds, all succeed...41:40-Meat therapy, and how Jason decompresses during down time...46:10Resources mentioned:Brene Brown videosAbout the Guest:American trumpeter Jason Bergman was appointed Associate Professor of Music in Trumpet at the Indiana University Jacobs School of Music in 2022. He has performed throughout the United States, South America, Europe, and China. In 2008, Bergman was named Associate Principal Trumpet of the Santiago Philharmonic in Chile and more recently has been Principal Trumpet of the Mobile Symphony Orchestra and Mobile Opera. He has also performed with the Utah Symphony, Indianapolis Chamber Orchestra, Dallas Symphony, Dallas Opera, Fort Worth Symphony, and the Dallas Winds, including on their Grammy-nominated album featuring the music of John Williams. Additionally, Bergman has performed in concert with the Canadian Brass, Rhythm & Brass and with conductor David Robertson at Carnegie Hall as part of the Weill Music Institute. He also performed as a fellow at the Music Academy of the West. Bergman has given recitals and master classes at numerous institutions worldwide and has performed and presented at the Midwest Band and Orchestra Clinic, College Music Society, International Tuba and Euphonium Conference, Mississippi Bandmasters Association, Mississippi Music Teachers Association, Utah Music Educators Conference, International Trumpet Guild, and the Texas Music Educators Association Annual Convention. As a soloist, he has performed with the Royal Belgian Air Force Band, Garland Symphony Orchestra, Timpanogos Symphony, and the Beijing Central Conservatory of Music Wind Ensemble

Bis vor Kurzem waren sie noch sowas wie "Men in black" mit Blech. Weil sie ziemlich cool auftreten, die Canadian Brass, und dabei immer chic gekleidet sind im schwarzen Anzug und mit weißem Hemd. Mittlerweile ist aber Schluss mit der reinen Männerwirtschaft der Canadian Brass. Es spielt nämlich auch eine Frau mit. Und das ist die Trompeterin Ashley Hall-Tighe. Vor ihrem Konzert in München war sie bei BR-KLASSIK zu Gast.

This week on the "Friday LIVE Extra" previews of: the Canadian Brass concert in Wayne; and the Continental Drift Music Festival in Fremont.

This week on the "Friday LIVE Extra" previews of: the Canadian Brass concert in Wayne; and the Continental Drift Music Festival in Fremont.

The newest directions in 21st Century trumpet performance are being explored and defined by Courtney Jones, an award-winning Bach performing and recording artist who has also emerged as a leading figure in contemporary performance and pedagogy, conducting, and service to inner-city youth through music outreach programs. An artist who transcends stylistic boundaries and in high demand as a clinician and adjudicator, Courtney has performed with classical ensembles and orchestras throughout the United States, internationally, and has won multiple solo awards and accolades through regional and national trumpet competitions. This journey began in Jones' hometown of Columbus, Georgia. While earning his Bachelor of Music degree at Columbus State University, Courtney performed with various Columbus State University ensembles and recorded with artists such as Jens Lindemann, Joseph Alessi, John Bruce Yeh, and the Columbus State University Wind Ensemble under the Naxos Music label. While completing his Master of Music degree in Trumpet Performance at Shenandoah Conservatory in Winchester, Virginia, Courtney studied under the instruction of J. Carlton Rowe, former Principal Trumpet of the “President's Own” United States Marine Band, Craig Fraedrich of The U.S. Army Blues, and performed as Substitute Principal with the Loudon Symphony Orchestra of Leesburg, Virginia. He also had additional studies with Steve Hendrickson of the National Symphony Orchestra Courtney conducted his doctoral studies at UCLA under the instruction of international soloist and former lead trumpet of the Canadian Brass, Jens Lindemann. During his time at UCLA, Courtney worked as a Teaching Associate for lecture courses and provided weekly lessons for university trumpet students under the direction of Lindemann. Winner of a Gluck Fellowship, Jones was then selected as the conductor of the UCLA Brass Ensemble during the latter part of his residency. His musicological research during this period explored 21st Century ideological and transcendental concepts of performance practice focusing on a lesser-known contemporary work of composer Frank Ticheli, The First Voice for Solo Bb Trumpet. The intention of this dissertation was to broaden the technical capabilities of 21st century performers and shed light on the ideological and philosophical foundations of Ticheli's composition. While the study is largely analytic and interpretive, the main purpose and goal is to help modern trumpet players develop more confidence in performing Ticheli's music and other contemporary compositions in related genres. Before completing his doctorate, Courtney was appointed as the Visiting Assistant Professor of Trumpet at the Voxman School of Music at the University of Iowa. During his two-year residency Jones served as the Principal Trumpet for the Iowa Faculty Brass Quintet, taught Graduate Brass Pedagogy and Literature, and served on recital and graduate committees. He was asked to lead the University's top performing Jazz Ensemble (director on leave) and produced an engaging performance concert by the University's Brass Ensemble (which had previously been inactive for a number of years) to showcase the importance of Brass Bands as an engaging training ground for solidifying technical and pedagogical facility for brass players. In addition to his applied obligations, Courtney performed with Orchestra Iowa, the Dubuque Symphony, and gave solo performances with both the Cedar Rapids Municipal Band and New Horizons Band. One of which was the Midwest Premiere of Kim Scharnberg's Travelogue for Eb Trumpet. Besides performing with well-known jazz and popular artists, he has shared the stage with famous artists or groups such as Kenny Burrell, B.B. King, Dee Dee Bridgewater, Rihanna, Lalo Schifrin, Vanessa Williams, Boy George and The Culture Club, Jennifer Cox, and Stevie Wonder. In addition to his solo performance career, Courtney has performed with the Golden States Pop Orchestra, the Southeast Symphony Orchestra, the Macao Orchestra (China), the Pasadena Orchestra, the Debut Orchestra, the Inspiravi Chamber Orchestra, the Gateways Festival Orchestra, the Orchid City Brass Band, the Oslo Philharmonic (Norway), the Long Beach Opera, the Chamber Singers of Iowa City, the Salt-River Brass Band, the Gateways Brass Collective, and most recently had his Carnegie Hall and Metropolitan Art Museum performance debut this past May in New York. His feature film and television credits include music performed for “Glee,” “Notes from Dad,” “Cougar Town,” and “Criminal Minds” among other productions listed under the media tab of his website. Prior to his appointment at Florida Atlantic University as the Assistant Professor of Trumpet & Artistic Director of Jazz and Chamber Ensembles, Jones was a Lecturer of Music at Columbus State University while recording his Solo CD project, “Between 2 Worlds,” at the Joyce and Henry Schwob School of Music. Between teaching and solo performing engagements, Dr. Jones has and continues to promote music education and instrumental performance in inner-city schools through the Music Outreach Program at UCLA, The Harmony Project of Los Angeles, Trumpets 4 Kids in Dallas, Texas, and the Nat King Cole Generation Hope, Inc. Each of these programs offers schoolchildren art-in-education opportunities. These programs are essential because they provide underserved, inner-city students, and communities with musical training and mentorship that would otherwise be inaccessible.

MY NEW NORM Podcast- ENCORE SERIES 1 of 7S3 E14GUESTS: ROY & RB ANTHONYEPISODE: TRIBUTE TO THE LIFE OF RYAN ANTHONYRyan Anthony was an American trumpet player known for his performances as a member of the Canadian Brass and his role as principal trumpet of the Dallas Symphony Orchestra -Incredible accomplishments to achieve at a young age.But Ryan was much more than that; he was a son, a brother, a father, a husband,and a close friend of my family. He died on June 23, 2020, after an eight-year battle with cancer.In this episode, Ryan's Father, Roy, and brother, RB, share from their heart about him living life to the fullest, about the unwavering strength and support of family and friends, and about one man's refusal to allow his affliction to interfere with his love of music.This episode a meaningful one for me.Please join me as we pay tribute to a very special man.SHOW NOTES:Here is the video link of Ryan (and Brasszania) performing with Canadian Brass. This is the tune where he circular breathes.https://youtu.be/VZrCf-cFHSYCancerBlows- YouTube Channel:https://www.youtube.com/channel/UCR4x7zA4DNMqwCVw7eKU5-g/videosRyan Anthony - The Music Makers of the Dallas Symphony Orchestra:https://youtu.be/zUtQQOK-AT4Song of Hope (Peter Meechan) ft. Ryan Anthony, Jens Lindemann, Tim Andersen. Jerry Junkin conducts.https://youtu.be/9rBqVl7DxMUSong of Hope trailer:https://youtu.be/dJIf3x-Dl4c-------------------------------------------------------------------------Now you can help support this podcast with as little as the price of a cup of coffee. Help support MY NEW NORM Podcast-Go to link below:https://ko-fi.com/mynewnormOne more thing, help us get the word out by sharing this podcast with those you know!mynewnorm.buzzsprout.com/ / Find us on all major podcast platforms!

It's time to kick off our fourth season for the 8th Position Podcast! This season we start off with a great new cohost as Lawson Gardner has left the podcast! Our new co-host is Michael Hurst and he will be joining Darien Baldwin for the fourth season! Achilles Liarmakopoulos is very well known not only in the world of trombone, but in the world of brass as he has been the trombonist for the Canadian Brass since 2011. Achilles walks us through his incredible upbringing as a musician throughout his time in Greece, in California, Yale University, and Curtis. He continues to walk us through his life, sharing the story of how he got into the world famous brass quintet, the Canadian Brass. Once we've covered the past, we discuss his activities for the present and future. As a decorated soloist, orchestral musician, and chamber musician, Achilles is nothing short of great stories and lessons in this episode of 8th Position Podcast! -- Transition Music: Trombonsillo, Carolina Calvache, Achilles Liarmakopoulos Instagram: @8thposition @dbaldwin903 @_mehurst_

Our guest this week is has to be my favorite Canadian, pig-farm-raised magician horn players in the world: Jeff Nelsen is the current horn player with the world famous Canadian Brass and has spent a total of over 10 years touring and recording with them, Jeff has also performed concerti and chamber music on six continents, and in the horn sections of dozens of orchestras including the New York and Los Angeles Philharmonics, and the Boston, Chicago, Cincinnati, Montreal, and St. Louis Symphonies. He is professor of horn at the prestigious Indiana University Jacobs School of Music and is founder of Fearless Performance LLC, a company that focuses on training musicians and more to consistently perform their best.  Jeff knows how important one's mental approach is to high-level performing, and in this interview we discuss his Fearless performance training system and online learning community, as well as Jeff's experiences with the mental and emotional challenges present in performing, and how he has trained himself to overcome these challenges. I have spent a lot of time in my life listening to Jeff and working with him, but there is something new or excited that I discover every time we talk, and I am sure you will feel the same way after this conversation. Links and Contact Information Website: www.fearless-performance.com Instagram for Fearless Performance Instagram for Jeff Nelsen Performing Beyond Doubt podcast

Horn player and very-soon-to-be Doctor Kelly Langenberg joins Andrew and special guest co-host Jeff Nelsen of Canadian Brass to talk about horn and the challenges of being a female brass player. Become a Patron ► https://www.patreon.com/thebrassjunkies/ Show Notes ► http://www.brassjunkies.com Facebook ► https://www.facebook.com/pray4jens/ Instagram ► https://www.instagram.com/pray4jens/ The Brass Junkies is hosted and produced by Andrew Hitz for Pedal Note Media https://www.pedalnotemedia.com/

Happy New Year listeners!!! In this episode, we learn the unique story of one of the best trumpeters of his generation. The youngest player to ever play with the legendary Canadian Brass, Brandon Ridenour engages in a very entertaining and informative conversation; his first piano lesson with his father at age 5, to his parents crushing his dreams to play drums, Brandon shares his path to the versatile artist he's become. His amazing career as a trumpeter, composer, arranger, his fascination with comedy, the importance of humanity coming together to take better care of our planet and each other, advice for young players, tour life anecdotes, new projects, his new appointment as faculty at the New School and his love for pedagogy are just a few topics we cover during the first episode of 2023. Cheers to everyone for a great year ahead!!! Thanks for listening and please Subscribe, Rate and Review the Podcast. A lot of work goes into bringing Down the Pit to you, and we would to know your thoughts on how we are doing! To become a Down the Pit supporter for as little as $0.99/month, please visit www.Anchor.FM/Down-the-Pit. Visit tonebase.com for some amazing online courses and lessons for Violin, Piano or Guitar. The best online platform with hundreds of instructional videos and lessons for musicians of all levels! Check it out and use Promo Code SAMI-30 at Checkout for a 14-day FREE trial and 30% off for a yearly subscription. Sign up TODAY! Thanks to our corporate sponsor U.S. PAVE for their continued support! Check out our website www.downthepit.com We are on Instagram/TikTok/Twitter @downthepit_pod and @samiviolin Facebook: Down the Pit Podcast Co-hosts: Sami Merdinian: @samimerdinian - Ian Loew: @lunchmeat1836 - Producer: Sami Merdinian - Assistant Producer: Chris Ellis https://www.downthepit.com https://www.brandonridenour.org/ @b.ride.music --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/down-the-pit/support

What does it take to make a great stage show? Why are cover bands unappreciated? What are immersive shows and where do they go next? These are only a few of the topics a hugely successful Promoter, Manager and Producer covers this week. Wayne Thompson promoted world tours and concerts for Frank Sinatra, Liza Minnelli, George Burns, Whitney Houston, Natalie Cole, Beach Boys, Moody Blues, Julio Iglesias, The Temptations and many more. He managed many well known entertainers including Tanya Tucker,Harry Belafonte, Steven Seagal and many top Canadian artists such as The Nylons, Canadian Brass, Infidels, Strange Advance. He produced theatrical productions of ‘Forever Plaid' and A Clockwork Orange' among others. His latest show is One's based on the Beatles number one songs. We talk about one of favourite artist's Massey Hall concert ..Blackie and the Rodeo Kings As well the guys do part two of Keyboard riffs… which are the best in their view? Feel free to say ….”What…. ! “ ( See List Below) We review a Teenage Head classic Gem and let you know about a band that is On Our Radar… Digging Roots, fantastic indigenous messages with a native Jimi Hendrix style guitarist…seriously :) Barry Manilow. Cant Smile Without You Boston. Foreplay Allmand Brothers. Jessica Deep Purple. Hush Iron Butterfly. In a gadda da vida Genesis. Behind the lines Europe. Final count down In The Talk Music Podcast a Multi-platinum music producer/manager and a music super fan talk music and interview industry insiders and musicians alike about what it takes to create amazing music. We act as a guide to new bands, fascinating books and docs and who the creators of the grooves you love are. Over his 40 yr music career, Tom Treumuth worked as a talent scout for RCA (USA) including working closely with Gene Simmons. His Hypnotic label released over 100 albums via A&M/Universal. Tom also ran a recording studio, did artist management/bookings and he produced over 60 albums with 8 achieving Gold and Platinum awards ( Honeymoon Suite, Helix, Big Sugar). More recently Tom was Co Managing Director of indie label Frostbyte (Universal) . His career started as a musician in True Myth who recorded the world's 1st digital rock album. Co -host Andrew Schalk a chef and a self professed music junkie. The Producer of The Talk Music Podcast is Eric Morrison, a television producer , executive and journalist. He was President of The Canadian Press for 14 years. Before going to CP he was Vice-President of CTV News . He had extensive experience in national and international news, including overseas postings and a variety of management positions. They included Executive Producer of the CTV National News and Producer of Canada AM . He has won Michener, CJF and RTDNA awards for editorial excellence. He was Co founder of Latitude 44, a tech conference in Toronto . He was Executive Producer and Co founder of The Disruptors , a program about high tech startups that now runs as weekly segments on BNN.

This week's episode features Jarrett McCourt. Jarrett has been named one of Canada's “hottest 30 classical musicians under 30”, and currently serves on faculty at Vanderbilt University, and performs as Principal Tuba with the Ann Arbor Symphony Orchestra and the Cabrillo Festival of Contemporary Music, and has appeared with some of the world's top ensembles including the Chicago Symphony Orchestra, the Utah Symphony Orchestra, the Detroit Symphony Orchestra, the Milwaukee Symphony Orchestra, l'Orchestre Symphonique de Montreal, the National Arts Centre Orchestra and the Canadian Brass. Passionate about mental health and suicide prevention, Jarrett has been a guest on popular music-themed podcasts including The Brass Junkie, That's Not Spit It's Condensation and Sound Mind Musician, speaking largely about ways to stabilize and improve one's mental health as a musician in the 21st century. In his spare time, Jarrett works as a supervisor with the Crisis Text Line, a global not-for-profit organization providing free crisis intervention and suicide prevention via SMS message.  Jarrett has also visited several colleges, universities and summer festivals to speak, including Northwestern University, the University of Michigan, DePaul University, the New World Symphony, and the Pokorny Low Brass Seminar. Moreover, Jarrett is a certified yoga instructor, and is a firm believer in the positive effects of mindfulness on one's happiness. In this interview we discuss the importance of mental health for all musicians at every level, how Jarrett keeps himself calm through the demanding work of audition preparation, and some suggestions about how to monitor your own mental health and offer support to others as well. Not only is Jarret a performer at the highest level, but his experience with helping others with mental health makes his advise truly special. Contact information and links Website: www.jarrettmccourt.comInstagram: www.instagram.com/jarrettmccourtFacebook: www.facebook.com/jarrett.mccourt

durée : 00:58:46 - Stars du classique du lundi 19 septembre 2022 - par : Aurélie Moreau - Créé en 1970 par Charles Daellenbach et Gene Watts... et encore bien actif ! le Canadian Brass a accompagné toute la fin du XXe siècle et tout le début du XXIe siècle en changeant de membres progressivement mais en gardant la virtuosité, l'esprit joueur et une certaine légèreté.

The Canadian Brass are descending on the Toledo Museum of Art Peristyle with the Toledo Symphony. We mark the occasion with a tribute to one of the most popular classical groups of all time. Stick around and test your All-Canadian IQ with a collection of quizzes, one about Canadian slang, one about the Canadian Brass in particular, and two about Canada itself.

Welkom terug bij een nieuwe aflevering van Kalm met Klassiek, dé podcastserie voor je dagelijkse momentje rust. Een nieuwe dag, een nieuwe week, een nieuwe aflevering van Kalm met Klassiek. Fijn dat je er bent om samen een moment te ontspannen en te luisteren naar klassieke muziek. Deze week laat Ab allerlei verschillende soorten blaasmuziek laten horen. Te beginnen met Shenandoah uitgevoerd door ‘Canadian Brass'. 

MY NEW NORM Podcast-S2 E04GUESTS: ROY & RB ANTHONYEPISODE: TRIBUTE TO THE LIFE OF RYAN ANTHONYRyan Anthony was an American trumpet player known for his performances as a member of the Canadian Brass and his role as principal trumpet of the Dallas Symphony Orchestra -Incredible accomplishments to achieve at a young age.But Ryan was much more than that; he was a son, a brother, a father, a husband,and a close friend of my family. He died on June 23, 2020, after an eight-year battle with cancer.In this episode, Ryan's Father, Roy, and brother, RB, share from their heart about him living life to the fullest, about the unwavering strength and support of family and friends, and about one man's refusal to allow his affliction to interfere with his love of music.This episode a meaningful one for me.Please join me as we pay tribute to a very special man.SHOW NOTES:Here is the video link of Ryan (and Brasszania) performing with Canadian Brass.  This is the tune where he circular breathes.https://youtu.be/VZrCf-cFHSYCancerBlows- YouTube Channel:https://www.youtube.com/channel/UCR4x7zA4DNMqwCVw7eKU5-g/videosRyan Anthony - The Music Makers of the Dallas Symphony Orchestra:https://youtu.be/zUtQQOK-AT4Song of Hope (Peter Meechan) ft. Ryan Anthony, Jens Lindemann, Tim Andersen. Jerry Junkin conducts.https://youtu.be/9rBqVl7DxMUSong of Hope trailer:https://youtu.be/dJIf3x-Dl4c

The Canadian Brass are descending on the Toledo Museum of Art Peristyle with the Toledo Symphony. We mark the occasion with a tribute to one of the most popular classical groups of all time. Stick around and test your All-Canadian IQ with a collection of quizzes, one about Canadian slang, one about the Canadian Brass in particular, and two about Canada itself.

A conversation with members of music mainstay, the Canadian Brass. See omnystudio.com/listener for privacy information.

As we continue our short Inspiration Series, Jessie speaks to her personal hero and former teacher, Jeff Nelsen. Jeff is the horn professor at Indiana University and horn player for the internationally renowned Canadian Brass. He is also the founder of the Fearless Performance training seminars that help musicians embrace their true musical freedom and expression on stage. *This episode was recorded in May of 2021, so some dates may have past since this conversation took place*

Belgian trumpeter Jeroen Berwaerts is a paramount musical force with an all-inclusive love for music that knows not how to discriminate. Praised for his outstanding technical capabilities and sensitive musicality, his repertoire encompasses every epoch, from baroque music to contemporary music to jazz. With a flourishing solo career of recitals as well as concerts with the world's leading symphony orchestras, Jeroen Berwaerts still finds time to devote himself to chamber music. Born in 1975, Jeroen Berwaerts' musical talents had already been awarded with prizes from various competitions such as the Concours Maurice André (1991) and Concours Européen de Jeunes Trompettistes (1992) when he began studies in Karlsruhe with celebrated trumpet-virtuoso Reinhold Friedrich. He was also an award-winner at the Prague Spring International Music Competition in 1997 and won the 2nd grand prize as well as the "Prix Feeling" (a special prize for best interpretation) at the Maurice André Trumpet Competition. Jeroen Berwaerts' open-mindedness and resplendent playing have brought him invitations to play at internationally acclaimed music festivals, including Ars Musica in Belgium, Takefu International Music Festival and the Rheingau Music Festival, as well as frequently at the Schleswig-Holstein Music Festival where in 2005 he performed the world premiere of Toshio Hosokawa's Voyage VII for trumpet and ensemble. He has also performed as a soloist with many well-renowned orchestras including the Jeunesses Musicales World Orchestra, Munich Symphony Orchestra, Berlin Symphony Orchestra, NDR Radiophilharmonie Hanover and the Symfonieorkest Vlaanderen under conductors such as Alan Gilbert and Yakov Kreizberg. Since winning the position of Principal Trumpet of the NDR Radio Symphony Hamburg in 1999, he has been invited to appear on several occasions as soloist with the orchestra. Following many years as a member of the Canadian Brass, Jeroen Berwaerts now plays with the Stockholm Chamber Brass. Over thirty compositions have been written for the ensemble, which performs mostly original compositions or arrangements of both contemporary and more traditional repertoire. Amidst his burgeoning trumpet career, Jeroen Berwaerts completed Jazz vocal studies at the Royal Conservatory of Ghent. He has developed several programs for trumpet and piano where he uniquely combines classical, jazz, trumpet and voice. His first solo CD In the Limelight provides a stunning take on trumpet repertoire of the Romantic period. RCA also released a live-CD featuring the Posthornserenade by Mozart under the baton of Günther Wand. Since 2008, Jeroen Berwaerts has been a Professor of Trumpet at the Hochschule für Musik in Hanover. Jeroen Berwaerts is Yamaha Artist. --- Support this podcast: https://anchor.fm/artssalon/support

While Hamilton City Council has voted against expanding the urban boundary, that doesn't mean that people are going to stop wanting to come to Hamilton. If building out is no longer an option, what are the alternatives? Guest: John Paul Danko, Ward 8 City Councillor, City of Hamilton - Grammy-winning and JUNO nominated musical group, Canadian Brass, will be performing at the Burlington Performing Arts Centre this Friday. To get a peek inside the inner-workings of this world-renown quintet, Scott welcomes founding member & tuba player Chuck Daellenbach as well as trumpeteer Brandon Ridenour. Guests: Chuck Daellenbach, Founding member & tuba player for Canadian Brass               Brandon Ridenour, Trumpet player for Canadian Brass See omnystudio.com/listener for privacy information.

Wycliffe Gordon, one of America's most persuasive and committed music educators who serves as director of Jazz Studies at Augusta University, joins us to discuss his upcoming concert at the Maxwell Performing Arts Theater. Gordon will be performing at 7:30 p.m. Tuesday, Nov. 30 with Canadian Brass. Get tickets here: https://augusta.universitytickets.com/w/event.aspx?id=1574&p=1

TPP had the privilege of interviewing Dr. Alexandria Le, concert pianist, Yamaha Artist, educator, and arts advocate.  A winner of over twenty first-prize music awards, her performance career has seen her play everywhere from Carnegie Hall and the Salle Cortot to the jails of Riker's Island. After establishing her career for over 15 years in New York, she returned to her hometown, Las Vegas, to form the nonprofit organization Notes with a Purpose.  Since its inception several years ago it has already engaged thousands of children and adults in the Las Vegas area through outreach concerts and special events.  [Dr. Alexandria Le] Alexandria Le, pianist and Las Vegas native, has appeared as a soloist on the world's most illustrious stages, such as Carnegie Hall in New York City and Salle Cortot in Paris, and in the most intimate of venues, such as the French Embassy in New York City and the Parrish Museum in the Hamptons. Her performances have been broadcast over radio stations in cities including Los Angeles, Las Vegas, and Seattle.  A winner of over twenty first-prize music awards, she is a laureate of the Pro Musicis International Award and the Ackerman Chamber Music Competition. She was the pianist for two years with Ensemble Connect, the resident ensemble of Carnegie Hall, and appeared regularly on Carnegie Hall's concert series. She has also performed with principal members of the world's leading orchestras, including the Metropolitan Opera Orchestra, St. Martin-in-the-Fields, Orpheus Chamber Orchestra, American Brass, and Canadian Brass. She has worked with Pulitzer Prize-winning composers Steve Reich and John Corigliano, and has commissioned and premiered new works, including a solo piano piece (Competing Demands) dedicated to her by Ryan Carter. Alexandria is a graduate of the Las Vegas Academy, where she was an inaugural inductee in their Hall of Fame. She holds piano performance degrees from the Eastman School of Music and SUNY Stony Brook, where she received her Doctorate of Musical Arts. She was named a Yamaha Artist in 2015, of which there are fewer than 100 worldwide on their classical piano roster. After establishing a career in New York, she returned to her roots in Las Vegas to make a difference in people's lives. In 2016, she founded Notes with a Purpose, an award-winning music nonprofit that has enriched the lives of over 15,000 elementary schoolchildren and disenfranchised adults. Through performances, community outreach, and private piano teaching, she is committed to adding beauty and cultural growth to her hometown every day. 

Step right up and experience a different kind of carnival by the SCF Bradenton Symphony Orchestra on Thursday, October 14 at 7:30 p.m. in the SCF Neel Performing Arts Center. Featuring Hector Berlioz's “Roman Carnival Overture,” the famous trumpet solo the “Carnival of Venice” with guest soloist Brandon Ridenour, and Camille Saint-Saëns' “Carnival of theAnimals," featuring pianists Aza Torshkoeva and Maria Medina, as well as SCF Theatre major William Ashburn as narrator. Take a listen as trumpet soloist Brandon Ridenour tells us about this life's musical work after Juilliard, becoming the youngest member ever of the Canadian Brass, his very unique connection to Sarasota and Bradenton, and why this version of the Carnival of Venice is so special to him.This is one acoustic carnival you won't want to miss! Tickets are available by going to scf.edu/neel or can be purchased at the door 45 minutes prior to the performance.Come along and join the club!• Brandon Ridenour Website & Facebook & Instagram & YouTube• Aza Torshkoeva Website & Facebook & Instragram & YouTube & Spotify• State College of Florida Music Program Website & Facebook & Instagram• SCF Theatre Program Website & Facebook Page & InstagramSupport the show (https://scf-foundation.org/suncoastcultureclub/)

Today is June 23, 2021 and is the 1 year anniversary of Ryan Anthony's untimely passing after a long battle with cancer. Our love and support go out to his family, friends and all who continue to love and miss Ryan. This podcast is a rebroadcast of the June 27, 2020 episode which aired just 4 days after Ryan's passing last year on June 23, 2020.  His incredible trumpet artistry with the Canadian Brass, Dallas Symphony Orchestra and Cancer Blows event are featured in this special 45 min podcast. As well as special photos from our time together traveling with the McDonald's Marching and Jazz Band as seniors in high school, and the last time I saw and played with Ryan in 2018 with the H2 Big Band in Colorado. Please consider donating or buying merchandise from CancerBlows.com to help support music and cancer research.

He walked into Music Theory class at Juilliard on day 1, sat next to the prettiest girl in the room, and they have been making beautiful music together for the past 53 years.In Part II of the Romm Family series, Ronnie Romm, founding and former trumpet player of the Canadian Brass, and wife Avis Romm, collaborative pianist extraordinaire,  tell us their stories, share their experiences, brag on their talented sons, and share their love of each other and the Suncoast, living on Siesta Key since 1991...and did I mention Ronnie is the original owner of a 1964 Porsche??? VROOM VROOM!All that and more on this week's episode of the Suncoast Culture Club. Come along and join the club! • Romm Family Trio Website & Facebook• Romm Trumpet Academy Website• Canadian Brass Wikipedia Page• Dr. Aaron Romm Website & Facebook & Instagram & Twitter & YouTube• Sun-Young Gemma Shin Website & Facebook & Instagram & YouTube• Venice Symphony Website & Facebook & Twitter & YouTube• Siesta Key Beach Website & Facebook & Instagram• Village Café Website & Facebook• Café Gabbiano Website & Facebook & Twitter• State College of Florida Music Program Website & Facebook & Instagram Support the show (https://scf-foundation.org/suncoastcultureclub/)

Well, if your dad was one of the founding trumpet players in the Canadian Brass and your mother is one of the foremost collaborative pianists on the planet, your destiny maybe laid out for you. Oh, while you're at it, why don't you marry this brilliant violin player you went to doctoral school with at the University of Illinois and move to the Suncoast to make beautiful music together all the rest of your days? Want to hear how Suncoast music power couple Dr. Aaron Romm and Dr. Sun-Young Gemma Shin got started in music, eventually met and fell in love, and now are a staple in the music communities of Bradenton and Sarasota? Tune in to Part I of the two part series on the Romm family's musical gifts to our beloved Suncoast. Truly, a family of musical royalty.All that and more on this week's episode of the Suncoast Culture Club. Come along and join the club!• Dr. Aaron Romm Website & Facebook & Instagram & Twitter & YouTube• Aaron Romm Voice Over Website• Sun-Young Gemma Shin Website & Facebook & Instagram & YouTube• Romm Family Trio Website & Facebook• Romm Trumpet Academy Website• Warburton Trumpets Website & Facebook & Instagram & Twitter & YouTube• The Pops Orchestra of Bradenton and Sarasota Website & Facebook & Instagram• Sarasota Orchestra Website & Facebook & Instagram & Twitter &  YouTube• Venice Symphony Website & Facebook & Twitter & YouTube• Chamber Orchestra of Sarasota Website & Facebook & YouTube• Jimmy Johns Sandwiches Website & Facebook & Instagram & Twitter & YouTube  • SungSupport the show (https://scf-foundation.org/suncoastcultureclub/)

Welcome back everyone! Today, we have THE Joey Tartell as our guest! If you aren't familiar with Joey, go do yourself a favor and check him out! We really enjoyed our conversation with him, and we know you will too. Go give him a follow and be on the lookout for more episodes! Joey Tartell is Professor of Trumpet and the Director of Undergraduate Studies at Indiana University's Jacobs School of Music. Before joining the faculty, he enjoyed a career as an in-demand lead and free lance trumpet player. Joey was the lead player for Maynard Ferguson, touring the United States, Australia, Asia, and Europe, and can be heard on the recording “These Cats Can Swing.” He also played lead for the Smithsonian Jazz Masterworks Orchestra, including a State Department tour of Egypt; the U.S. Army Jazz Ambassadors, including a State Department tour of India and appearances at the Montreux and North Sea Jazz Festivals; and the Glenn Miller Orchestra. Although teaching full time, Mr. Tartell remains an active performer. He is a regular guest lead trumpet/soloist with several orchestras for Pops concerts, including serving as the Guest Principal for the Indianapolis Symphony Orchestra's entire 2014-15 Pops season. Joey has also played with the St. Louis, Houston, Cincinnati, Detroit, National Arts Centre (Ottawa), and Baltimore Symphony Orchestras. Also active in the recording studios, he has recorded for the Bob and Tom Show, Hal Leonard Publications, Shawnee Press, Cedar Point Amusement Park, Williams Gaming, and many others. Joey has also toured with Boston Brass and Canadian Brass. Mr. Tartell is also active as a soloist and clinician. Recently, he has been a featured soloist and clinician at both the International Trumpet Guild conference and the National Trumpet Competition. He maintains an active calendar as a clinician nationally, presenting clinics from Boise, Idaho to Tallahassee, Florida last year. Joey has a Master's degree in Jazz Studies from the University of Miami, and a Bachelor of Music degree from the Eastman School of Music, where he was also awarded a Performer's Certificate. He had the great fortune to study with Barbara Butler, Mel Broiles, Gil Johnson, and Vince DiMartino. Joey Tartell: https://joeytartell.com/ Twitter: @joeytartell https://www.facebook.com/joeytartell https://www.instagram.com/joeytartell/?hl=en Coffee & Clarke's: www.instagram.com/coffeeandclarkes/ podcasts.apple.com/us/podcast/coff…es/id1527355440 www.facebook.com/Coffee-Clarkes-101953871626547/

Taps? Revelry? Tijuana or Canadian Brass? Nope, none of the above. It's the sound of the angel blasting the trumpets this week! Pastor Michael Hearn unwraps the trumpet blasts in Revelation 8-11 where we find God's escalating wrath as He executes His judgment on the earth. What should we do with all of that? Run, repent, find a rock to hide under? Tune in to find out.

This week, conversations about the Canadian Brass's return to Lincoln and what's happening at the Bess Streeter Aldrich house in Elmwood.

This week, conversations about the Canadian Brass's return to Lincoln and what's happening at the Bess Streeter Aldrich house in Elmwood.

The McKnight Center for the Performing Arts at Oklahoma State University begins its second season on Sunday, March 28th with brass quintet Canadian Brass. The multi-million dollar performing arts center opened in Stillwater, Oklahoma in October 2019. For its inaugural season the center hosted performances from artists and acts like The New York Philharmonic, Edgar Meyer and The Preservation Hall Jazz Band. But in the middle of their first season, the pandemic cut it short. Now, the McKnight Center is returning with their second season. The center's marketing director, Jessica Novak, talks about what performances at the center will look like now, what precautions and changes have been made and what role a performing arts center plays in the community, especially in times like these.  Support this podcast

On this week’s Friday Media Roundtable, we discussed some of the top stories in Northeast Florida, including:

Dr. Dan Burdick "retired" to Lakewood Ranch about a month ago. He is a world-class tuba player and teacher, was on the faculty of Edinboro University in Pennsylvania, has two degrees from Boston University and his doctorate in tuba performance from the University of Michigan. He has performed with the Canadian Brass, the Detroit Symphony, the John Philip Sousa Band, and has soloed on tuba all around the world, including Austria, Italy, Germany, Scotland, and Canada. He is now the new tuba euphonium teacher at the State College of Florida and can't wait to immerse himself in the cultural arts scene on our Florida Suncoast.Hear his story and find out how much the tuba actually weighs!Come along and join the club!• Dr. Dan Burdick website & Facebook & Twitter• International Women's Brass Conference Website & Facebook & Instagram• The Harry T. Burleigh Society Website• The Stiletto Brass Quintet Website & Facebook • The Pops Orchestra of Bradenton and Sarasota Website and Facebook and Instagram• Asolo Repertory Theatre Website & Facebook & Instagram & YouTube• West Coast Black Theatre Troupe Website & Facebook & Instagram & YouTube• Florida Studio Theatre Website & Facebook & Instagram & YouTube• Perlman Music Program Website• Sarasota Orchestra Website & Facebook & Instagram & Twitter & YouTube• State College of Florida Music Program Website & Facebook & Instagram• State College of Florida Foundation Website & Facebook & InstagramSupport the show (https://scf-foundation.org/suncoastcultureclub/)

Tonight’s program is all Christmas music. I’ll be playing a number of songs from one of my all-time favorite albums, Christmas with the Canadian Brass and the Great Organ of Saint Patrick’s Cathedral. I’ll also sprinkle in some of my favorite Christmas choral music from the New York Choral Artists and the Westminster Cathedral Choir. Enjoy, and have a wonderful Christmas.

In this episode, you'll get to know the man behind the mustache that's behind the horn as I interview my special guest Ronald Romm. As a founding member of the world-famous Canadian Brass, Ron is without a doubt, one of the most influential players of our generation. For decades, Ron has combined his technical wizardry with his unique sense of humor to bring the joys of music to audiences around the world. Ron is also a passionate educator who is committed to putting the fun back in fundamentals through his Romm Trumpet Academy. Join us as Ron talks about the formative years of the Canadian Brass, being part of a brass movement, how we are all children, the importance of communication, keeping the audience first, demystifying the trumpet, his approach to teaching, the importance of being exposed to a variety of styles, growing up in a musical family, how the trumpet spoke to him, the eternal search for innocence, how he manages fear, the fundamentals of the Romm Trumpet Academy, performing with family, the power of facial hair, and so much more! So pour yourself a big glass, pull up a chair, and let the hang begin! --------------------------------------------------------------------------------------------------------------------------------------- Join the Romm Trumpet Academy with the code "GURU100" and save $100! : https://rommtrumpetacademy.com/ Learn more about your host and his Mindfulness Secrets method: https://josejohnson.com/ Show your chops some love with Robinson's Remedies: bit.ly/ChopLove --- Support this podcast: https://anchor.fm/thetrumpetgurus/support

先週より ４週にわたり と～ってもオメデタイ 特別番組が配信されています！ ★結成10周年記念 　～特別番組～ 『シュピール室内合奏団の喋るティメント』 この番組は、 今年2020年、結成10周年を迎えた フルート、クラリネット、 二本のサクソフォン、ホルン、 ユーフォニアム、テューバ、ピアノ、 打楽器を含めた最大9人編成から成る 小編成吹奏楽バンドの希望の星

For this episode, we were joined by internationally acclaimed trumpet player Chris Coletti. Chris is most well known for his ten years of playing with the famous Canadian Brass which he left in 2019. More recently, he has become an Assistant Professor at Ithaca College School of Music. In the episode, we discussed many topics music and otherwise. We talked about what it was like performing and touring with Canadian Brass as well as teaching life in his new position at Ithaca College. But Chris is also geeky about tons of other topics, so we also talked about astrophysics, specialty coffee, quantum mechanics, consciousness, and many other areas of interest to us. Because this episode was so long, we separated it into two parts. Be on the lookout for part 2 next week where we go into more detail about trumpet playing and trumpet pedagogy. **This episode includes video which you can watch on our https://youtu.be/3pnzC6zlQzY (Youtube Channel)** Timestamps:[03:09] Juggling Canadian Brass with his new teaching position at Ithaca College [07:53] How Chris has adapted to COVID-19 life [13:01] Chris's telescopes and his Hawaii star-gazing experience [18:12] The rabbit hole of specialty coffee [25:25] Chris's favorite part of being in the Canadian Brass [35:26] Sean Carroll and the Hugh Everett many-worlds interpretation of quantum mechanics [43:41] The hard and easy problems of consciousness [44:56] Sean Carroll, David Chalmers, and the question of whether or not we have free will Links Discussed:https://www.trumpetchris.com/ (Chris's website/blog) https://www.instagram.com/trumpeterchris/ (Chris's Instagram) https://youtu.be/SEOOCkU01A8 (World AeroPress Championships) https://youtu.be/kxvQ3Wyw2M4 (Sean Carroll: Many-Worlds Interpretation of Quantum Mechanics) https://exploringkodawari.blog/what-is-consciousness/ (What is Consciousness?) https://www.amazon.com/Big-Picture-Origins-Meaning-Universe/dp/1101984252 (Sean Carroll's book The Big Picture) https://youtu.be/ur72e2GbGqQ (Sean Carroll: The Search for Meaning) Support Us:You can always support us by leaving a https://ratethispodcast.com/exploringkodawari (rating or review) in your podcasting app. You can also share our episodes with friends on social media. But it does take a lot of time to put together a podcast, maintain a website, and write new content every week. So if you would like to support us in a more substantial way, consider making a donation through the PayPal buttons on our website: https://exploringkodawari.blog/donation/ (https://exploringkodawari.blog/donation/) Follow Us:https://exploringkodawari.blog/ (Our Website/Blog) https://exploringkodawari.blog/newsletter/ (Newsletter) Twitter: https://twitter.com/EKodawari (@EKodawari) Instagram: https://www.instagram.com/exploringkodawari/ (@exploringkodawari) Facebook: https://www.facebook.com/ExploringKodawari/ (facebook.com/ExploringKodawari) Support this podcast

In this episode host Adam Wolf chats with Canadian Brass hornist Jeff Nelsen. He is also a horn professor at Indiana University, and has tons of things to talk about so we scratch the surface here with Fearless Performance, Training in Thirds, his life before being a horn celebrity, and his kids are awesome.   This episode is sponsored by Lukas Horns and Balu Musik.

In this episode host Adam Wolf chats with Canadian Brass hornist Jeff Nelsen. He is also a horn professor at Indiana University, and has tons of things to talk about so we scratch the surface here with Fearless Performance, Training in Thirds, his life before being a horn celebrity, and his kids are awesome.   This episode is sponsored by Lukas Horns and Balu Musik.

We sat down with former Canadian Brass member and current Ithaca College trumpet professor, Chris Coletti. We discussed how to grow in the music business and his growth into larger roles as a musician. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/musicspeaks-podcast/support

Ep. 113: Richard Stoltzman, “A Classical superstar.” - NY TIMES. Let's Talk Off The Podium with Tigran Arakelyan. Two-time Grammy Award-winning clarinetist Richard Stoltzman is known as a captivating recitalist, chamber musician, and jazz performer, as well as a prolific recording artist. He gave the first clarinet recitals in the histories of both the Hollywood Bowl and Carnegie Hall. In 1986, Stoltzman became the first wind player to be awarded the Avery Fisher Prize. Recently he was awarded the prestigious Sanford Medal by the Yale School of Music and was elected a Fellow of the American Academy of Arts and Sciences. He has performed or recorded with such jazz and pop greats as the Canadian Brass, Chick Corea, Steve Gadd, Eddie Gomez, Keith Jarrett, Wayne Shorter, Mel Tormé, and Spyro Gyra founder Jeremy Wall. In this podcast we talk about Stoltzman's passion for mathematics, collaborations, touring, baking and recording. We also talk about his recital in Carnegie Hall (first solo recital by a clarinetist), Benny Goodman and much more! For more information about Richard Stoltzman please visit: http://www.richardstoltzman.com/ © Let's Talk Off The Podium, 2020

Aquesta setmana descobrim un instrument potser no del tot conegut pel gran p

In this episode host Adam Wolf talks with New York freelancer, American Brass Quintet hornist, and teacher Eric Reed. We discuss his life at Rice, New World, Oregon, Juilliard, Canadian Brass, and American Brass Quintet. Along with all this, his gear, and his approach to teaching young hornists come up in a modern world.

In this episode host Adam Wolf talks with New York freelancer, American Brass Quintet hornist, and teacher Eric Reed. We discuss his life at Rice, New World, Oregon, Juilliard, Canadian Brass, and American Brass Quintet. Along with all this, his gear, and his approach to teaching young hornists come up in a modern world.

This week we cover the Canadian brass band scene including HONK ON, Big Smoke Brass Band, Sax Drive, The Van Hornies, Square Boys, SHOUT!, Urban Science Brass Band, Big Heist Brass Band, Bank Street Bonbons plus new socially distant music from Antimatter Horns and Banda di Quartiere as well as Honk Fest West and Black Sheep Brass Band. CORRECTION: In this episode, we identify the Urban Science Brass Band as being from the Toronto area, but they are in fact from Montreal, Quebec, where they lead the Montreal Hip-Hop parade.

“You can't teach excellence without having achieved excellence.” - Scott Guidry, USAF Director (ret.) and Associate Prof. at Bemidji State University Hello and welcome back to The Band Director's Lounge!  This week I am chatting with Scott Guidry, Associate Professor of Instrumental Music and Director of Bands at Bemidji State University. Scott also served and directed ensembles for 20 years in the U. S. Air Force. Today Scott and I talk about his long-time career in the USAF, the need to be genuine and authentic when in front of a large ensemble, and the importance of seeing yourself as a leader in addition to music educator. His full biography can be found below: Scott Guidry is Director of Bands and Associate Professor of High Brass at Bemidji State University. He holds a Bachelor of Music Education degree from Loyola University in New Orleans, Louisiana, and a Master of Arts degree in Instrumental Conducting from George Mason University in Fairfax, Virginia. His primary conducting teachers include Dr. Joseph Hebert and Professor Anthony Maiello. Professor Guidry conducts the BSU Wind Ensemble, Jazz Band, and Symphonic Band. He teaches Trumpet and Horn, Instrumental Conducting and Arranging, and supervises instrumental student teachers. He hosts an annual high school honor band, jazz festival, and conducts the BSU spring opera. He teaches trumpet yearly at the International Music Camp, where he is a member of the artists-in-residence International Brass Quintet. A native of Carencro, Louisiana, Professor Guidry joined the U. S. Air Force in 1993. During his 20-year tenure in the Air Force, he performed with a broad range of talented guest artists, to include Kim Nazarian of New York Voices, Canadian Brass alumni Ronald Romm and Fred Mills, Keiko Matsui, Helen Reddy, Crystal Gayle, Wilford Brimley and The Platters. Professor Guidry has presented master classes, clinics and performances with high school ensembles throughout the United States.  His military career highlights include performances throughout the United States and over 30 nations in Europe and Western Asia. In 2010, he deployed to South West Asia and was Officer in Charge of the U.S. Air Forces Central Command Band, enhancing morale of U. S. and Allied Forces and supporting embassies throughout the theater. As leader of the U.S. Air Forces in Europe Band, Professor Guidry led a jazz band tour of Western Siberia, celebrating 10 years of the U.S. Consulate in Yekaterinburg (Ya-ket-tear-in-burg), and led a ceremonial band in Sofia, Bulgaria commemorating 100 years of diplomatic relations between the U.S. and Bulgaria. Professor Guidry and his wife, BSU Oboe Instructor Heather Guidry, live in Bemidji. They have three grown children and three grandchildren.    Episode Overview Background (02:50) Teaching at former high school (08:01) Going Into The Blue with the USAF (11:17) Other career highlights with USAF (26:24) Advice for would-be military ensemble auditioners (32:31) Bemidji State University (38:11) Big picture messages for music education students (42:35) Some thoughts on conducting and score study (49:01) Pride of BSU (62:33) Leadership as a music educator (69:21) Books that have impacted teaching and musicianship (76:40) Advice for young directors (78:30) What makes a great band program? (80:30) And that wraps up today's episode. If you enjoyed this episode or any other episode, consider leaving a review on any of the platforms that you listen to the show on. Itunes, Google Play, Stitcher, Spotify, or Facebook. Your reviews, with or without written feedback, help get the word out about the show. At the end of the day I am doing this podcast to not only improve my own knowledge and skill set but hopefully provide this as a resource to the greater music education community. If you are able to help promote this program I would greatly appreciate it! If you like what you heard today consider heading over to TheBandDirectorsLounge.com and donating through our paypal account. Any donation large or small will help cover the operating costs of the program.  Thanks again for tuning in, I will see you back here next time in The Band Director's Lounge. Other Resources Scott Guidry (Guest) Logan Burnside (Show Host) http://thebanddirectorslounge.com (Podcast Website) The Band Director's Lounge on Facebook (FB Website) Nominate a band director for the podcast Support The Band Director's Lounge Donate to support the podcast. Books mentioned in this episode: Lincoln on Leadership, Donald T. Philips Emotional Intelligence, Daniel Goleman

TBJ135: Jeff Nelsen on Fearless Performance, habit formation and how Canadian Brass is responding to the international quarantine. Horn performer, teacher, and magician Jeff Nelsen joins The Brass Junkies for the second time to catch us up on his efforts to make art and help others. From his bio: Having grown up on a Canadian pig-farm, Jeff Nelsen's multiple non-porcine professions show him to be living proof that if you want it enough, you can have any dream. Jeff is living his dreams out loud and fearlessly! Jeff's approach to life and life coaching is the same. When he teaches, he mentors. Every choice we make helps create what we ultimately share when we approach a job interview, audition, exam, product launch, or social gathering. It doesn't matter whether those choices are made while building or sharing our performance, choices matter...and we only ever choose fear or love. This website helps Jeff publish and provide his creative replacements to fear-based choices for you. In this fun and lively discussion, we discuss: Back wax Jeff Conner is Andrew's Dad old New Patreon effort, "Brass Junkies Sundays" James Markey's Mom's comment Andrew's wife's listening habits Will we let Jeff talk? Mood lighting Jeff's student can fly Jeff at American Band College with Lance last summer Magic Playing in lessons Building a vegetable garden Writing curriculum with a grad student Training in Thirds Building in Thirds Briefing in Thirds Shopping at Lowes 1st third Build 2nd third Share 3rd third Be Bringing the ding Connection-full Magic line performances Shrinking the quality gap Collecting opinions Playing for Chalie Deval The Illusion of Maturity The "Enough or Not Enough" line Non-emotional critique Frustration and should Mental scale structures Mini golf Protactor humor The importance of sequence The importance of habit/routine/ritual Time takes time James Clear Push your butt up Nacho Libre Pass the Beer Nuts Links: Jeff's site Jeff's IU page Canadian Brass page Jeff's first appearance on The Brass Junkies Jeff's George Mason masterclass Want to help the show? Here are some ways: Unlock bonus episodes galore by becoming a Patreon patron. Help others find the show by leaving a rating and review on iTunes or Apple Podcasts. Show us some love on Instagram, Facebook, and Twitter. Show some love to our sponsors: The brass program at The Mary Pappert School of Music at Duquesne University and Parker Mouthpieces (including the Andrew Hitz and Lance LaDuke models.) Buy Pray for Jens and The Brass Junkies merch at The Brass Junkies online store! Tell your friends! Expertly produced by Will Houchin with love, care, and enthusiasm.

Leap Day Babies (0:32)Guest: Raenell Dawn, Cofounder of the Honor Society of Leap Year Babies, Editor and Producer of leapyearday.comThis weekend is that once-every-four-years quirk of the calendar when February gets an extra day. Leap Day accounts for the fact Earth's complete trip around the sun takes 365 days … and 6 hours. We've had a Leap Day on the calendar every four years since Julius Caesar decreed it back in 46 B.C. So, you'd think we'd be used to it by now. But it still feels rare enough that people born on Leap Day are a novelty and some organizations won't even recognize it as a valid birthday. (Originally aired 2/29/16) Easter Island Statues Degrading From Weather and Tourists (11:16)Guest: Jo Anne Van Tilburg, Director, Easter Island Statue Project, Cotsen Rock Art Archive at UCLAThe Night at the Museum movie is what first exposed many people to the large stone-faced statues of Easter Island. The American Museum of Natural History in New York has a plaster cast of one with a deeply-furrowed brow that comes to life in the movie. That movie made the American Museum of Natural History's Easter Island plaster cast a popular exhibit. The statues themselves – on Easter Island – have also become so popular with tourists over the last few decades they're in danger. (Originally aired 7/1/2019) Art Restoration Vital for Paintings and Murals Worldwide (29:20)Guest: Scott Haskins, Director and Chief Conservator, Fine Art Conservation LaboratoriesFamous street graffiti artist Banksy's latest piece of street art is a little girl firing a slingshot on a wall in Bristol, England. Banksy is so famous that his art is really valuable, but that doesn't stop other graffiti artists from adding their own twist. His latest slingshot girl was vandalized within just two days. And that reminded us of a conversation we had with Scott Haskins over the summer – he's the guy cities call when graffiti, pollution or weather damage an street mural they want restored. Recently Haskins has been working on a series of murals along Los Angeles freeways that all but disappeared beneath graffiti. (Originally aired 7/31/19) A College Acceptance Letter Is Not a Guarantee (50:31)Guest: Anna Ivey, Founder of Ivey Consulting, Former Dean of Admissions at the University of Chicago's Law School, Co-Author of "How to Prepare a Standout College Application."Your kid gets accepted to the college of his choice. But then some bad behavior surfaces from his past. The college gets wind and rescinds the acceptance. By all accounts this kind of thing is rare, but a high-profile case last year involving Parkland Shooting survivor and conservative activist, Kyle Kashuv, got us thinking about how colleges make these decisions – and how they decide who is a good fit in the first place. In Kashuv's case, he was accepted to Harvard, but then it became public that he'd made racist comments in text messages and a private online document shared with some classmates when he was 16. Kashuv apologized, but that didn't change Harvard's decision to rescind his acceptance. (Originally aired 7/17/2019) Making Brass Cool (1:05:49)Guest: Chuck Daellenbach (Tuba) Founder of Canadian Brass; Jeff Nelsen (French Horn) Canadian BrassFive brass instruments together on stage is already kind of a surprising experience for concert goers – a tuba, French horn, two trumpets and a trombone make a lot of noise. And honestly, we expect to hear these instruments blending into a symphony – not acting like an a cappella group doing renditions of pop songs from the likes of Lady Gaga. The group has been redefining what brass instruments can do for more than 40 years. (Originally aired 3/19/2019) World Chase Tag Is Your Favorite Childhood Game, Taken to the Next Level (1:25:38)Guest: Damien Devaux, Co-Creator of World Chase TagThe last time I played a really serious game of tag I was 14. All the kids in the neighborhood, inside and outside of the house, were dodging furniture, leaping off the porch. A babysitter was in charge and we were really into it – until my brother ran through the glass part of the screen door and nearly cut his arm off. 911, an ambulance and so many stitches that he's still got a gnarly scar all the way up his arm.  A couple of brothers from England have turned tag into a serious sport they're hoping to make professional. It's called “World Chase Tag” and they host tournaments all over the world. (Originally aired 9/30/2019)

Imagine This…You’re playing for the minor league affiliate of the New York Yankees. You’re a professional ball player, but you’re young, wet behind the ears – and inexperienced enough to believe you can do anything.  Then one day, you get a phone call. You’ve been called up to the major league club and you’re the starting pitcher in the playoffs…and you’re pitching tomorrow. Chris Coletti can relate to this. In 2009, he was a young trumpet stud at the Juilliard School. He had just won an audition with a small town orchestra and was brimming with confidence in his budding career as a professional musician. Then he got The Call. The Canadian Brass, one of the most esteemed and recognizable ensembles in the world of classical music, needed a trumpet player. And they wanted him. Of course he answered the call. And there he was. Thrust into the spotlight. Headlining performances at tiny, little known venues such as Carnegie Hall. The Kennedy Center. Lincoln Center, to name just a few. Some of the best and most accomplished trumpeters of our time preceded Chris. What big shoes to fill. Suddenly he had the pressure of performing at a very high level on the biggest stage possible in his world. Perhaps you’re thinking to yourself, “I don’t know if I could do that at that age. I think the pressure would be great for me.” I suppose one could be forgiven for thinking such things. On the other hand, you probably don’t weed out potential life partners by singing operatic soprano arias and whistling violin partitas written by Johann Sebastian Bach. These are just a couple of Chris’ many talents outside of playing the trumpet…and is one of the reasons he’ll never pay for another drink in his life. So 24 year old Chris Coletti answered the call. And boy did he deliver. In addition to adding operatic soprano singing to the Canadian Brass’ bag of crowd pleasing tricks during his 10 year tenure, he composed and arranged pieces, and delivered one dynamic performance after another. Now ten years older – and wiser – Chris has decided it’s time to step away from the Canadian Brass. Why? Because in 10 years, his situation, his perspective, his priorities, have changed. He’s now a husband and a father. The glories of his role with the Canadian Brass were increasingly a stark contrast with the realities of parenting. It was simply time to step aside and make room for another person who is better equipped to carry the group into the future. What you’re about to hear is the story of an individual who has given his heart and his soul to his craft. Chris can tell you what will emotionally move an audience of musical “civilians” and what will move an audience of musical aficionados who are nit-picking your every move. And you might be surprised to hear that it’s really the same thing when you get right down to it. And now that he has moved into a new chapter of his life, you’ll hear about the decision to step away from a role that was glorious and deeply fulfilling on many levels, and into another role that is dirty, exhausting, inglorious at times – and right where his soul has him to be at this moment. Here’s a sample from Chris’ http://trumpetchrisblog.com/ (blog): “Music is an art, a social art, one that is extremely rewarding from the first moment we experience it. As an educator, I find the most fascinating thing to be uncovering what makes each student tick–what drives them, what musical and career goals will make them feel fulfilled. Motivation comes in a variety of ways, and we teachers have in a uniquely influential job: to identify a student’s strengths and passions and turn them into a powerful and positive driving force in their life…” A few of the more salient points from my chat with Chris Coletti:-Chris’ career aspirations as a young conservatory student...9:54-What is life like as a student at Juilliard?...12:38-To specialize, or not to specialize…17:40-The foolproof method of winning a job in an...

Imagine this…You’re playing for the minor league affiliate of the New York Yankees. You’re a professional ball player, but you’re young, wet behind the ears – and inexperienced enough to believe you can do anything.  Then one day, you get a phone call. You’ve been called up to the major league club and you’re the starting pitcher in the playoffs…and you’re pitching tomorrow. Chris Coletti can relate to this. In 2009, he was a young trumpet stud at the Juilliard School. He had just won an audition with a small town orchestra and was brimming with confidence in his budding career as a professional musician. Then he got The Call. The Canadian Brass, one of the most esteemed and recognizable ensembles in the world of classical music, needed a trumpet player. And they wanted him. Of course he answered the call. And there he was. Thrust into the spotlight. Headlining performances at tiny, little known venues such as Carnegie Hall. The Kennedy Center. Lincoln Center, to name just a few. Some of the best and most accomplished trumpeters of our time preceded Chris. What big shoes to fill. Suddenly he had the pressure of performing at a very high level on the biggest stage possible in his world. Perhaps you’re thinking to yourself, “I don’t know if I could do that at that age. I think the pressure would be great for me.” I suppose one could be forgiven for thinking such things. On the other hand, you probably don’t weed out potential life partners by singing operatic soprano arias and whistling violin partitas written by Johann Sebastian Bach. These are just a couple of Chris’ many talents outside of playing the trumpet…and is one of the reasons he’ll never pay for another drink in his life. So 24 year old Chris Coletti answered the call. And boy did he deliver. In addition to adding operatic soprano singing to the Canadian Brass’ bag of crowd pleasing tricks during his 10 year tenure, he composed and arranged pieces, and delivered one dynamic performance after another. Now ten years older – and wiser – Chris has decided it’s time to step away from the Canadian Brass. Why? Because in 10 years, his situation, his perspective, his priorities, have changed. He’s now a husband and a father. The glories of his role with the Canadian Brass were increasingly a stark contrast with the realities of parenting. It was simply time to step aside and make room for another person who is better equipped to carry the group into the future. What you’re about to hear is the story of an individual who has given his heart and his soul to his craft. Chris can tell you what will emotionally move an audience of musical “civilians” and what will move an audience of musical aficionados who are nit-picking your every move. And you might be surprised to hear that it’s really the same thing when you get right down to it. And now that he has moved into a new chapter of his life, you’ll hear about the decision to step away from a role that was glorious and deeply fulfilling on many levels, and into another role that is dirty, exhausting, inglorious at times – and right where his soul has him to be at this moment. Here’s a sample from Chris’ blog (http://trumpetchrisblog.com) : “Music is an art, a social art, one that is extremely rewarding from the first moment we experience it. As an educator, I find the most fascinating thing to be uncovering what makes each student tick–what drives them, what musical and career goals will make them feel fulfilled. Motivation comes in a variety of ways, and we teachers have in a uniquely influential job: to identify a student’s strengths and passions and turn them into a powerful and positive driving force in their life…” A few of the more salient points from my chat with Chris Coletti:-Chris’ career aspirations as a young conservatory student-What is life like as a student at Juilliard?-To specialize, or not to specialize…-The foolproof method of winning a...

Founding & former member of the Canadian Brass, Ronald Romm shares some terrific stories about how he and Avis met, how he and Fred Mills met, and some wonderful insight into the mind and heart of a truly special person. Ron is a true icon of the brass world. Enjoy.

In this episode, we discuss the world-famous Canadian Brass and interview a founding member of the quintet, in the lead-up to its April 2 performance at Armstrong Auditorium — which closes the 2018-19 season. Canadian Brass at Armstrong Auditorium:https://www.armstrongauditorium.org/performance/canadian-brass

Louise Davidson-Schmich of the University of Miami on more women in office. Aaron Carroll of Indiana University on how bias is baked into scientific research. Elliott Gall of Portland State University on air cleaning plants. Stefani Dawn of Climb-On Maps on counterfeit Amazon goods. Chuck Daellenbach and Jeff Nelsen of Canadian Brass on making brass cool. Kyle Bills and Mike Alder of BYU on new possibility for treating addiction.

1773-aisiais Mozartas trijų veiksmų muzikine drama „Liučijus Silla“ atsisveikina su Italijos muzikine scena, ateityje naujas operas patikėdamas kitų Europos kraštų miestams. Apžvelgdami šį septyniolikmečio Mozarto kūrinį, prisiminsime ir klasikinės muzikos topu tapusį, tais pačiais metais gimusį motetą „Exsultate, jubiliato“, kurio fragmentus išgirsime amerikiečio kontratenoro Michaelio Maniaci ir varinių pučiamųjų instrumentų ansamblio „Canadian Brass“ interpretacijoje. Laidoje skamba Köchelio kataloge 135, 165 ir 186 numeriais pažymėti Mozarto kūriniai.Ved. Giedrius Kuprevičius.

1773-aisiais Mozartas trijų veiksmų muzikine drama „Liučijus Silla“ atsisveikina su Italijos muzikine scena, ateityje naujas operas patikėdamas kitų Europos kraštų miestams. Apžvelgdami šį septyniolikmečio Mozarto kūrinį, prisiminsime ir klasikinės muzikos topu tapusį, tais pačiais metais gimusį motetą „Exsultate, jubiliato“, kurio fragmentus išgirsime amerikiečio kontratenoro Michaelio Maniaci ir varinių pučiamųjų instrumentų ansamblio „Canadian Brass“ interpretacijoje. Laidoje skamba Köchelio kataloge 135, 165 ir 186 numeriais pažymėti Mozarto kūriniai.Ved. Giedrius Kuprevičius.

Just the fourth person to hold the position as conductor of the Eastman Wind Ensemble, Mark Scatterday joins the show to discuss that ensemble and his career, and to share advice about conducting and teaching. Topics: Mark's early years growing up as a musician and his path to becoming a music educator and conductor.  The importance of being prepared and how, as a high school band director in Ohio, a chance meeting with Donald Hunsberger changed his life and his career. A lengthy discussion of the program at Eastman including the challenge of programming up to 85 pieces of music every year. Practical tips for score study. Links: Mark Scatterday Eastman School of Music Husa: Music for Prague 1968 Biography: Mark Davis Scatterday is professor of conducting and chair of the Conducting and Ensembles Department at the University of Rochester’s Eastman School of Music. As only the fourth conductor of the Eastman Wind Ensemble, Scatterday joined a prestigious line of conductors – Donald Hunsberger, Clyde Roller, and Frederick Fennell – in the past 65 years of the famed ensemble. Since his appointment, he has led the EWE on tour to Japan, Taiwan, and China and conducted the EWE in highly acclaimed performances at Carnegie Hall, Canadian National Musicfest, and the Midwest Clinic. He has recorded five new CDs with the EWE, Eastman Virtuosi, and  Eastman Music Nova and led the Eastman Harmonie on a highly acclaimed tour of Germany, Austria, and the Czech Republic. Having received a doctor of musical arts in conducting at the Eastman School of Music, Scatterday has directed wind ensembles and orchestras throughout North America, Europe and Asia. Previous to his appointment at Eastman, he was professor and chair of the Department of Music at Cornell University. Scatterday maintains an active guest conducting schedule as well as researching and writing articles involving score analysis, performance practices, and conducting.  Scatterday has conducted the premiere recording of Roberto Sierra’s Cancionero Sefardi with members of the Milwaukee Symphony (2001), Judith Weir’s Consolations of Scholarship with Ensemble X (2005), Danzante with James Thompson and the EWE (2006), Barcelonazo with Musica Nova (nominated for a 2008 Latin Grammy), and Manhattan Music with the EWE and the Canadian Brass (2008, nominated for a 2009 JUNO). In 2012, he recorded with the EWE and the Eastman Virtuosi featuring Stravinsky’s music and celebrating the EWE’s 60th year (2013, AVIE, London) and most recently released a new live recording of Roberto Sierra’s music with the EWE (Summit, 2017).  

Here is the "Impact Classics" episode from Friday, July 13, 2018. Today's show features selections by Beethoven, Bernstein, Williams, a percussion feature by Brian Slawson, music from "South Pacific", Maynard Ferguson, the Canadian Brass, and the 3rd Movement from the Haydn Trumpet Concerto. As you will recall, we provide the very BEST music ever written and performed from all genres. We hope that that the presented music is perfect by which to write, relax, work, clean your house, pay bills, tend to your garden, driving, etc. "Impact Classics" airs LIVE as follows: Tuesdays and Fridays 12:00 Noon, EDT (Repeated on the same days at 3:00 pm, 6:00 pm, 9:00 pm, and Midnight) Enjoy!

Caleb Hudson is the newest member of the Canadian Brass, the popular quintet that revolutionized the place of brass in classical music. A former principal trumpet of Collingswood's Symphony in C, Hudson returns as a featured artist on their “Italian Festival” concert on January 27 at the Rutgers Camden Center for the Arts. He spoke to producer Susan Wallner about how he first came to play the trumpet, what it's like to be part of the Canadian Brass and the two solos he'll be performing with the Symphony in C.

In this episode of Pathways, host Adam Wolf meets with horn legend Marty Hackleman. They discuss his time in the Vancouver Symphony, National Symphony, Toronto Symphony, Canadian Brass and Empire Brass. He also shares his thoughts and strategies as a teacher, as well as a heartfelt statement about the most recent chapter in his career.

In this episode of Pathways, host Adam Wolf meets with horn legend Marty Hackleman. They discuss his time in the Vancouver Symphony, National Symphony, Toronto Symphony, Canadian Brass and Empire Brass. He also shares his thoughts and strategies as a teacher, as well as a heartfelt statement about the most recent chapter in his career.

In this episode of Music on Purpose I had the opportunity to spend time with one of the greatest trumpet performers of all-time, Vincent DiMartino. He has performed and/or played with everyone imaginable from Lionel Hampton and Dizzy Gillespie to Canadian Brass and Doc Severinsen. He offers his advice on how to separate yourself from […] The post Music on Purpose E013: Guest Vincent DiMartino, International Trumpet Touring Artist appeared first on Bryan Crisp.

This episode focuses on the relationship between bands and athletic activities. We will be visited by several guests, including Scott Schwartz (Director, Sousa Archives and Center for American Music), Prof. Bernhard Scully (Professor of Horn, University of Illinois and Member of the Canadian Brass), Prof. Betsy McCann (Director of Athletic Bands, University of Minnesota), Prof. Barry Houser (Director of Athletic Bands, University of Illinois), Quinten Breach (Member, Marching Illini), and Josh Whitman (Director of Athletics, University of Illinois).

In the inaugural episode of Pathways, host Adam Wolf talks with horn player of the famed Canadian Brass Bernhard Scully. They talk about routine, Canadian Brass, Kendall Betts, Gunther Schuller, and more! Pathways is hosted by Adam Wolf, produced by Siegfried's Call, Inc.  

In the inaugural episode of Pathways, host Adam Wolf talks with horn player of the famed Canadian Brass Bernhard Scully. They talk about routine, Canadian Brass, Kendall Betts, Gunther Schuller, and more! Pathways is hosted by Adam Wolf, produced by Siegfried's Call, Inc.  

To celebrate 4 years of The Other Side of the Bell, we are having a double episode featuring Caleb Hudson and Chris Coletti, the two trumpets of the famed Canadian Brass. The show notes for this episode can be found at www.bobreeves.com/48. Learn more about the Canadian Brass at www.canadianbrass.com.

On this episode of Music on Purpose, Chris Coletti from the world famous Canadian Brass joins us to talk about his passion and success in performing at the highest level. It was such a pleasure to sit down with Chris and get his insights about what helped him get to the level to be able to […] The post Music on Purpose E005: Guest, Chris Coletti from Canadian Brass appeared first on Bryan Crisp.

After a long hiatus, we're ready to get back into it.  Steve and I visited the University of Illinois and sat down with Professor Barry Houser in the historic Harding Band building.   Professor Houser talks about his journey to the Big Ten, going digital with the marching band, things that go "bump in the night" in the Harding Band building, and much more!  BIO Barry L. Houser is the Associate Director of Bands, Director of the Marching Illini, and Director of the Fighting Illini Athletic Bands where his responsibilities include conducting the Hindsley Symphonic Band, the Athletic Bands, and the 375 member Marching Illini in addition to teaching marching band procedures. Professor Houser's teaching experience encompasses both extensive public school and university experiences. A native of Indiana, Professor Houser served as Director of Bands and Performing Arts Director at NorthWood High School in Nappanee, Indiana, where his bands developed a reputation for great musicianship which in turn earned the program state and national recognition. Prior to his position at NorthWood, Houser served as the Assistant Director of Bands at Buchholz High School in Gainesville, Florida. Bands under Houser have performed at the Macy's Thanksgiving Day Parade, the NBC Today Show, the ISSMA State Marching Finals, and the IMEA State Convention. Other performances include the Indianapolis 500 Parade, the Target Thanksgiving Day Parade, the Outback Bowl Parade and Half-Time Show, the Hollywood Christmas Parade, the Washington DC National Memorial Parade, Chicago Bears Game, and performances with Maynard Ferguson, the Dallas Brass, Canadian Brass, Gregg Potter as well as many other talented artists. Houser holds professional memberships in the College Band Directors National Association, National Band Association, MENC, Golden Key National Honor Society, Lambda Chi Alpha Fraternity, Kappa Kappa Psi International Band Fraternity, Honorary member of Tau Beta Sigma, Phi Mu Alpha Sinfonia, and has been honored by the Indiana General Assembly and the US House of Representatives. He is the recipient of the Indianapolis Star Academic All Star Award, the WNDU Channel 16 Excellence in Education Award, as well as being listed in various “Who's Who” publications throughout his career. Professor Houser is active nationally as a guest conductor and clinician in both the marching and concert mediums.  He has served on the staff of the Macy's Great American Marching Band and the National Events Mass Band, which performs annually at the Chick-Fil-A Bowl in Atlanta, Georgia. He is a contributing author to the popular marching band textbook The System by Gary Smith as well as numerous submissions to the Teaching Music through Performance in Band series.  Houser has served as Governor of the North Central District of Kappa Kappa Psi and currently serves as chapter advisor for the Nu Xi Chapter of Kappa Kappa Psi on our campus as well as Chapter Advisor for the Phi Mu Alpha Chapter. He is currently serving on the Athletic Band Board for the College Band Directors National Association and as the North Central Division Chair for the National Band Association. During the summer, Professor Houser is the Director and President of the renowned Smith Walbridge Clinics, one of the largest marching band | leadership camps of its type in the country with locations in Illinois and Florida, attracting over 1000 students each year.  Professor Houser is an Educational Clinician for Conn-Selmer.

Episode 39: "Breathe" - A Conversation with Justin Emerich A nationally renowned trumpeter and teacher with extensive national and international performing experience, Justin Emerich is associate professor of trumpet at the MSU College of Music. Emerich’s orchestral experience includes serving as acting associate principal trumpet of the San Francisco Symphony, as well as performing with the St Louis Symphony, Cleveland Orchestra, Metropolitan Opera Orchestra, San Diego Symphony, San Francisco Opera, Malaysia Philharmonic, Seoul Symphony, Seattle Symphony, Seattle Opera, Grant Park Symphony, New Jersey Symphony, Buffalo Philharmonic, Grand Rapids Symphony, Palm Beach Opera Orchestra, and the New World Symphony. He has been a featured soloist with the Seattle Symphony and the Fulcrum Point New Music Ensemble in Chicago. In April 2013, Emerich was singled out as one of the San Francisco Symphony's "superb soloists" by the San Francisco Chronicle. Emerich is also an avid chamber musician and has been a member of, and toured with, such groups as the Canadian Brass, Burning River Brass, Proteus 7, the Avatar Brass, and Pink Martini. Performing with these groups, he traveled extensively throughout Europe, Asia, the Caribbean, and all 50 states in the U.S. While with the world famous Canadian Brass, he performed as solo-piccolo trumpet and collaborated with the New York Philharmonic and Philadelphia Orchestra brass sections. Emerich and the Canadian Brass were also featured with the New Jersey Symphony and premiered a new work by Bramwell Tovey with the Vancouver Symphony. He is currently the piccolo trumpet of Burning River Brass. Emerich performed in numerous Broadway shows in New York City including Kiss Me Kate, Into the Woods, and 42nd Street. After earning his degree, he became artist-in-residence and assistant trumpet professor at Grand Valley State University. Emerich has performed with such artists as Diana Ross, Burt Bacharach, Natalie Cole, Wayne Newton, Luciano Pavarotti, Placido Domingo, Yo-Yo Ma, Gil Shaham, Doc Severinsen, Allen Vizzutti, Renee Fleming, Sufjan Stevens, Ben Folds, and Vanessa Williams. He has recorded for hundreds of TV, movie, and video game soundtracks, and can be heard as the lone trumpet on The Blind Side with Sandra Bullock. Emerich has recorded various CDs for the Columbia, SFS Media, Naxos, New World, Dorian, Burmermusic, LML music, and Albany record labels. Emerich, who comes to Michigan State University from a faculty position at the University of Las Vegas, is a graduate of the Juilliard School of Music. 

In this interview I talked to Bernhard Scully, horn player of Canadian Brass.  We dove into his unique career as the horn player of the renowned group, as well as his orchestral experiences and most recently, his new position as professor of horn at University of Illinois in Champaign-Urbana.  As the conversation unfolded, it was fascinating to see how Bernhard's intentional choices in his career and education led him down the path to his unique and unconventional career.

Did you know the Canadian Brass shares founding members with the National Arts Centre Orchestra!? Join Sean Rice in a conversation about the history and future of Canadian Brass with founding member Chuck Daellenbach and newest member Caleb Hudson. Chuck shares stories like filling in with the NAC Orchestra, getting to Carnegie Hall by way of children's concerts, and Caleb talks about possibly the most difficult audition in history. Musical excerpts are from their spectacular concerts with the NAC Orchestra from November 3-5, 2016.

Episode 7: Chris Coletti of the Canadian Brass is my guest for this episode. In addition to his performing duties in the Canadian Brass, Chris is a prolific arranger for the group. Chris is now serving as Adjunct Professor of Trumpet at the Brooklyn College Conservatory of Music.    Chris can be contacted at www.trumpetchris.com  

My guest today is Joey Tartell. Joey is an Associate Professor of Trumpet and the Director of Undergraduate Studies at Indiana University’s Jacob School of Music.  As a performer he has been lead trumpet in Maynard Ferguson’s Band, the Smithsonian Jazz Masterworks Orchestra, the U.S. Army Jazz Ambassadors and the Glen Miller Orchestra. He has performed numerous symphony orchestras including the Indianapolis, St.Louis, Houston, Cincinnati, Detroit, Baltimore and the Ottowa National Arts Center Orchestras. Joey has also toured with the Boston Brass and Canadian Brass. He is an active soloist and clinician nationally. Joey can be contacted at jtartell@indiana.edu joeytartell.com  

May 13, 2016: Having unwittingly scheduled an interview for Friday the 13th made me a little nervous, however, Chris Coletti was an incredibly mirthful guest!  He explains how he ended up playing the trumpet although he originally had aspirations of being a violinist or clarinet player, he explains the genesis of his trademark operatic vocal stylings, his mad karaoke skills, going to middle school dressed as a baseball player, having perfect 'enough' pitch, talks about his favorite composer J.S. Bach, his love of Japanese wood working and dream of creating his very own forest one day. Since joining Canadian Brass in 2009, trumpeter/arranger Christopher Coletti has performed hundreds of concerts, TV and radio appearances around the world with the group, recorded 7 billboard chart-topping/award-winning CDs, filmed multiple music videos, and arranged a plethora of music that The Brass has recorded and regularly performs.  

The Grand Rally for Music Education was recorded LIVE at The 2016 NAMM Show and features performances by the internationally acclaimed Canadian Brass as well as Mary Luehrsen's informative interview with—and musings by—Grammy-award winning artist “Weird” Al Yankovic.

Magically Fearless (Fearlessly Magical?) Jeff Nelsen joins Andrew & Lance to discuss his diverse and fascinating career. Jeff explains how he got started and progressed from orchestra playing to a stint with Canadian Brass and on to his current role teaching horn at Indiana University. He also talks about his newest project "Fearless Performance," his TEDx talks (and hosting) and how studying magic compares to studying music. We also get to hear about his Rainbow Wand.    Website: Jeff Nelsen   Links: Brendon Burchard YouTube Channel Jeff Nelsen: Episode 5   Books Referenced: The Power of Now by Eckhart Tolle The Motivation Manifesto by Brendon Burchard The Little Book of Talent by Daniel Coyle The Talent Code by Daniel Coyle   You can help offset the costs of producing the show by making a small donation at https://www.patreon.com/thebrassjunkies. Your support is greatly appreciated!   Produced by Austin Boyer and Buddy Deshler of FredBrass.  

Special Guest - Ryan Anthony This week's show has special guest Ryan Anthony! Ryan is known as a former member of the world famous Canadian Brass and also is a featured performer with many groups all over the world. He is currently the principal trumpet player for the Dallas Symphony and is well known throughout the music and trumpet community worldwide. Ryan will talk about his personal health battle and Ryan Anthony Foundation - "Cancer Blows". This is also a very special show as Host David Richards has known the famous trumpet player from attending High School and playing with him as a young man. They talk about his current battle, the famous musicians showing their support, and concerts for the cause as well as reminiscing about school and old friends. Gofundme.com/musicbizzradio Music Bizz Radio on Facebook: www.facebook.com/musicbizzradio MusicBizzRadio.com Music Bizz Radio on Soundcloud: https://soundcloud.com/musicbizzradio Music Bizz Radio on itunes: https://itunes.apple.com/us/podcast/music-bizz-radio/id1002264843 Music Bizz Radio on Stitcher: http://www.stitcher.com/s?fid=67206&refid=stpr Music Bizz Radio on Podbay.Fm http://podbay.fm/show/1002264843 Music Bizz Radio on Tunein http://tunein.com/radio/Music-Bizz-Radio-with-David-Richards-p738793/ Music Bizz Radio on Youtube https://www.youtube.com/channel/UC9Kso23JMXfSPv5lYQQsq6g Visit Host David Richards Website: http://www.davidrichardstrumpet.com Host David Richards on Twitter: https://twitter.com/trumpetdr

Andrew & Lance are joined by Marty Hackleman, former horn player for the Canadian Brass, Empire Brass, and National Symphony Orchestra. Marty talks about the many stops along his incredible career, including winning his first professional audition at the age of 19. He also shares with us the decision he made as a 16-year-old that got him to apply himself and propelled him to success on the horn. He is the only person who was ever a full-time member of both the Canadian Brass and Empire Brass and discusses how it came to be that he and Dave Ohanian came to switch quintets. And he has some tough love for Jens!   You can help offset the costs of producing the show by making a small donation at https://www.patreon.com/thebrassjunkies. Your support is greatly appreciated!

Jeff Nelsen is the founder of Fearless Performance, former horn player for the Canadian Brass, and Professor of Horn at Indiana University's Jacobs School of Music. Show notes for all episodes of TEM including topics discussed, links to all books and websites referenced can be found at: http://www.andrewhitz.com/shownotes Want to help "keep the lights on" and make future episodes of TEM possible? Please visit our Patreon page to see how you can help: https://www.patreon.com/tempodcast   Produced by Austin Boyer and Buddy Deshler of FredBrass  

For the first ever episode of The Brass Junkies, Andrew Hitz and Lance LaDuke welcome one of the greatest brass players in the world, Ryan Anthony.  Ryan is the former star of Canadian Brass and is currently the Principal Trumpet of the Dallas Symphony.  On top of that he is a cancer survivor, the head of The Ryan Anthony Foundation, and one of the nicest human beings you could ever hope to meet. Ryan discusses with us his entire career from soloing with major symphonies at the age of 16 to the Cancer Blows event he is throwing later this month with the likes of Doc Severinsen, Arturo Sandoval and Phil Smith to raise money for cancer research.  He also opens up about the phone call almost two years ago that changed his life forever. When you hear the positive attitude Ryan brings to the trumpet and to life, you'll know why we couldn't think of a better person to kick off this podcast! Note: We are aware there are some feedback issues in spots.  We are new to this whole thing and in the spirit of the Minimum Viable Product that we are always preaching to our business students, we are launching and learning on the fly. Thanks for your patience! Links: Cancer Blows Want to help the show? Take a minute to leave us a rating and a review on iTunes. You can help offset the costs of producing the show by making a small donation at https://www.patreon.com/thebrassjunkies. Your support is greatly appreciated! Produced by Austin Boyer and Buddy Deshler of FredBrass

It’s our Christmas program — an audio service of lessons and carols of sorts — it’s a little quirky, but full of heart. Music "Watching NASA Channel At Your Apartment At Christmastime" by Bob Fields "All Out of Darkness" by Uncle Owen Aunt Beru "December 26th" by Foxchase Excerpts from "A Christmas Carol" by 20th Century Fox "God Rest Ye Merry Gentlemen" by The Canadian Brass "Fairytale of New York" by Paleface "Mele Kalikimaka" by Albert Adams Excerpts from "Seinfeld" by Sony Home Entertainment "The Christmas Guest" by Johnny Cash "Christmas Time Is Here" by Vince Guaraldi "I'll Be Home For Christmas (But Only In My Dreams)" by Bing Crosby "Because the Night Is Long" from Music From The Gathering Church "Hark The Herald Angels Sing" by Vince Guaraldi "Beautiful Star of Bethlehem" from Music From The Gathering Church "Sweet Little Jesus Boy" by Gladys Knight and the Mormon Tabernacle Choir "Apollo 8 Christmas Message" courtesy of NASA "To Build a Home" by the Cinematic Orchestra "Happy Christmas (War Is Over)" by John Lennon

Bob Reeves shares his experiences with the original Canadian Brass. David Bilger, principal trumpet of the Philadelphia Orchestra talks about trumpet, auditions, and his online lessons through ArtistWorks.com.

You can see the new gold plated instruments, but you have to imagine those Adidas sneakers.

Symphonic Band from the Concert on 12/1/10

The string quartet has three hundred year’s history. A brass quintet has maybe forty year’s history. If you think about it, we have created an opportunity with Canadian Brass. We’ve made it a legitimate ensemble. We’ve brought it to all the major concert stages. Now, the development can start. Now the music starts filling in.

WPAS speaks with Chuck Daellenbach of the Canadian Brass about thier December 1st Holiday Concert at the Kennedy Center, the history of the brass quintet, and life on the road with the ensemble.

Canadian Brass members, Charles Daellenbach and Eugene Watts, are Christopher's guests on this special edition of the NACOcast