Podcasts about Chapman Stick

Tuba, Chapman Stick, piano, prog, and much more!Playlist: Jeremy Ledbetter Trio - GravityHot 8 Brass Band - Big tubaStan Tracey Quartet - Starless and bible blackBrian Baggett - Ojos verdesEmerson Lake & Palmer - Piano improvisationsSteve Lehman - 23cThe Irv Grossman Sextet - Sound adviceRh Positive: Jim Heineman's Dream Band - Whirlwind

Esta semana, dedicamos el segundo capítulo de Rebelión Sónica 2025, al nuevo álbum de la contrabajista, vocalista, improvisadora y compositora chilena Amanda Irarrázabal, “Caudal 2”. Este segundo LP de estudio, fue editado bajo el sello Acéfalo Records en formato vinilo y digital y el estreno en vivo oficial se llevará a cabo este viernes 21 de marzo desde las 19 horas en el Galpón Santa Elena (Padre Orellana 1734, Santiago Centro). “Caudal” invita a un viaje sonoro en el que confluyen poesía, melodía, improvisación y estridencia. La artista transita entre el sonido orgánico de su contrabajo –tanto acústico como procesado con efectos–, la experimentación con sintetizadores modulares y la expresividad de su voz, logrando una propuesta única y cautivadora”. Según Irarrázabal “Caudal es un proyecto que pretende ser directo y sincero, comunicando de esta forma el mundo más bien abstracto de la ejecutante, pero al mismo tiempo que juega con retornar a el reconocimiento de la melodía y el acompañamiento, haciendo de esta forma que la música fluctúe entre sonoridades más cercanas a lo experimental y en otros momentos a formas más bien reconocibles dentro del género de la canción”, señala la artista. Con "Caudal 2", la artista profundiza en su exploración musical, ofreciendo un álbum que oscila entre la abstracción y la canción, entre la experimentación y la melodía, en un equilibrio fascinante de formas y sonidos. En el evento de lanzamiento la artista contará con los actos de apertura de González + Nicanor, dúo formado por los músicos Gonzalo Henríquez -de González & los Asistentes- y Nicanor Henríquez. Además, se suma la presentación del músico y artista visual Silvio Paredes, referente del bajo eléctrico y pionero del Chapman Stick en Chile; instrumento que ha sido una de sus principales herramientas de trabajo desde sus inicios, grabando los primeros registros en el país y haciéndolo visible al público en escenarios de amplia relevancia nacional. Es reconocido además como miembro y fundador de emblemáticas bandas nacionales desde los ochentas a la fecha, como Primeros Auxilios, Electrodomésticos y Los Mismos, por nombrar algunos. Justamente, en la última parte del programa, escuchamos a Paredes con material de su álbum de 2010, “Kau”. Rebelión Sónica se transmite por radio Rockaxis, los jueves a las 10 y 22 horas, con la conducción y curatoría de Héctor Aravena.

Folks, we're stretching a bit on this one.  Lynch noticed that Roger Waters performed "The Wall" at the Berlin wall in this month, and used that as an excuse to feature A Momentary Lapse of Reason, which was the latest studio album by Pink Floyd. Since that originally came out in 1987, we're asking you to squint a bit to see it's relevance to the summer of 1990.  That being said...A Momentary Lapse of Reason is the first Pink Floyd album released after bassist and primary songwriter Roger Waters left the band.  Waters had expected that Pink Floyd would simply disband, and was surprised when David Gilmour and Nick Mason decided to continue without him.  Acrimony and lawsuits appeared, but in the end a Water-less Pink Floyd continued on.Unlike many prior Pink Floyd albums, this one is not playing off a single concept.  Instead, it is a more traditional collection of songs.  Gilmour presented the album as a return to earlier Pink Floyd material, which was perhaps a reaction to common critiques of their previous album "The Final Cut" as a Roger Waters solo effort masquerading as a Pink Floyd album.  There are a number of well-known session musicians that participated in the making of this album.The album was a commercial success, debuting at number 3 on both the US and UK albums charts.  The US tour was the most successful of the year, selling out almost every venue it played in the States.  Roger Water's lawsuits would be overcome, and a settlement was reached between Waters and the band by the end of 1987.Lynch brings us this Pink Floyd reboot album for today's podcast and we're joined by guest host Julie Doran joins us on this episode. On the Turning AwayThis power ballad was co-written by Gilmour and British experimental composer Anthony Moore.  It is an anti-war song, one of the more political Pink Floyd songs written since the departure of Waters. It begins with a solemn Gilmour vocal supported by understated keyboards, then builds to an almost orchestral conclusion.  Learning to FlyA surprisingly upbeat song for the group, the inspiration for this first single is David Gilmour's experience learning to fly airplanes.  At the time he would do practice flights in the mornings and work in the studio in the afternoons.  It is also a metaphor for the band coming back together after splitting with Roger Waters.One SlipThe fourth US single discusses the long-term consequences of a one-night stand, and contains the lyrics that would become the title to the album as a whole.  Gilmour co-wrote this song with Roxy Music guitarist Phil Manzanera.  Fans of bassist Tony Levin may recognize his work on a Chapman Stick in the instrumentation for this track.  ENTERTAINMENT TRACK:Real Wild Child by Iggy Pop (from the motion picture “Problem Child”)This dark comedy starring John Ritter follows the trials of Ben Healy Jr. as he adopts a less-than-model child from a questionable adoption agency.   STAFF PICKS:Stop by Jane's AddictionWayne leads off the staff picks with a college radio hit off the "Ritual De Lo Habitual" album.  Lead singer Perry Farrell warns about apathy towards environmental disaster, telling people to turn off the smokestacks.  "And the water will run, come a day, the water will run, no man will stand for things he had done."Brave New World by Michael PennRob brings us a jangly deeper cut with a song with rapid fire lyrics off Penn's "March" album.  The song reflects confusion in where the singer is going, perhaps making a commentary on society as it heads into a "brave new world."  "This may not be my best day, but this ain't no golden age.  You looked pretty on the freeway.  Let's drive into the brave new world."Give It Up by Hothouse FlowersBruce features a s song from an Irish group off their second album, "Home."  This song that went to number 2 on the US Modern Rock chart is summed up in the lyrics, "Well, this song's inspired by a good man and his tune doing good for others, sing 'Amazing Grace' for you." Rub You the Right Way by Johnny GillJulie's staff pick is an upbeat hip hop song, and Gill's first single after he left New Edition earlier in the year.  Despite the lyrics, Gill was the son of a minister and got his start in gospel music.  He signed with Motown as a teenager.  Gill had become very accustomed to performing live, and had a difficult time switching to studio work.  Blue Sky Mine by Midnight OilLynch closes out the staff picks with the first single off Midnight Oil's seventh studio album.  The inspiration for the song was the experience of workers in the Wittenoom asbestos mines in western Australia, where they contracted a variety of asbestos-related diseases.  The "blue" in the title refers to "blue asbestos," a form of the mineral considered most hazardous. INSTRUMENTAL TRACK:Erotic Nightmares by Steve VaiGuitar virtuoso Steve Vai carries us out of this week's podcast. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Joe is not drunk, but his creepy guitar-playing suggests it.  Smith refers to this Vic Berger video about Ted Cruz, and this Vic Berger video about Jon Voight. Smith also talks about this part of a Vsauce video featuring the voice of presidential assassin JWB. Definitely JWB. Then there's this scene from Idiocracy (2006). There's also this short of Tyson walking away from an interview with his buns, plus MJ doing the first Man on the MW. Joe refers to this guitar for JP. There was no easily available YT video of an LDS hymn on a Chapman Stick, but there was a wonderful consolation prize: this. Joe refers back to this chart/scene from Idiocracy.  Joe refers back to this other Radiohead song which was recorded while Thom sang his vocals in reverse or something. TBH, he mistook it for this one, which would also be super cool in reverse too. Joe talks about the music video for REM's Pop Song ‘89 which features people sans tops. Here's the B&B version. Find your own version, if ya nasty. Joe makes everyone take an axolotl break. Then Joe refers back to this episode of The Dollop about an early LDS branch. The guys love Pete Holmes and Joe tells Smith about the BCPE film. No reward on the pork store from the Talking Sopranos podcast.    Presented by Catchall Audio Music Provided by Eric VanAusdal The Book of Mormon is publicly available at churchofjesuschrist.org  Become a subscriber on our patreon at- https://patreon.com/joeandsmith  Remember who you are and what you stand for

Master of the bass and pioneering Stick man, Tony Levin regales us with tales from the court of King Crimson's Discipline era and more in this conversation recorded from the Beat tour (in which Levin and Adrian Belew play material from Crimson's early 1980's era in collaboration with qualified accomplices Danny Carey (Tool) on drums, and Steve Vai on guitar. But our main focus is Levin's new solo album, Bringing It Down To The Bass (Flatiron Recordings) in a far-reaching chat that gets into his entire illustrious career as a road dog and first-call session musician for the likes of Peter Gabriel, John Lennon, Paul Simon, Lou Reed, and more.  The Record Store Day Podcast is a weekly music chat show written, produced, engineered and hosted by Paul Myers, who also composed the theme music and selected interstitial music.  Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton. For the most up-to-date news about all things RSD, visit RecordStoreDay.com)   Sponsored by Dogfish Head Craft Brewery (dogfish.com), Tito's Handmade Vodka (titosvodka.com), RSDMRKT.com, and Furnace Record Pressing, the official vinyl pressing plant of Record Store Day.   Please consider subscribing to our podcast wherever you get podcasts, and tell your friends, we're here every week and we love making new friends.   Rest in Peace to Liam Payne of One Direction, and rapper/firefighter Ka. 

Baxie talks to the legendary Tony Levin! Since the early 1970's Tony Levin has been one of the most sought-after bass players in history! His accomplishments as a musician are astounding. While he's been primarily known for playing on every Peter Gabriel album, he's also known for his work with King Crimson. On top of that Tony has also lent his amazing talents for more than 500 other albums. And that number continues to grow. These include sessions with John Lennon, Pink Floyd, Paul Simon, Buddy Rich, Stevie Knicks, Warren Zevon, and many others. He is also responsible for popularizing the Chapman Stick. He also been responsible for creating something known as "Funk Fingers" (Which you can hear on Peter Gabriel's "Sledgehammer") Tony has just released a fantastic new solo album "Bringing it Down to the Bass". He's also currently touring with BEAT--a band that includes his former King Crimson bandmate guitarist Adrian Belew (who's been a guest on this podcast), guitarist Steve Vai, and drummer Danny Carey from Tool! BEAT will be playing at the Shubert Theater in Boston on October 10th and at the Bushnell Theater in Hartford on December 3rd. Tony talks about all of that and more! Just amazing! Listen on Apple Podcasts, SoundCloud, Spotify, Rock102.com, and on the Rock102 app! Brought to you by Metro Chrysler Dodge Jeep Ram of Chicopee

Your physical possessions. Your financial history. Your digital files of (thousands of?) photos. It's the spring cleaning encore edition of Doing What Works! Here are your show notes… Bob Culbertson plays the Chapman Stick.

In 1974, in the wake of the release of their magnum opus, Red, Robert Fripp made the decree "King Crimson is completely over. For ever and ever." And he meant it... for a time. For the next few years, he left the music industry completely to focus on himself and his spirituality, but he wouldn't be out for long. In the late 70s into 1980, Fripp was pulled back into the fold, laying down guitar work for legends such as David Bowie, Peter Gabriel, and Daryl Hall. Finally, the need to be in a group resurfaced, and he enlisted Adrien Belew (who had just come off the "Remain in Light" tour) and Tony Levin (a master of the Chapman Stick) to join himself and Bill Bruford in a New Wave band calling itself Discipline. It wasn't very long before it became apparent that this grouping was the next incarnation of King Crimson, and in 1981, they wowed the rock world with a completely new sound for the band. It was New Wave, but still with all the Prog polyrhythms that defined them in the past. Whatever you think of this point in their discography, it's clear they were masters of reinvention. Today we're joined once again by Adam Elk from The Mommyheads!!! They are finally touring the midwest THIS WEEKEND and you should come out and see them! Tour dates linked belew. The Mommyheads midwest tour dates!: https://twitter.com/TheMommyheads/status/1790120603048984586 Beato interviews Belew, Vai, Levin, and Carey about upcoming "Beat" tour: https://youtu.be/AbQM09t5E2c?si=ZKtczYDMiFEqJBiE The Mommyheads perform "Frame by Frame": https://youtu.be/1Gqz8NWSMyA?si=kCpkez19t7DlKnVR OUR DISCORD: ⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/2stA2P7pTC⁠⁠⁠⁠⁠⁠⁠⁠ Flyover State Hotline - 1 608 HIT-NERD (608-448-6373) ⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/flyoverstatepark⁠⁠⁠⁠⁠⁠⁠⁠ EVERYTHING ELSE: ⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/FlyoverStatePark⁠⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/albumconcepthour/support

Your physical possessions. Your financial history. Your digital files of (thousands of?) photos. It's the spring cleaning edition of Doing What Works, just in time for summer!Here are your show notes…Bob Culbertson plays the Chapman Stick.

Produced by Joseph Cottrell, Jeffrey Crecelius and Ken Fuller Mark and I had a great time this week thinking about interesting or unusual Yes musical textures. We both came up with 3 examples that we thought were surprising or different so do have a look below to hear the clips we are referring to and add your own examples to the comments section. You may be surprised with some of our suggestions - that's somewhat the idea, after all. What interesting textures can you think of in Yes music? Is it down to instrumentation, arrangement or a combination? Do Mark and I choose the same things again? https://youtu.be/2NhfSgV81Lk?si=79bCEUyQJCmKZTWr&t=294 Kevin - Church bell texture! https://youtu.be/I4EPABbDdCQ?si=30GQZ5lPIDGnwJ4t&t=859 Mark - Weird electronic sounds in the drum solo https://youtu.be/pkrz5PBhhtM?si=tSYyLMSK4mc83k1w Unable to embed this one - Mark - Tom Brislin playing the electronic sounds in perfect synch with Alan White - Ritual https://youtu.be/BBb5mcz8nik?si=TtKnrjBtDgo3dbMQ Kevin - the orchestral and band textures throughout Dreamtime, especially when the orchestra takes over towards the end https://youtu.be/GGaai0AII3E?si=9q3q2-cCLxfvaeLT&t=479 Mark - Steve Howe's Coral Sitar guitar sounds in the mix https://youtu.be/ydAANC7sl0Y?si=O-cJYtQmIts8XFNq&t=182 Mark - The Coral Sitar again in Siberian Khatru https://youtu.be/Z-cEyiM9adE?si=R0E5Ax3cvoWH-i6F Mark - Sitar in the introduction https://youtu.be/3W36uAXOMxw?si=PPvCLC1X3keofDof Mark - A real Sitar this time played by Deepak Khazanchi on It Can Happen from 90125 https://youtu.be/xN68e-ZVaqM?si=r90MkBuV72Mks9dC Mark - this is the Danelectro Coral Sitar guitar as used by Steve Howe https://youtu.be/L7ccHlqQ1M8?si=0uRPU5w5GLojtDZI Kevin - the amazing texture of Tony Levin's Chapman Stick and Bill Bruford's electronic drums https://youtu.be/YWZKAadMJiQ?si=_BIuk4_QlJb6OPy0&t=59 Mark - Alan White's amazing electronic drum sounds https://youtu.be/Hrowi4hHz8A?si=hWM5FIizubQ7GXcR&t=212 Mark - Chris Squire's harmonica solo! Let us know if you agree with us! There are only 100 of these packs available, so buy yours now! (Opens in a new window) Dave Watkinson's latest article for Yesworld.com: https://www.yesworld.com/yes-the-long-lost-roger-dean-stages/ Check out the progress on my other podcast - https://anthem52.com/ Yes - The Tormato Story Available now! TormatoBook.com YMP Patrons: Producers: Joseph Cottrell Ken Fuller Jeffrey Crecelius Patrons: Jim Morrison Jon Pickles Declan Logue Gary Betts Aaron SteelmanMichael Handerhan Barry Gorsky Steve Perry Doug Curran Martin Kjellberg Todd Dudley Rachel Hadaway Lind  Paul Hailes Craig Estenes Mark James Lang Steve Rode David Bob Martilotta John Holden Stephen LambeDem Fred Barringer Scott Colombo Chris Bandini David Heyden John Thomson Mark Baggs John Cowan John Parry Dave Owen Simon Barrow Steve Scott Terence Sadler Steve Dill Robert Nasir  Fergus Cubbage William Hayes Geoff Bailie Steven Roehr Lobate Scarp Geoffrey Mason David Watkinson Tim Stannard Robert VandiverBrian Sullivan David Pannell Jamie McQuinnMiguel Falcão Paul Tomei Michael O'ConnorBrian HarrisHogne Bø PettersenGuy DeRome Become a Patron! Our Facebook YMP Discussion Group is open to anyone to join. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts.

This installment of the Tap In Time Podcast is a bit longer than usual, but given the span of topical content, we think you'll understand why. We head to the Qu'Appelle Valley in Saskatchewan, Canada, to catch up with Chapman Stick recording artist and wood worker extraordinaire Brian Baggett, so there's talk of music, Canada, wood working, and an exciting new product introduction for Brian's Stickist clientele! As usual, we find a number of bunny trails to navigate, such as geographic population density, humidity, feline work partners, second grade art project appreciation, and more…so come along and stay awhile!   Brian's web sites:   https://brianbaggett.ca/ https://brianbaggettwoodcraft.ca/  

Episode 89 retreats back to Phil and John talking about even less important things. “Space Poop” episode download stats update. We reflect on Episode 87. More-than-is-warranted talk about the State Fair and cookies. John went on an Alaska cruise and blabs about it. Phil and John recap the Peter Gabriel concert they recently attended. The Song:  “Josh Rogaine”

Benjamin Lapidus is a Grammy-nominated musician who has performed and recorded throughout the world as a bandleader and supporting musician playing guitar, Cuban tres, Puerto Rican cuatro, touch style/tapping instruments (Warr guitar and Chapman Stick), as well as organ. As a scholar, he has published widely on Latin music, and he is a professor at John Jay College of Criminal Justice, CUNY, and The Graduate Center. Since the 1990s, Lapidus has performed and/or recorded Cuban tres, Puerto Rican cuatro, guitar, voice, and other instruments on film soundtracks, video games, television commercials, and albums with some of the most notable musicians in Latin music and jazz. Some of these collaborations include performances and/or recordings with Andy and Jerry González, Ibrahim Ferrer (Buena Vista Social Club), Pío Leyva (Buena Vista Social Club), Manuel “Puntillita” Alicea (Buena Vista Social Club), Bobby Carcassés, Orlando “Cachaíto” López, Juan Pablo Torres, NEA Jazz Master Cándido Camero, Larry Harlow, Ruben Blades, Típica 73, John “Dandy” Rodríguez, David Oquendo, Xiomara Laugart, Nicky Marrero, Nelson González, Carlos Abadie, Los Hacheros, Pedrito Martínez, Roman Díaz, Paul Carlon, Adonis Puentes, Pablo Menéndez, Bobby Sanabria, Ralph Irizarry, Charlie Sepulveda, Luis Marín, Humberto Ramírez, Harvie S., Hiram “El Pavo” Remón, Gene Jefferson, Frank Anderson, Enid Lowe, Jared Gold, Greg Glassman, Bobby Harden, Brian Lynch, Mark Weinstein, Jeff “Tain” Watts, Larry Goldings, Chico Álvarez, Alfredo “Chocolate” Armenteros, Emilio Barretto, Eddie Zervigón, José Fajardo, Rudy Calzado, Los Afortunados, Jose Conde, Kaori and Yuko Fujii, Roberto Rodríguez, Maurice El Medioni, Michael Torsone, and many others. As the leader of the Latin jazz group, Sonido Isleño (founded in 1996), he has performed throughout North and South America, Europe, and the Caribbean while releasing five internationally acclaimed albums of his original compositions. In 2007, Lapidus served as musical director and arranger for Garota de Ipanema(JVC/Victor Japan) with Kaori Fujii and toured Japan twice. In 2008, he recorded Herencia Judía and in 2014, he released his eighth album as a leader, Ochósi Blues. Blues for Ochún (2023) is his ninth album as a leader. As a composer, Lapidus' music has been recorded by groups in Cuba and Japan and has been featured in documentaries and television. In 2015, Latin Jazz USA awarded Lapidus a lifetime achievement award for his contributions to Afro-Latin music. In 2015, he wrote the liner notes, contributed an original composition, sang, and played electric guitar and Cuban tres on Andy González's Grammy™-nominated album, Entre Colegas. As profiled on the 2023 television show, Shades of Us (https://youtu.be/I_xMYUtgAhA), Benjamin Lapidus was born in Hershey, PA in 1972 to first-generation Brooklynites and the family moved almost 15 times before returning to New York City when Lapidus was 14. Trained in piano from a young age, he moved through a variety of instruments including trumpet and bass before concentrating on the guitar. Lapidus was exposed to music by his grandmother and his father, who played in Latin and jazz bands in the Catskills in the 1950s. Through his father's record collection and stories of his father's visits with his Latin American relatives, the seeds of Latin music were planted. Yet it wasn't until the 1980s that the youngest Lapidus became immersed in Latin music when he moved to a predominantly Latin neighborhood in New York City, where numerous important musicians also resided. Living a block away from Mikel's jazz club, Lapidus still has vivid memories of practicing in Mario Rivera's house or seeing Mario Bauzá walk down the street. Deciding he needed a complete musical education, Lapidus earned two degrees from Oberlin Conservatory and Oberlin College, becoming one of the program's first jazz guitar graduates. In 1994, Lapidus started to play the Puerto Rican cuatro and Cuban tres. After leading his own quartet at festivals and clubs throughout Europe and winning a grant to study briefly with Steve Lacy in Paris, he returned to the U.S. and worked with Joe McPhee, Joe Giardullo, Tani Tabal, Thomas Workman, and other creative improvisers. At the same time, Lapidus began performing with Larry Harlow, Alex Torres, and other Latin music luminaries in New York and Puerto Rico. Lapidus earned a Ph.D. in Ethnomusicology at the CUNY Graduate Center in 2002. His travels to Cuba acquainted him with distant relatives and grounded him in the music of Eastern Cuba. He has taught guitar and Cuban tres at the New School and popular music of the Caribbean, Latin music in New York, and world music at Queens College and John Jay College of Criminal Justice, CUNY. Today, Lapidus is a professor in the Department of art and Music at John Jay College of Criminal Justice and on the Doctoral Faculty of the Graduate Center, CUNY. In addition, he has served as scholar-in-residence with the New York Center for Jungian Studies and the Jewish Museum during several humanitarian missions to the Jewish communities of Cuba between 2004-2016. In 2008, Lapidus published the first-ever book on the Eastern Cuban musical genre changüí called Origins of Cuban Music and Dance: Changüí (Scarecrow Press). He has published numerous peer-reviewed articles and book chapters, translations, and presented papers at international conferences on Cuban music, Puerto Rican music, Latin jazz, and improvisation. He has also written liner notes for a number of recordings. In 2013, Lapidus won a prestigious National Endowment for the Humanities (NEH) fellowship for his critically acclaimed book New York and the International Sound of Latin Music, 1940-1990 (University Press of Mississippi, 2021). With endorsements from Rubén Blades, Ilán Stavins, and other prominent academics around the world, this ground-breaking book has been featured on BBC 3 Music Matters, NPR's Afropop, and Alt. Latino shows as well as the Miami International Book Fair and countless news outlets. The book maintains its bestseller ranking in Amazon's top 20 salsa books since its release. In this episode, Benjamin shares his background, education, and musical journey. If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcast, Google Podcast, ect. Connect with us on all social media platforms and at www.improvexchange.com

The man who may just be the most prolific Chapman Stick recording artist on the planet joins us in this episode- Michael Kollwitz is in the studio! Mike has insights and stories galore to share, borne of playing for so many years, being one of Emmett's students early on, and living and recording in a number of different locales. Plus, Michael and Claire spend some time diving into advice regarding the configuration and maintenance of studio computer resources, and we hear about Michael's upcoming book release- “Stick With It- Adventures of a Chapman Stick Player”…judging by some of the stories he shares with us, this book is a “must buy”!

Transcript included below…As I string these words together, I've just come from a musical rehearsal I've been leading, where I simply tried to do too much with the limited time I had. I felt my emotional intensity rising as I glanced at the clock, knowing that there would not be enough time to do the remainder of the songs well. What was I trying to do?  Well, with my musical creativity, I brought several untested exercises and some creative musical tools into the mix, and really, the task list was already pretty long.I knew, in the back of my mind, that things were much more hectic and rushed because I had tried to cram too much additional optional musical activity into the early part of the rehearsal.How in the world could I have done this more effectively?  Well, upon reflection, I am noticing two words: “untested” and “optional.”  Both of those words need to be carefully examined. The reality is that if something is untested, it can be super fun, but it might not be “wired tight,” so to speak.  And before we know it, we've run long and have shortened the remaining time for other elements.If something is “optional” it needs to be considered a possibility, but also a lower priority. Perhaps I could have tested and timed the exercises, and then lined them up with the time that I knew would be taken up by other required activities for the rehearsal.It's really nothing that a simple stopwatch couldn't have solved, along with a bit of repetition to hone in on what was possible and/or needed.The Law of Diminishing ReturnsHave you ever come across that phrase?  In basic terms, if we keep everything constant (including a timeframe) but increase the amount of things we want to get done in that timeframe, we'll eventually reach a point where we will be less productive. We'll hit a point on a graph where things will actually start to diminish, instead of increase.So under those circumstances, “more” eventually results in “less.”But here's the thing.  It can be hard to know where that point is, until we hit it. It's sort of like an invisible laser that triggers an alarm.  Once we cross that point of trying to do too much in too short of an amount of time, we know it, but it can often be too late.  Often, the resulting side effects are frustration and stress.And not just for us.  This can also happen for our collaborators.If time had not been so limited in that rehearsal, we would have been able to get a lot more done, in an unhurried fashion, and those untested and optional elements I had brought to the conversation would likely have fit into the mix.But as I mentioned, the timeframe was a constant – it was a limited amount of time where after a certain point, everyone needed to leave. Something had to give.  And it's my opinion, having learned from this, that it makes more sense…to often do less.  And what are some environments where we can err on the side of “Less is more?”  Let's talk about several.The Worship Team RehearsalThis is a group of people, paid or unpaid, who gather to rehearse in some worship tunes.The important question to ask is, “Does the band know the tunes?”I suppose there are varying degrees of how well a band knows songs.  They could have a cursory knowledge, having listened to them on the way to rehearsal. By contrast, they could have them memorized forwards and backwards, to where they could jump in at any point and find their way in seconds.Let's say the band is planning to rehearse songs that are pretty familiar to them. In this scenario, they have 5 songs to prepare, and their rehearsal allows for 90 minutes.  They would still have a 1-hour run-thru to look forward to on Sunday where they would finalize the songs, but the goal of this rehearsal is to help the band gel together.There are all kinds of potential variables, but let's say they know each other well and have played together a lot. Let's say that the songs are average length – 4 or 5 minutes, and that they don't present too many potential pitfalls with odd keys or time signature changes, but that some of the band members haven't played a few of the songs very much. How much time to spend on these five songs?  If I were leading that band, I'd budget a total of 15 minutes per song.  10 minutes for working out any elements that needed to be worked out, and 5 minutes for a final pass. So with an opening prayer and a quick sound check, we'd be 10 minutes or so into the rehearsal, if everyone lands on time. Then, we could spend about 50 minutes working the set, dialing in some of the subtleties. That's our first hour.  I'd open it up for questions at that point, and then if everyone was all good, we'd run the set, maybe with some simple verbal cues as placeholders (announcements, sermon, etc.)  and then as the set wraps up, we'd have a moment to close in prayer and pack up, keeping the rehearsal at an hour and a half.But what has the potential to compromise this infrastructure so that we actually run out of time?Well, there are all kinds of possibilities.  Someone could arrive late, someone could be unprepared and need extra coaching, there could be a crisis that needed to be prayed over.We could have a tech glitch – ever had one of those?  Troubleshooting can eat into the rehearsal time.  Or maybe there's a totally new song that warrants extra time, like twice as much as any of the others.If we only have enough time to get everything done if the scenario is perfect, we could be setting ourselves up for some frustration.  Better to leave a little margin, or at least to know what the team is capable of, as we plan.And if we need to run long with the rehearsal, we would do well to make sure everyone buys in on that. If a rehearsal ends on time but there's still work to do, I always take the measure of making sure everybody knows what they need to be working on in anticipation of Sunday.If absolutely necessary, a song can be cut from the set at some point.  We don't need to chase perfectionism, but we do need to work within the time parameters.The Worship ServiceWhen we get to Sunday, I don't like to add anything new.  I've done this, and it has either resulted in the band struggling, or at the very least, technicians who feel put on the spot because they thought they had the whole picture handled.Some people love a last-minute change, but not the technicians I've served with.  They're doing their best to accommodate multiple variables, and adding something last minute does not equip them well.The only change I might make to a Sunday morning, as mentioned a moment ago, would be to cut a song.  But I'd do this with the buy-in from everyone from pastoral leadership to technicians, so no one is surprised by the change.It's much easier to remove an element than to add one.The Professional Band PracticeThis could refer to a cover band, a house band, or a bluegrass band, but you get the picture. A professional band has a similar paradigm, but there's a bit of a higher bar that's set for preparation and execution.  Given the same amount of time, they will likely get through more material.But here's the thing – there's an additional level beyond technical proficiency with these songs; it's the ability to perform the songs well. Working the song set with transitions, angles, and all those things that help make a concert dynamic, and it's something I learned from performance coach Tom Jackson.Even some of the most seasoned bands out there don't dedicate time to cultivating the nuances of their live show. Sure, they play their songs, and often very, very well…but much of the audience, in the words of Tom Jackson, doesn't know whether the performer is singing High C or drinking Hi-C.  The audience just came to enjoy a great performance.So, if the pro band has 90 minutes (which may only be a quick rehearsal), they may have 10 memorized songs in hand.  If they run each song once, they may stay under an hour.  But the remainder of the time could be spent working onstage interaction: visual handoffs, humorous moments, and more.It's my conviction that a rehearsal is a great opportunity to do some next level work beyond the solo practice, so the better prepared the individuals can be, the further the group can go.The Solo Practice TimeSpeaking of, a solo practice time is a different paradigm.  We're not influenced by collaborators when we practice alone.  And we may not choose to ask as much of ourselves as we work out our skills and repertoire in our “man cave” or studio.Perhaps a beginning guitarist can commit to 15 minutes.  I'll ask a loaded question – would it make sense to try to get through four songs in that timeframe?  Nope.I'd say a good strategy here would be a couple warmups or stretches (3 minutes) some skill-building exercises with strumming, chords, or fingerpicking (7 minutes), ending with a song that's already gaining momentum (5 minutes.)  Finishing with actual music is very rewarding and reminds us why we're doing what we're doing.A more advanced guitarist could simply scale this approach to 30 or 60 minutes. I would keep warmups and stretches at just a few minutes, but maybe focus more on technique (perhaps 20 minutes), ending with repertoire building. Side note: it's always good to expand our repertoire, but also good to work on our existing repertoire, to keep it fresh.So, less can be more in a solo practice time.The ConcertDepending on the number of performers, the variety of skills available, and the attention span of the audience, there can be a wide range of what is offered at a concert.  I'll speak personally from my shows in a few different settings.When I had a band, it made sense to use the band for most of the time, but for one or two songs, a piano ballad could “cleanse the palate.” My drummer was actually gifted with a very good tenor voice, so we surprised the audience when he set down his sticks and sang some harmonies.But in general, the band show was pretty streamlined to be a three-piece with me on guitar, and then my bass player and my drummer. In those years of touring, it made logistical sense to have that simple setup, and to use what we had to present some dynamic and groove contrasts.But when I went solo, which has become the majority of my career, I broke into more sonorities, because I was just one man up there.If I played for a focused adult audience with a long attention span, I'd use fewer instruments, like guitar, hammered dulcimer, and maybe piano.But if I played for a young audience, like a school assembly or a group of wiggly young campers, I knew that I needed to be constantly changing the focus. To this end, I used a loop station (a recording device for live performance) that involved multiple implements (percussion, Boomwhackers – which are pitched percussion tubes, and some hand rhythms on my guitar).  I also sang into the sound hole of the guitar and stacked my voice.Add to this the element of audience participation (whether with people “naming that tune” or actually coming up onstage for a musical exercise that was fun and message-driven), and I had quite the varied show.But there was a price to be paid.  And it was a car filled to the top with gear…sometimes including a portable sound system.  And as I've learned, not only does equipment have a monetary cost, it also bears a set up and tear down cost, to say nothing of load-in and load-out.This has made those multi-faceted performances a labor of love, because not only am I pivoting after every song to a different instrument or piece of technology, I also need to rehearse more at home to make sure those transitions are solid.I now mix my live show from stage, so the 16-channel mixer is something I'd also classify as an instrument.  I'm constantly muting and unmuting channels, depending on which instrument I'm playing.  So I have to ride the wave and check myself. In addition to playing the guitar, I also play piano, hammered dulcimer, banjo, and the Chapman Stick, and I can do some acappella songs as well with my looping technology.  I don't typically bring all my instruments to a show.  I usually leave one or two out – but not my voice, of course.I'm also always evaluating my performance to see which elements need to be added or taken away.Why?  So that I can bring something different to the venue next time and because…less is more.It's been possible for me to hold my audience's attention with far less gear, when I haven't had a choice.  How do I know this?  Because I've flown to some shows, where I could only bring a guitar case, a suitcase, and a shoulder bag.  That's a very different capacity from a full SUV.The Lord gives us what we need to do His will. We also need to be sensitive to what would be appropriate to the venue.  And really, even some of my venues will have perpetual wigglers in the crowd, because they're all sugared up with root beer floats they just consumed before my show, etc.  Even all my gear and all my fast songs might not be enough to accommodate their attention span.It doesn't all rest on me, but I do try to find that fine line in a solo concert where I'm blessing the audience and not wearing myself out.  I like to be “good tired” after a show.The ShowcaseOccasionally, I'll be added to a mix where I get to play just one or two songs, and that's it.  My time slot is 5 or maybe 10 minutes because I'm sharing the stage with half a dozen other performers who have a similar allotment. This could be at a conference where multiple presenters are part of a general session.  I've done this many, many times.I also know that there are college showcases where people register as performers, pay some good money and travel a good distance, so as to be up in front of college recruiters who are looking for talent to share with their students.  I haven't gone this route, because although I've played for a few colleges, it's not my main target audience. But the time slot for these kinds of things could be as little as one song, maybe two.So, what's my mindset for a showcase?  Pack as much into those two songs as possible?  Maybe.  But a better thought would be contrast.What could I do between those songs, or even in the middle of one of those songs, to show different sides of what I can offer?Think about your songs for a moment, and consider which songs might exhibit different sides of your lyricism, technique, tongue-in-cheek humor, or whatever you think the audience might appreciate. My most recent showcase was for the Christian Musician Summit, a conference that has been around since the early 2000s, and for which I've taught since 2007.I had 15 minutes.  And guess what?  My audience was all musicians.  Talk about intimidating.  Many of them were professionals.I started out with an original song called “Satisfied” to warm up the crowd, then played a tongue-in-cheek blues song I wrote called “Blues for Lazarus,” and then finished with my rendition of “The Little Drummer Boy,” mostly because Christmas was right around the corner.My song choices allowed for different tones, tempos, techniques, and even looks.  But they were all on the guitar. By tones, I mean joyful, clever, and innovative.By tempos, I mean upbeat, medium, and intense.By techniques, I mean strumming with a partial capo and palm muting, then touch-style blues, then “August Rush”-style Christmas tapping.As for looks, my first song began with me standing at a boom mic, and then I switched to a headset mic, for which I sat on a stool to play the second song, and then I stood with the headset mic for the third song.Did you catch it?  All three songs were with just one guitar.  No instrument switching.  I was very limited by time and instrumentation, but I offered a lot of contrast.   Each song felt totally different...all within the limitations of just my guitar and my voice.And the audience was very appreciative.So, the showcase seemed to be a great place where “less” was “more.”The Artistic InterpretationSeveral years ago, there was a viral video out there of a drummer who played on the Hillsong song “Oceans (Where Feet May Fail).”  Bless this guy – he could play those drums.But there was something about how he played that seemed out of alignment with the script of the song.  There's an instra break about 2/3 of the way through where the band takes over, but this guy really took over.  I mean, he played as many notes as he could.His interpretation, in my opinion, was too much.I like when a musician plays less at times, because they can. Brian Reding, my producer, who is also one of our guest experts in my online guitar experience called GuitarSuccess4U said in our interview that it actually takes more skill and experience not to play. It takes more courage.  It's easy to just play a bunch of notes.  Playing less sometimes takes more effort.So, depending on the song, there could be room for “less” musical articulation, so as to let the song “breathe” a bit more.  It depends on the song, but the first step is looking and listening for opportunities not to play.  That way, when we do play, it means more.The Songwriting SessionThere's a rather intense phrase out there that says “Kill your darlings.”  But where it gets its roots is in literature.  Sir Arthur Quiller-Couch and Stephen King, both writers, basically said we need to get used to the idea that not everything we create needs to be shared…at least not in its current state.It's ok to create – don't misunderstand this – we need to create as much as we feel called to create.  But certain things need to be prioritized in terms of how much they are brought forward and presented to an audience…especially when they're not ready.Some of these creations need to be re-shaped.  Someone once told me, “Great songs aren't written; they are re-written.” Imagine if some of the greatest songs out there had been recorded only in their first draft form.  I reckon that the quality of these offerings might be significantly lower.I know this, because as a songwriter, I know what it's like to stare at a version of an original lyric or progression and say to myself, “It's good…but I know the best version of this is not here yet.”I wrote a song for my father called “I'll Tell You Now.”  It's a very reflective fingerstyle ballad about telling our loved ones that we love them…while there's still time.As I wrote this song, I went through revision after revision.  I woke up at 3 a.m. with the third verse.  When the song finally coalesced into its finished form, I had made 13 drafts to get it right.I had to “kill” each of the previous revisions so that it could be recreated as a subsequent draft.  But it was worth it.I was in a songwriting workshop where the presenter said that some people have brought him their songs and said, “God gave me this song,” to which the songwriting coach has harshly responded, “I see why – He didn't want it anymore.”Ouch.But sometimes we need a bit of a reality check to realize that not everything we write comes out perfect at first.And this can lead us to yet another instance where “less is more.”The AlbumI'm not sure if you aspire to record an album, but it can be the culmination of an artist's efforts.As of this episode, I've recorded and recouped four professional albums.On an album, there can be wonderful contrasts where some songs have full textures and others are more minimal…and yet, they all still feel like they come from the same artist.My latest album kicks off with an easy shuffle medium tempo tune, then moves into a full-tilt funk tune.  Then, I have a world-beat reflective tune, and then the fingerstyle ballad, “I'll Tell You Now,” which I alluded to earlier. All of these songs sound like me. What has had the most impact on people?  I've gotten a ton of positive feedback on the fingerstyle ballad.  Brian Reding, whom I mentioned earlier, produced my album and provided all the instruments besides my guitar and piano.He had to do very little with “I'll Tell You Now”…mostly some gentle keys, cello, and a little synth.  We didn't even do background vocals.  Less was more.I'm always wary of producers who want to add instrumentation and extra vocals just to fill the texture.  This can lead to over-producing.James Taylor, a guitarist and singer/songwriter whom I've followed for many years, included some rather poignant liner notes in one of his albums as he expressed his gratitude to the players on the record.He said: “Thanks for the notes you played, and for the notes you didn't play.”Again, for some of the songs, less was more.So, if you've got a production mindset and want to record an album, do a lot of listening – to your own stuff, but also to the musicians whose music you admire.And then look for ways to peel back layers and reengage the ears of your listener as you arrange the songs for recording, sometimes with full textures, sometimes with sparse textures.When Less is Less and More is MoreI realize that by closing this discussion with a contradictory argument, I may be undoing what I've been putting together today, but hear me out.There's something to be said for variety.Some performances incorporate literally hundreds of onstage musicians, to say nothing of the vast technical support they need behind the scenes.These people are capable of variety.If all I do is play instrumental guitar, I can still present variety in my fingerstylings.If I'm more of a ballad musician, I can still bring lighthearted moments to add variety my song sets.But once in a while, it's important to add something to the mix just to change it up.  Remember how I mentioned that my drummer sang harmonies?  That's adding more.Doing a multi-generational concert as a solo artist sometimes takes more – more gear, more transitions, more contrasts.  But it does help keep the audience engaged.It's all about meeting the paradigm head on and doing what you do…well.The German philosopher Johann Wolfgang von Goethe once said, “It is working within limitations that mastery reveals itself.”  If we have limitations, perhaps that's an opportunity for our mastery to be cultivated and revealed.So, as you look at your scenario for music, whether it's the worship team rehearsal, the worship service, the professional band practice, the solo practice time, the concert, the showcase, the artistic interpretation, the songwriting session, or the album, perhaps today's discussion has helped shed some light on where you can focus.And perhaps you'll find darlings to kill, or at least words or notes to re-finesse, so that you can make things just right.  Be ok with saying “no” to adding some things to the mix, so as to avoid the point of diminishing returns.But don't forget to have – you know it – serious fun.Hey, leave me a comment if something about this episode rang true for you.  I'd love to hear from you.Thanks for reading Guitar Serious Fun! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit guitarseriousfun.substack.com

Have you ever wanted to create your own path toward travel?  Today I'm joined by Mark White and Steffi Barthel to learn about the inspiring moments that led them to a life of travel, adventure, love, and music. Mark and Steffi met in a small town on the east coast of Australia in November 2016. After traveling together for six months, Mark decided to share his passion with Steffi and taught her to play the Chapman Stick. They now travel around the globe as the world's only Chapman Stick duo, sharing their music and making a difference.  If you're looking for that spark of inspiration to start living life on your own terms, this episode is for you. Mark and Steffi share their unconventional approach to earning a living on the road, their advice for international couples, how music connects them as a couple and to the cultures around them, and so much more. How can you take an unconventional approach to incorporate more travel into your life? I'd love to hear your thoughts and hope you will share them by sending me an audio message. Don't forget that if you want access to the private Zero To Travel podcast feed, a bonus episode every month (decided on by YOU), exclusive content, direct access to me to answer your questions, and more. Click Here To Try Premium Passport For Only $1 and get: Access To The Zero To Travel Podcast Archives (300+ amazing episodes and growing) One Bonus Episode Per Month (Decided By YOU) + Exclusive Content You Can't Hear Anywhere Else  Ask Me (Jason) Your Burning Questions, and Get A Personal Answer!  All Episodes Ad-Free (From April 2021 Onward) Tune In To Learn: How Mark and Steffi met, their unique engagement story, and advice for international couples How Mark discovered the Chapman stick and the epiphany that led him to busk Why Steffi started playing the Chapman Stick and how music was their answer for staying together What they do to maintain discipline on the road How their relationship has grown through music  Why they chose to busk instead of taking the stage Why busking allows them to form deeper connections to cultures Their experience playing in different cities and their favorite places to travel Why travel inspires their songwriting  How they give back to the environment through their music How they learned to embrace their identities as artists and deal with skepticism The importance of staying true to yourself and choosing the uncommon path Tips for van life in Europe and their favorite apps to use on the road And so much more Resources: Join Zero To Travel Premium Passport Altitude Connect Visa Signature Card - Today's Sponsor Grab a copy of Cascade's new album Follow @cascademelodies on Instagram, Facebook, YouTube  Book flights with Skyscanner, Google Flights Download park4night (Europe), iOverlander (United States), CamperMate (New Zealand, Australia) Find accommodations through Hostelworld, Agoda, Booking.com Want More? Couplepreneur Conundrums with Nick and Gen Leaving A Comfortable Life For Travel w/ Cassie And Nate 7 Pro Tips For Finding A Perfect Work/Life/Travel Balance w/ Kelly Claus & Jeremy Enns From $70K In Debt To World Travel w/ Annette and Daniel Fortner Thanks to Our Sponsors This episode is sponsored by US Bank's Altitude Connect Visa Signature Card, with the ability to earn up to 5x the points on travel-related expenses like hotels, and rental cars, this card will get you the most return on your next trip. 

Season 2 begins! GSWMP is a podcast for musicians, music lovers, and anyone who loves a good story! In-depth discussions about the music industry & gig life with a variety of musicians & creatives from all over the world!@gigstorieswithmusicpeopleEp. 32 - Ben White - Electric & Upright Bass/Stick/BGVX!Along with electric fretted and fretless bass, Ben also plays upright, Chapman Stick, and sings Background vocals. He's played with a ton of people throughout his long career including; Mindi Abair, Warren Hill, Olivia Rox, the Boneshakers, Magnetico, Eric Sardinas, and recorded with Sophie B Hawkins, Suge Knight , Don Felder, and Jessi Colter.You can follow him on instagram @channel71_v2website www.benwhitemusic.comHost:Evan Mykl Chudnow @evanonthebass @the_spaceminthttps://www.thespacemint.com/http://www.evanonthebass.com/https://gig-stories-music-people.captivate.fm*At the moment I have no sponsors, so if you'd like to support this podcast the best thing is to share it on social media or with someone who might be interested! If you want to go above and beyond that and help ensure more episodes you can also purchase my music (including the podcast theme song Smith Type Johnson) at https://evanmykl.bandcamp.com/ or even make a contribution on Venmo @Evan-TheSpacemint any help is very much appreciated!Thank you for listening!

Brooklyn-based singer, Chapman Stick player, and multi-instrumentalist Alex Nahas aka Bright Brown confronts our collective existentialism in his hypnotizing new hit “Aimless”. Delivering reflective vocals and an addictive instrumental loop, “Aimless” questions our continued desire to set lofty goals despite knowing that there's only so much that we can control. The pandemic proved that life is capable of throwing us unpredictable turns in events, making it that much harder to plan and devise. So instead of planning ahead, “Aimless” is about living in the moment and the beauty of being present during uncertainty as we continue to take life one fickle day at a time. Ironically, the first time Nahas performed “Aimless” was a few days before everything shut down for COVID. At the time, the song was simply an improvisation, but as time went on, the lyrics took on a whole new meaning. Aimless features Nahas singing and playing the rarely heard Chapman Stick, Eddie Avakian on drums, Jamie Muhoberac on keyboards, and Ava Nahas on percussion. As his music has evolved over time, so have his other creative endeavors. Recently, his latest EP offered fans a beautifully illustrated lyric book, where he reflected in a post-2020 world through his dark but hopeful lens. Nahas delivers musical influence from artists like Peter Gabriel, Talk Talk, David Bowie and Elvis Costello - all being one of a kind musicians who shoehorned unorthodox approaches into digestible pop music. Thoughtful and reflective, with a knack for rendering outside-world concerns in the landscape of the personal, Bright Brown continues to venture into new frontiers with each successive song. https://www.brightbrownny.com/ Spotify  

Markus Reuter is a music producer, composer, performer, and creative educator with international credentials and a vast discography. Reuter's work as a recording artist, solo performer, and collaborator spans (and frequently fuses) electrophonic loop music, contemporary classical music, progressive and art rock, industrial music, world jazz, jazz fusion, pop songs, and pure improvisation. Over the course of a two-decade career, he has been a member of multiple bands, ensembles, and projects (including centrozoon, Stick Men, Tuner, The Crimson ProjeKct, and Europa String Choir) as well as a solo artist. Since 2011 Reuter has established himself as a contemporary classical composer, starting with the performance and recording of his large-scale orchestral piece Todmorden 513.A specialist in touch guitar playing, Reuter became known as a leading player of the Warr Guitar and Chapman Stick during the 1990s and 2000s before developing, adopting, and marketing his own U8 and U10 Touch Guitar instruments. In collaboration with former King Crimson member Trey Gunn, he runs the Touch Guitar Circle, a teaching and support network for touch guitar players.As well as further collaborations with artists including Tim Bowness, Lee Fletcher, Ian Boddy, and Robert Rich, Reuter has produced records by numerous musicians and released several solo recordings as both performer and composer. He is also part of an artist-owned production consortium that encompasses Iapetus Media, Unsung Productions, and Unsung Records.Lean more about Lyte.Find more great podcasts from Osiris Media, the leading storyteller in music. Hosted on Acast. See acast.com/privacy for more information.

Markus Reuter is a music producer, composer, performer, and creative educator with international credentials and a vast discography. Reuter's work as a recording artist, solo performer, and collaborator spans (and frequently fuses) electrophonic loop music, contemporary classical music, progressive and art rock, industrial music, world jazz, jazz fusion, pop songs, and pure improvisation. Over the course of a two-decade career, he has been a member of multiple bands, ensembles, and projects (including centrozoon, Stick Men, Tuner, The Crimson ProjeKct, and Europa String Choir) as well as a solo artist. Since 2011 Reuter has established himself as a contemporary classical composer, starting with the performance and recording of his large-scale orchestral piece Todmorden 513.A specialist in touch guitar playing, Reuter became known as a leading player of the Warr Guitar and Chapman Stick during the 1990s and 2000s before developing, adopting, and marketing his own U8 and U10 Touch Guitar instruments. In collaboration with former King Crimson member Trey Gunn, he runs the Touch Guitar Circle, a teaching and support network for touch guitar players.As well as further collaborations with artists including Tim Bowness, Lee Fletcher, Ian Boddy, and Robert Rich, Reuter has produced records by numerous musicians and released several solo recordings as both performer and composer. He is also part of an artist-owned production consortium that encompasses Iapetus Media, Unsung Productions, and Unsung Records.Lean more about Lyte.Find more great podcasts from Osiris Media, the leading storyteller in music. Hosted on Acast. See acast.com/privacy for more information.

My good pal Andrew Scott from "It's A Conspiracy!" Podcast joins me to chat with Christian Simpson, the drummer of Canadian alternative rock band Glueleg! We ask questions like "What is a Chapman Stick?" and talk about Edgefest, horns banned from radio, and how did we start talking about Edwin?

Chapman Stick artist Dale Ladouceur and her husband, drummer/recording engineer Bill Hobson, join us from Crowtown Productions, their Edmonton based studio. Along with a rich musical history, Dale and Bill possess a wealth of knowledge and experience recording the Chapman Stick (among other instruments), which we take advantage of as we dive into it with them. Along the way: cheap knock-offs, fighting for your first gig, mastering for the treadmill crowd, lobbying NASA, and more…check it out!

My guest on this episode is ambient guitarist Jason Blake. He performs a progressive style of ambient guitar music, utilizing the Chapman Stick and the 12 string Warr Guitar. For more information about this music visit: https://www.jasonblakemusic.com/ Tones & Drones is hosted and produced in the studios of 91.3 FM KVLU by Jason M. Miller. For more information visit: kvlu.org Music in this episode of the podcast was used with the permission of the artist.

Folks who have listened to us know that we're really big on getting together with other Chapman Stick players. So when Jim Meyer wrapped up the 20th Vancouver Stick event, it was a safe bet that we'd want to have him back on to talk about it (he was our first ever interview guest, way back in Episode #6, and anyone who's listened to that episode knows that he's a really fun guy to spend some time with). Plus, we also get some eye-witness thoughts on the 2022 event from the Tap In Time Foreign Correspondent. Along the way: geeking out over tuners, seminar audio chaos, ideas that didn't work out so well, and more!

Alex Nahas is Bright Brown. His style of music fuses many genres and features his performances on the Chapman Stick. See Alex at The Depot in Cambridge on September 29th.

A small town with a bustling tourism industry is a great place to live if you're a skilled musician, and a Chapman Stick fits like glove in such a place. In this episode, we head to Colorado to hear all about it from one of our Stick heroes, Mr. David Tipton. David shares some of his secrets to success, including thoughts on reading the room, repertoire, knowing what to play, gear choices, and the importance of posture while playing (!!!). There's also talk of strangers jumping in uninvited to play along, questionable wedding song choices, adventures with curious and unrestrained children, and more. Come along and join us for a great chat!

For this episode, we cross the pond (virtually) to England to visit with Stick artist/educator/performer/busker Jim Lampi. Jim is one of the early adopters of the Chapman Stick, and his story is one worth hearing. It spans multiple instruments, locales, and musical landscapes, starting in the United States, moving across a large chunk of mainland Europe, and settling down in England. Join us as we hear about learning the instrument without benefit of the modern internet, covering an all-time classic in front of its composer, getting kicked off a continent by a musical genre, and more!

Progressive music titan Tony Levin joins Tap In Time for a rundown of his most recent tours with the Stick Men, King Crimson, and his latest gig, the Levin Brothers with his brother Peter Levin and their special guest Ali Ryerson. In this episode, Tony takes us through a day in the life of a Chapman Stick player working with 3 drummers, being a traveling musician in the time of Covid, and getting the opportunity to make music with his mentor and brother, Peter Levin. We also talk compressors, how to choose the right instrument for the right song, and, along the way, we take a few metaphors a bit too far. 

…in which strings take center stage in the discussion. Well, for the most part, at least- it is a Tap In Time episode, after all. As with any stringed instrument, strings are at the heart of a Chapman Stick's purpose, and we dive into a discussion on the strings themselves, as well as the related unique instrument features only found on a Stick. Also: whammy bars, “rigidy” (is that a word?), geeking out over patents, a podcast idea of Gene's gets a hard pass from Claire, and more!

The Mitch Lafon and Jeremy White show welcomes bassist and Chapman Stick user, TONY LEVIN. Tony discusses the Stick Men's current tour (including April 12th 2022 in Montreal). All dates can be found on tonylevin(.)com Plus, he reveals that all the rhythm work on Peter Gabriel's upcoming album has been completed! Help support the show. Please consider a donation: https://www.paypal.me/MitchLafon See omnystudio.com/listener for privacy information.

Odcinek #12 to powrót naszej sagi o rocku progresywnym (część 2/3). Historia tego gatunku widziana naszymi oczami i poparta słuchem. Zagłębimy się w świat instrumentów oraz najbardziej nieszablonowych kostiumów, które nosili prog-rockowi muzycy. Będzie też o tym jak NIE planować budżetu na zorganizowanie trasy koncertowej, kiedy ma się fantazje jak w Emerson Lake Palmer :)muzyka: Łukasz WojciechowskiZachęcamy też do śledzenia naszego profilu na Facebooku - https://www.facebook.com/PickPlease/

There may be two "O"s in Goose, but there's only one "L" in Manila (I hadn't known that...). Why mention it? Because that's the home of this episode's prog rockin' interview guest- Fuseboxx vocalist/Stickist/pianist Abby Clutario! There's Fuseboxx talk for sure, but we also learn about her other projects and endeavors, her musical and Chapman Stick history, some of her thoughts on the tech/gear side of things, and much more. As usual with our guests, several of her recordings (both with Fuseboxx and solo) are sprinkled throughout, with a beautiful Stick/piano/vocal cover to close the show.

His versatility as a bassist is incomparable, anchoring tours and/or albums by Peter Gabriel, King Crimson, John Lennon, Pink Floyd, Lou Reed, Alice Cooper, Buddy Rich, Peter Frampton, Gotye, Carly Simon, Judy Collins, Paula Cole, Chuck Mangione, Steven Wilson, James Taylor, Anderson Bruford Wakeman Howe to cite a select few. An innovator on electric bass, upright, and Chapman Stick, Tony is also one of the world's first bloggers – beginning with his internet diaries in the 1990s! Humble, humorous, and all about the “Big M” – that's Tony!The Tony Levin Playlist

Tony Levin, es un músico y compositor estadounidense, especializado en bajo eléctrico, el Chapman Stick y el contrabajo. Es un músico de sesión prolífico desde la década de 1970 mejor conocido por su trabajo con King Crimson y Peter Gabriel. Ha tocado en más de 500 álbumes. Algunas sesiones notables incluyen su trabajo con John Lennon, Stevie Nicks, Pink Floyd, Paul Simon, y David Bowie. Hoy recordamos sus sabias palabras: "Debemos decidir qué significa el éxito para nosotros, y no aceptar las definiciones de los demás."

U23世界盃輸球回國的古巴代表隊，上飛機前有一半的人已經叛逃，這創下有史以來最多叛逃記錄，那麼就來說兩位古巴棒球史上的英雄叛逃至美國職棒的故事：「公爵」奧蘭多·赫南德茲與「古巴飛彈」查普曼 。 #美國 #大聯盟 #mlb #古巴 #u23世界盃 #叛逃 #棒球 #公爵 #奧蘭多赫南德茲 #古巴飛彈 #查普曼 #Chapman #卡斯楚 #特奧菲洛 #亞特蘭大奧運 #紐約洋基 #亞歷桑納響尾蛇 #紐約大都會隊 #瑞維拉 #救援投手 #紅人 #金氏世界記錄 #芝加哥小熊 #世界大賽 #冠軍 ＋影片內容 00:00 影片開始 Start 00:17 U23古巴代表隊破紀錄叛逃 01:00 「公爵」奧蘭多·赫南德茲 03:03 下定決心叛逃 05:07 棒球第二人生 06:15 「古巴飛彈」查普曼 07:11 橫掃古巴聯賽 08:22 火球震驚MLB 09:57 請分享給親朋好友，感謝 fb專頁：https://www.facebook.com/historysquare/ FB社團：https://www.facebook.com/groups/873307933055348 Podcast : http://kshin.co​ 電子書著作 Amazon : https://reurl.cc/g8lprR​ Readmoo ：https://reurl.cc/jqpYmm​ Kobo : https://reurl.cc/GdDLgW​ Google : https://reurl.cc/9ZyLyn​ 有聲書：https://www.ximalaya.com/lishi/49006941/ 攝影作品：https://reurl.cc/Xe3NNe

Bruford - Age Of Information (1980) I guess, if I'm going to call the Bowie band of 1975-1980 the best band of the decade, this group would come close to that. With the inimitable style of Jeff Berlin on bass and the wonderful Bill Bruford on drums, this album might have been the closest Prog came to the elusive jazz/pop hybrid bred into the bone for so many of the Prog hopefuls of the era.  Jan Hammer Group - Don't You Know (1977)  Can - I Want More (1976) Can was a sometimes impenetrable German Prog outfit. Their music in the early part of the decade wasn't something I could say I liked, even though I tried like heck. This was a single, which kinda makes sense. All Prog was catching a terminal disease at this juncture, but no one knew it.  Renaissance - Flight (1983) I messed this song up on my show, but this is not a bad record. Renaissance had some great moments in the '70s, and if you are interested, go find Scheherazade and Other Stories from 1975. Like Close to The Edge, it only has three songs, but I think that record is their apex by a mile, and I like the other albums. This was from their last "Golden Era", Time-Line album, although it had been a while since they could get a record company to pony up the do-re-mi for an orchestra.  Discogs: Renaissance was originally formed in London, UK, in 1969 by ex-Yardbirds vocalist Keith Relf and drummer Jim McCarty who wanted to explore a new sound blending elements of rock, folk, and classical music. Relf assumed the role of guitarist, and they were joined by bassist Louis Cennamo, keyboardist John Hawken, and vocalist Jane Relf. This lineup recorded the first self-titled album and most of the second album, Illusion (1971). A rapid series of personnel changes followed. Guitarist and composer Michael Dunford first appeared on Illusion. Before his departure from the band Hawken recruited new vocalist Annie Haslam. By 1972, when the Renaissance recorded their third album, Prologue, none of the original members remained though McCarty still wrote music for the band. By 1973 the lineup had stabilized with Haslam, Dunford, keyboardist John Tout, bassist and vocalist Jon Camp, and drummer Terry Sullivan. This lineup produced a string of relatively successful albums over the remainder of the decade. They had one Top 10 single in the U.K., "Northern Lights", from the album A Song For All Seasons (1978). By 1980 Sullivan and Tout departed leaving Haslam, Dunford, and Camp as the stable core of the group with various other musicians coming and going through the early and mid-1980s. The group released two albums, Camera Camera (1981) and Time-Line (1983) which were not well received by either fans or critics. Renaissance went into the studio to record a further album but found themselves without a label willing to release it. Material for this album as well as discarded tracks from the sessions for the previous three releases finally saw the light of day as Songs From Renaissance Days in 1997. [Ed: Which I gobbled up the day it came out, as there was no other domestic CD of this group available at the time.] Yes - The Revealing Science of God (1973) There are moments in this song that, to me, are just amazing, transcendent, and still cause chills maybe 40 years after the first time I heard them ("Getting over overhanging trees...") like almost all of Yes' epic side-long monsters. There's a reason Prog fans like me are filled with sadness that the people who made this magic for us cannot seem to just stop recreating or trying to recreate these moments with an ever-shifting group of lesser talents. The Beatles did it right. They just stopped, resisted the potentially lucrative urge to make themselves stand there again, together, and recreate sounds from which they had long ago moved past. I like this. There's a real fire that people might have forgotten these very young men possessed.  King Crimson - Thela Hun Jinjeet (1981) So this might be #3. Tony Levin played on some later Yes albums, as well as Peter Gabriel (he plays the Chapman Stick, a strapped upright instrument with both tenor and bass strings). He also played with Paul Simon and hundreds of others. Robert Fripp played with David Bowie on his Berlin Trilogy, and Bill Bruford was amazing in Yes, his own band, Bruford, and...Genesis during a tour! Bowie and...Adrian Belew!! Who is here after stints with Talking Heads, Zappa, Tom Tom Club....it goes on and on, but I really like anything Bill Bruford played on.  Bruford - Gothic 17 (1980) I've played stuff from Bruford's first record with Annette Peacock. This is in that funky, other-worldly combination of jazz and pop. I love Jeff Berlin's voice. I wish they had dome more records together. Go find "Joe Frazier" off this album. Whoo boy.  Gentle Giant - Interview (1976)  Genesis - One For The Vine (1977) Genesis at their peak. It's hard to believe it now, but this was composed solely by Tony Banks. The scope and drama, pathos, and virtuosity amaze me especially when one considers that he (and they) never created anything this beautiful again. Who was the best keyboard player in Prog? I think about it and Kerry Minnear comes to mind, as he really was the creative force in Gentle Giant. But neither he, Keith Emerson, Rick Wakeman, or any of the others, as good as they were, authored something as wonderful as this.  Rush - Jacob's Ladder (1980) I don't care what you say. This album is peak Rush. After years of album/tour/album/tour, "The Spirit of Radio" captured their amazing musicianship, their cool humor, and the fact that you could be groovy in 7/8. I think of this record as the end of the beginning, but not in a good way. I played this in a band once. We were terrible. I had a tiny Casio keyboard (it was all we could afford) and I couldn't play the last bit on bass with anything resembling speed. Our drummer was great.  Discogs: Rush's seventh studio album. The cover depicted the famous incorrect headline "Dewey Defeats Truman" on a newspaper in the bottom left corner. However, the Chicago Tribune (the paper that originally published the error) pressured the band to remove the headline. Some versions appear altered with either "Dewei Defeats Truman" or a blanked section. The billboards in the distance (mid-right) originally read "Coca-Cola." However, the cola company objected to the use of their logo and the cover was changed to display the band members names in a similar typestyle to the original logo. Trivia: The woman on the cover of this album is model Paula Turnbull. Contrary to rumor, the guy waving in the background on the cover is not one of the members of Rush, it's actually Hugh Syme, the art director of the album. UK - In The Dead of Night/By The Light Of Day/Presto Vivace and Reprise (1978) One of the first Prog supergroups, members of other big groups smooshed together. In this case, John Wetton of King Crimson, Roxy Music, Uriah Heep, Mogul Thrash, etc., Bill Bruford, the amazing Allan Holdsworth (Soft Machine, Gong) , and Eddie Jobson (Zappa, etc.) make a great album. Then Bill leaves, and Terry Bozzio (Zappa) records another record and a live album, and then...Asia.  Joe Simon - Before The Night Is Over (1977)  I don't consider The Moody Blues or Pink Floyd prog.   

Some listeners may have noticed the absence of our Portuguese friend Rodrigo on a few of last summer's episodes. Well, when you're out playing Chapman Stick gigs *every* weekend, it's hard to fit podcast recording sessions into your schedule. Now that he's back, we get the details on the gigs. Then we get to play show and tell (hear and tell?) to learn about his Dragonfly, an acoustic tapping instrument from a company out of Argentina. Many guitarists own both electric and acoustic instruments, and the Dragonfly is gaining a bit of popularity amongst jealous Stickists who would like to do the same. Check it out!

#cotorreochido con Federico Fong, figura medular de varios proyectos de gran influencia (las etapas finales de Las Insolitas Imágenes de Aurora, Sangre Asteka y Caifanes; La Barranca, el inicio de Jaguares) en la escena del rock mexicano quien nos cuenta su historia musical que va desde como hacer pinitos en teclado y batería hasta descubrir el bajo e incluso apartarse a Nueva York donde tuvo que trabajar en un bar para subsistir. 

Tap In Time's roots are found in playing Bach on the Chapman Stick. In fact, Episode 5 was devoted to this topic...it truly is beautiful music that enhances any set list, and playing it is great for the chops. We're all really stoked that Stickist extraordinaire Greg Howard is about to release his book of Bach arrangements, so we pulled him into the (virtual) studio to continue the conversation. Mixed in throughout: discoveries, a Tap In Time first, a confession, and more- it's a good one, don't miss it!

Last week, through a series of enjoyable, but non-routine events, I missed the Sunday Gathering which always grounds me with beautiful music, a mind-clearing meditation, uplifting affirmative prayers, and a message from our amazing Spiritual Director that moves my heart and feeds my soul. On Tuesday, I missed the calming meditation provided by our wonderful practitioners. Also, I could not make it to our supportive community meetups in the park. Finally, the high temperatures have been too uncomfortable for me to take my gratitude walks in nature. It appears that, just like missing my physical exercise, or healthy eating regime, without my daily spiritual practices, I feel sluggish and unmotivated – life, with a small L, seemed to be conspiring with my ego to drown out that still, small voice which knows my highest and best self. As Rev. Cassandra Rae describes her talk for this Sunday, I hunch it is exactly what I need to Align with Yes: ‘Your attention and intention have great power. The ego loves using this power for its own benefit. However, when you're in alignment with Spirit, the ego's attempts to win, obtain, or get what it wants has no power over you. Where is your centre of alignment? Join us as we explore ways to align with Spirit by living our sacred yes.' Nathen Aswell's fans will remember “Yes” as one of his toe-tapping, joyful songs. Nathen joins us live this week with his noteworthy, 12-stringed, electronic, Chapman Stick and his upbeat tunes to satisfy and entertain. Nathen believes that his calling in this life is to encourage people to live Big Lives one Small Step at a time. I know well that Nathen will buoy us up with his joyous beat and his heartfelt, inspirational lyrics. Learn more about Nathen - www.nathenaswell.com Embracing focus and intention as we align with YES! Sherry Dolejsi Board Chair --- Send in a voice message: https://anchor.fm/csl-whiterock/message

Struggling to find your SOUL's purpose? If you ever wanted to talk with spirit or become a psychic medium, then do we have the Your Soul's Purpose Happy Medium show for you.   Today we'll understand how communicate with your spirit guides, how to find your life purpose, and manifest your soul's purpose! We'll talk about discovering your soul purpose, how to communicate with the other side and become a happy medium.   We're joined by Kim Russo, an internationally renowned Psychic Medium, intuitive counselor and spiritual teacher. Kim is the host of the long running series "The Haunting Of..." and "Psychic Intervention" and is the author of "The Happy Medium - Life Lessons From The Other Side" and "Your Soul Purpose - Learn How to Access The Light Within". One of the BIGGEST interferences from allowing us to connect with our spirit guides is our EGO.   This episode is PACKED with information and ACTIONABLE steps you can take to allow yourself to efficiently, clearly and CONSISTENTLY receive information and guidance from your SPIRIT GUIDES   Plus we'll talk about strap on skates and Mr Softy, Miss Lucy had a steam boat, Billy and Joseph, Father Frank and doing Gods work, what in the world is a Chapman Stick, and what in the world crazy eyed flying monkey's have to do with anything!   To find out more visit: https://www.kimthehappymedium.com/ https://amzn.to/3qULECz - Order Michael Sandler's new book, "AWE, the Automatic Writing Experience" www.automaticwriting.com  ……. Follow Michael and Jessica's exciting journey and get even more great tools, tips, and behind-the-scenes access. Go to https://www.patreon.com/inspirenation   For free meditations, weekly tips, stories, and similar shows visit: https://inspirenationshow.com/   We've got NEW Merch! - https://teespring.com/stores/inspire-nation-store   Follow Inspire Nation, and the lives of Michael and Jessica, on Instagram - https://www.instagram.com/InspireNationLive/   Find us on TikTok - https://www.tiktok.com/@inspirenationshow 

In Part 1 of this mini-series, we kept things at a somewhat higher level. In this one, as promised, we talk instrument details: configurations, materials, pickups, new, used, components, and more. We couldn't possibly offer the last word on any specific aspect of purchasing a Stick, but if you're after potentially helpful insights that might not be readily apparent, have a listen! If nothing else, you just might be slightly entertained. If you haven't yet listened to Part 1, consider checking it out first.

Come on in! This week legendary bassist Tony Levin joins me from his place in New York State to discuss the new Liquid Tension Experiment album, as well as his work with King Crimson and Peter Gabriel, pushing his limits, and his pioneering bass techniques. He's great company. Also, sound artist Justin Wiggan joins me for a remarkable conversation that encompasses analogue astronauts, plant-based music, Salman Rushdie, Burnley building society, and dolphins taking photographs. It's a wild ride.   LINKSTONY LEVINtonylevin.com@tonylevin (Twitter)JUSTIN WIGGANjustinwiggan.co.uk@justin_wiggan (Twitter)@glassedtwin (Intragram)SENDING SIGNALS@signalspodcast (Twitter)@sendingsignalspodcast (Instagram)

The episode title says it all. Though it shares certain characteristics with other electric stringed instruments, a Stick is truly an instrument like no other. What exactly does that mean? What drives us to want one? What did we learn or experience that we weren't expecting? Join Gene, Rodrigo, and Victor as they lay some philosophical groundwork in preparation for Part 2 of this mini-series, in which instrument and technical details will take center stage.

This week, as Rev. Cassandra Rae takes her monthly-board-ordered Sunday off, we are thrilled to welcome Tamara Rossander, CSL White Rock’s very own RScP and Ministerial student, as our guest speaker! Tamara walks with people on their path, helps them open their hearts, expand their lives, and transform the world. Her highest directive is to create space for Divine Love to show up in the world. Tamara endlessly and lovingly gives of her time, her talent, and her treasure from her beautiful heart! As Tamara puts the finishing touches to April’s theme, Stepping into the Unknown, she describes her talk, Stepping Out, Stepping Up, or TBD: ‘We gratefully step out of what has been, and confidently step up and into our greatness, excited to blaze a new trail of spiritual awareness. What have we learned thus far on our life’s journey and what gifts are we bringing to the new leg of our journey? What will we share with those who travel with us?’ Providing live music this week is Nathen Aswell playing his unique 12-stringed Chapman Stick. He believes that his calling in this life is to encourage people to live Big Lives one Small Step at a time. I know well that Nathen will have us tappin’ our toes with his joyous beat and buoying up our energy with his heartfelt and inspirational lyrics. Join us as we blaze a new leg in our journey of spiritual awareness! Embracing Love and Possibility, Sherry Dolejsi, Board Chair --- Send in a voice message: https://anchor.fm/csl-whiterock/message

In this episode, we get to know Treasure Coast local singer/songwriter and Chapman Stick extraordinaire, Flint Blade! We learn a little about the Chapman Stick and his musical journey. - Become our Patron on Patreon: www.patreon.com/jncpodcast - Check out the shows LIVE every Wednesday at 8pm ET on Facebook LIVE & YouTube. keyword: Jams N Cocktails Podcast - LIKE our Facebook Page https://www.facebook.com/jncpodcast - SUBSCRIBE on YouTube https://www.youtube.com/channel/UCVs-g46bC034QOlUB5TPrnA?sub_confirmation=1 **Episode Links** Flint Blade Music: http://www.flintblade.net/

My guest today is Trey Gunn- solo artist, Chapman Stick and Warr guitar pioneer and virtuoso and member of the groundbreaking band King Crimson for 10 years. With at 15 solo records (and counting) under his belt Trey shows no signs of slowing down. In fact, he's only just getting going. After watching Trey's lecture on Youtube on developing your own voice (see below for link) I was inspired enough to contact him for some personal sessions.We talk about all this and much more in this episode- thanks for listening!Check out Trey's Music hereHere is the video I reference in the podcast- Trey Gunn on Original VoiceTrey's Website- Trey Gunn.comSupport this podcast at — https://redcircle.com/the-riff-raff-with-shane-theriot/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This month, we get Glenn Poorman, whose contributions to the Chapman Stick community include teaming with Oz to bring us the Interlochen Stick Seminar, superb musicianship, high quality scored songs which many of us have learned to play, and being a master of looping with a Stick. We get to know Glenn a little better, talk looping, talk musical notation, get the Interlochen origin story, and more. Join us!

This week's Performance Anxiety features Trey Gunn. We talk about how he began playing touch guitar instruments like the Chapman Stick & the Warr guitar. He also tells us what they are & how they work. He discusses how he met Robert Fripp of King Crimson and began playing with them and other artists like John Paul Jones, Puscifer, and more. Trey tells us about his worst on-stage performance and his performance anxiety dreams. Follow us on both Twitter & Instagram @PerformanceAnx

After a long hiatus for the RSSH Podcast, this week's podcast features Jem Godfrey, the leader, keyboardist, singer and songwriter for Frost. He has served as a producer for the well known English bands Atomic Kitten and Morcheeba and has acted as a song writer for iconic performers Holly Johnson (Frankie Goes to Hollywood) Jennifer Ellison, Shayne Ward, and Holly Valance. He has toured with his own bands as well as Mike Keneally and Joe Satriani. His legendary status is well earned. 2:18 Youtube and Frost. Signs. Falling Satellites. Progressive Rock. 4:30 How Frost came about Producing. Myspace. Subversion and capes. John Mitchell. 7:45 Was Frost a project of many or the focus from the beginning? 10:00 Frost is lovable. Four normal guys. Being a chubby rock star. 12:00 Growing up in Progressive rock era. Wearing capes. 14:00 Non-traditional songwriters and looks. ELP. Bombast. Queen and the wink. 16:20 Cruise To The Edge: CTTE. Yes. Kansas. Haken. Sunburns. Hocus Pocus. 20:20 Chapman Stick. Peter Gabriel. King Crimson. Discipline and Frost's "Numbers." 21:00 Being a legend by 30. John Lennon. Jem in radio. 23:00 Not really a musical family. OMD. Synth pop. Endorsements. Keytar. ARP Quadra. 26:20 The Rockfield Files. The ironing board. 28:00 Being a professional musician. Owning businesses and being an Preparing Falling Satellites. 33:30 Jem doesn't like gigging. Wants to record and produce. Rob wants to sit in. 35:40 Rob's version of 20 questions. Jem doesn't play fair. 38:00 Jem is shameless. Learning Italian. Asking favors. 40:00 Frost: Signs. Signs graciously allowed for playback by Jem Godfrey - Falling Satellites (*Frost) 2016. - All rights reserved. Subscribe to the shows here:1) Rockstar Superhero:Itunes: https://apple.co/3u8wlI9Audible: https://adbl.co/3sCnfSkSpotify: https://spoti.fi/3qxjQDLGoogle: https://bit.ly/3kC66WaTumblr: https://bit.ly/3sGrLzfDeezer: https://bit.ly/2Zr5lW7JioSaavn: https://bit.ly/3k29jhvCastbox: https://bit.ly/3bunV6UiHeartRadio: https://ihr.fm/2PKvm172) Rockstar Radicals:Itunes: https://apple.co/2OR4kVx Spotify: https://spoti.fi/3qHHFZHDeezer: https://bit.ly/3srQ3grPodchaser: https://bit.ly/2NG2UwLGoogle: https://bit.ly/3uIQVzkJioSaavn: https://bit.ly/387Y2HGCastbox: https://bit.ly/3t0yCUliHeartRadio: https://ihr.fm/3vbWKFuBlog @ Tumblr: https://bit.ly/3ka5IhjWanna be on the show? Go here: https://calendly.com/rockstarsuperheroinstituteCopyright 2021 Rockstar Superhero Podcast - All Rights ReservedBecome a supporter of this podcast: https://www.spreaker.com/podcast/rockstar-superhero--4792050/support.