Podcast appearances and mentions of Chris Thile

If you think an orchestra only plays Beethoven and Brahms, think again. The Minnesota Orchestra's festival called "Summer at Orchestra Hall" opens Thursday night with a lineup that stretches far beyond the classical canon — from Grammy winning bluegrass musician Chris Thile to jazz singer John Holiday to movie scores from Star Wars and E.T. Grant Meachum is the orchestra's director of productions and engagement and joined MPR News host Nina Moini with details on the festival.

Join Magnus Zetterlund and Hayes Griffin as they discuss gear essentials, touring adventures, and what happens when you remove a pickguard from your mandolin.Hayes shares his inspiring experience at Blue Ridge Guitar Camp with flat-picking heroes and his recent European tour backing Beppe Gambetta in Italy. Discover the community's favorite cleaning products—including the legendary Fast Fret string cleaner—and debate the pickguard question: does it really affect your tone? Plus, hear about Southern Flavor, New Camptown Races, and why the Punch Brothers' latest release is absolutely worth your attention.Visit our website for more episodes:https://mandolinsecrets.com/podcastShow NotesTopics Covered:Blue Ridge Guitar CampHayes' experience at the prestigious North Carolina guitar campMeeting and studying with Cody Kilby (six hours of instruction)Playing alongside bluegrass legends and instructorsLeading jam sessions at the campCollings Guitars video collaboration with Cody KilbySouthern Flavor (Fiddle Tune Adaptation)A "deep cut" in bluegrass—rarely called at jam sessionsHayes teaching this tune to Magnus years agoThe power of shared musical language and common repertoireUpcoming guitar and contest arrangement lessons from HayesNew Camptown Races ProjectMagnus's detailed transcription and tutorial workMultiple versions and variations of the tuneJesse Brooks as an inspiration for "hero licks"Building resources for students: basic version + performance arrangement + hero licks seriesHayes' European Adventure: Italy with Beppe GambettaWeek-long visit to Genova, Italy with wife QuinnThree nights of concerts at the National Theater in GenovaCollaborators: Trey Hensley and Maddie Denton (East Nash Grass)Theme: Jam band music focused on improvisationHayes proposed to Quinn in Liguria, Italy (the region where Genova is located)Community Music Choice: If You Could Only Listen to One MusicianChris: Steven Stills (solo), Fleetwood Mac (band)Jane: Cecilia Bartoli (Italian mezzo-soprano)Steve: Johann Sebastian Bach (composer/repertoire)Hayes: Jethro Burns (bridges country, fiddle, swing, and jazz)Magnus: Julian Lage or Chris Thile (contemporary, making new music) Recent discovery: Punch Brothers' new single "Song of the Water Kelpie" from their latest releaseRecommendation: Listen to audio first, then watch the music video to see how they layer instrumentsThe Pickguard Debate: Does It Affect Sound?Magnus's experimental video comparing mandolin sound with and without pickguardFindings: Subtle difference in high-end frequencies and pick noiseHayes' take: More treble and pick-string contact without the guardPickguard blocks part of the F-hole, affecting airflowMagnus removed pickguard from his recording setup to eliminate pick-strike noiseDifferent instruments respond differently to pickguard removalCommunity Pickguard Opinions:Bob: Removed pickguard immediately; lighter touch means no protection neededKit: Pickguard fell off mid-gig; got scratches on varnish—pickguard necessaryTim: Questions impact of pickguard blocking F-holeHayes: Keeps pickguard on Red Diamond (likes the look, minimal tone difference)Buas mandolins: Standard without pickguards (no protection needed with proper technique)Northfield: Uses thin, close-to-strings pickguardsCleaning & Maintenance ProductsMagnus's Essential:GHS Fast Fret - String cleaner and lubricantDaily use for non-coated stringsExtends string life significantlyRemoves hand oils and residueLasts about 1-2 years before needing replacementCommunity Recommendations:Martin Guitar Polish (lemony scent, popular for wiping down instruments)Music Nomad Fretboard F1 Oil (fretboard maintenance)Elderly Instruments Microfiber Cloths (high-quality polishing cloths)D'Addario Fretboard Lemon Oil (string change maintenance)Jim Dunlop Cleaning Sprays and Fretboard OilsHayes' Approach:Uses coated strings most of the time nowAppreciates Fast Fret for extending uncoded string lifeHas oily hands; strings would go dead after one gig without maintenanceFeatured Music:Punch Brothers - "Song of the Water Kelpie" (from latest album)People Mentioned:Brian Sutton (Blue Ridge Guitar Camp instructor)Cody Kilby (guitarist, Blue Ridge Guitar Camp instructor)Beppe Gambetta (Italian bluegrass/traditional musician)Trey Hensley (guitarist)Maddie Denton (fiddler, East Nash Grass)Jethro Burns (mandolinist, Hayes' choice for lifetime listening)Julian Lage (contemporary guitarist/composer)Chris Thile (mandolinist/Punch Brothers frontman)Jesse Brooks (mandolinist)Resources:Blue Ridge Guitar CampChapman's Acoustic Shop (Buas dealer in US)GHS Fast Fret productElderly Instruments (quality cloths and maintenance supplies)Mandolin Secrets Academy (video version of this episode)Guitar Club (Hayes' online courses)

On this episode of The Bandwich Tapes, I sit down with drummer, collaborator, and educator Eric Doob for a wide-ranging conversation about sound, taste, collaboration, and what it really means to make music in today's world. I first came across Eric's playing through his work on Live From Here with Chris Thile, and I've been a fan ever since. From the very beginning of our conversation, it's clear that Eric approaches music with a deep sense of curiosity and care, whether he's performing, recording, producing, or teaching.We spend time talking about his work with guitarist Matthew Stevens, including his role as both a drummer and a collaborator in shaping the sound of those records. Eric offers great insight into the importance of sonic identity, how the sound of the drums, the tuning, the cymbals, and even the engineer's perspective can shape the emotional core of a track. It's a thoughtful look at how sound itself becomes part of the composition.Our conversation also dives into collaboration and the idea of “taste” as a guiding force. Eric shares how the strongest musical relationships often come from a shared aesthetic sensibility rather than just technical ability. We talk about bands, chemistry, and the unspoken communication that happens when musicians are truly aligned.We also explore his path from growing up outside Boston to studying at Berklee College of Music and eventually building a life in New York. Along the way, Eric reflects on early musical experiences, the importance of access to live music, and how those formative years shaped his voice as a musician.Toward the end of the conversation, we get into teaching, creativity, and the challenges of making music in an age of constant distraction. Eric shares some really thoughtful perspectives on how access to everything can be both a gift and a challenge, and why focused listening and presence might be more important than ever.It's a conversation about listening, really listening, to music, to collaborators, and to the moment you're in.Key TakeawaysEric Doob discusses how sound—especially drum sound—can define the emotional identity of a track.He shares insights into his collaboration with Matthew Stevens and the importance of long-term musical relationships.We explore the idea that shared “taste” can be more important than technical ability in building great musical chemistry.Eric reflects on his early musical experiences growing up near Boston and the importance of access to live music.He talks about his evolving role in recording, producing, and shaping music beyond just playing drums.We discuss teaching and how working with students has deepened his own understanding of music.Eric offers a thoughtful perspective on modern music consumption, distraction, and the importance of focused listening.Music from the EpisodeTake Heart - Matthew StevensThree Card Molly - from Live From Here with Chris ThileEl Duelo - Diego Urcola QuartetTangled in the Endless Chain - Ryan Keberle & CatharsisAbout the PodcastThe Bandwich Tapes is my chance to sit down with musicians, composers, songwriters, and creative artists I admire for honest conversations about craft, collaboration, career, and the deeper musical ideas that shape their work. It's a show about process, perspective, and the stories behind a life in music.Connect with the ShowEmail: contact@thebandwichtapes.com

This week we feature Michael Daves and talk with him about his growing up in bluegrass music, performing with Chris Thile, working with Tony Trischka and his new album with Jacob Jollif that plays tribute to Jim and Jesse.  We also talk to Michael about his ArtistWorks vocals course.   

Diane Jones speaks with virtuoso mandolinist, singer, songwriter and composer Chris Thile about Bach, improvisation, and his upcoming solo concert at the Virginia Arts Festival.

Making a Scene Presents an Interview with Andra Suchy Andra Suchy is a North Dakota native with a voice that stops people in their tracks. Classically trained and a veteran of musical theater, she grew up in a talented, music-filled family and developed the kind of vocal control and emotional range that only comes from years of disciplined performance. Over time, that foundation has made her one of the most in-demand singers in the Midwest and beyond—an artist equally at home on a grand stage, in a studio, or harmonizing beside legendary names. http://www.makingascene.org

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Join Magnus Zetterlund as he sits down with Swedish mandolin player, bandleader, and composer Karl Tirén to discuss his innovative Atlas project—a unique trio featuring mandolin, trombone, and double bass. Karl shares his compositional process, the journey from injury to inspiration with the tune "At Last," and how he practices through playing rather than drilling scales.Links:Visit our website for more episodes:https://mandolinsecrets.com/podcastConnect with Karl Tirén: Instagram: @karltiren.music https://www.instagram.com/karltiren.musicBandcamp - Karl Tirenhttps://karltiren.bandcamp.com/album/atlasMusic available on Spotify, Apple Music, and all streaming platforms Physical CDs available by contacting Karl directlySpotify:https://open.spotify.com/artist/1rlnxnGG3xgGMG16lRIh7D?si=VxT_r2iJRQ-OoaEf0x8YbgMandolin Secrets Academyhttps://www.mandolinsecrets.com/academyTopics Covered:The Atlas ProjectUnique instrumentation: mandolin, trombone (Magnus Grumer), and double bass (Johan Lindblom)Released as three EPs, now available as a complete albumBlending American mandolin traditions with Scandinavian sensibilitiesModern approach to releasing music in the streaming eraComposition & Creative ProcessKarl's workflow: starting with instrumental phrases that "stick"Voice memos and long-form development (some tunes take years)Writing specifically for ensemble voices (like "Tromb" for trombone)Balancing melody and rhythm on the mandolinPractice Philosophy"Practice listening" as the foundationDesire-driven rather than strictly disciplined approachLearning through playing tunes instead of isolated exercisesInfluences from David Grisman, Chris Thile, and Brazilian mandolinist Hamilton de HolandaOvercoming InjuryKarl's tendonitis story and years away from playingHow Atlas bandmates share a history of performance injuriesThe importance of listening to your body"At Last" as a turning point in regaining inspirationBand LeadershipSelf-releasing music without a record labelBuilding a touring quartet (adding trumpet player Karl Valmyr)Balancing music with day jobsPlanning and sustaining a long-term projectInstrumentsKarl's Bouvier F-style mandolin (refinished from purple!)Also plays a Nordic flat-top mandola by Mats NordvallDiscussion of American vs. Nordic mandolin traditionsFeatured Music:Åre Polskan (Swedish traditional, mandolin duo with Magnus)"At Last" (original composition that launched the Atlas project)"Tromb" (written specifically for trombone)Bridal march (Scandinavian-influenced original)Bach Menuet in G Major (duo arrangement)Mentioned in This Episode:Johan Lindblom (double bass)Magnus Grumer (trombone)Karl Valmyr (trumpet)Former band: Primus MotorHamilton de Holanda (Brazilian mandolinist)Mats Nordvall (Nordic mandolin builder)Resources:Full video version available in Mandolin Secrets AcademyBach Menuet and Åre Polskan arrangements available in the Academy

In this bonus episode we're celebrating Tony Rice's best loved albums....as voted for by you!I put out a poll over my social channels as well as some popular Facebook groups and subreddits and collated all the responses.The rules were simple - just pick one album each for these 3 categories:1. Tony Rice/Tony Rice Unit album2. Album where Tony's named as one of the artists (e.g. Blake & Rice/ Skaggs & Rice/Tone Poems)3. Any album Tony plays on but isn't named as an artist (e.g. DGQ, Bluegrass Album Band, JD's 0044….or anything else)I had over 400 votes in total. In this short episode I reveal what won in each category, what the most popular album was overall and also what pickers like Chris Thile and Trey Hensley chose as their favourites!Check out the full list You'll find links to previous podcast episodes celebrating Tony Rice on bluegrassjamalong.com Support the show===Thanks to Bryan Sutton for his wonderful theme tune to Bluegrass Jam Along (and to Justin Moses for playing the fiddle!)Bluegrass Jam Along is proud to be sponsored by Collings Guitars and Mandolins- Sign up to get updates on new episodes - Free fiddle tune chord sheets- Here's a list of all the Bluegrass Jam Along interviews- Follow Bluegrass Jam Along for regular updates:InstagramFacebook- Review us on Apple Podcasts

You may know Scott Nygaard from his career as a guitarist in the bluegrass and acoustic scene for more than 30 years, his work as former editor and writer with Acoustic Guitar Magazine, or as one of the co-founders of Peghead Nation. You may not know his novel Evergreen, based on his transformative first year at Evergreen College in 1973. I love a coming of age story, and this is very much a tale musical growth and about the loss of innocence during a time of societal changes . We also explore Scott's most recent album, Flown South which was recorded after a serious accident, when Scott had to relearn to play guitar.You'll also be hearing music from his wonderful album Rosco with the Swedish guitarist Roger Tallroth, best known as a founding member of Väsen. Another collaboration you'll be hearing about is Crow Molly, which features mandolinist Joe K. Walsh (a previous guest of this podcast). Scott shared his experiences recording with Chris Thile, touring with Joan Baez, and his move to Chile. I really enjoyed this opportunity to hear Scott's wise observations on what really matters in a creative and connected life well-lived.The complete show notestake you to the video, Scott Nygaard, other episodes you'll love, podcast newsletter sign up (where you'll get exclusive information about upcoming guests), podcast merchandise and how you can buy me a coffee to support this podcast - as well as the video link and transcript.(00:00) Intro(02:20) novel Evergreen, bluegrass, old-time music, racism(12:35) old-time fiddling(16:36) Crow Molly band and album with clip of track 5 “Too Hungry”(18:21) album with Roger Tollroth Rosco with clip of track 6 The Surly Seven(24:01) more about collaborating with Roger Tollroth, clip of track 9 True North album Rosco(26:07) challenges of touring, Crow Molly with clip of track 9 Haapavesi album Crow Molly(29:13) editing and writing for Acoustic Guitar magazine(31:49) role of flat-picking guitarist in bluegrass and old-time music(34:00) other episodes you'll love and ways to support this series!(34:50) music education and Peghead Nation, bands and community(41:33) learning to play again after accident, album Flown South with clip of Itutu(49:20) learning Spanish, wife Claudia losing hearing, sign language(58:07) Flown South clip of improv “Understanding Makes the Brain Lazy”(59:46) Evergreen, community of musicians, Peghead Nation, Scott's books, guitars(01:11:45) Chris Thiele, Joan Baez(01:22:51) musical curiosity and advice, Lena Jonsson

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On this episode of The Bandwich Tapes, I sit down with singer, songwriter, and multi-instrumentalist Sarah Jarosz at a remarkable moment in her career, fresh off multiple Grammy wins, including recent recognition with I'm With Her. We talk about what it actually feels like to experience that kind of validation after years of nominations, and why the support she receives from her hometown of Wimberley, Texas, still means so much, especially with music that reflects on family, time, and staying connected to where you come from.Sarah shares how I'm With Her, her trio with Aoife O'Donovan and Sara Watkins, became a creative counterbalance to the pressures of solo work. What stands out is how naturally the collaboration works: three distinct musical voices, no ego battles, and an instinctive approach to arranging harmonies and deciding who carries each musical moment. It's a reminder of how powerful true musical trust can be.We also explore how her perspective on collaboration has evolved over the years. Early in her career, Sarah felt a strong need to protect her artistic voice. But as she gained experience, she realized that once you truly understand what you bring to the table, collaboration becomes less risky and far more rewarding.One of my favorite parts of the conversation is a deep dive into the next generation of acoustic musicians, artists with deep bluegrass roots who aren't confined by genre boundaries. Sarah traces that lineage through musicians like Chris Thile, Punch Brothers, David Grisman, Mike Marshall, Béla Fleck, and Edgar Meyer, framing today's scene not as a sudden movement but as a continuation of a long and evolving acoustic tradition.We also nerd out about her time at the New England Conservatory, why she chose it over Berklee, and how her early Kodály training gave her a powerful foundation in ear training and musical intuition. We wrap by talking about what's next: an upcoming I'm With Her live album, summer touring, and a rare pause in her solo career as she finds herself between record contracts for the first time. In a music industry constantly shifting, from streaming economics to AI, the grounded takeaway is simple: the real thing still matters, and people continue to show up for honest music played by real humans.Key TakeawaysWhat it actually feels like to win Grammys after years of nominations.Why Sarah Jarosz still feels deeply connected to her hometown of Wimberley, Texas.How I'm With Her works creatively—three voices collaborating without ego.Why collaboration becomes easier once artists understand their own musical identity.The lineage of modern acoustic music through artists like Chris Thile, David Grisman, Béla Fleck, Edgar Meyer, and Mike Marshall.How Kodály training and ear development shaped Sarah's musicianship early on.Why the “real thing”—human voices and acoustic instruments—still resonates in a rapidly changing music industry.Music from the EpisodeJealous Moon — Sarah JaroszWhen the Lights Go Out — Sarah JaroszRunaway Train — Sarah JaroszAbout the PodcastThe Bandwich Tapes is a long-form conversation podcast where host Brad Williams sits down with some of the most thoughtful musicians, composers, and artists working today. The show explores the stories behind the music—creative process, collaboration, career paths, and the human experiences that shape the sounds we love.Connect with the ShowEmail: contact@thebandwichtapes.com

The name Tina Adair has become synonymous with excellence among female vocalists in bluegrass music. Her family band, The Adairs, gave Tina her first introduction to the industry, and at just 17, she signed a recording contract with Sugar Hill Records. Her first album, Just You Wait And See, was released in '97, produced by Jerry Douglas and featuring such luminaries as Chris Thile, Bryan Sutton, Aubrey Haynie, Viktor Krauss, Charlie Cushman, Keith Little, and Alan O'Bryant. The project was a success and garnered praise from the radio and critics. Since then, Tina's career has been a nonstop, high-speed freight train of excitement and success, producing her first hit solo records, All You Need and Born Bad, during which time she also attended and graduated from Belmont University in Nashville, TN. Adair ultimately became the Director of Advising in the Mike Curb College of Entertainment and Music Business at Belmont, and still works there today. SponsorsThis podcast is brought to you in part by Big D's Q. Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

Welcome to this month's Bluegrass Briefing, a monthly series of episodes taking a look at what's going on in the world of bluegrass.Here are the links to stuff mentioned in this episode.News and announcements - church street news Chris Thile's AcousticampTony Trischka's New York Banjo NightBruce and Darol's Great Big Fiddle HangSore FingersRockygrassReleases (The Grass is New)Bryan Sutton/Billy Strings videoAlasdair Fraser & Natalie HaasTony Trischka Earl Jam 2 (preorder)Della MaeScroll on BuddyWillie Nelson (preorder)Other bitsFull list of interviewsCollings GuitarsHappy picking.Matt Support the show===Thanks to Bryan Sutton for his wonderful theme tune to Bluegrass Jam Along (and to Justin Moses for playing the fiddle!) Bluegrass Jam Along is proud to be sponsored by Collings Guitars and Mandolins- Sign up to get updates on new episodes - Free fiddle tune chord sheets- Here's a list of all the Bluegrass Jam Along interviews- Follow Bluegrass Jam Along for regular updates: Instagram Facebook - Review us on Apple Podcasts

My guest this week is sound engineer Dave Sinko, who returns to chat about The David Grisman Quintet.We've talked about that record a lot on the podcast, but this is less about the story behind the album and more about how it influenced Dave and informed the way he approaches recording. In his words 'it changed my life.'We chat about his subsequent work with members of the DGQ, including Grisman himself, and recording Tony Rice for a project with Alison Brown. We also discuss how that first DGQ record set the standard for what acoustic instruments could and should sound like, the contributions Bill Wolf and Bob Shumaker made to recording acoustic music and how Dave approaches miking instruments, based on what he learned from the first DGQ album, including on Chris Thile's latest Bach album, an extraordinary and challenging project to work on.I hope you enjoy this one as much as I did. Support the show===Thanks to Bryan Sutton for his wonderful theme tune to Bluegrass Jam Along (and to Justin Moses for playing the fiddle!) Bluegrass Jam Along is proud to be sponsored by Collings Guitars and Mandolins- Sign up to get updates on new episodes - Free fiddle tune chord sheets- Here's a list of all the Bluegrass Jam Along interviews- Follow Bluegrass Jam Along for regular updates: Instagram Facebook - Review us on Apple Podcasts

Here are a couple of ladies who span generations and genres. They can rock, swing, and croon like nobody's business, and are renown for their independence. Wanda Jackson is a founding mother of Rockabilly and still partying at 88; She started recording in 1954, and just recently retired. Although she forged the magical fusion elixir that we call Rockabilly, she has also scored hits in the Gospel and Country genres. Sarah Jarosz, 50+ years younger, studied at the New England Conservatory of Music, but remains pure Texas, like Nanci Griffith or Lyle Lovett - indie Americana artists who fuse country with jazz in an irresistible freshness. She has stated that she relishes expansion, collaboration, and experimentation, with a goal toward “honoring the song” and bringing it to life in the most exciting way possible. Both women are accomplished songwriters as well as vocal interpreters, but today we feature them in the latter position - Wanda, from 1962, keens the vertiginous “Whirlpool”, by Fred Burch and Marijohn Wilken, and Sarah crushes Tom Wait's “Come on Up to the House” with a  funky mandolin.SARAH JAROSZI first heard Sarah Jarosz about 10 years ago on Garrison Keillor's radio show, and was smitten immediately. Her tender, and at the same time fluid voice and funky mandolin charms completely - reminding me of the great John Hartford and how he transformed bluegrass to Newgrass.  She continued after Garrison left with successor Chris Thile, teaming up with Sarah Watkins, another star from that ensemble, and Aoife O'Donovan to form the trio I'm With Her. At 34, no longer a prodigy, she has become a contemporary bluegrass goddess, who keeps expanding her range. Here she essays Tom Wait's Come on up to the House, in which she manages to combine spirituality with sex appeal - brilliant. WANDA JACKSONWhirlpool is like a psychedelic Torch Song. Uncharacteristically, Wanda takes the role of a vulnerable, love damaged damsel instead of the Take No Prisoners, kick-ass Rocker she usually projects. Released on Capitol Records and produced by their A&R exec, Ken Nelson, this cut obviously is swinging for the bleachers of commercial Country appeal, but its weirdness kept it from charting. However, it remains a monument to her range and dramatic power. 

Today we're putting The Tonearm's needle on drummer Phil Haynes.Since moving to New York from Oregon in 1983, Phil's played on scores of recordings with artists like Anthony Braxton and David Liebman. Phil has joined me once already, in March 2024, to discuss his memoir, Chasing the Masters: First Takes of a Modernist Drumming Artist.Phil's with me today to discuss his band Free Country, which takes American roots music and runs it through their particular jazz lens, using cello, guitar, bass, and drums to create something called "jazz-grass."Their new album Liberty Now! did not set out to be political. Phil planned for the group to record original compositions, a departure from their previous work. But then the last US Presidential election happened. And then the band got word of the passing of their trumpeter, Herb Robertson, as they walked into the studio. The music and the plan changed. Phil paired the new recordings with songs from Free Country's catalog into a double album that runs from Revolutionary War tunes to "What a Wonderful World."Phil's here to talk about grief, protest, making art when the ground shifts under you, and one of my favorite topics: the role of music in addressing contemporary political and social challenges.(The musical excerpts heard in the interview are from Phil Haynes & Free Country's album Liberty Now! )–Dig Deeper• Artist and Album:Visit Phil Haynes at philhaynes.com and on BandcampPurchase Phil Haynes & Free Country's Liberty Now! from Corner Store Jazz or BandcampPhil Haynes' memoir: Chasing the Masters: First Takes of a Modern Drumming ArtistPhil Haynes' March 2024 appearance on The Tonearm Podcast• Free Country Band Members:Hank Roberts, cellist/vocalistDrew Gress, bassistJim Yanda, guitarist• Free Country Discography:Shenandoah (1997) - pre-1900 American musicWay the West Was Won (2002) - early 20th century Americana'60/'69: My Favorite Things (2014) - music of the 1960sSomething Beatles (2013) - live Beatles covers• Herb Robertson:Herb Robertson tributePhil Haynes & Herb Robertson: Ritual (2000)herbrobertson.com• Influences and Mentors:Paul Smoker, trumpeterDavid Liebman, saxophonistElvin Jones - Merry-Go-Round album• Historical and Musical References:Max Roach - We Insist! Freedom Now Suite (1960)Max Roach Freedom Now Suite analysisJohn Coltrane - A Love Supreme (recorded December 9, 1964)Yo-Yo Ma, Chris Thile, Edgar Meyer - The Goat Rodeo Sessions–Dig into this episode's complete show notes at podcast.thetonearm.com–• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice.• Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today we're putting The Tonearm's needle on drummer Phil Haynes.Since moving to New York from Oregon in 1983, Phil's played on scores of recordings with artists like Anthony Braxton and David Liebman. Phil has joined me once already, in March 2024, to discuss his memoir, Chasing the Masters: First Takes of a Modernist Drumming Artist.Phil's with me today to discuss his band Free Country, which takes American roots music and runs it through their particular jazz lens, using cello, guitar, bass, and drums to create something called "jazz-grass."Their new album Liberty Now! did not set out to be political. Phil planned for the group to record original compositions, a departure from their previous work. But then the last US Presidential election happened. And then the band got word of the passing of their trumpeter, Herb Robertson, as they walked into the studio. The music and the plan changed. Phil paired the new recordings with songs from Free Country's catalog into a double album that runs from Revolutionary War tunes to "What a Wonderful World."Phil's here to talk about grief, protest, making art when the ground shifts under you, and one of my favorite topics: the role of music in addressing contemporary political and social challenges.(The musical excerpts heard in the interview are from Phil Haynes & Free Country's album Liberty Now! )–Dig Deeper• Artist and Album:Visit Phil Haynes at philhaynes.com and on BandcampPurchase Phil Haynes & Free Country's Liberty Now! from Corner Store Jazz or BandcampPhil Haynes' memoir: Chasing the Masters: First Takes of a Modern Drumming ArtistPhil Haynes' March 2024 appearance on The Tonearm Podcast• Free Country Band Members:Hank Roberts, cellist/vocalistDrew Gress, bassistJim Yanda, guitarist• Free Country Discography:Shenandoah (1997) - pre-1900 American musicWay the West Was Won (2002) - early 20th century Americana'60/'69: My Favorite Things (2014) - music of the 1960sSomething Beatles (2013) - live Beatles covers• Herb Robertson:Herb Robertson tributePhil Haynes & Herb Robertson: Ritual (2000)herbrobertson.com• Influences and Mentors:Paul Smoker, trumpeterDavid Liebman, saxophonistElvin Jones - Merry-Go-Round album• Historical and Musical References:Max Roach - We Insist! Freedom Now Suite (1960)Max Roach Freedom Now Suite analysisJohn Coltrane - A Love Supreme (recorded December 9, 1964)Yo-Yo Ma, Chris Thile, Edgar Meyer - The Goat Rodeo Sessions–Dig into this episode's complete show notes at podcast.thetonearm.com–• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice.• Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

durée : 00:59:07 - spéciale Chris Thile, mandoliniste - par : Sébastien Llinares - Évènement rare : Chris Thile, virtuose et visionnaire de la mandoline, était notre invité après son concert à la Philharmonie de Paris en novembre 2025. Entre Bach, improvisations et confidences, il réinvente son instrument et nous offre un moment inoubliable plein d'une joie presque enfantine. - réalisé par : Patrick Lérisset Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Chris Thile - Abode - Anthony Burrill - Dublin's Stained Glass

Welcome to Episode 400!! Dave Hill is a comedian, writer, musician, actor, radio host, and man-about-town originally from Cleveland, Ohio but now living in New York City in a totally sweet apartment with a party deck and everything. Hot chicks come over to hang out and eat cheese plates and stuff with him all the time and it's awesome. Anyway, on the show business front, Dave has appeared on Netflix's The Unbreakable Kimmy Schmidt, Adult Swim's Joe Pera Talks with You Amazon's The Tick, Peacock TV's Girls5Eva, Comedy Central's @midnight and Inside Amy Schumer programs, TBS' Full Frontal with Samantha Bee, TV Land's The Jim Gaffigan Show, and TruTV's Comedy Knockout among a bunch of others. He is a frequent on-air host for HBO and Cinemax and has been on channels like MTV, VH1, BBC-America, and the Sundance Channel a whole bunch too. Dave also starred in his own television program The King of Miami on the Mojo Network, which was cancelled even though Dave really liked it. The show also aired in the United Kingdom on Sky TV's Film24 Channel. And you can still watch The King of Miami on Hulu too, which Dave is super pumped about. Oh, and Dave was a correspondent on Hoppus on Music starring Blink 182's Mark Hoppus on the Fuse channel, which ruled. Dave has been on other shows and in obscure movies too but let's keep moving for now. Dave performs live comedy over the world and has appeared at such festivals as the Melbourne International Comedy Festival, SXSW, San Francisco Sketchfest, the Edinburgh Fringe Festival, the U.S. Comedy Arts Festival in Aspen, Sasquatch Festival, Bumbershoot, Bonnaroo, the Bridgetown Comedy Festival in Portland, the Crap Comedy Festival in Oslo, Outside Lands in San Francisco, and then some other ones too. He has also performed comedy at Sing Sing Correctional Facility twice and even ripped some guitar solos inside a Mexican prison a couple times too. In 2007, Variety magazine named Dave one of their “10 Comedians to Watch,” something he still won't shut up about. Some things are hard to let go of. Dave hosted his own radio show The Goddamn Dave Hill Show on WFMU in Jersey City, New Jersey every Monday night from 9pm to midnight for years and now hosts the podcast Dave Hill's Podcasting Incident, which is also broadcast on the UK's Fubar Radio, So...You're Canadian with Dave Hill, and History Fluffer, on which he is joined by Jim Biederman, Jodi Lennon, and Chris Gersbeck. Dave is also a frequent contributor to public radio's Live from Here with Chris Thile and  This American Life. He has also appeared on podcasts like WTF with Marc Maron, The Adam Carolla Show, The Nerdist, and then roughly 78 other ones besides those. Dave is the author of four books, including his brand new book The Awesome Game: One Man's Incredible, Globe-Crushing Hockey Odyssey, in addition to Parking the Moose (Doubleday Canada/Penguin Random House 2019), Tasteful Nudes (St. Martins Press, 2012) and Dave Hill Doesn't Live Here Anymore (Blue Rider Press 2016). He has also written for the New York Times, GQ, Salon, The Paris Review, McSweeney's, New York Observer, The Cleveland Plain Dealer, VICE, Guitar World, and a bunch of other places too. Comedy legend Dick Cavett called Dave “a major figure among American comic writers, past and present,” which is pretty much the coolest thing that has ever happened as far as Dave is concerned. Dave is also a musician who currently sings and plays guitar in the power pop band Valley Lodge, whose song “Go” is the theme song to HBO's Last Week Tonight with John Oliver, and the psych/garage rock band Painted Doll. He was also a member of Cleveland rock bands Sons of Elvis and Cobra Verde as well as Diamondsnake, a heavy metal band with Moby. Additionally, Dave has played guitar for Walter Schreifels and muscle metal band Thor and bass for Lucy Wainwright Roche and former Faith No More singer Chuck Mosley. He also contributed musical scores to films such as Dirty Deeds,

My guest this week is musician Chris Thile.Yes, that Chris Thile, the virtuoso musician with the big colorful sweaters who absolutely SHREDS. You might know Chris from Nickel Creek, his solo music or covers of Elliot Smith and the Strokes, or his work with the Punch Brothers or even Yo-Yo Ma. And yes, he's on Blamo! We got into some deep creative talk about what it means to play Bach, recording clothes, tennis, Paul Smith, and what's next.Listen to Bach Sonatas & Partitas Vol. 2 *Sponsored by Bezel - the trusted marketplace for buying and selling your next luxury watch  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Welcome to Week In Geek Wednesday for our quick-hits segment of entertainment and interesting bits of internet debris for you... the people! In this episode, we talk about Tim's travel adventures, our fake football teams, and recap the November 1st edition of Saturday Night's Main Event!   FULL VIDEO EPISODES! That's right folks, you can see our bright smiling idiotic faces in full color on our YouTube channel. Full episodes available as well as clips.   ...AND ANOTHER THING: The Man They Call Tim suggests checking out Chris Thile when he's in your neck of the woods Uncle Todd suggests watching the 2001 Clooney/Pitt version of "Ocean's 11"   FOLLOW US ON THE SOCIAL MEDIAS: Facebook - http://facebook.com/freerangeidiocy Instagram - http://instagram.com/freerangeidiocy YouTube - http://youtube.com/@freerangeidiocy

Please join me in celebrating Bluegrass on Roadcase this week with Sara Watking of I'm With Her!! Sara is a native of San Diego, where she began her musical journey along with her brother Sean, playing wherever and whenever they could. When they met Chris Thile and formed Nickel Creek in 1989, they formed a musical bond that has lasted decades. In the wake of the Nickel Creek hiatus of 2006, Sara went on to pursue a solo career, with her debut 2009 self-titled album produced by John Paul Jones. With her current project, I'm With Her, Sara marks over three decades of music with their latest release, Wild and Clear and Blue.Sara talks to me about those early days in San Diego and we discuss the significant DIY scene there and the impact it had on her and her brother's musical development. We also go deep into I'm With Her, the latest album, and the challenges of touring as a parent. Sara has played with just about everyone imaginable, and the Watkins Family Hour is a landmark collaborative performance project which continues to leave an impact on the Bluegrass, Folk and Americana communities.==========================================Chapters:00:00 Episode Intro with Host Josh Rosenberg04:27 Intro and Background07:30 Parenting and Touring Life10:22 The New Album: Wild and Clear and Blue13:15 Festival Experiences and Performances16:22 Collaboration in Bluegrass and Folk Music19:21 Songwriting Process and Themes22:11 The Evolution of I'm With Her25:08 Reflections on Musical Community32:12 Songwriting Process and Collaboration34:18 The Impact of Personal Relationships on Creativity35:51 Themes of Life and Relationships in Music37:51 The Joy of Performing Live39:38 Evolving Perspectives on Live Performance43:26 Musical Influences and Growth46:58 Connecting with John Paul Jones53:24 The Importance of Community in Music54:23 Episode Outro with Host Josh Rosenberg==========================================For more information on Roadcase:https://linktr.ee/roadcasepod and https://www.roadcasepod.comOr contact Roadcase by email:  info@roadcasepod.comRoadcase theme music:  "Eugene (Instrumental)" by Waltzer

durée : 00:59:07 - Chris Thile & Brad Mehldau / Blake Mills & Pino Palladino - par : Sébastien Llinares - Entre mandoline, guitare et jazztronica, nous vous entraînons dans une traversée électrique avec la virtuosité de Chris Thile et Blake Mills à l'énergie libre de Gabriel Gosse, figure montante du jazz français. - réalisé par : Patrick Lérisset Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

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durée : 00:06:15 - Le Bach du matin du mercredi 01 octobre 2025 - Notre Bach du matin est un Bach tout en légèreté, avec l'arrangement pour violoncelle, mandoline et contrebasse du premier mouvement de la Sonate en trio n°6 en Sol Majeur BWV 530. Au cordes frottées et pincées, Yo-Yo Ma, Chris Thile et Edgar Meyer. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

BRAD MEHLDAU “RIDE INTO THE SUN” Brooklyn, NY, January 24-28, 2025Everything means nothing to me (7,9,10,11,12), Tomorrow tomorrow (dr vcl,1,4,5,8,9), Between the bars (8,9), Everybody cares, everybody understands (1,2,3,7,9,12)Brad Mehldau (p,comp) Daniel Rossen (g-1,el-g-2,backing-vcl-3,vcl) Chris Thile (mand-4,backing-vcl-5,vcl) John Davis (el-b-7) Felix Moseholm (b-8) Matt Chamberlain (d-9,perc-10,backing-vcl-11) + Orchestra: Alex Sopp, Jessica Han (fl-12) Agnes Marchione (cl-12) Adrian Morejon (bassoon-12) Eric Reed (hrn-12) Ellen Depasquale, Austin Wulliman, Christina Courtin, Laura Frautschi, Joanna Maurer, Derek Ratzenboeck (vln-12) Dov Scheindlin, Mario Goto, Nadia Sirota (viola-12) Sophie Shao, Michael Haas, Caitlin Sullivan (cello-12) David Grossman (b-12) REGINA CARTER FREEDOM BAND “SWING STATES : HARMONY IN THE BATTLEGROUND”” New York University, New York, 2020 On Wisconsin !, Rocky Mountain high (Colorado), Dancing in the street (Detroit, Michigan)John Daversa (tp,flhrn) Regina Carter (vln) Jon Batiste (p) Alexis Cuadrado (b) Kabir Sehgal (b,perc) Harvey Mason (d) MILES DAVIS GROUP “TURNAROUND, RARE MILES DAVIS THE COMPLETE ON THE CORNER SESSIONS” New York, November 29, 1972 Turnaround, JabaliMiles Davis (tp) Carlos Garnett (sop) Cedric Lawson (org) Reggie Lucas (g) Khalil Balakrishna (el-sitar) Mike Henderson (el-b,vcl-1) Al Foster (d) Badal Roy (tabla) Mtume (perc) Continue reading Puro Jazz 23 de septiembre, 2025 at PuroJazz.

Israeli/Ukranian-style bolt from the blue drone attacks freak out Eric. I don't buy Silicon Shield. Lessons from Waymo on about the future of warfare. Intertextual analysis of the Mick Ryan interview. Fed Supernova, which is a terrible name for a conference, and counterintelligence. Has John Bolton taken enough Ls already? I guess not. Guests include: Tony Stark, Army vet who writes https://www.breakingbeijing.com/ Justin McIntosh, former Green beret who writes https://justinmc.substack.com/ Eric Robinson, lawyer and Army vet who spent time in OSC, JSOC and the NCTC Outtro Music: Bach, Chris Thile, Partita 1 in B Minor 1002: VI. Double https://open.spotify.com/track/780bh3MspPK19jVDD7EIKu?si=4809af67eda34c38 Learn more about your ad choices. Visit megaphone.fm/adchoices

Israeli/Ukranian-style bolt from the blue drone attacks freak out Eric. I don't buy Silicon Shield. Lessons from Waymo on about the future of warfare. Intertextual analysis of the Mick Ryan interview. Fed Supernova, which is a terrible name for a conference, and counterintelligence. Has John Bolton taken enough Ls already? I guess not. Guests include: Tony Stark, Army vet who writes https://www.breakingbeijing.com/ Justin McIntosh, former Green beret who writes https://justinmc.substack.com/ Eric Robinson, lawyer and Army vet who spent time in OSC, JSOC and the NCTC Outtro Music: Bach, Chris Thile, Partita 1 in B Minor 1002: VI. Double https://open.spotify.com/track/780bh3MspPK19jVDD7EIKu?si=4809af67eda34c38 Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest on this week's bitesize episode is Gabe Witcher. This extract comes from a longer conversation I had with Gabe in June 2023, directly after he'd played his final shows with Punch Brothers at Telluride.Gabe talks about first meeting Chris Thile at a festival when they were kids; playing football together before they even got round to jamming; how they found the rest of the band that became Punch Brothers; their first shows together in New York City and how the emotion of playing the tunes they worked on back then hit him in those final Telluride shows.Here's the full 2023 interview with Gabe if you want to hear the whole conversation.Happy picking.Matt Support the show===Thanks to Bryan Sutton for his wonderful theme tune to Bluegrass Jam Along (and to Justin Moses for playing the fiddle!) Bluegrass Jam Along is proud to be sponsored by Collings Guitars and Mandolins- Sign up to get updates on new episodes - Free fiddle tune chord sheets- Here's a list of all the Bluegrass Jam Along interviews- Follow Bluegrass Jam Along for regular updates: Instagram Facebook - Review us on Apple Podcasts

My guest for this week's Bitesize episode is Jarrod Walker, best known to most of you as the mandolin player in Billy Strings' band.This is a segment of a longer interview from 2022. In this section Jarrod talks about getting the gig with Billy, how it was both the most progressive and the most traditional gig he'd had, learning to play plugged in and experimenting with pedals.The full interview (link below if you're interested) covers much more, including what Chris Thile taught him about learning fiddle tunes, how he almost ended up selling instruments for a living rather than playing them and going from landscaping one day during the pandemic to playing a live streamed gig at Red Rocks the next.To connect with Jarrod and find out where you can catch a show, check out the links below:Jarrod's FacebookJarrod's InstagramBilly Strings' websiteHere's the full interview with Jarrod.Happy picking.Matt Support the show===Thanks to Bryan Sutton for his wonderful theme tune to Bluegrass Jam Along (and to Justin Moses for playing the fiddle!) Bluegrass Jam Along is proud to be sponsored by Collings Guitars and Mandolins- Sign up to get updates on new episodes - Free fiddle tune chord sheets- Here's a list of all the Bluegrass Jam Along interviews- Follow Bluegrass Jam Along for regular updates: Instagram Facebook - Review us on Apple Podcasts

http://www.attractionchecklist.com - We've drug our feet long enough.  It's time to go see the Country Bear Musical Jamboree at Walt Disney World's Magic Kingdom on this episode of Attraction Checklist.  Attraction audio recorded on May 21, 2025. TRANSCRIPT: Welcome to Attraction Checklist. This episode we visit Walt Disney World's Magic Kingdom to check out the Country Bear Jamboree's new show the Country Bear Musical Jamboree. The Walt Disney World website describes this attraction saying: Head over to Frontierland for this newly reimagined show where Henry, Trixie, Big Al and their pals are playin' some of your favorite Disney songs alongside a heapin' helpin' of Southern charm. There are no age or height requirements for this attraction and, in a possible bit of foreshadowing, there is no Thrill Level listed. Before we head to Grizzly Hall, here are five fast facts about the Country Bear Musical Jamboree. 1. In September 2023, Disney announced that the Country Bear Jamboree would be retooled into a new show called the Country Bear Musical Jamboree.  The edited original show that had been running closed on January 27, 2024.  The new version of the show opened on July 17, 2024. 2. As part of the redesign for the new show, the lobby area of grizzly hall has been festooned with display cases filled with treasures from the history of the Country Bear Jamboree.  This includes trophies of awards won by the bears, vintage costume pieces and original paw-written lyrics for songs. 3. Veteran singer, songwriter Mac McAnally was tasked with creating country versions of popular Disney songs for the show.  He also provides the voice of Terrance the Shaker in the show as well. 4. The Voice competitor Emily Ann Roberts provides the voice of Trixie and Allison Russell and Chris Thile provide voices for Teddi Barra and Wendell respectively. 5. As part of the revamp, one bear got a name change.  Liver Lips McGrowl is now Romeo McGrowl.  Romeo is now voiced by Robert “Big Sandy” Williams. With much trepidation, it's now time to visit the Country Bear Musical Jamboree.  John B. deHaas is along for the journey and after the show we'll give you our thoughts on this attraction.  This is a binaural recording so if you have headphone, put them on now as we visit the Country Bear Musical Jamboree at Magic Kingdom. The attraction audio recorded for this episode is available exclusively to the Saturday Morning Media Patron Patron.  Support the show and get fun Bonus content over at http://www.patreon.com/saturdaymorningmedia Episode edited by Stephen Staver FOLLOW US https://www.instagram.com/attractionchecklist/ https://www.facebook.com/attractionchecklist https://www.linkedin.com/company/saturday-morning-media http://www.youtube.com/user/SaturdayMorningMedia?sub_confirmation=1 FOLLOW GRANT http://www.MrGrant.com https://instagram.com/throwingtoasters/ SOURCES: https://en.wikipedia.org/wiki/Country_Bear_Jamboree https://musicrow.com/2024/07/country-bear-jamboree-returns-to-disney-with-tunes-by-mac-mcanally-emily-ann-roberts-more/ https://disneyworld.disney.go.com/attractions/magic-kingdom/country-bear-jamboree/ Show ©2025 Saturday Morning Media/Grant Baciocco  

(Editor's Note: Welcome to our Reissue series! For the next several weeks, Basic Folk is digging back into the archives and reposting some of our favorite episodes alongside new introductions commenting on what it's like to listen back. Enjoy!This episode featuring Cindy Howes interviewing Chris Thile was originally posted on September 9, 2021 after Chris released his solo album, 'Laysongs.')Chris Thile (Nickel Creek, Punch Brothers) has been making music nonstop since he was 5 years old. His musical parents found him a mandolin and he started taking lessons and jamming at nearby Southern California pizza shops. He met Sara and Sean Watkins when he was 12 and they started Nickel Creek. In the meantime, Chris' parents moved the family from California to Murray, Kentucky and really started getting serious about evangelical Christianity. This would have a huge impact on Chris; his record, 'Laysongs,' asks a lot of questions surrounding his experience with religion as a young kid. He talks about the transition from being a family with no religion in their routine to being enveloped so intensely in faith.Another important aspect that comes along on the album is Chris' striking love for classical music. His grandparents gave him some pieces by Bach and set him up for a lifetime of studying and playing classical. Elsewhere in our Basic Folk conversation he also gets into what it was like to grow up alongside Sara and Sean as bandmates, friends, and fellow Christians. One of the themes of the new album is about community, namely, engaging in a community that you love. Chris recognized that he dissented from Christian community in his young adult life where everyone was thinking the same way – Chris felt excluded, so he left. Now, in music, he's found a new community where everyone thinks the same, so still certain people are excluded. He talks about how the pandemic helped further shape those feelings about exclusionary community. We also get into a riveting conversation about Chris' thoughts on writing simple pop music and one of his deepest passions: wine.Follow Basic Folk on social media: https://basicfolk.bio.link/Sign up for Basic Folk's newsletter: https://bit.ly/basicfolknewsHelp produce Basic Folk by contributing: https://basicfolk.com/donate/Interested in sponsoring us? Contact BGS: https://bit.ly/sponsorBGSpodsAdvertising Inquiries: https://redcircle.com/brands

For over 50 years, the Indiana Fiddlers' Gathering has attracted old-time music fans to Battle Ground, Indiana, for a weekend of concerts, workshops and jam sessions. This week on Cultural Manifesto, listen to interviews with musicians and organizers connected to the festival, including Dave Samuelson, Cliff Harrison, and fiddle player Stephanie Coleman.  Coleman began performing at the Indiana Fiddlers' Gathering as a child. Along with her musical partner Nora Brown, she's one of the headliners at this year's festival. You might have seen their recent performance for NPR's Tiny Desk.  The Indiana Fiddlers' Gathering began in 1972. Back then, it wasn't a festival, just a loose circle of musicians and friends gathering under the trees at the Tippecanoe Battlefield, to share their love of old-time fiddle music. What began as a casual gathering of local fiddlers has grown into a nationally respected festival featuring a wide range of American roots music and international fiddle styles, including bluegrass, jazz, Creole, Irish, Mexican, and Scandinavian fiddlers.  Over the years, the Indiana Fiddlers Gathering has hosted celebrated names in traditional music, including Mike Seeger, John Hartford, Johnny Gimble, Jethro Burns and many others. It also gave early exposure to future stars like Alison Krauss and Chris Thile, who performed at the festival as teenagers.

Twenty-five years after their final album, XTC continue to inspire new generations of musicians. In this episode of What Do You Call That Noise? The XTC Podcast, Grammy Award-winning songwriter Madison Cunningham talks about finding inspiration in River of Orchids, 1000 Umbrellas and Easter Theatre. The musician also talks about her love of a riff, lyrical ambiguity and following her musical instincts. Madison Cunningham Madison Cunningham, Jacob Collier and Chris Thile covering XTC's River of Orchids This month's song is by Stephen Dahill  What Do You Call That Noise? An XTC Discovery Book available from www.xtclimelight.com  If you've enjoyed What Do You Call That Noise? The XTC Podcast, please show your support at https://www.patreon.com/markfisher Thanks to the Pink Things, Humble Daisies and Knights in Shining Karma who've done the same. ★ Support this podcast on Patreon ★

Chris Thile's new Audible podcast and musical variety show, the Energy Curfew Music Hour uses music to imagine how people can adapt to a world reshaped by climate change.

(00:00:00) News & Sports(00:12:47) Entertainment News(00:45:02) Pranks Gone Wrong(01:20:45) Bizarre File, Artist Rob Nero(01:37:11) Joie Chitwood III & 2025 Truist Championship(01:55:07) Chris Thile, William DuVall(02:37:40) Bizarre File(02:46:16) Hollywood Trash & Music News(03:00:22) Wrap Up

Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show. Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's lovely December night. I hope it's just as nice where you are. You'll find all of my links at www.linktr.ee/brettsoldtimeradioshow A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an instagram page and youtube channel both called brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside  #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers         The Man Called X An espionage radio drama that aired on CBS and NBC from July 10, 1944, to May 20, 1952. The radio series was later adapted for television and was broadcast for one season, 1956–1957. People Herbert Marshall had the lead role of agent Ken Thurston/"Mr. X", an American intelligence agent who took on dangerous cases in a variety of exotic locations. Leon Belasco played Mr. X's comedic sidekick, Pegon Zellschmidt, who always turned up in remote parts of the world because he had a "cousin" there. Zellschmidt annoyed and helped Mr. X. Jack Latham was an announcer for the program, and Wendell Niles was the announcer from 1947 to 1948. Orchestras led by Milton Charles, Johnny Green, Felix Mills, and Gordon Jenkins supplied the background music. William N. Robson was the producer and director. Stephen Longstreet was the writer. Production The Man Called X replaced America — Ceiling Unlimited on the CBS schedule. Television The series was later adapted to a 39-episode syndicated television series (1956–1957) starring Barry Sullivan as Thurston for Ziv Television. Episodes Season 1 (1956) 1 1 "For External Use Only" Eddie Davis Story by : Ladislas Farago Teleplay by : Stuart Jerome, Harold Swanton, and William P. Templeton January 27, 1956 2 2 "Ballerina Story" Eddie Davis Leonard Heideman February 3, 1956 3 3 "Extradition" Eddie Davis Ellis Marcus February 10, 1956 4 4 "Assassination" William Castle Stuart Jerome February 17, 1956 5 5 "Truth Serum" Eddie Davis Harold Swanton February 24, 1956 6 6 "Afghanistan" Eddie Davis Leonard Heidman March 2, 1956 7 7 "Embassy" Herbert L. Strock Laurence Heath and Jack Rock March 9, 1956 8 8 "Dangerous" Eddie Davis George Callahan March 16, 1956 9 9 "Provocateur" Eddie Davis Arthur Weiss March 23, 1956 10 10 "Local Hero" Leon Benson Ellis Marcus March 30, 1956 11 11 "Maps" Eddie Davis Jack Rock May 4, 1956 12 12 "U.S. Planes" Eddie Davis William L. Stuart April 13, 1956 13 13 "Acoustics" Eddie Davis Orville H. Hampton April 20, 1956 14 14 "The General" Eddie Davis Leonard Heideman April 27, 1956 Season 2 (1956–1957) 15 1 "Missing Plates" Eddie Davis Jack Rock September 27, 1956 16 2 "Enemy Agent" Eddie Davis Teleplay by : Gene Levitt October 4, 1956 17 3 "Gold" Eddie Davis Jack Laird October 11, 1956 18 4 "Operation Janus" Eddie Davis Teleplay by : Jack Rock and Art Wallace October 18, 1956 19 5 "Staff Headquarters" Eddie Davis Leonard Heideman October 25, 1956 20 6 "Underground" Eddie Davis William L. Stuart November 1, 1956 21 7 "Spare Parts" Eddie Davis Jack Laird November 8, 1956 22 8 "Fallout" Eddie Davis Teleplay by : Arthur Weiss November 15, 1956 23 9 "Speech" Eddie Davis Teleplay by : Ande Lamb November 22, 1956 24 10 "Ship Sabotage" Eddie Davis Jack Rock November 29, 1956 25 11 "Rendezvous" Eddie Davis Ellis Marcus December 5, 1956 26 12 "Switzerland" Eddie Davis Leonard Heideman December 12, 1956 27 13 "Voice On Tape" Eddie Davis Teleplay by : Leonard Heideman December 19, 1956 28 14 "Code W" Eddie Davis Arthur Weiss December 26, 1956 29 15 "Gas Masks" Eddie Davis Teleplay by : Jack Rock January 3, 1957 30 16 "Murder" Eddie Davis Lee Berg January 10, 1957 31 17 "Train Blow-Up" Eddie Davis Ellis Marcus February 6, 1957 32 18 "Powder Keg" Jack Herzberg Les Crutchfield and Jack Rock February 13, 1957 33 19 "Passport" Eddie Davis Norman Jolley February 20, 1957 34 20 "Forged Documents" Eddie Davis Charles Mergendahl February 27, 1957 35 21 "Australia" Lambert Hill Jack Rock March 6, 1957 36 22 "Radio" Eddie Davis George Callahan March 13, 1957 37 23 "Business Empire" Leslie Goodwins Herbert Purdum and Jack Rock March 20, 1957 38 24 "Hungary" Eddie Davis Fritz Blocki and George Callahan March 27, 1957 39 25 "Kidnap" Eddie Davis George Callahan April 4, 1957 sleep insomnia relax chill night nightime bed bedtime oldtimeradio drama comedy radio talkradio hancock tonyhancock hancockshalfhour sherlock sherlockholmes radiodrama popular viral viralpodcast podcast brett brettorchard orchard east devon seaton beer lyme regis village condado de alhama spain murcia         The Golden Age of Radio Also known as the old-time radio (OTR) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium. It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows. Radio was the first broadcast medium, and during this period people regularly tuned in to their favourite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for the new medium, many of which later migrated to television: radio plays, mystery serials, soap operas, quiz shows, talent shows, daytime and evening variety hours, situation comedies, play-by-play sports, children's shows, cooking shows, and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. Origins A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-broadcast era, could not power a loudspeaker so the family must share earphones During the first three decades of radio, from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph; the radio signal could be either on or off. Radio communication was by wireless telegraphy; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code. At the receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to the event was made in 1928 by H. P. Davis, Vice President of Westinghouse, in a lecture given at Harvard University. In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden"[2] and also in James O'Neal's essays.[3][4] An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of the wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver. After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local election results. This was followed in 1920 with the first commercial radio station in the United States, KDKA, being established in Pittsburgh. The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ. Growth of radio Broadcast radio in the United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Consumer adoption Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned a radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the centre of American life. 83% of American homes would own a radio by 1940. Government regulation Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by the U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40, which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of the country's stations were assigned to new transmitting frequencies. Broadcast networks The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network. The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to a group headed by RCA, which used the assets to form the National Broadcasting Company. Four radio networks had formed by 1934. These were: National Broadcasting Company Red Network (NBC Red), launched November 15, 1926. Originally founded as the National Broadcasting Company in late 1926, the company was almost immediately forced to split under antitrust laws to form NBC Red and NBC Blue. When, in 1942, NBC Blue was sold and renamed the Blue Network, this network would go back to calling itself simply the National Broadcasting Company Radio Network (NBC). National Broadcasting Company Blue Network (NBC Blue); launched January 10, 1927, split from NBC Red. NBC Blue was sold in 1942 and became the Blue Network, and it in turn transferred its assets to a new company, the American Broadcasting Company on June 15, 1945. That network identified itself as the American Broadcasting Company Radio Network (ABC). Columbia Broadcasting System (CBS), launched September 18, 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed as company president. Mutual Broadcasting System (Mutual), launched September 29, 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the case with the other three radio networks. Programming In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of the Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. Rehearsal for the World War II radio show You Can't Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI). Live events Coverage of live events included musical concerts and play-by-play sports broadcasts. News The capability of the new medium to get information to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), panel discussions, weather reports, and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s, eventually culminating in newspapers trumping up exaggerated [citation needed] reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a faux newscast. Musical features The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS. Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Comedy Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby, Abbott and Costello, Fred Allen, Jack Benny, Victor Borge, Fanny Brice, Billie Burke, Bob Burns, Judy Canova, Eddie Cantor, Jimmy Durante, Burns and Allen, Phil Harris, Edgar Bergen, Bob Hope, Groucho Marx, Jean Shepherd, Red Skelton and Ed Wynn. Situational comedies also gained popularity, such as Amos 'n' Andy, Easy Aces, Ethel and Albert, Fibber McGee and Molly, The Goldbergs, The Great Gildersleeve, The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume), Meet Corliss Archer, Meet Millie, and Our Miss Brooks. Radio comedy ran the gamut from the small town humor of Lum and Abner, Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan. Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This?,[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant, and other memorable parodies were presented by such satirists as Spike Jones, Stoopnagle and Budd, Stan Freberg and Bob and Ray. British comedy reached American shores in a major assault when NBC carried The Goon Show in the mid-1950s. Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became a weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Sailor, Red Ryder, Reg'lar Fellers, Terry and the Pirates and Tillie the Toiler. Bob Montana's redheaded teen of comic strips and comic books was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson. Soap operas The first program generally considered to be a daytime serial drama by scholars of the genre is Painted Dreams, which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em, which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960, the last four daytime radio dramas—Young Dr. Malone, Right to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end. Children's programming The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Boy, Captain Midnight, and The Tom Mix Ralston Straight Shooters. Badges, rings, decoding devices and other radio premiums offered on these adventure shows were often allied with a sponsor's product, requiring the young listeners to mail in a boxtop from a breakfast cereal or other proof of purchase. Radio plays Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Arch Oboler's Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes, in adaptations from literature, Broadway, and/or films. They included such titles as Liliom, Oliver Twist (a title now feared lost), A Tale of Two Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells's The War of the Worlds, formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson, and a 90-minute Hamlet, starring John Gielgud.[22] Recordings of many of these programs survive. During the 1940s, Basil Rathbone and Nigel Bruce, famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes, which featured both original stories and episodes directly adapted from Arthur Conan Doyle's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became the only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as "The Speckled Band". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare, which featured him in a series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch), and Macbeth. Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin, Carlton E. Morse, David Goodis, Archibald MacLeish, Arthur Miller, Arch Oboler, Wyllis Cooper, Rod Serling, Jay Bennett, and Irwin Shaw. Game shows Game shows saw their beginnings in radio. One of the first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show was the 1939 show Pot o' Gold, but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt was even made by the FCC to ban them (as an illegal lottery) in August 1949.[23] Broadcast production methods The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to the carpeted floor after use. Radio stations Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of pre-recorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs. Recording was done using a cutting lathe and acetate discs. Programs were normally recorded at 331⁄3 rpm on 16 inch discs, the standard format used for such "electrical transcriptions" from the early 1930s through the 1950s. Sometimes, the groove was cut starting at the inside of the disc and running to the outside. This was useful when the program to be recorded was longer than 15 minutes so required more than one disc side. By recording the first side outside in, the second inside out, and so on, the sound quality at the disc change-over points would match and result in a more seamless playback. An inside start also had the advantage that the thread of material cut from the disc's surface, which had to be kept out of the path of the cutting stylus, was naturally thrown toward the centre of the disc so was automatically out of the way. When cutting an outside start disc, a brush could be used to keep it out of the way by sweeping it toward the middle of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick it up as it was cut and deposit it in a water-filled bottle. In addition to convenience, this served a safety purpose, as the cellulose nitrate thread was highly flammable and a loose accumulation of it combusted violently if ignited. Most recordings of radio broadcasts were made at a radio network's studios, or at the facilities of a network-owned or affiliated station, which might have four or more lathes. A small local station often had none. Two lathes were required to capture a program longer than 15 minutes without losing parts of it while discs were flipped over or changed, along with a trained technician to operate them and monitor the recording while it was being made. However, some surviving recordings were produced by local stations. When a substantial number of copies of an electrical transcription were required, as for the distribution of a syndicated program, they were produced by the same process used to make ordinary records. A master recording was cut, then electroplated to produce a stamper from which pressings in vinyl (or, in the case of transcription discs pressed before about 1935, shellac) were moulded in a record press. Armed Forces Radio Service Frank Sinatra and Alida Valli converse over Armed Forces Radio Service during World War II The Armed Forces Radio Service (AFRS) had its origins in the U.S. War Department's quest to improve troop morale. This quest began with short-wave broadcasts of educational and information programs to troops in 1940. In 1941, the War Department began issuing "Buddy Kits" (B-Kits) to departing troops, which consisted of radios, 78 rpm records and electrical transcription discs of radio shows. However, with the entrance of the United States into World War II, the War Department decided that it needed to improve the quality and quantity of its offerings. This began with the broadcasting of its own original variety programs. Command Performance was the first of these, produced for the first time on March 1, 1942. On May 26, 1942, the Armed Forces Radio Service was formally established. Originally, its programming comprised network radio shows with the commercials removed. However, it soon began producing original programming, such as Mail Call, G.I. Journal, Jubilee and GI Jive. At its peak in 1945, the Service produced around 20 hours of original programming each week. From 1943 until 1949 the AFRS also broadcast programs developed through the collaborative efforts of the Office of the Coordinator of Inter-American Affairs and the Columbia Broadcasting System in support of America's cultural diplomacy initiatives and President Franklin Roosevelt's Good Neighbour policy. Included among the popular shows was Viva America which showcased leading musical artists from both North and South America for the entertainment of America's troops. Included among the regular performers were: Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres, Kate Smith,[26] and John Serry Sr. After the war, the AFRS continued providing programming to troops in Europe. During the 1950s and early 1960s it presented performances by the Army's only symphonic orchestra ensemble—the Seventh Army Symphony Orchestra. It also provided programming for future wars that the United States was involved in. It survives today as a component of the American Forces Network (AFN). All of the shows aired by the AFRS during the Golden Age were recorded as electrical transcription discs, vinyl copies of which were shipped to stations overseas to be broadcast to the troops. People in the United States rarely ever heard programming from the AFRS,[31] though AFRS recordings of Golden Age network shows were occasionally broadcast on some domestic stations beginning in the 1950s. In some cases, the AFRS disc is the only surviving recording of a program. Home radio recordings in the United States There was some home recording of radio broadcasts in the 1930s and 1940s. Examples from as early as 1930 have been documented. During these years, home recordings were made with disc recorders, most of which were only capable of storing about four minutes of a radio program on each side of a twelve-inch 78 rpm record. Most home recordings were made on even shorter-playing ten-inch or smaller discs. Some home disc recorders offered the option of the 331⁄3 rpm speed used for electrical transcriptions, allowing a recording more than twice as long to be made, although with reduced audio quality. Office dictation equipment was sometimes pressed into service for making recordings of radio broadcasts, but the audio quality of these devices was poor and the resulting recordings were in odd formats that had to be played back on similar equipment. Due to the expense of recorders and the limitations of the recording media, home recording of broadcasts was not common during this period and it was usually limited to brief excerpts. The lack of suitable home recording equipment was somewhat relieved in 1947 with the availability of magnetic wire recorders for domestic use. These were capable of recording an hour-long broadcast on a single small spool of wire, and if a high-quality radio's audio output was recorded directly, rather than by holding a microphone up to its speaker, the recorded sound quality was very good. However, because the wire cost money and, like magnetic tape, could be repeatedly re-used to make new recordings, only a few complete broadcasts appear to have survived on this medium. In fact, there was little home recording of complete radio programs until the early 1950s, when increasingly affordable reel-to-reel tape recorders for home use were introduced to the market. Recording media Electrical transcription discs         The War of the Worlds radio broadcast by Orson Welles on electrical transcription disc Before the early 1950s, when radio networks and local stations wanted to preserve a live broadcast, they did so by means of special phonograph records known as "electrical transcriptions" (ETs), made by cutting a sound-modulated groove into a blank disc. At first, in the early 1930s, the blanks varied in both size and composition, but most often they were simply bare aluminum and the groove was indented rather than cut. Typically, these very early recordings were not made by the network or radio station, but by a private recording service contracted by the broadcast sponsor or one of the performers. The bare aluminum discs were typically 10 or 12 inches in diameter and recorded at the then-standard speed of 78 rpm, which meant that several disc sides were required to accommodate even a 15-minute program. By about 1936, 16-inch aluminum-based discs coated with cellulose nitrate lacquer, commonly known as acetates and recorded at a speed of 331⁄3 rpm, had been adopted by the networks and individual radio stations as the standard medium for recording broadcasts. The making of such recordings, at least for some purposes, then became routine. Some discs were recorded using a "hill and dale" vertically modulated groove, rather than the "lateral" side-to-side modulation found on the records being made for home use at that time. The large slow-speed discs could easily contain fifteen minutes on each side, allowing an hour-long program to be recorded on only two discs. The lacquer was softer than shellac or vinyl and wore more rapidly, allowing only a few playbacks with the heavy pickups and steel needles then in use before deterioration became audible. During World War II, aluminum became a necessary material for the war effort and was in short supply. This caused an alternative to be sought for the base on which to coat the lacquer. Glass, despite its obvious disadvantage of fragility, had occasionally been used in earlier years because it could provide a perfectly smooth and even supporting surface for mastering and other critical applications. Glass base recording blanks came into general use for the duration of the war. Magnetic wire recording In the late 1940s, wire recorders became a readily obtainable means of recording radio programs. On a per-minute basis, it was less expensive to record a broadcast on wire than on discs. The one-hour program that required the four sides of two 16-inch discs could be recorded intact on a single spool of wire less than three inches in diameter and about half an inch thick. The audio fidelity of a good wire recording was comparable to acetate discs and by comparison the wire was practically indestructible, but it was soon rendered obsolete by the more manageable and easily edited medium of magnetic tape. Reel-to-reel tape recording Bing Crosby became the first major proponent of magnetic tape recording for radio, and he was the first to use it on network radio, after he did a demonstration program in 1947. Tape had several advantages over earlier recording methods. Running at a sufficiently high speed, it could achieve higher fidelity than both electrical transcription discs and magnetic wire. Discs could be edited only by copying parts of them to a new disc, and the copying entailed a loss of audio quality. Wire could be divided up and the ends spliced together by knotting, but wire was difficult to handle and the crude splices were too noticeable. Tape could be edited by cutting it with a blade and neatly joining ends together with adhesive tape. By early 1949, the transition from live performances preserved on discs to performances pre-recorded on magnetic tape for later broadcast was complete for network radio programs. However, for the physical distribution of pre-recorded programming to individual stations, 16-inch 331⁄3 rpm vinyl pressings, less expensive to produce in quantities of identical copies than tapes, continued to be standard throughout the 1950s. Availability of recordings The great majority of pre-World War II live radio broadcasts are lost. Many were never recorded; few recordings antedate the early 1930s. Beginning then several of the longer-running radio dramas have their archives complete or nearly complete. The earlier the date, the less likely it is that a recording survives. However, a good number of syndicated programs from this period have survived because copies were distributed far and wide. Recordings of live network broadcasts from the World War II years were preserved in the form of pressed vinyl copies issued by the Armed Forces Radio Service (AFRS) and survive in relative abundance. Syndicated programs from World War II and later years have nearly all survived. The survival of network programming from this time frame is more inconsistent; the networks started prerecording their formerly live shows on magnetic tape for subsequent network broadcast, but did not physically distribute copies, and the expensive tapes, unlike electrical transcription ("ET") discs, could be "wiped" and re-used (especially since, in the age of emerging trends such as television and music radio, such recordings were believed to have virtually no rerun or resale value). Thus, while some prime time network radio series from this era exist in full or almost in full, especially the most famous and longest-lived of them, less prominent or shorter-lived series (such as serials) may have only a handful of extant episodes. Airchecks, off-the-air recordings of complete shows made by, or at the behest of, individuals for their own private use, sometimes help to fill in such gaps. The contents of privately made recordings of live broadcasts from the first half of the 1930s can be of particular interest, as little live material from that period survives. Unfortunately, the sound quality of very early private recordings is often very poor, although in some cases this is largely due to the use of an incorrect playback stylus, which can also badly damage some unusual types of discs. Most of the Golden Age programs in circulation among collectors—whether on analogue tape, CD, or in the form of MP3s—originated from analogue 16-inch transcription disc, although some are off-the-air AM recordings. But in many cases, the circulating recordings are corrupted (decreased in quality), because lossless digital recording for the home market did not come until the very end of the twentieth century. Collectors made and shared recordings on analogue magnetic tapes, the only practical, relatively inexpensive medium, first on reels, then cassettes. "Sharing" usually meant making a duplicate tape. They connected two recorders, playing on one and recording on the other. Analog recordings are never perfect, and copying an analogue recording multiplies the imperfections. With the oldest recordings this can even mean it went out the speaker of one machine and in via the microphone of the other. The muffled sound, dropouts, sudden changes in sound quality, unsteady pitch, and other defects heard all too often are almost always accumulated tape copy defects. In addition, magnetic recordings, unless preserved archivally, are gradually damaged by the Earth's magnetic field. The audio quality of the source discs, when they have survived unscathed and are accessed and dubbed anew, is usually found to be reasonably clear and undistorted, sometimes startlingly good, although like all phonograph records they are vulnerable to wear and the effects of scuffs, scratches, and ground-in dust. Many shows from the 1940s have survived only in edited AFRS versions, although some exist in both the original and AFRS forms. As of 2020, the Old Time Radio collection at the Internet Archive contains 5,121 recordings. An active group of collectors makes digitally available, via CD or download, large collections of programs. RadioEchoes.com offers 98,949 episodes in their collection, but not all is old-time radio. Copyright status Unlike film, television, and print items from the era, the copyright status of most recordings from the Golden Age of Radio is unclear. This is because, prior to 1972, the United States delegated the copyrighting of sound recordings to the individual states, many of which offered more generous common law copyright protections than the federal government offered for other media (some offered perpetual copyright, which has since been abolished; under the Music Modernization Act of September 2018, any sound recording 95 years old or older will be thrust into the public domain regardless of state law). The only exceptions are AFRS original productions, which are considered work of the United States government and thus both ineligible for federal copyright and outside the jurisdiction of any state; these programs are firmly in the public domain (this does not apply to programs carried by AFRS but produced by commercial networks). In practice, most old-time radio recordings are treated as orphan works: although there may still be a valid copyright on the program, it is seldom enforced. The copyright on an individual sound recording is distinct from the federal copyright for the underlying material (such as a published script, music, or in the case of adaptations, the original film or television material), and in many cases it is impossible to determine where or when the original recording was made or if the recording was copyrighted in that state. The U.S. Copyright Office states "there are a variety of legal regimes governing protection of pre-1972 sound recordings in the various states, and the scope of protection and of exceptions and limitations to that protection is unclear."[39] For example, New York has issued contradicting rulings on whether or not common law exists in that state; the most recent ruling, 2016's Flo & Eddie, Inc. v. Sirius XM Radio, holds that there is no such copyright in New York in regard to public performance.[40] Further complicating matters is that certain examples in case law have implied that radio broadcasts (and faithful reproductions thereof), because they were distributed freely to the public over the air, may not be eligible for copyright in and of themselves. The Internet Archive and other organizations that distribute public domain and open-source audio recordings maintain extensive archives of old-time radio programs. Legacy United States Some old-time radio shows continued on the air, although in ever-dwindling numbers, throughout the 1950s, even after their television equivalents had conquered the general public. One factor which helped to kill off old-time radio entirely was the evolution of popular music (including the development of rock and roll), which led to the birth of the top 40 radio format. A top 40 show could be produced in a small studio in a local station with minimal staff. This displaced full-service network radio and hastened the end of the golden-age era of radio drama by 1962. (Radio as a broadcast medium would survive, thanks in part to the proliferation of the transistor radio, and permanent installation in vehicles, making the medium far more portable than television). Full-service stations that did not adopt either top 40 or the mellower beautiful music or MOR formats eventually developed all-news radio in the mid-1960s. Scripted radio comedy and drama in the vein of old-time radio has a limited presence on U.S. radio. Several radio theatre series are still in production in the United States, usually airing on Sunday nights. These include original series such as Imagination Theatre and a radio adaptation of The Twilight Zone TV series, as well as rerun compilations such as the popular daily series When Radio Was and USA Radio Network's Golden Age of Radio Theatre, and weekly programs such as The Big Broadcast on WAMU, hosted by Murray Horwitz. These shows usually air in late nights and/or on weekends on small AM stations. Carl Amari's nationally syndicated radio show Hollywood 360 features 5 old-time radio episodes each week during his 5-hour broadcast. Amari's show is heard on 100+ radio stations coast-to-coast and in 168 countries on American Forces Radio. Local rerun compilations are also heard, primarily on public radio stations. Sirius XM Radio maintains a full-time Radio Classics channel devoted to rebroadcasts of vintage radio shows. Starting in 1974, Garrison Keillor, through his syndicated two-hour-long program A Prairie Home Companion, has provided a living museum of the production, tone and listener's experience of this era of radio for several generations after its demise. Produced live in theaters throughout the country, using the same sound effects and techniques of the era, it ran through 2016 with Keillor as host. The program included segments that were close renditions (in the form of parody) of specific genres of this era, including Westerns ("Dusty and Lefty, The Lives of the Cowboys"), detective procedurals ("Guy Noir, Private Eye") and even advertising through fictional commercials. Keillor also wrote a novel, WLT: A Radio Romance based on a radio station of this era—including a personally narrated version for the ultimate in verisimilitude. Upon Keillor's retirement, replacement host Chris Thile chose to reboot the show (since renamed Live from Here after the syndicator cut ties with Keillor) and eliminate much of the old-time radio trappings of the format; the show was ultimately canceled in 2020 due to financial and logistics problems. Vintage shows and new audio productions in America are accessible more widely from recordings or by satellite and web broadcasters, rather than over conventional AM and FM radio. The National Audio Theatre Festival is a national organization and yearly conference keeping the audio arts—especially audio drama—alive, and continues to involve long-time voice actors and OTR veterans in its ranks. Its predecessor, the Midwest Radio Theatre Workshop, was first hosted by Jim Jordan, of Fibber McGee and Molly fame, and Norman Corwin advised the organization. One of the longest running radio programs celebrating this era is The Golden Days of Radio, which was hosted on the Armed Forces Radio Service for more than 20 years and overall for more than 50 years by Frank Bresee, who also played "Little Beaver" on the Red Ryder program as a child actor. One of the very few still-running shows from the earlier era of radio is a Christian program entitled Unshackled! The weekly half-hour show, produced in Chicago by Pacific Garden Mission, has been continuously broadcast since 1950. The shows are created using techniques from the 1950s (including home-made sound effects) and are broadcast across the U.S. and around the world by thousands of radio stations. Today, radio performers of the past appear at conventions that feature re-creations of classic shows, as well as music, memorabilia and historical panels. The largest of these events was the Friends of Old Time Radio Convention, held in Newark, New Jersey, which held its final convention in October 2011 after 36 years. Others include REPS in Seattle (June), SPERDVAC in California, the Cincinnati OTR & Nostalgia Convention (April), and the Mid-Atlantic Nostalgia Convention (September). Veterans of the Friends of Old Time Radio Convention, including Chairperson Steven M. Lewis of The Gotham Radio Players, Maggie Thompson, publisher of the Comic Book Buyer's Guide, Craig Wichman of audio drama troupe Quicksilver Audio Theater and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theater – Old & New, scheduled for October 12–13, 2012. Radio dramas from the golden age are sometimes recreated as live stage performances at such events. One such group, led by director Daniel Smith, has been performing re-creations of old-time radio dramas at Fairfield University's Regina A. Quick Center for the Arts since the year 2000. The 40th anniversary of what is widely considered the end of the old time radio era (the final broadcasts of Yours Truly, Johnny Dollar and Suspense on September 30, 1962) was marked with a commentary on NPR's All Things Considered. A handful of radio programs from the old-time era remain in production, all from the genres of news, music, or religious broadcasting: the Grand Ole Opry (1925), Music and the Spoken Word (1929), The Lutheran Hour (1930), the CBS World News Roundup (1938), King Biscuit Time (1941) and the Renfro Valley Gatherin' (1943). Of those, all but the Opry maintain their original short-form length of 30 minutes or less. The Wheeling Jamboree counts an earlier program on a competing station as part of its history, tracing its lineage back to 1933. Western revival/comedy act Riders in the Sky produced a radio serial Riders Radio Theatre in the 1980s and 1990s and continues to provide sketch comedy on existing radio programs including the Grand Ole Opry, Midnite Jamboree and WoodSongs Old-Time Radio Hour. Elsewhere Regular broadcasts of radio plays are also heard in—among other countries—Australia, Croatia, Estonia,[46] France, Germany, Ireland, Japan, New Zealand, Norway, Romania, and Sweden. In the United Kingdom, such scripted radio drama continues on BBC Radio 3 and (principally) BBC Radio 4, the second-most popular radio station in the country, as well as on the rerun channel BBC Radio 4 Extra, which is the seventh-most popular station there. #starradio #totalstar #star1075 #heart #heartradio #lbc #bbc #bbcradio #bbcradio1 #bbcradio2 #bbcradio3 #bbcradio4 #radio4extra #absoluteradio #absolute #capital #capitalradio #greatesthitsradio #hitsradio #radio #adultcontemporary #spain #bristol #frenchay #colyton #lymeregis #seaton #beer #devon #eastdevon #brettorchard #brettsoldtimeradioshow #sundaynightmystery #lymebayradio fe2f4df62ffeeb8c30c04d3d3454779ca91a4871

For the series finale, we go back to the Fort. Join us as we bring you the sights and sounds we experienced at Fort Adams as Newport Folk returned after a necessary break in 2020, and presented their six-day, half capacity 2021 festival, Folk On. We'll take you from the meaningful first notes sung by the first performers to grace the stage, Resistance Revival Chorus, to one of the last - Lake Street Dive, and their tribute to beloved member of the folk family and former WFUV Program Director, the late Rita Houston. We also hear from Andrew Bird and Hiss Golden Messenger's MC Taylor about their return to performing and paying homage to John Prine, from mandolin virtuoso Chris Thile about the magic of Newport and why it continues to gives him hope, and the kismet journey of Allison Russell organizing and performing during the most talked about set at Folk On, Sunday night's 'Once and Future Sounds', curated by, and featuring women of color, with a very very special guest. We also check in with Margo Price and Jeremy Ivey, Katie Crutchfield (Waxahatchee), Yola, Newport Executive Director Jay Sweet, and many other artists, fans and members of the Folk family about their experiences at Folk On, their reflections of the past 18 months, and where we are headed. Through it all, the feeling of family and community is ever present, giving us the courage to take tentative steps forward, leaning into the truth and power of music, and the magic that happens when we dream together. Festival Circuit: Newport Folk is presented by Osiris Media, and hosted by Carmel Holt. It is co-written, co-produced and edited by Carmel and Julian Booker, who is also the series' audio engineer. Production assistance from Zach Brogan. Executive producers are RJ Bee and Christina Collins. Show Logo and art by Mark Dowd.  The series theme music is "Ruminations Pt. 3 (Afternoon Haze)" by Steven Warwick. Thanks to Billy Glassner of the Newport Festivals Foundation for providing archival audio. Thanks to our Folk Family guests Abena Koomson-Davis, Nelini Stamp, Andrew Bird, MC Taylor, Margo Price, Jeremy Ivey, Yola, Allison Russell, Dan Knobler, Samantha Betley, Josh Wool, Julien Baker, Holland Saltzman, Nancy Sheed, Natalie Hemby, Katie Crutchfield, Jay Sweet, Chris Thile, Jonathan Russell, Rachael Price and Bridget Kearney. Learn more about your ad choices. Visit megaphone.fm/adchoices

Brittany Haas is widely regarded as one of the most influential fiddlers of her generation. In this wide-ranging conversation you'll be hearing about her early career, touring with Darol Anger at age 14, the bands Croooked Still, Hawktail and Punch Brothers with Chris Thile. She reflected on the challenges and thrill of a touring life, the Nashville scene, her teaching through Artistworks, and dynamics of being a woman in Bluegrass. We talked about mentors Bruce Molsky and Tony Trishka, her time at Princeton studying Evolutionary Biology, and the need for self-care and boundaries.  We are featuring music from several of her albums, including her recent projects with sister Natalie and the Swedish musician Lena Jonsson.  Like all my episodes, you can also watch this on my YouTube channel or listen to the podcast on all the podcast platforms, and I've also linked the transcript to my website: https://www.leahroseman.com/episodes/brittany-haas See below for other suggested episodes, linked for your convenience, along with links for newsletter and support pages!   Brittany Haas website Hawktail The Snake with Lena Jonsson Haas with sister Natalie Impromptu Sessions (banjo album) Brittany Haas debut album the Punch Brothers website (Energy Curfew Music hour podcast)  I'm sure that you'll enjoy my conversations  with Adam Hurt Janie Rothfield  Joe K. Walsh  Martin Hayes   Tracy Silverman  Alexis Chartrand   Gina Burgess    Guy Donis  and  Kirsty Money It's a joy to bring these meaningful conversations to you, but this project costs me quite a bit of money and lots of time; please support this series through either my merchandise store or buy me a coffee on my Ko-fi page For the merch, it features a unique design by artist Steffi Kelly and you can browse clothes, stickers, notebooks, water bottles and more, everything printed on demand https://www.leahroseman.com/beautiful-shirts-and-more Why not sign up for my newsletter where you'll get access to exclusive information about upcoming guests?  Please check out my back catalogue, with episodes going back to 2021. Timestamps: (00:00) Intro (02:31) Valley of the Moon Scottish Fiddling School, childhood mentors Bruce Molsky Darol Anger, Alasdair Fraser, family support (05:43) sister cellist Natalie, new album Haas (08:26) The Rose Gardener from the album Haas (link in description) (11:23) gardening, creativity, debut album at 17, touring with Darol Anger at 14 (15:16) Ora Lee from album Brittany Haas (link in description) (19:48) Darol Anger  (24:53) early career, Crooked Still, challenges of touring life (27:46) Princeton, decision not to go to music school, Tony Trishka (29:11) band Hawktail, album Place of Growth (30:31) Antilopen from Hawktail's ablum Place of Growth (link in description) (34:46) new album with Väsen and Hawktail (36:21)Punch Brothers, Energy Curfew Music Hour (37:49) other episodes you'll love, different ways to support this series (38:37) Punch Brothers, balancing creative time, Nashville scene (43:29) Lena Jonsson, new album The Snake (45:49) Låt efter Bach: Vals, from The Snake with Lena Jonssen (link in description) (48:15) jazz, teaching Artistworks, self-awareness and injury prevention (53:27) self-care, boundaries, touring life (56:45) women in Bluegrass (01:01:07) Steve Martin, love of banjo, Impromptu Sessions album, Adam Hurt, composing versus interpreting (01:04:30) Lost Girl from album Impromptu Sessions (link in description) (01:07:23) learning music, Bruce Molsky (01:09:26) finding balance in life (01:10:32) upcoming projects

Acclaimed violinist Jeremy Kittel (formerly of the Grammy-winning Turtle Island Quartet), Kittel & Co. (“Kid-dle and Koh”) inhabits the space between classical and acoustic roots, Celtic and bluegrass aesthetics, and folk and jazz sensibilities. The members of Kittel & Co. have collaborated with Béla Fleck, Sarah Jarosz, Chris Thile, and Yo-Yo Ma. Together, Jeremy Kittel, mandolin phenom Josh Pinkham and transcendent guitarist Quinn Bachand coalesce into a singular voice that's thrilled audiences from the Telluride Bluegrass Festival to A Prairie Home Companion. Series: "Arts Channel " [Arts and Music] [Show ID: 40024]

On this episode of The Bandwich Tapes, I sit down with Matt Mundy to discuss his incredible musical journey, which is deeply rooted in family heritage and a love for bluegrass. We dive into the evolution of bluegrass music, breaking down the role of various instruments and how academic influences have helped shape modern sounds.Matt opens up about his early years in music, playing with family, and the joy of making music together. He also shares some memorable stories, including his experiences playing with Wendy Bagwell and his later transition to working with Bruce Hampton and the Aquarium Rescue Unit. We talk about the significance of rhythm in bluegrass, the importance of being a team player, and how the lessons he learned from his bandmates helped shape his playing style.We even discuss some of Matt's collaborations with well-known musicians like Bela Fleck, the rise of jam bands, and how he handles performance anxiety—a common challenge for so many in the music world. Matt also talks about teaching as a way to understand music on a deeper level and reflects on the joy of passing on his love for music to younger players. Music from the Episode:Up and Running (Béla Fleck)Goldrush (Mark & Matt Mundy)Stomp (Mark & Matt Mundy)Dead Presidents (Bruce Hampton & the Aquarium Rescue Unit)The Landing (Béla Fleck)Mo' Better Blues (Mark Mundy, Matt Mundy, Jeff Sipe, & Brad Williams)Thank you for tuning in! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com. And please spread the word about the show!The theme song, "Playcation," was written by Mark Mundy.

Episode 300: When Gaby Moreno was announced as an official showcasing artist at this Fall's Americanafest, it stirred a tingle of recognition in me, but I had to do some digging to realize what a big deal it was. The Guatemala-born, Los Angeles-based singer and songwriter became part of the Watkins Family Hour at Largo in LA and a regular on Chris Thile's Live From Here Show. She's released nine records, winning two Latin Grammy Awards - and an album Grammy Award earlier this year. She's internationally known as one of the most versatile and enthralling voices in any genre, but her latest Dusk, produced by Nashville's Dan Knobler, brings a needed Spanglish influence to the Americana community. In this magical hour, we talk about what inspired her eclectic outlook and her many collaborations, including working with the legendary Van Dyke Parks.   

Dave Hill is a comedian, writer, musician, actor, radio host, and man-about-town originally from Cleveland, Ohio but now living in New York City in a totally sweet apartment with a party deck and everything. Hot chicks come over to hang out and eat cheese plates and stuff with him all the time and it's awesome.   Anyway, on the show business front, Dave has appeared on Netflix's The Unbreakable Kimmy Schmidt, Adult Swim's Joe Pera Talks with You Amazon's The Tick, Peacock TV's Girls5Eva, Comedy Central's @midnightand Inside Amy Schumer programs, TBS' Full Frontal with Samantha Bee, TV Land's The Jim Gaffigan Show, and TruTV's Comedy Knockout among a bunch of others. He is a frequent on-air host for HBO and Cinemax and has been on channels like MTV, VH1, BBC-America, and the Sundance Channel a whole bunch too. Dave also starred in his own television program The King of Miami on the Mojo Network, which was cancelled even though Dave really liked it. The show also aired in the United Kingdom on Sky TV's Film24 Channel. And you can still watch The King of Miami on Hulu too, which Dave is super pumped about. Oh, and Dave was a correspondent on Hoppus on Music starring Blink 182's Mark Hoppus on the Fuse channel, which ruled. Dave has been on other shows and in obscure movies too but let's keep moving for now.   Dave performs live comedy over the world and has appeared at such festivals as the Melbourne International Comedy Festival, SXSW, San Francisco Sketchfest, the Edinburgh Fringe Festival, the U.S. Comedy Arts Festival in Aspen, Sasquatch Festival, Bumbershoot, Bonnaroo, the Bridgetown Comedy Festival in Portland, the Crap Comedy Festival in Oslo, Outside Lands in San Francisco, and then some other ones too. He has also performed comedy at Sing Sing Correctional Facility twice and even ripped some guitar solos inside a Mexican prison a couple times too. In 2007, Variety magazine named Dave one of their “10 Comedians to Watch,” something he still won't shut up about. Some things are hard to let go of. Dave hosted his own radio show The Goddamn Dave Hill Show on WFMU in Jersey City, New Jersey every Monday night from 9pm to midnight for years and now hosts the podcast Dave Hill's Podcasting Incident, which is also broadcast on the UK's Fubar Radio, So...You're Canadian with Dave Hill, and History Fluffer, on which he is joined by Jim Biederman, Jodi Lennon, and Chris Gersbeck. Dave is also a frequent contributor to public radio's Live from Here with Chris Thile and  This American Life. He has also appeared on podcasts like WTF with Marc Maron, The Adam Carolla Show, The Nerdist, and then roughly 78 other ones besides those. Dave is the author of four books, including his brand new book The Awesome Game: One Man's Incredible, Globe-Crushing Hockey Odyssey, in addition to Parking the Moose (Doubleday Canada/Penguin Random House 2019), Tasteful Nudes (St. Martins Press, 2012) and Dave Hill Doesn't Live Here Anymore (Blue Rider Press 2016). He has also written for the New York Times, GQ, Salon, The Paris Review, McSweeney's, New York Observer, The Cleveland Plain Dealer, VICE, Guitar World, and a bunch of other places too. Comedy legend Dick Cavett called Dave “a major figure among American comic writers, past and present,” which is pretty much the coolest thing that has ever happened as far as Dave is concerned. Dave is also a musician who currently sings and plays guitar in the power pop band Valley Lodge, whose song “Go” is the theme song to HBO's Last Week Tonight with John Oliver, and the psych/garage rock band Painted Doll. He was also a member of Cleveland rock bands Sons of Elvis and Cobra Verde as well as Diamondsnake, a heavy metal band with Moby. Additionally, Dave has played guitar for Walter Schreifels and muscle metal band Thor and bass for Lucy Wainwright Roche and former Faith No More singer Chuck Mosley. He also contributed musical scores to films such as Dirty Deeds, Shoot First and Pray You Live, and then some other ones besides those two. Dave's Info  https://www.davehillonline.com  

We have a special episode this week - we are sharing Sarah Jarosz's conversation on Basic Folk podcast! Sarah is a multi-Grammy winning mandolin player and songwriter who has collaborated with the likes of Chris Thile, the Live From Here house band, Bela Fleck, Daniel Tashian, Ruston Kelly, and Natalie Hemby. In this conversation, Sarah and hosts Cindy Howes and Lizzie No talk about her experience with ​confidence using the ​Dunning–Kruger effect, in which people with limited competence in a particular domain overestimate their abilities. AKA Fake it till you make, AKA Leap and the net will appear. She also talks about her parents' influence on her early musicality and how her mom is doing with her cancer remission. An overall theme of this conversation is that Sarah never lost sight of her goal: keeping it all about the music and don't let noise get in the way of your important work.More on Basic Folk:Basic Folk, honest conversations with folk musicians, features hosts Cindy Howes and the musician/known communist Lizzie No. The podcast approaches interviews with warmth, humor and insightful questions. Basic Folk fosters the folk community, but our definition of “folk” is extremely broad, so you'll hear interviews from Molly Tuttle, Ben Harper, The Lone Bellow and many more.You can listen to Basic Folk on The Bluegrass Situation Podcast Network, wherever you get podcasts or at BasicFolk.comGet more access and support this show by subscribing to The Other 22 Hours on Patreon, right here.Links:Sarah JaroszBasic FolkBasic Folk on IGLizzie No on IGSocial Media:The Other 22 Hours InstagramThe Other 22 Hours TikTokMichaela Anne InstagramAaron Shafer-Haiss InstagramAll music written, performed, and produced by Aaron Shafer-Haiss. Become a subscribing member on our Patreon to gain more inside access including exclusive content, workshops, the chance to have your questions answered by our upcoming guests, and more.

Welcome to another episode of the Turn on the Music Podcast! Today, we delve into the life and music of Christone 'Kingfish' Ingram, a rising star in the blues genre known for his electrifying guitar skills and powerful vocals. Here's a breakdown of the episode:Billy Strings, Chris Thile and Cory HenryKingfish with Marty Schwartz InterviewEarly Life and InfluencesChristone Ingram was born to Princess Pride and Christopher Ingram in Clarksdale, Mississippi, in 1999.He is a first cousin to country musician Charley Pride through his mother.Ingram's extended family sang and played music in church, where he grew up attending gospel music performances and occasionally joining in.Influenced by blues legends like Robert Johnson, Lightnin' Hopkins, B.B. King, Muddy Waters, Jimi Hendrix, and Prince.Journey into the BluesIngram became interested in the blues at age 5 after watching a PBS documentary about Muddy Waters with his father.He was taught to play by Bill "Howl-N-Mad" Perry and Richard "Daddy Rich" Crisman at a museum's arts and education program.Ingram attended Clarksdale's Pinetop Perkins Workshop Experience every summer.Perry nicknamed him "Kingfish" after a character in The Amos 'n' Andy Show.Musical DevelopmentStarted playing drums at age six, moved to bass by eleven, and then to guitar.Began playing gigs around Clarksdale while still in seventh grade.DiscographyKingfish (Debut Album)Outside Of This TownBeen Here BeforeHard Times662She Calls Me KingfishThat's What You DoLive in LondonMississippi NightRock & RollMidnight HeatChriston Kingfish Ingram on YoutubeChristone "Kingfish" Ingram Discography - Download Albums in Hi-Res - QobuzChristone "Kingfish" Ingram | Spotify‎Christone "Kingfish" Ingram - Apple MusicSplash - Christone "Kingfish" IngramTurn On The Music Social Media Links:https://linktr.ee/turnonthemusic

Sara + Sean Watkins are Grammy winning musicians that are 2/3 of Nickel Creek (which they started with Chris Thile as kids), The Watkins Family Hour (which features Fiona Apple, Benmont Tench, Jon Brion, John C Riley, and rotating cast of incredible musicians), their own solo records, Sara is in I'm With Her (with Sara Jarosz & Aiofe O'Donovan), as well as collaborations with Jackson Browne, John Mayer, Blake Mills, Dawes, and many others. We talk about the power in diverse skillsets we gain both touring in a large variety of situations as well as various levels of business responsibilities, authenticity and humbleness (versus the emperors new clothes), never taking situations for granted, faking it, and a whole lot of laughs.Get more access and support this show by subscribing to our Patreon, right here.Links:Sara WatkinsSean WatkinsWatkins Family HourNickel CreekI'm With HerDan WilsonBryan SuttonLargoEp 45 - Glen Phillips'Let's Go (So We Can Get Back)' - Jeff TweedyVince GillThe Station InnJenny LewisChris ThileMichael DavesBenmont TenchThe DecemberistsJohn PrineEp 5 - Shovels & RopeClick here to watch this conversation on YouTube.Social Media:The Other 22 Hours InstagramThe Other 22 Hours TikTokMichaela Anne InstagramAaron Shafer-Haiss InstagramAll music written, performed, and produced by Aaron Shafer-Haiss. Become a subscribing member on our Patreon to gain more inside access including exclusive content, workshops, the chance to have your questions answered by our upcoming guests, and more.

My guests this week are Ruth Oxenberg and Rob Schumer.They join me to talk about a very special series of concerts they've curated called Bluegrass on Hudson, which are happening at The Fisher Center for the Performing Arts at Bard College, in New York's Hudson Valley.But we start by talking about a wonderful documentary they directed and produced called Bluegrass Journey. It's a movie I've watched multiple times and really love. We chat about how they got into bluegrass in the first place (including how the Del McCoury Band almost became their wedding band!), how a TV news segment on bluegrass turned into a feature length documentary, their experience of filming the movie at Gray Fox Bluegrass Festival and some of the legends of bluegrass who feature in the movie, including the Del McCoury Band, Peter Rowan, Tim O'Brien, Jerry Douglas, Chris Thile and an iconic performance of Shenandoah by Tony Rice.If you haven't seen Bluegrass Journey I'd urge you to check it out. This was a wonderful conversation. I hope you enjoy it!Happy picking,MattWatch Bluegrass Journey on Amazon PrimeBluegrass on Hudson info and tickets Support the Show.===- Sign up to get updates on new episodes - Free fiddle tune chord sheets- Here's a list of all the Bluegrass Jam Along interviews- Follow Bluegrass Jam Along for regular updates: Instagram Facebook - Review us on Apple Podcasts

Grammy winners and astonishingly fabulous musicians Chris Thile, Sean Watkins, and Sara Watkins of Nickel Creek join us to chat about their fresh approach to songwriting on their most recent album, Celebrants. PART ONEPaul and Scott chat about musical virtuosity, Beyonce, Ricky Skaggs, and the blending of musical genres. PART TWOOur in-depth conversation with Nickel CreekABOUT NICKEL CREEKGRAMMY Award-winning trio Nickel Creek—mandolinist Chris Thile, violinist Sara Watkins, and guitarist Sean Watkins—formed a group as young children in Southern California and honed their chops on the bluegrass circuit for a decade before signing with Sugar Hill Records. Their platinum-selling debut self-titled album was produced by Alison Krauss in 2000 and revolutionized bluegrass and folk music, helping usher in a new era of what we now know as Americana. The genre-bending group has earned nine Grammy nominations across categories in bluegrass, country, folk, contemporary folk, Americana, and American Roots.    Each member of Nickel Creek has taken part in a number of outside projects over the years. Thile is a 2012 recipient of a MacArthur Fellowship and served as the host of the radio show Live from Here (formerly known as A Prairie Home Companion) from 2016 to 2020. He has also released collaborative albums with world-renowned musicians as well as six studio albums with his Grammy-winning band Punch Brothers. Sean Watkins is a co-founder of Watkins Family Hour alongside Sara, which has released three albums and maintains a long-running collaborative show in Los Angeles. Sean has also released a string of solo albums, while Sara's extracurricular projects include the aforementioned Watkins Family Hour, as well as the Grammy-winning roots trio I'm With Her. Sara has released four studio albums and has contributed fiddle to recordings by artists such as Phoebe Bridgers, the Killers and John Mayer.The Grammy-nominated Celebrants, Nickel Creek's fifth studio album and first project in nine years, was recorded at Nashville's historic RCA Studio A and released to overwhelming critical acclaim in 2023.