Podcast appearances and mentions of Dan Tepfer

ANGEL PARRA TRIO – “ANGEL PARRA TRIO” Santiago, March, 1993I mean you (2), Far Wes (1), S.O.S. (2,3), Beautiful love (1), Begin the blues (1,4) Cristian Cuturrufo (tp-4) Marcos Aldana (ts-3) Angel Parra (g) Roberto “Titae” Lindl (b) Francisco “Pancho” Molina (d-1) Pedro Greene (d-2) LEE KONITZ / DAN TEPFER – “DECADE” New York, July 2015-February 2016Thrill, Pulsing green, Through the tunnel, ReboundsLee Konitz (as,sop,voice) Dan Tepfer (p) CARL ALLEN – “TIPPIN'” Englewood Cliffs, NJ, January 13, 2024Parker's mood, Alter ego, L's bopChris Potter (ts,sop,b-cl) John Lee (p-1) Christian McBride (b) Carl Allen (d) Continue reading Puro Jazz 30 de abril, 2025 at PuroJazz.

ChilloutClassic #78 Grudzień w Brazylii 1. J.S.Bach Wariacje Goldbergowskie - Aria i aria da capo - Dan Tepfer. 2. The Girl From Ipanema - Antonio Carlos Jobim, Joao Gilberto, Stan Getz. 3. Antonio Carlos Jobim - Corcovado - Jackie & Roy. 4. C. Debussy - Popołudnie Fauna, Claudio Abbado, Berliner Philharmoniker. 5. Lazy Afternoon - Jackie & Roy. 6. Antonio Carlos Jobim - Wave. 7. F. Chopin - preludium e-moll, Andrzej Jagodziński Trio. 8. Samba przed rozstaniem - Hanna Banaszak. 9. Antonio Carlos Jobim - Aguas De Março, Quartet Eben, Marcos Valle, Stacey Kent. Tomek Diakun

With this playlist we focus on deep listening as a mindset for musicians who wish to achieve successful recording sessions, through a number of albums of seamless interplay. The playlist features Arnaud Dolmen, Leonardo Montana; Miguel Zenón, Dan Tepfer; Gui Duvignau; Arve Henriksen, Harmen Fraanje; Sonar, David Torn, J. Peter Schwalm. Detailed playlist at https://spinitron.com/RFB/pl/18494768/Mondo-Jazz [from "Zouky Monky" to "Third Movement"]. Happy listening!

Chillout Classic w Radiu Spin #38 "Every Time We Say Goodbye". Audycja na zakończenie roku, czyli wszystko co się kojarzy z końcem. Ostatnie części, symfonie, kwartety...ostatni pociąg. 1. J.S.Bach - Wariacje Goldbergowskie, Aria da capo, Dan Tepfer. 2. J. Haydn - Symfonia pożegnalna, cz 4, Amsterdam Baroque Orchestra, Ton Koopmann. 3. Path Metheny - Last train Home 4. F. Shubert - Symfonia niedokończona cz. 2 Andante com Moto, Gewandhausorchester, Herbert Bloomstedt. 5. F. Chopin Nocturne op.62 nr 2 E-dur, Artur Rubinstein. 6. L.van Beethoven kwartet a-moll op. 132 a moll, cz 3 Molto Adagio, Alban Berg Quartet. 7. J.S. Bach - Quodlibed z Wariacji Golbergowskich, Dan Tepfer. 8. Dan Tepfer - Mashup. 9. Every Time We Say Goodbye - Ray Charles, Betty Carter.

JOHN SCOFIELD – UNCLE JOHN'S BAND  – Rhinebeck, NY, August, 2022 Budo, Somewhere, Uncle John's band John Scofield (g) Vicente Archer (b) Bill Stewart (d) MIGUEL ZENON / DAN TEPFER – INTERNAL MELODIES  – Grabado June, 2018, New York Lanzamiento November, 2023 The Latin-American left, Fanfare's (Ligeti), Internal melodies, 317 E. 32nd Street Miguel Zenon (as) Dan Tepfer (p) IMMANUEL WILKINS – THE 7TH HAND  – New York, c. 2021 Emanation, Don't break, Fugitive ritual, Witness Elena Pinderhughes (fl) Immanuel Wilkins (as) Micah Thomas (p) Daryl Johns (b) Kweku Sumbry (d) + Farafina Kan Percussion Ensemble : Kweku Sumbry, Agyei Keita Edwards (djembe) Adrian Somerville, Jr. Continue reading Puro Jazz 30 noviembre 2023 at PuroJazz.

durée : 00:59:21 - Dan Tepfer & Miguel Zenon - par : Alex Dutilh - Le pianiste Dan Tepfer et le saxophoniste alto Miguel Zenόn confirment leur complicité ludique avec “Internal Melodies”, sur des compositions de Ligeti et Tristano. Enregistré, mixé et masterisé par Dan Tepfer.

durée : 00:59:21 - Dan Tepfer & Miguel Zenon - par : Alex Dutilh - Le pianiste Dan Tepfer et le saxophoniste alto Miguel Zenόn confirment leur complicité ludique avec “Internal Melodies”, sur des compositions de Ligeti et Tristano. Enregistré, mixé et masterisé par Dan Tepfer.

Suzie Explores is a podcast series focussing on the nature of creativity and curiosity. Bringing her unique perspective of the world of music and beyond, Suzie joins forces with a host of luminaries in the creative field to explore what it means to be an inspired human being in this world.My guest in this episode, is the French-born NYC-based pianist, Dan Tepfer. He's a fabulous pianist, a truly innovative composer and has a mind that pushes the boundaries of what is possible to create. One of his creations is his Natural Machines project which we talk about in this conversation. And at the end of this podcast, there is an improvisation which we created together using Dan's FarPlay app, which enables musicians to play together in real-time despite being thousands of miles apart! 

One of his generation's extraordinary talents, Dan Tepfer has earned an international reputation as a pianist-composer of wide-ranging ambition, individuality, and drive, one “who refuses to set himself limits” (France's Télérama). In conversation with Tamara Murphy, Tepfer discusses his process, influences, and fascinating technical innovations at the intersection between science and art. Hosted on Acast. See acast.com/privacy for more information.

Mohsan joins TWiV to discuss the work of his laboratory showing that spike and nsp6 are determinants of Omicron attenuation, and why the work was widely misinterpreted by the press and the public. Hosts: Vincent Racaniello, Alan Dove, and Rich Condit Guest: Mohsan Saeed Subscribe (free): Apple Podcasts, Google Podcasts, RSS, email Become a patron of TWiV! Links for this episode •Register for ASV 2023 •MicrobeTV Discord Server • Spike and nsp6 determinants of Omicron attenuation (Nature) •China releases genomic data from Wuhan market (Science) •Timestamps by Jolene. Thanks! Weekly Picks Rich – For pianist Dan Tepfer, improvisation is the mother of Bach's Inventions Alan – HMS Victory 3D animated tour Vincent – The Fight Over Penn Station and Madison Square Garden Listener Picks Douglas – How's Your City Doing? Ask the Honeybees. Intro music is by Ronald Jenkees Send your virology questions and comments to twiv@microbe.tv

If you've ever learned classical piano, you probably tried to play one of Bach's Inventions. The composer wrote fifteen pieces containing the most important fifteen keys in order to teach his son the fundamentals of piano and composition. Today, they remain some of the most popular pieces of piano music. Acclaimed jazz pianist Dan Tepfer recently revisited his childhood music books seeing them in a way he'd never realized as a student: the Inventions are much more than novice piano works. For Tepfer, each of the Inventions not only highlight masterful command over harmony and counterpoint, but also contain moving character arcs that resemble the hero's journey. A character is introduced at home in place of safety in act I. And then they are thrust into chaos and must overcome unsurmountable challenges in Act II. Finally, in Act III, our hero overcomes their final battle and returns home transformed by the journey. Once Tepfer heard this character arc, he started to apply it to his own free improv. Through studying Bach, Tepfer conceived a new album: Inventions / Reinventions. In this project Tepfer fills in the missing keys from the Bach to complete all twenty four keys (there are twelve major and twelve minor keys) while updating the music with modern improvisation. In this conversation Tepfer walks co-host Charlie Harding through his process of playing Bach and applying it to jazz improv. Listen to Dan Tepfer's Inventions / Reinventions on StorySound Records Listen to Into It with Sam Sanders on Fair Use Learn more about your ad choices. Visit podcastchoices.com/adchoices

New York-based composer, pianist, and coder Dan Tepfer, who has previously improvised a companion to the J.S. Bach's Goldberg Variations, has returned to using the animating idea in music by Bach as a starting point for his riffing, on his latest album, called Inventions/Reinventions. On this record, Tepfer takes Bach's 15 Two-Part Inventions as written (which he describes as “something deep happening under this simple surface”), and taps into what J.S. Bach was most famous for – his improvising genius, but in music that sounds like Dan Tepfer, in the remaining 9 keys of the complete cycle. Tepfer feels that the idea of joy is omnipresent in Bach's music, and in his own play as he riffs on Bach, he finds a visceral joy in creation. In doing so, Tepfer tells his own story - his love of Bach from childhood, his appreciation of Brazilian music, his admiration of Lee Konitz, - and not only improvises within a framework, but also creates an entirely new structure for the frame. He also sings what he plays to make sure that he means it, which brings to mind another improviser, American jazz pianist Keith Jarrett. Dan Tepfer performs both J.S. Bach's Two-Part Inventions, and his own unique reinventions, in-studio. - Caryn Havlik Set list: “J.S. Bach: Invention in C major / Tepfer: Improvisation in Db major”, “J.S. Bach: Invention in Eb major / Tepfer: Improvisation in Eb minor”, “J.S. Bach: Invention in A minor / Tepfer: Improvisation in Bb minor” Watch “J.S. Bach: Invention in A minor / Tepfer: Improvisation in Bb minor”:  

durée : 01:59:06 - Le Bach du dimanche du dimanche 19 mars 2023 - par : Corinne Schneider - Au programme de cette 244e émission : un hymne au printemps avec Carolyn Sampson, Bogna Bartosz, René Jacobs, Barthold Kuijken, les ensembles Zefiro et Cordia ; la Cantate BWV 215 (1734), puis les « Inventions / Réinventions » du pianiste de jazz Dan Tepfer (nouveauté Storysound, 17 mars). - réalisé par : Anne-Lise Assada

durée : 00:54:34 - invité : Dan Tepfer "Inventions / Reinventions" - par : Alex Dutilh - Plus de 10 ans après son album encensé par la critique et le public “Goldberg Variations / Variations” (2011), le pianiste Dan Tepfer nous offre avec “Inventions / Reinventions” une nouvelle exploration de Bach où se mélangent interprétation et improvisation.

Every year, The Third Story collects more interviews and conversations than we are able to publish as full episodes, and 2022 was certainly no exception.  Finally, we have found a solution: THE ONES THAT GOT AWAY, 2022 HOLIDAY EDITION. Conversations with saxophonist Bill McHenry, keyboard player/producer Didi Gutman, pianist Jon Dryden, pianist Dan Tepfer, trumpet player/graphic designer Jamie Breiwick, and pianist Randy Ingram with singer Aubrey Johnson, collected around the world this year. www.third-story.com www.patreon.com/thirdstorypodcast www.wbgo.org/podcast/the-third-story  

Conversations with Bill McHenry, Didi Gutman, John Dryden, Dan Tepfer, Jamie Breiwick, and Randy Ingram with Aubrey Johnson, collected around the world this year.

Musician Practicing Limitless Creativity. The host for this show is Darlene Boyd. The guest is Dan Tepfer. Dan Tepfer has earned an international reputation as a pianist composer of wide ranging ambition, individuality and drive. He grew up studying classical piano and obsessively improvising jazz at home. Dan shares how he has navigated the divide between these two routes. At this point recognizably his deepest roots lie in jazz and improvisation. Dan discusses how he is drawn to exploring different means of expression for his music in order to further isolate the message from the medium. Dan is driven to get right at the music itself. Much of the discussion in this interview focuses on a solo project five years in the making. The project finds Dan exploring in real time via the Yamaha Disklavier, the intersection between science and art, between coding and improvisation, between digital algorithms and the rhythms of the heart. Dan's intimate discussion of his creative process is riveting. Dan often pairs with noteworthy musicians in performances and album productions. The ThinkTech YouTube Playlist for this show is https://www.youtube.com/playlist?list=PLQpkwcNJny6koOuEfnRgs0d5aPeLJKJXJ

Described by Downbeat Magazine as "an exquisite singer-songwriter", Joanna's music conveys a beauty of a many-coloured sort that speaks to straight to the human condition. Her songs reveal personal truths about love, loss, adventure, home and hope. World Music Report described it as "quintessential heart-music by a vocalist who seems to have connected with the deepest recesses of her being emerging into brightness again with songs of haunting beauty." Joanna is a master in the art of live vocal looping and as a multi-instrumentalist plays baritone ukulele, piano, flute, Indian shruti box, kalimba and melodica. Her music defies genre classification as she effortlessly imbues her songs with nuances of jazz, classical, art-song, and folk, carrying her "clear-eyed poetry" (Boston Globe) and "striking vocals" (Hothouse). Her songwriting extends beyond just lyrics and melody - Joanna also arranges for ensembles including string quartets, winds, a cappella voices and more.  Joanna's career has taken her around the globe.  She first studied to be a painter at Central Saint Martins, London. This led her to Paris, where she sang on the bridges of the Seine with the "Rene Miller Wedding Band". Following this formative time she did a masters in jazz at Guildhall School of Music and Drama.  In 2012 she moved to New York City where she forged an indelible musical path, appearing and collaborating with musicians including Dan Tepfer, Wynton Marsalis, Kenny Werner, Sam Newsome, Lee Konitz, to name a few. She released her debut album, Wild Swan, in 2011, featuring Joe Martin, Sam Newsome, Rob Garcia and Art Hirahara. In 2015 she signed with Sunnyside Records who released The Origin of Adjustable Things, an intimate duo project with pianist Dan Tepfer. As a follow up to this success she recorded Gardens In My Mind, her third album of self-penned songs and arrangements, featuring the award winning string ensemble The Sacconi Quartet, and Dan Tepfer on piano. In 2018 she self-released her fourth record, Blood and Bone, which London Jazz said, "overflowed with creativity and musical resources." 2019 marks the release of her fifth record entitled Far Away From Any Place Called Home.  Joanna's unique musical background shines through in her own compositional style, evoking her classical routes with her love of jazz, art-song, folk and pop, pushing boundaries of genre and stylistic expectations. Her musical heritage is something to behold. Raised by classical musician parents, Australian violinist Elizabeth Wallfisch and London born cellist Raphael Wallfisch, her grandmother Anita Lasker Wallfisch, now 94, survived Auschwitz because she played the cello in the camp's women's orchestra. Post liberation she became a founding member of the English Chamber Orchestra. Brother Simon is a renowned cellist and opera singer, and eldest brother Benjamin is an Oscar and Grammy nominated film composer. The Great Song Cycle: An adventurer at heart, in August 2016 Joanna embarked on a solo concert tour of the West Coast of the USA, by bicycle. Over the course of 1,154 miles she performed 16 solo shows between Portland and Los Angeles carrying her instruments, camping gear, and everything else she needed upon her bike. In her inimitable way she turned this once-in-a-lifetime experience into a 60-minute song-cycle, a recorded album and a memoir. She has performed the live piece in theatres including: National Sawdust, NYC, Boston Court Performing Arts Centre, LA, The Edinburgh Fringe Festival, UK, Phoenix Theatre, UK and Joe's Pub, NYC. In June, 2019 Joanna celebrates the release of her fifth album Far Away From Any Place Called Home, and her debut memoir "The Great Song Cycle; Portland to Los Angeles on Two Wheels and a Song", which is being published by Australian Publishers UWA Press.

One of his generation's extraordinary talents, Dan Tepfer has earned an international reputation as a pianist-composer of wide-ranging ambition, individuality, and drive—one “who refuses to set himself limits” (France's Télérama). The New York City-based Tepfer, born in 1982 in Paris to American parents, has performed around the world with some of the leading lights in jazz and classical music, and released ten albums of his own.Tepfer earned global acclaim for his 2011 release Goldberg Variations / Variations, a disc that sees him performing J.S. Bach's masterpiece as well as improvising upon it—to “elegant, thoughtful and thrilling” effect (New York magazine). Tepfer's newest album, Natural Machines, stands as one of his most ingeniously forward-minded yet, finding him exploring in real time the intersection between science and art, coding and improvisation, digital algorithms and the rhythms of the heart. The New York Times has called him “a deeply rational improviser drawn to the unknown.”Tepfer's honors include first prizes at the 2006 Montreux Jazz Festival Solo Piano Competition, the 2006 East Coast Jazz Festival Competition, and the 2007 American Pianists Association Jazz Piano Competition, as well as fellowships from the American Academy of Arts and Letters (2014), the MacDowell Colony (2016), and the Fondation BNP-Paribas (2018).

Through the anecdotes and experiences of musician Mike Rocha, pianist and coder Dan Tepfer, investor Mike McGinley, and Stanford professor Chris Chafe, we delve into the impact and development of music collaboration technology during the COVID-19 pandemic. Our guests give us valuable insight into the pandemic’s lasting impact on the music industry.

Last March, the jazz capital of the world became a ghost town. The Checkout attempts to bring some joy as we look back on a certifiably frightening year, with highlights from Nduduzo Mahkatini, Thana Alexa, Brad Mehldau, Dan Tepfer and more.

Variations 7, 8, and 9. Bach was a legendary improviser who could blow the socks off most jazz musicians today. This episode features a discussion with Dan Tepfer, a classically-trained jazz pianist and Bach lover who free improvises over the structure of the Goldberg Variations. Photo credit: Josh Goleman. Musical recording credits available at: https://www.thirtybach.com/podcast-episodes/prepare-to-be-unprepared.

We begin where the piece begins: the "aria" on which the rest of the piece is based. This episode introduces the project, including why I embarked on this project, and how the piece inspires people today. Conversation with architect and nanoscientist who listen to the piece every day. Other guests include Simone Dinnerstein, Angela Hewitt, Jeff Scott, and Dan Tepfer. Musical sound recording credits available at https://www.thirtybach.com/podcast-episodes/its-perhaps-the-music-that-travels-best          

One of music’s leading jazz saxophonists Miguel Zenón joins Tim talk about his journey in music and life. Miguel has been nominated multiple times for Grammy Awards and has carved a place for himself among the elite jazz saxophonists and composers of our time. https://traffic.libsyn.com/secure/shapingopinion/Miguel_Zenon_II_auphonic.mp3 Miguel was born and raised in San Juan, Puerto Rico. In high school, he found himself listening to the sounds of John Coltrane, but at that point, it was just an interest, not yet a passion. He didn’t get serious about actually making a career in jazz until he went to college at the Berklee College of Music in Boston. That’s where he met drummer Bob Moses, who asked him to join him with the Either/Orchestra. This gave Miguel his first taste of professional experience as a saxophonist. He would later earn awards and grants that allowed Miguel to continue his education, earning a master’s degree in 2001 from the Manhattan School of Music in New York City. But it all goes back to when he first discovered John Coltrane and other jazz legends, and it captivated him. Links Miguel Zenón (official website) Miguel Zenón (New England Conservatory) Gratitude Our thanks to Miguel Zenón for sharing some tracks from his latest album for this episode. You find it here: About this Episode’s Guest Miguel Zenón Multiple Grammy Nominee and Guggenheim and MacArthur Fellow Miguel Zenón represents a select group of musicians who have masterfully balanced and blended the often-contradictory poles of innovation and tradition. Widely considered as one of the most groundbreaking and influential saxophonists of his generation, he has also developed a unique voice as a composer and as a conceptualist, concentrating his efforts on perfecting a fine mix between Latin American Folkloric Music and Jazz. Born and raised in San Juan, Puerto Rico, Zenón has built a distinguished career as a leader, releasing twelve albums under his own name. In addition, he has crafted his artistic identity by dividing his time equally between working with older jazz masters and the music’s younger innovators –irrespective of styles and genres. The list of musicians Zenón has toured and/or recorded with includes: The SFJAZZ Collective, Charlie Haden, Fred Hersch, Kenny Werner, David Sánchez, Danilo Pérez, The Village Vanguard Orchestra, Kurt Elling, Guillermo Klein & Los Guachos, The Jeff Ballard Trio, Antonio Sánchez, David Gilmore, Paoli Mejías, Brian Lynch, Jason Lindner, Dan Tepfer, Miles Okazaki, Dan Weiss, Ray Barreto, Andy Montañez, Jerry Gonzalez & The Fort Apache Band, The Mingus Big Band, Bobby Hutcherson and Steve Coleman. As a composer he has been commissioned by SFJAZZ, The New York State Council for the Arts, Chamber Music America, NYO JAZZ , The Logan Center for The Arts, The Hyde Park Jazz Festival, The John Simon Guggenheim Foundation, MIT, Jazz Reach, Peak Performances, PRISM Quartet and many of his peers. Zenón has been featured in articles on publications such as The New York Times, The Wall Street Journal, The Los Angeles Times, The Chicago Tribune, Bloomberg Pursuits, Jazz Times, Jazziz, Boston Globe, Billboard, Jazz Inside, Newsday and Details. In addition he topped both the Jazz Artist of the Year and Alto Saxophonist of the Year categories on the 2014 Jazz Times Critics Poll and was selected as the Alto Saxophonist of the Year by the Jazz Journalist Association in 2015, 2018, 2019 and 2020 (when he was also recognized as Arranger of The Year). His biography would not be complete without discussing his role as an educator. In 2003, he was chosen by the Kennedy Center to teach and perform in West Africa as part of their Jazz Ambassador program. Since then, he has given hundreds of lectures and master classes and has taught all over the world at institutions which include:  The Banff Centre, Berklee College of Music, Siena Jazz, Universidad Veracruzana,

One of music's leading jazz saxophonists Miguel Zenón joins Tim talk about his journey in music and life. Miguel has been nominated multiple times for Grammy Awards and has carved a place for himself among the elite jazz saxophonists and composers of our time. https://traffic.libsyn.com/secure/shapingopinion/Miguel_Zenon_II_auphonic.mp3 Miguel was born and raised in San Juan, Puerto Rico. In high school, he found himself listening to the sounds of John Coltrane, but at that point, it was just an interest, not yet a passion. He didn't get serious about actually making a career in jazz until he went to college at the Berklee College of Music in Boston. That's where he met drummer Bob Moses, who asked him to join him with the Either/Orchestra. This gave Miguel his first taste of professional experience as a saxophonist. He would later earn awards and grants that allowed Miguel to continue his education, earning a master's degree in 2001 from the Manhattan School of Music in New York City. But it all goes back to when he first discovered John Coltrane and other jazz legends, and it captivated him. Links Miguel Zenón (official website) Miguel Zenón (New England Conservatory) Gratitude Our thanks to Miguel Zenón for sharing some tracks from his latest album for this episode. You find it here: About this Episode's Guest Miguel Zenón Multiple Grammy Nominee and Guggenheim and MacArthur Fellow Miguel Zenón represents a select group of musicians who have masterfully balanced and blended the often-contradictory poles of innovation and tradition. Widely considered as one of the most groundbreaking and influential saxophonists of his generation, he has also developed a unique voice as a composer and as a conceptualist, concentrating his efforts on perfecting a fine mix between Latin American Folkloric Music and Jazz. Born and raised in San Juan, Puerto Rico, Zenón has built a distinguished career as a leader, releasing twelve albums under his own name. In addition, he has crafted his artistic identity by dividing his time equally between working with older jazz masters and the music's younger innovators –irrespective of styles and genres. The list of musicians Zenón has toured and/or recorded with includes: The SFJAZZ Collective, Charlie Haden, Fred Hersch, Kenny Werner, David Sánchez, Danilo Pérez, The Village Vanguard Orchestra, Kurt Elling, Guillermo Klein & Los Guachos, The Jeff Ballard Trio, Antonio Sánchez, David Gilmore, Paoli Mejías, Brian Lynch, Jason Lindner, Dan Tepfer, Miles Okazaki, Dan Weiss, Ray Barreto, Andy Montañez, Jerry Gonzalez & The Fort Apache Band, The Mingus Big Band, Bobby Hutcherson and Steve Coleman. As a composer he has been commissioned by SFJAZZ, The New York State Council for the Arts, Chamber Music America, NYO JAZZ , The Logan Center for The Arts, The Hyde Park Jazz Festival, The John Simon Guggenheim Foundation, MIT, Jazz Reach, Peak Performances, PRISM Quartet and many of his peers. Zenón has been featured in articles on publications such as The New York Times, The Wall Street Journal, The Los Angeles Times, The Chicago Tribune, Bloomberg Pursuits, Jazz Times, Jazziz, Boston Globe, Billboard, Jazz Inside, Newsday and Details. In addition he topped both the Jazz Artist of the Year and Alto Saxophonist of the Year categories on the 2014 Jazz Times Critics Poll and was selected as the Alto Saxophonist of the Year by the Jazz Journalist Association in 2015, 2018, 2019 and 2020 (when he was also recognized as Arranger of The Year). His biography would not be complete without discussing his role as an educator. In 2003, he was chosen by the Kennedy Center to teach and perform in West Africa as part of their Jazz Ambassador program. Since then, he has given hundreds of lectures and master classes and has taught all over the world at institutions which include:  The Banff Centre, Berklee College of Music, Siena Jazz, Universidad Veracruzana,

ANNOUNCEMENTS Live Mix of Mark George's song "Ghost Dance" as well as Marcel Walden's Mix break down of "Out of the Blue" YouTube Membership!!! Sign up for Membership of $9.99 a month and receive every tutorial I have made and any I will make in the future so long as you are still a member!     EAR TO THE GROUND   Whether for work, school or doctor's appointments, almost everyone has used Zoom. But for musicians who want to play together online during the pandemic, the popular conference call platform doesn't cut it. Musicians and scientists on opposite coasts have been trying to find solutions. Fortunately,  Audio Movers and Jack Trip software.   The Internet is widely used for audio communications. Numerous collaboration applications exist that make it trivial to carry on a conversation with almost anyone, worldwide. Likely, you already use these applications regularly. What is thought of as traditional phone lines have even largely migrated towards running over the Internet. So, why is performing music any different? The answer lies in the problem of trying to keep a common rhythm going between remote musicians. Maintaining a shared beat or sense of pulse is difficult if it takes too long for one musician's sound to reach another's ears. There can be drastic consequences. The "Happy Birthday" effect is familiar from family video conferences. The length of time for sound to get between individuals makes it impossible for the group to sing together. Singers find themselves in a situation of "I'm waiting for you and you're waiting for me" and that's the problem.   Video calls are engineered for turn taking in conversation. Music is different because it involves simultaneous coordinated activity rather than alternation. Tightly synchronized performance only works over the Internet with extremely low-latency audio applications like JackTrip.   A group's ability to maintain a steady pulse is heavily impacted by what is known as latency. This is a term which refers to how long it takes for one performer's sound to reach the another's ears. It is typically measured in milliseconds (msec), or 1/1000 of a second. Research has found that the ability to perform syncronized rhythms together requires a latency below 25-30 msec one way. There isn't a hard and fast number for this because everyone is different and musical situations differ. Particularly important in this regard is the speed or tempo of a piece (measured in beats-per-minute). Slower tempo can tolerate relatively longer Internet latencies.   To help put this into perspective, sounds traveling through air 25 feet (roughly 8 meters) take about 25 msec. We're comfortable playing or singing together at distances within this range. As a group spreads out, say across a football field, the ability to keep a coordinated rhythm becomes increasingly difficult. This is why minimizing latency is so important.   Here's a seemingly simple question: Can musicians in quarantine play music together over an Internet connection? We've migrated birthday parties, happy hours and church services to video calls these days, so couldn't we do the same with band practice? Across ubiquitous video conferencing tools like Zoom, FaceTime and Skype, it takes time for audio data to travel from person to person. That small delay, called latency, is mostly tolerable in conversation — save for a few overlapping stutters — but when it comes to playing music online with any kind of rhythmic integrity, latency quickly becomes a total dealbreaker.   This video follows pianist and composer Dan Tepfer down the rabbit hole. Tepfer often occupies the intersection of music and innovative technology (just check out his Tiny Desk concert), and by proxy has served his fellow musicians as a tech support line of sorts. A public inquiry on Twitter led him to jazz trombonist Michael Dessen, also a researcher at the University of California Irvine, who has centered his work around networked performances for over a decade.   The solution: an open-source software called JackTrip, developed by Stanford University researchers Chris Chafe and Juan-Pablo Cáceres over a decade ago, that can transfer high quality audio data across the Internet at low enough latencies, within a geographic radius, to mimic someone playing music roughly 30 feet away; that's the threshold at which most musicians can still play together in sync. It takes a bit of hardware and a strong Internet connection, but the setup has enabled near instantaneous latencies for musicians who want to improvise together online.   Tepfer has spent some of the last few months building a community of musicians using JackTrip at home, so they can practice together, work on new music, and even perform live-streamed concerts to fans as a revenue source while music venues remain closed in the pandemic. And while it's not nearly the same as playing in the same physical space, it's a close second in the era of social distancing.   3 FREE PLUGINS ADHD Leveling Tool - AdHd Leveling Tool is a Tube Leveling Amplifier inspired by the legends and carefully crafted to meet your compression needs. The ideal compressor for vocals. Perfect for giving character and taming the peaks on any track in the mix.   Shattered Glass Audio "Ace Amp" - Ace is a true to life emulation of a legendary 1950s, American, all tube, 5W, tweed amp. For added versatility they have added to the model two of the most common amplifier mods: adjustment of the amount of feedback and addition of grid stopper resistors. To complete the picture they even included impulse response based speaker emulation. Simple controls and a conservative CPU usage make ACE easy to use in live settings as well as for re-amping.   Graillon Live Voice Changer  - Is a Vocal plugin that brings a world of possibilities right into your DAW, with carefully designed features. The Pitch-Tracking Modulation, unique to Graillon, changes the type of speakers, generates throat sounds, creates choruses, make octaver sounds, enriches a voice to make it more masculine. The Pitch Shifter cleanly transposes a voice up and down, and has been optimized for voice. The Pitch Correction module brings an immediate robotic sound, while the Bitcrusher addition softly add sparkles to the mix.   Main Thought Being highly creative is a double edged sword. Gifted musicians are prone to periods of depression and high levels of melancholy. In fact, from my experience and observations, I would suggest that many if not most musicians go through a low period of life that they just barely survive at times. Now, while it's easy to say that during these times “I write my best songs, born out of these griefs.” (Yes, that's an actual quote I have used)   The good news is that with insight comes power. Becoming aware of depression is the first step towards being able to change it. The second step is to get to the source of the problem. This however can be harder for creatives because we are emotionally driven by everything around us and look into things deeper, ponder longer, and brood over every detail of seemingly meaningless aspects of life to others.   So, how does one combat the perils and pitfalls of this roller coaster of emotions that plagues us all to often? Well first. let's discuss what can be some causes of depression. There are many reasons for depression, from physical issues like brain chemistry and hormone imbalances other underlying health disorders and diseases nutritional deficiencies to mental and emotional issues like overly critical thinking dysfunctional coping behavior habits and real or perceived traumatic life events   There are many levels of depression. The low feelings can be “acute”- a temporary condition tied to some life event- or “chronic”, which is an invasive, lasting condition that is sometimes triggered by a life event or an underlying physiological problem such as a simple thyroid imbalance. The condition can run from a little moping to clinical depression- a life threatening mental and emotional state. DO NOT IGNORE CLINICAL DEPRESSION. It can become a soul abscess, robbing you of the joy of your music… and of your life. If you think you could have it, get professional help, and don't wait one more day to do it. Among the multiple causes of depression, there are triggers that can begin a downward spiral in the brain.   Trigger 1: A high in your musical career Trigger 2: Too Much Sensory Input/ Too Little Self Care Trigger 3: Bitterness and Resentment   “If you play music with passion and love and honesty, then it will nourish your soul, heal your wounds and make your life worth living. Music is it's own reward.” ~Sting   To Sting's thought, I would add that music is not enough… we must find a spiritual connection to the master creator who gives us music and “in whom we live and move and have our being”. In my life, God has turned my lows turn into depth of understanding… to trusting that the lows are temporary – and that if they last too long, help can be found.   Lastly, I would like to publicly extend my hand to you. If you are in need of an ear or even a shoulder to lean on. I am here. I have been there and know what it feels like to be so down that you don't ever think you'll get back up. I am willing to help if you're willing to talk. You can always email me at homestudiosimplified dot com.

ANNOUNCEMENTS Live Mix of Mark George's song "Ghost Dance" as well as Marcel Walden's Mix break down of "Out of the Blue" YouTube Membership!!! Sign up for Membership of $9.99 a month and receive every tutorial I have made and any I will make in the future so long as you are still a member!     EAR TO THE GROUND   Whether for work, school or doctor's appointments, almost everyone has used Zoom. But for musicians who want to play together online during the pandemic, the popular conference call platform doesn't cut it. Musicians and scientists on opposite coasts have been trying to find solutions. Fortunately,  Audio Movers and Jack Trip software.   The Internet is widely used for audio communications. Numerous collaboration applications exist that make it trivial to carry on a conversation with almost anyone, worldwide. Likely, you already use these applications regularly. What is thought of as traditional phone lines have even largely migrated towards running over the Internet. So, why is performing music any different? The answer lies in the problem of trying to keep a common rhythm going between remote musicians. Maintaining a shared beat or sense of pulse is difficult if it takes too long for one musician's sound to reach another's ears. There can be drastic consequences. The "Happy Birthday" effect is familiar from family video conferences. The length of time for sound to get between individuals makes it impossible for the group to sing together. Singers find themselves in a situation of "I'm waiting for you and you're waiting for me" and that's the problem.   Video calls are engineered for turn taking in conversation. Music is different because it involves simultaneous coordinated activity rather than alternation. Tightly synchronized performance only works over the Internet with extremely low-latency audio applications like JackTrip.   A group’s ability to maintain a steady pulse is heavily impacted by what is known as latency. This is a term which refers to how long it takes for one performer's sound to reach the another's ears. It is typically measured in milliseconds (msec), or 1/1000 of a second. Research has found that the ability to perform syncronized rhythms together requires a latency below 25-30 msec one way. There isn’t a hard and fast number for this because everyone is different and musical situations differ. Particularly important in this regard is the speed or tempo of a piece (measured in beats-per-minute). Slower tempo can tolerate relatively longer Internet latencies.   To help put this into perspective, sounds traveling through air 25 feet (roughly 8 meters) take about 25 msec. We're comfortable playing or singing together at distances within this range. As a group spreads out, say across a football field, the ability to keep a coordinated rhythm becomes increasingly difficult. This is why minimizing latency is so important.   Here's a seemingly simple question: Can musicians in quarantine play music together over an Internet connection? We've migrated birthday parties, happy hours and church services to video calls these days, so couldn't we do the same with band practice? Across ubiquitous video conferencing tools like Zoom, FaceTime and Skype, it takes time for audio data to travel from person to person. That small delay, called latency, is mostly tolerable in conversation — save for a few overlapping stutters — but when it comes to playing music online with any kind of rhythmic integrity, latency quickly becomes a total dealbreaker.   This video follows pianist and composer Dan Tepfer down the rabbit hole. Tepfer often occupies the intersection of music and innovative technology (just check out his Tiny Desk concert), and by proxy has served his fellow musicians as a tech support line of sorts. A public inquiry on Twitter led him to jazz trombonist Michael Dessen, also a researcher at the University of California Irvine, who has centered his work around networked performances for over a decade.   The solution: an open-source software called JackTrip, developed by Stanford University researchers Chris Chafe and Juan-Pablo Cáceres over a decade ago, that can transfer high quality audio data across the Internet at low enough latencies, within a geographic radius, to mimic someone playing music roughly 30 feet away; that's the threshold at which most musicians can still play together in sync. It takes a bit of hardware and a strong Internet connection, but the setup has enabled near instantaneous latencies for musicians who want to improvise together online.   Tepfer has spent some of the last few months building a community of musicians using JackTrip at home, so they can practice together, work on new music, and even perform live-streamed concerts to fans as a revenue source while music venues remain closed in the pandemic. And while it's not nearly the same as playing in the same physical space, it's a close second in the era of social distancing.   3 FREE PLUGINS ADHD Leveling Tool - AdHd Leveling Tool is a Tube Leveling Amplifier inspired by the legends and carefully crafted to meet your compression needs. The ideal compressor for vocals. Perfect for giving character and taming the peaks on any track in the mix.   Shattered Glass Audio "Ace Amp" - Ace is a true to life emulation of a legendary 1950s, American, all tube, 5W, tweed amp. For added versatility they have added to the model two of the most common amplifier mods: adjustment of the amount of feedback and addition of grid stopper resistors. To complete the picture they even included impulse response based speaker emulation. Simple controls and a conservative CPU usage make ACE easy to use in live settings as well as for re-amping.   Graillon Live Voice Changer  - Is a Vocal plugin that brings a world of possibilities right into your DAW, with carefully designed features. The Pitch-Tracking Modulation, unique to Graillon, changes the type of speakers, generates throat sounds, creates choruses, make octaver sounds, enriches a voice to make it more masculine. The Pitch Shifter cleanly transposes a voice up and down, and has been optimized for voice. The Pitch Correction module brings an immediate robotic sound, while the Bitcrusher addition softly add sparkles to the mix.   Main Thought Being highly creative is a double edged sword. Gifted musicians are prone to periods of depression and high levels of melancholy. In fact, from my experience and observations, I would suggest that many if not most musicians go through a low period of life that they just barely survive at times. Now, while it’s easy to say that during these times “I write my best songs, born out of these griefs.” (Yes, that’s an actual quote I have used)   The good news is that with insight comes power. Becoming aware of depression is the first step towards being able to change it. The second step is to get to the source of the problem. This however can be harder for creatives because we are emotionally driven by everything around us and look into things deeper, ponder longer, and brood over every detail of seemingly meaningless aspects of life to others.   So, how does one combat the perils and pitfalls of this roller coaster of emotions that plagues us all to often? Well first. let's discuss what can be some causes of depression. There are many reasons for depression, from physical issues like brain chemistry and hormone imbalances other underlying health disorders and diseases nutritional deficiencies to mental and emotional issues like overly critical thinking dysfunctional coping behavior habits and real or perceived traumatic life events   There are many levels of depression. The low feelings can be “acute”- a temporary condition tied to some life event- or “chronic”, which is an invasive, lasting condition that is sometimes triggered by a life event or an underlying physiological problem such as a simple thyroid imbalance. The condition can run from a little moping to clinical depression- a life threatening mental and emotional state. DO NOT IGNORE CLINICAL DEPRESSION. It can become a soul abscess, robbing you of the joy of your music… and of your life. If you think you could have it, get professional help, and don’t wait one more day to do it. Among the multiple causes of depression, there are triggers that can begin a downward spiral in the brain.   Trigger 1: A high in your musical career Trigger 2: Too Much Sensory Input/ Too Little Self Care Trigger 3: Bitterness and Resentment   “If you play music with passion and love and honesty, then it will nourish your soul, heal your wounds and make your life worth living. Music is it’s own reward.” ~Sting   To Sting’s thought, I would add that music is not enough… we must find a spiritual connection to the master creator who gives us music and “in whom we live and move and have our being”. In my life, God has turned my lows turn into depth of understanding… to trusting that the lows are temporary – and that if they last too long, help can be found.   Lastly, I would like to publicly extend my hand to you. If you are in need of an ear or even a shoulder to lean on. I am here. I have been there and know what it feels like to be so down that you don't ever think you'll get back up. I am willing to help if you're willing to talk. You can always email me at homestudiosimplified dot com.

Camille Bertault, Dan Tepfer, Glenn Zaleski, Mareike Wiening, Webber/Morris Big Band, Charlotte Greve, Patricia Brennan, Chien Chien Lu, Warren WolfPlaylist: Camille Bertault - Ma MuseDan Tepfer - Constant MotionGlenn Zaleski - SubterfugeMareike Wiening, featuring Rich Perry, Dan Tepfer, Alex Goodman, & Johannes Felscher - ViewpointsWebber/Morris Big Band - Climbing on MirrorsCharlotte Greve, Vinnie Sperrazza, Chris Tordini - Daily TaskWood River, Charlotte Greve - The ProcrastinatorPatricia Brennan - SonnetChien Chien Lu - We Live in Brooklyn BabyWarren Wolf - Come and Dance With MeGillian Margot - Power FlowerDan Fortin - Beautiful Psychic DreamAlex Bird & The Jazz Mavericks - Fire Not WarmthThe Aubrey Wilson Quartet, featuring Luis Deniz - I Will Wait For YouEvan Shay, featuring Sarah Rossy & John Hollenbeck - New NormalMichael Johancsik, featuring Andrew Boudreau - A Boat to Nowhere

Brigham Daniels of Brigham Young Univ and Matt Letourneau of the US Chamber of Commerce on the changes to NEPA. Bill Maurer of Univ of California Irvine on a cashless society. Jessica Preece of Brigham Young Univ on women being silenced at work. Dan Tepfer on performing music from a distance. Lumen Mulligan of Univ of Kansas on qualified immunity. Jason Chambers of Univ of Illinois at Urbana-Champaign on racist marketing.

Sirintip, Thana Alexa, Owen Broder, Gerald Clayton, Ambrose Akinmusire, Dave Douglas, Rachel Therrien, Mareike Wiening, Guillermo KleinPlaylist: Sirintip - OceansThana Alexa, featuring Rosa Vocal Group - OnaOwen Broder - Goin' Up HomeGerald Clayton - Rejuvenation AgendaAmbrose Akinmusire - Mr. Roscoe (consider the simultaneous)Avishai Cohen - Hidden ChamberDave Douglas, featuring Dave Adewumi, Matthew Stevens, Fabian Almazan, Carmen Rothwell & Joey Baron - MondrianRachel Therrien - Just PlayingMareike Wiening, featuring Rich Perry, Dan Tepfer, Alex Goodman & Johannes Felscher - Metropolis ParadiseGuillermo Klein - UpstateWebber/Morris Big Band - And It Rolled Right DownKari van der Kloot, featuring Lisanne Tremblay, Jamie Reynolds, Gary Wang & Nathan Ellman-Bell - What I'll FindAimee-Jo Benoit - Norwegian WoodRedline Trio - Space ForceMatt Wilson, featuring Jeff Lederer, Kirk Knuffke & Chris Lightcap - Space Force March / Interplanetary Music

Múltiple nominado al Grammy y compañero de Guggenheim y MacArthur, Miguel Zenón representa un grupo selecto de músicos que han equilibrado y mezclado magistralmente los polos a menudo contradictorios de la innovación y la tradición. Ampliamente considerado como uno de los saxofonistas más innovadores e influyentes de su generación, también ha desarrollado una voz única como compositor y conceptualista, concentrando sus esfuerzos en perfeccionar una fina mezcla entre la música folclórica latinoamericana y el jazz.Nacido y criado en San Juan, Puerto Rico, Zenón ha construido una distinguida carrera como líder, lanzando doce álbumes bajo su propio nombre. Además, ha creado su identidad artística dividiendo su tiempo equitativamente entre trabajar con maestros de jazz de más edad y los innovadores más jóvenes de la música, independientemente de los estilos y géneros. La lista de músicos con los que Zenón ha viajado y / o grabado incluye: The SFJAZZ Collective, Charlie Haden, Fred Hersch, Kenny Werner, David Sánchez, Danilo Pérez, The Village Vanguard Orchestra, Guillermo Klein & Los Guachos, The Jeff Ballard Trio, Antonio Sánchez, David Gilmore, Paoli Mejías, Brian Lynch, Jason Lindner, Dan Tepfer, Miles Okazaki, Dan Weiss, Ray Barreto, Andy Montañez, Jerry Gonzalez & The Fort Apache Band, The Mingus Big Band, Bobby Hutcherson y Steve Coleman.Como compositor, ha sido comisionado por SFJAZZ, The New York State Council for the Arts, Chamber Music America, NYO JAZZ, The Logan Center for The Arts, The Hyde Park Jazz Festival, The John Simon Guggenheim Foundation, MIT, Jazz Reach, Peak Performance, PRISM Quartet y muchos de sus compañeros.Zenón ha aparecido en artículos en publicaciones como The New York Times , The Wall Street Journal , The Los Angeles Times , The Chicago Tribune , Bloomberg Pursuits, Jazz Times , Jazziz , Boston Globe , Billboard, Jazz Inside, Newsday y Details . Además, encabezó las categorías Jazz Artist of the Year y Alto Saxophonist of the Year en la Encuesta de críticos de Jazz Times 2014 y fue seleccionado como Alto Saxophonist of the Year por la Jazz Journalist Association en 2015, 2018 y 2019.fuente: miguelzenon.com

Welcome to Miller Piano podcast episode number 5! It's Christmas time, and we have a special Christmas treat for you piano lovers out there. In this episode, host Jason Skipper talks with Shana Kirk, a Yamaha Corporation of America consultant and product specialist as well as many many other things, which we learn about in this episode. Shana talks in detail about new piano technology, and how that technology can be used to address common 21st-century learning challenges. Topics discussed: Shana's Personal and Education Background Life in Colorado Yamaha Disklavier's Piano Technology in the past 30 Years How Shana Became Interested in Piano Technology Common Piano Learning Challenges of Today and How the Yamaha Disklavier has Fixed These Examples on How Teachers Take Advantage of Yamaha Disklavier's Tech Features How Yamaha's Acoustic Pianos' Headphone Technology Works Distance Learning Tools The Future of Piano Technology How You Can Reach Out to Shana Transcript Jason Skipper 0:14 Welcome to the Miller Piano Podcast. I'm your host Jason Skipper. And in this episode, we have a talk with special guest, Shana Kirk. Shana is a consultant and product specialist with the Yamaha Corporation of America. She is frequently featured on event programs for organizations throughout the US and Canada. She writes music and music technology-based reviews and articles for blogs, websites and print publications, including Piano Magazine, and American Music Teacher where she co-authors the Tech Connect column. And it was just announced yesterday, I believe, that she is now the Director of Digital operations for the Francis Clark Center, among many, many other things. Shana, it's an honor to have you with us today. Welcome to the podcast. Shana Kirk 0:58 Thank you so much, Jason. It's great to be here. Jason Skipper 1:00 Did I get all that right? Shana Kirk 1:02 You did, I think so. It sounds like a lot now that you've read it out loud. Jason Skipper 1:07 Yeah. Well, I tell you, I missed a lot of it. Because honestly, reading from your bio, there's so much there. I know just looking at your education, it's incredible. Honestly, I've seen there you have a BA in Piano Performance and German from Lipscomb University, Master of music and Piano Pedagogy from the University of Denver and quite a few others that I honestly would just make a fool of myself trying to pronounce. Shana Kirk 1:34 That German stuff is pretty tough. Jason Skipper 1:36 Yeah, I was trying, I was looking it up trying to figure out exactly how to pronounce those in German, and I said nope. Maybe you can help us with that. Where else have you studied? What else have you done? Shana Kirk 1:47 So I spent some time in Germany actually, while I was a student in Lipscomb, and I studied at the Goethe Institute, which is a language school. And I went to the Musikschule, which is a music school in Mannheim. And I spent a little time also at the University of Mannheim. And so I have always enjoyed dipping my toes in a lot of water, I guess. And I just am so fortunate to have a really multi-faceted career and a lot of interest that just keeps me engaged in busy and curious in every possible direction. Jason Skipper 2:26 That's awesome. I think to sum it up, I read this on your LinkedIn profile, and it's really simple and to the point. I love it... it says, "I'm a pianist and a geek. And I combine those two qualities as often as possible". Is that right? Shana Kirk 2:40 Exactly, that's exactly, exactly it. Jason Skipper 2:42 I love it. I grew up playing the piano. I grew up playing music all my life, but I also consider myself a geek. I do a lot of those type of things. And I love playing with all the possibilities in technology with music, with MIDI and just, you know, working all these different things. So I love it. Shana Kirk 3:01 There's never been a more exciting time to just dive into both piano music and music technology and just 21st-century tools. It's a really, really great, great space to be in these days. Jason Skipper 3:13 It really is. And I don't think a lot of people know that, and that's one of the reasons why we're doing this podcast is just to let the world know what's out there. It's pretty amazing. Shana Kirk 3:24 Yeah, for sure. Jason Skipper 3:25 So before we get into today's topic, we always like to get to know our guests a little bit better, you know, your background where you're from. So I understand Shana that you mentioned, I know you're not... you don't live in Tennessee now, but I believe you are from Tennessee? Shana Kirk 3:43 That's right. I grew up in West Tennessee, a little town called Lexington. That's about halfway in between Memphis and Nashville. I went to Lexington High and my parents still live on a bucolic farm that is right off of Natchez Trace State Park. And so we get back there as often as we can. So I grew up as an absolute Tennessee farm girl who loved music loved all the great harmonies that surrounded me and all the Tennessee music has to offer. And then I went to college right there at Lipscomb. And where that was my first introduction into, you know, really diving into classical music, and really diving into music technology. And I really did have a wonderful experience there. Jason Skipper 4:27 Wow, wow. Well, where do you live now? Shana Kirk 4:29 I live right in central Denver. Jason Skipper 4:31 Okay. And how, you know, just real quick, how did you end up there? How'd you end up in Denver, moving away from Tennessee being so focused on music? How'd you end up in Denver? Shana Kirk 4:42 I was actually looking for graduate programs after I left Lipscomb. After I graduated from Lipscomb, my now husband and I were both kind of searching the world searching the country at least for places that look like fun and also had Continuing Education and graduate programs that would fit both of our needs and somehow Denver was just the place that we landed on. So it wasn't really as you know, there were a lot of factors that went into that. But basically, we were looking around for where could we have a great time and continue our education in the same city and Denver hit that sweet spot and once we were here, we just couldn't think of leaving. Jason Skipper 5:28 It's beautiful out there. I've looked at it multiple times all out through Colorado in that area, it's beautiful. The weather at least in the summertime and you know, most of the year is beautiful I know you get snow, I asked you before we started recording this but have you had any snow so far? Shana Kirk 5:47 There's actually already been a lot of snow in Colorado. If you're thinking about coming out for skiing, everything is already open. And, and just really in great shape up in the mountains. Denver has had more snow than we're used to by this time of year. But today, it's actually sunny and gorgeous, which is a little secret of Denver is that there are 300 days of sunshine and it's almost always sunny. Jason Skipper 6:09 Ah, you're making me jealous. Shana Kirk 6:13 Nobody makes biscuits like the Loveless Cafe, which we don't have. Jason Skipper 6:19 That's true, that's true! In any case, let's go ahead and get into the topic that we wanted to talk about today. we're getting into Piano Technology, specifically the Yamaha Disklavier, and addressing common 21st-century learning challenges. Piano technology has changed so much over the years. You mentioned a little while ago, how we live in one of the most exciting times in music and with piano technology. I think that the majority of people, when they think of pianos, they think of a beautiful instrument. A lot of times the classical instrument, the upright or the grand piano, but not a whole whole lot of people, not many people think about technology in the piano. The truth is it has changed a lot. How has piano technology changed over maybe the last 10, 20, 30 or more years? Shana Kirk 7:09 Well, 30 years is kind of a benchmark in the evolution of technology of the piano, especially the acoustic piano, because that's when true reproducing pianos that were outfitted with MIDI technology started being produced. So Yamaha's first Disklavier was about to think a little more than 30 years ago now and it was just a reproducing acoustic piano. But at the center of that was suddenly the ability to measure every single motion, every single gesture that a pianist could make on a piano could be measured in just incredible resolution even as long ago as 30 years. Shana Kirk 7:55 And in the interim, that has only gotten better. Starting in the mid-90s, Disklavier introduced high-resolution recording. So instead of the 128 increments of media measurement, that was then multiplied by nine. So in the approaching 1000 increments of measurement for every single keystroke, every single hammer hit, every single anything that happens inside of the piano is being measured to unbelievable accuracy. So when you have that kind of accuracy, you can actually reproduce a performance to the standard of a classical artist. In prior iterations of reproducing pianos, say what you might associate with player pianos of the early 20th century. There were actually some very sophisticated instruments even back then, but they couldn't come close to reproducing the humaneness of a classical performer, with all of the subtleties that are required and studied classical music. Jason Skipper 8:58 Wow. How did you - I know that you grew up here in Tennessee, and you studied at Lipscomb. But how did you get interested first in piano technology? Shana Kirk 9:07 So that's an interesting thing. So when I was a high school student, I was a pretty enthusiastic student, and an enthusiastic musician too. But you're in kind of a, an isolated area in rural Tennessee, where you don't know what you don't know. But I was just fascinated by all things music, and I knew I wanted to be in the music world. And I had played in band and taking piano lessons. And then I got to Lipscomb, and there was this whole other layer of musicianship that I had no clue about. So my teacher was Jerry Reed, who is you know, just a wonderful and award-winning and phenomenal teacher in the area. And I think that he saw a spark and also had a willingness to kind of be hard when it was necessary. Shana Kirk 9:59 And so he really gave me some guidance about classical music. And then and also just sort of helping me fit into that world because I had been a total, you know, country girl, and I didn't have a clue. But also at the same time, and this is like, you know, the ironies of growing up in the south, I think I had a small scholarship from the Walton foundation from Walmart. And that scholarship went on top of my other scholarships, and it was actually just cash and they just gave me a check. So with that, check, I marched myself to the music electronic store I don't even remember the name of it now is the dusty little store in northeast Nashville, and I bought a keyboard and a MOTU interface, orange, and bright-colored MOTU interfaces, and Finale version 2.6.1, the engraving software which came on, you know, three or four floppy disks best I remember, and a MAC classic computer. computer like the little screen, you know, monochrome Mac classic. So that was my rig. And I carried it back and forth to Lipscomb with me in the back of my Ford Escort. And, I discovered at the same time that our theory teacher who was a brilliant brilliant man named Gerald Moore. Dr. Moore, unfortunately, passed away a few years ago, but he had been doing a side gig for many years as an arranger in Nashville. So the idea of using a keyboard to write music into a computer was relatively new and we had started that learning curve at the same time. And so we shared each other's pain and learning how to do this. Shana Kirk 11:58 Bfrustrated by how often our computers crashed and how often we couldn't get the setup to work. I have admitted many times, although probably never on the radio that I got away with not doing a whole lot of my theory homework because I used to try to turn it in on finale and then my computer would crash and I would go to Dr. Moore and I would say Oh, my computer crashed. And he was so, he was this giant, like you know, I don't know how it seems like he was seven feet tall but he probably wasn't I don't know. A lot bigger than me person who would just... but he was sort of like a big, you know, cuddly, you know? He was just this nice, nice person, very, very warm person and he was saying, oh, Shana, I completely understand. You can just turn it in whenever and you would never get around to turning it. Hey, let me slide on so much theory homework. I'll have to also admit that I ended up taking some remedial theory classes in graduate school. Jason Skipper 12:58 But hey during that time, you got all the practice in there. So you learned... Shana Kirk 13:06 Definitely. I had this deep understanding of how MIDI and computers fit together, and you know why that is useful in the real world. Because there was Dr. Moore just doing incredible work in Nashville and increasing his output I think exponentially because all of a sudden, he didn't have to handwrite everything. There was this easy way. There wasn't even there was barely an email it wasn't like you could attach a message to I mean, you couldn't attach a score to an email or send anything online but at least you could get multiple copies output fast. Jason Skipper 13:42 Right. Right. That's awesome. You started From the beginning there. You started really, really early and learned it well. I think in our correspondence before this episode, you mentioned that the bulk of your work today in your job and everything you do seems to revolve around artists, educators and recording studios who use the Yamaha Disklavier, especially when it can help address common 21st-century learning challenges. Can you explain what you mean by that? Shana Kirk 14:16 Yeah, yeah, sure. So, I have had a longtime relationship with Yamaha as a consultant, since actually the time I was a graduate student here in Denver. And in that role, I have been in this sort of unique niche of having a big background in classical music and piano pedagogy, but also having this you know, additional layer of knowledge in technology. So Yamaha has hired me now for many years to help educators, especially college music departments. But also private teachers and artists and studios and whatever, to figure out what they needed and how they could be helped by this technology. And since my personal passion is for great acoustic piano performance, a lot of times that has carried over to Yamaha Disklavier. Shana Kirk 15:18 So, since the very early days of Disklavier, schools have adopted them for the purpose of helping students practice more efficiently. So it's one thing to practice for, you know, hours and hours like we do as pianists. But a lot of times that turns into things like repetitive stress injuries, or just plain old brain fry exhaustion. So something that was discovered and actually one of the original reasons that the Yamaha Disklavier was ever invented in Japan was to help students take advantage of being able to listen to themselves better. So if you, as an advanced pianist can record a performance on the Yamaha Disklavier, and then step back a few feet, and then experience your own performance as an audience member, or as a critique of your own performance. You develop listening skills and sort of self-assessment skills that you can't do when you're just in the middle of playing. So that's an incredible benefit to being able to have this very realistic performance of yourself just anytime you need to do that. Jason Skipper 16:35 Right. When you listen back and you hear yourself what you did, because a lot of times when you're in the middle of it, you don't realize, you know, you're messing up in a certain area, you get off time, I guess. I don't know, I mean... Shana Kirk 16:48 Yeah, absolutely, there's that. But then I call it sort of the microscope of a Yamaha Disklavier is when you have that performance. Now, remember that the Yamaha Disklavier, on the backbone of the Disklavier is MIDI. And MIDI is data, MIDI is not a recorded performance. So what can you do with data, you can manipulate it. So because MIDI is data, you can take a display of your performance. And you can speed it up, you can slow it down, you can change the key, you can take little segments out and loop them over and over again. And so anything that you can do in a MIDI studio, you can also do at the Yamaha Disklavier, but the benefit is you're doing it on a real acoustic piano with all of those, you know, brain-rattling vibrations in the room, all of this specialness of an acoustic piano. So I have been giving workshops for teachers for many years now demonstrating a lot of the ways that you can use Yamaha Disklavier as it's just a microscopic teaching tool. One short example I'll give... Jason Skipper 17:53 Yeah, that would be great. Shana Kirk 17:55 Say, I saw this in I saw this years and years ago what before I was working so closely with Yamaha in a teacher workshop with Susan Ogilvy who is also, you know, wonderful technology, promoter and just composer and wonderful person. So anyway, I was in this early workshop with Susan Ogilvy. And she had a student come and she was going to show recording and playback as a teaching tool, and she asked the student to play a scale. And the student, she was expecting that the student would miss a few things, and that she would play it back and we would be able to, you know, make note of Oh, you didn't quite get that, you know, finger passage exactly right, or something like that. Shana Kirk 18:43 But instead, the student was a total show off and he played really, really fast. And the audience kind of gasped at how great they thought it was maybe or maybe how great he thought of himself. And so it's right in the moment, Susan said, you know, I'm going to do something a little different here, I'm going to see what your performance sounds like, if I play it at half the speed, you played. And all of a sudden, you hear all of these bumps and uneven places and places where the two hands weren't exactly together. And suddenly you realize she's just taken a microscope to that performance and exposed everything about it that was insecure and shaky. And also, sometimes you hear two side by side really fast performances, and you can't quite put your finger on what, no pun intended there, why one is so much more professional-sounding than the other. Sometimes it's those microscopic differences in where your hands exactly playing together and was the scale exactly, exactly, even. And that happens across the board, not just in classical music. Jason Skipper 19:55 Right. What other ways Have you seen and maybe other examples are where teachers are working with their students or maybe schools are maximizing their efforts working with students with the Disklavier. What other ways have you seen that? Shana Kirk 20:11 So, it's, it's a long list. But a couple of my favorite examples are just anywhere when a school or a teacher especially and we all know the burden that is on teachers, especially these days with budget cuts in schools and just incredible schedules that the teachers have to put themselves through. I have a colleague Mario Ajero at Stephen F. Austin State University in Texas, and he has all of his students record their piano proficiency exam. So this is the class that you know group piano or class piano, where piano music students, not necessarily piano students, but any music students have to pass what's called a piano proficiency. And so at a big school like Stephen F, Austin, that can be an enormous number of students to go through and get and take these exams. So MARIO has all of his students record their exams on Yamaha Disklavier, so that he can come in and, and grade the exams without having to actually schedule with a student. And it just puts so much more flexibility into not just his schedule, but theirs, I mean, students, you know, especially music students are so booked with performances and recitals and even just attending other things. So so that is just a simple way that the Disklavier has to lighten the load of music students and faculty. Shana Kirk 21:35 And then modern Disklavier, so by modern I mean, just in the last, you know, five or so years, there has been an added element of synchronized video. So most Disklaviers in the last several years, you're able to connect either a camera, so a video camera, or even just an iPad. There's an iPad app that goes with the Disklavier called my music recorder. Those two things will let you marry together video of your performance and the physical performance that is on the display here. So how does that help modern competitive piano student? Well, we mentioned I think earlier the avoidance of performance injuries. And there have even been studies about this, you know, NYU, and Washington University, all kinds of things. So when a student can actually see the mechanics of their own performance on a video screen, and then at the very same time, see how a certain gesture of their body translated to a certain sound at the piano. You know, all of a sudden you have all of this information to take in, you can take notes on it, you can work on parts of your physical performance, that you might not be able to observe even from hearing yourself or from independently seeing a video yourself. Shana Kirk 23:00 So the two of those things put together just give you so much information to assess your own playing and to be a healthier player. I know even probably just now while we're talking to each other, I tend to be a pretty animated talker. And I realize, you know, one of my shoulders is higher than the other, I'm starting to leap forward in a weird way because I get excited when I talk. And you don't realize what little tensions you put into your body in ways that you talk in the way that you do your everyday things. When you're a pianist, and you're at the piano for hours and hours a day, those little motions in your body, those little tensions can really really multiply. So it's extremely important for pianists in today's ultra-competitive environment to have every possible advantage. Be able to reduce those tensions. Jason Skipper 23:51 Right to be self-aware, understand what they're doing, what they do, how it comes through in their music and everything they're doing, so... that's incredible. Shana Kirk 24:00 Yeah, it's critically important. I can't count the number of pianists that I've known that have dropped out of performing life because they have had injuries or because they saw an injury coming and didn't know how to avoid it. But also, I've seen wonderful success stories of pianists who were able to overcome injuries or avoid them in the first place. Just because of technology like the Disklavier. Jason Skipper 24:27 Right. Wow. Well, you say technology like the discovery, or are these options everything you're mentioning? Are they more just focused on the Yamaha Disklavier or what other pianos from Yamaha have the same type of options? Is the Disklavier really the one especially in performance things where it's that's the standard go to? Shana Kirk 24:47 I think the Disklavier is certainly setting a standard in every possible way. But Yamaha because it's such a big and interconnected company and such an innovative company, has carried over a lot of technologies and a lot of ideas across several different instruments. One of the most important ones, I think, is the ability simply to put on headphones. And every instrument Yamaha makes, including most acoustic pianos, are now available with what's called a silent feature. That, you don't have to have the playback ability of the disc severe or some of the more sophisticated MIDI features that are in the Yamaha Disklavier to appreciate why you might want headphones on your acoustic piano that solves so many problems for so many families. If you have more than one child in the house, if you have people who go to bed at different times, if you have close neighbors, if you have a student in your family who just is shy about having other people listen - I don't like other people listening to me, I doubt if most people do. So that is just you know, a problem solver just by itself. Shana Kirk 26:02 And because the core of the Yamaha Disklavier year revolves around this very, very precise measurement, the one hand, and on the other hand very, very high quality sampled sounds inside your headphones because remember Yamaha is also an electronics company. So many many very powerful sampled sounds come from the Yamaha see FX Concert Grand Piano from the Yamaha C7, which is the standard in every recording studio everywhere, you can ask your Nashville friends. Lots and lots and lots of choices. Yamaha is also the owner of Bösendorfer and that sample is now in a lot of our headphones instruments. And then you get into the very exciting more digital features of something like a Clavinova, where you basically have a multitrack studio at your fingertips You know, tons and tons of artists and educators and composers get tremendous use out of Clavinova. I mean, it's everything but the kitchen sink right inside the same. Shana Kirk 27:14 So for someone who may be listening, a listener out there, and they're trying to understand, you know, I grew up playing piano and I think mom and dad, my mom and dad would have been very happy if I could put headphones into my piano every once in a while, you know? And I guess the question is, you know, for some people out there, how does that work? You take a piano, how can you plug in an acoustic piano, and you plug in headphones, you know, just getting really basic here. How does that work where you can plug it in, and suddenly the piano doesn't make any sounds anymore? Can you kind of explain that to our listeners? Shana Kirk 27:49 Oh, sure. It's actually not that complicated that the mechanism of it is not that complicated. In a Yamaha acoustic piano that has a silent feature or a Yamaha Disklavier the silent feature, there is simply a bar that mechanic, you know, you hear a little motor go bug. And it just prevents the hammers from striking the strings or so then instead of hammer striking strings, they're just stopped by this little soft bar and it doesn't make it makes the same sound. I mean, that doesn't, you know, damage anything. And because the Yamaha Disklavier is based on fiber-optic technology, you're the hammers are not hitting anything. They're not hitting sensors or anything like that. They're simply passing through beams of light. And those beams of light can have unbelievably precise measurements. Shana Kirk 28:41 So whatever you're playing on the keys, even if it's fast, repeated notes, or if it's very slow movement of the key up and down, all of that is being measured, and then reproduced in a really, really sophisticated modeled sample of an acoustic grand piano. So one of the things that I think is great fun is you put on the headphones in your, you know, living room-sized acoustic piano that's an upright or small grand maybe that fits into you know, everybody's living room. And then when you put the headphones on, all of a sudden you're hearing this nine-foot concert grand. Jason Skipper 29:19 That's awesome. That's awesome. I wish I would have had that growing up. I really do. Shana Kirk 29:23 I think my family probably wishes they had that growing up. Jason Skipper 29:28 So one of the things that we've talked about here is learning and be able to work with someone who's somewhere else. A lot of times today, people are moving all over the place. My family, we've moved four times probably in the last 10 years. It's just one of those things that happens a lot of people move all over the place and what happens in today, how can we use the technology and today to be able to let's say you have a piano teacher somewhere else like another city where you were and you moved away from them, but you don't want to change teachers you don't know who to look for, then how could we use this technology for things like that? Or maybe you could give us an example? Shana Kirk 30:10 Yeah, well, obviously, distance learning is a really hot topic and education circles everywhere. And music education is no different. So the Yamaha Disklavier itself has a feature called remote lesson that is largely limited to institutions. So if you have a great faculty member at your school, and they have some niche expertise, that other people are enthusiastic about, about sharing, you can sort of beam that teacher one piano to the other piano I actually just now helped facilitate a lesson from Frederic Chiu who is a wonderful Yamaha artist and on the faculty of the Hartt School of Music, and, and other positions as well I'll mention and he was invited to teach a class to some students in Moscow. And so we set up a Yamaha Yamaha Disklavier at the Hartt School of Music, where they have that piano there all the time. And the students in Moscow were able to come to a Yamaha facility there. So Frederic Chiu to has a wonderful way of demonstrating how to create this magical sound in especially the music and the style of Chopin with combining certain subtle movements of pedals and ways to address the keys with velocity, so that's, you know, the speed of playing a key up and down. And all of that very, very intricate information, just jumped right over those thousands of miles into the piano in Moscow. And students were you could see them on the screen, you know, they were just their jaws were dropped. And these are not students who are new to piano repertoire, but obviously, his approach to this particular topic was so new and refreshing. So that was a really magical thing to watch just very, very recently. Shana Kirk 32:10 And years ago, I had a more practical application with Inna Faliks, who is on the faculty of UCLA, so University of California in Los Angeles. And she was invited to join that faculty as a very young artist. And that's not something that you ever turn down if you're in this world. I mean, faculty jobs in piano are so hard to come by. But she had this existing set of responsibilities in New York City. And on top of that, she had a new baby. And so it was going to be really complicated for her to travel back and forth to take advantage of her new job at UCLA, while not letting everything slide in New York and also while still having a new baby. And so she did manage to do quite a lot of travel and she was very much welcomed on that faculty and she's doing such a wonderful job there still. But for that early transition, we were able to help her alleviate some of the stress of travel by letting her teach some of her lessons from New York City to LA. So she taught students from Yamaha artist services in New York City and her students and it was really funny because it was in the winter and her students were always wearing shorts and everybody was all bundled up in New York. Sometimes it's the distance, sometimes it's the time zone. sometimes it's just the convenience of life. Sometimes a teacher is sick. Sometimes a student is sick. And just being able to use Distance Learning Tools, either at the Yamaha Disklavier or Clavinova or silent piano can also accommodate Distance Learning Tools if you apply the software. But they discover you are actually has a built-in feature. Jason Skipper 34:03 That's awesome. That's so amazing, I tell you. So real quick finishing up here. Where do you see the future of piano technology going? Where's the future from today? Do you know? Do you have any clue or? Shana Kirk 34:18 I have my eye on things, I tell you, I always have my eye on things. Yamaha is always looking into the future. I can tell you that. And Yamaha has done a lot of research and a lot of prototyping in the area of artificial intelligence. That's still very new in the sophisticated language of music, or to artificial music-making still feels a little artificial, right? Honestly, you can tell when robots playing music right? Instead of when a human is playing music, but the research is there it's getting closer and closer. I'm also really, really fascinated by how much multimedia is becoming part of our art. So you think of classical piano is this sort of stodgy, snobby world of older people sometimes. And it's not always used in the same breath as innovative or modern, right. But that's just not true at all. There is so much to be done. Because of the complexity of classical music. You can put together just unbelievably eye-popping multimedia displays, where the lady from the piano so from the signals from an acoustic performance, are actually creating their own art. So being expressed as visual graphics. And that's not even hard to do. Shana Kirk 35:52 There's an iPad app called Visual Performer that just immediately turns your performance at the keyboard into a multimedia display. But then there are artists like Dan Tepfer, who are also computer programmers, in addition to being great pianist, and he's a classical pianist and a jazz pianist. And you know, every possible brilliant he could be. And he's writing algorithms that interpret his playing, and then feed it back to the piano. So it's like he's having a duet with his future self. Really, really brilliant stuff. And in the middle of that he has, you know, fractal art. And it's just unbelievable mind-blowing, mind-blowing things. Then also I am aware of pianists who have very severe limits, pianists who have had strokes. I've worked with two great pianists who have had strokes or other conditions that limited one hand or the other, and they're able to continue playing the piano because they record one part and play along with their own selves at the Yamaha Disklavier. So the accommodations for people who have these abilities. That is a future way of just allowing so many more people to be expressive at the piano. You might have seen a video, there was a really great I think YouTube video of the piano of the singer Renee Fleming controlling a Yamaha Disklavier with brainwaves (See embedded video below). So that's research, you know, someone who has complete loss of mobility can still control a piano through their brainwaves. So there's just so much exciting research in the area of accessibility in the area of multimedia, and then you know, distance learning. I'm just waiting for your holograms to be something that I can do. https://www.youtube.com/watch?v=1d-PlEAQMBY Jason Skipper 37:46 A hologram dancing on top of the piano while you're playing. Shana Kirk 37:48 Oh, yeah. So I do have to mention one multimedia artist before we close. That is really, really exciting. I don't think she hasn't done a lot of work on the Disklavier recently, but this just goes to show how long people have been, you know, experimenting with the Yamaha Disklavier as a multimedia instrument. The artist name is Xiao Xiao, X-I-A-O X-I-A-O. But she got hold of a discovery or during the time she was at MIT, and created something called MirrorFugue, where great pianists that she convinced to come in record for her, had their images, the actual images of their hands projected onto the keys. And one of the really special times that happened was she recorded the New Orleans pianist Allen Toussaint. And no one was expecting that it would be one of the last years of his life. And so now we can go back in and see that magical performance you know when he sort of unexpectedly passed away. So it's a little bit you know, dark to think about, you know, preserving dead pianist. It's not something that I really tried to emphasize the Yamaha Disklavier. But it is really a wonderful way to preserve moments in history, whether it's your child's piano recital, or a great pianist that might have visited your house, or a great pianist, hit what was at a school or a graduate degree recital. https://vimeo.com/121710688 Jason Skipper 39:19 Wow, that's incredible. I'd say the sky's the limit. And just everything we can see there. By the way, folks, I'm going to go ahead out. And we're going to look for all of these things that Shana has mentioned in here, we're going to put them in the show notes. So if you didn't look, look through the show notes, you'll see links to these videos will embed them on the page as well. So check those out. Well, one last thing here. You know, they say there's a saying you don't know what you don't know. And I feel like that today, with you, it's just been amazing listening to everything that you talk about and that you're sharing we know that there's so much technology and everything they're doing but what haven't I asked you today that I should have asked or something that you'd like to share with your audience? Shana Kirk 40:08 So it like I said earlier, it is just an amazing time to be right here at the junction of music and technology and teaching. The truth is you don't have to be anything like a techie person to enjoy technology at the Yamaha Disklavier or any other technology equipped instrument in 2019. We're all used to using iPads. The technology has receded into the background. It's not the goal anymore, it's just another tool. So if you're doing something as complex and sophisticated as playing the piano, and if you are, you know, congratulations because you're keeping your brain going for the rest of your life, adding just a little technology to the mix to make it more engaging and more convenient, is really, really not a big hurdle to cross. We can connect iPad games that make piano play and feel like, feel like a game. You can connect an iPad and have your whole music library, turn the pages for you from right inside your Yamaha Disklavier or any of the keyboard. You can record performances of special people in your life and have them, you know, archived forever. So you shouldn't feel intimidated and it's great to have people like Miller Music on hand who know their way around and can give everybody a gentle introduction into what sounds like, you know, a lot of complicated technology but it's really, really not there is so much to offer now and it can be as hard or as easy as you need it to be. Wow. All right. Jason Skipper 41:57 Well, how can people find you? I know you have a website, you're, you write blog posts, you write a lot of different things. How can people find you online? And how can if anybody would ever want to get a hold of you? How can people find you? Shana Kirk 42:13 Right, so I have my own website, which is pianotopia.net. And I also helped coordinate a website for Yamaha that's called the Yamaha DEN. So the Yamaha Disklavier Education Network is the DEN. And I try and keep rotating content up there. That is just kind of the latest exciting things to do with Disklavier, especially in ways that education might use. Jason Skipper 42:38 All right. Well, thank you so much, Shana. It's been a pleasure to have you on the podcast with us. To our listeners, don't forget that you can find a transcript with this entire podcast along with show notes and links to all the content that we mentioned the videos and everything else we talked throughout right here on the website. Also, don't forget to look us up on iTunes, Google Play and Spotify. And subscribe to the podcast leave a rating and a review if you could. I'm your host Jason Skipper. We'll see you next time.

After three weeks of thematic episodes, we have to get back to checking what's new and what's coming up... The piles of new and upcoming releases have been building up and we could not wait any longer. So here's to a great episode with new, upcoming and reissued gems, featuring the music of Dave Holland, Zakir Hussain, Chris Potter, Ben Van Gelder, Reinier Baas, Emma Frank, Craig Taborn, Louis Moholo and other creative minds. The playlist features Kevin Hays, Lionel Loueke, Dave Holland, Zakir Hussain, Chris Potter, Jenny Scheinman, Allison Miller, Théo Ceccaldi, Roberto Negro, Ryan Blotnick, Maurice Louca, Louis Moholo, Petter Eldh, Emma Frank, Ben Van Gelder, Reinier Baas, Remy Le Boeuf, Dan Tepfer, Reid Anderson, Dave King, Craig Taborn, Steve Lehman, Alex Koo, Caroline Davis, Rob Clearfield, Anne Paceo, Moutin Factory, Tim Ries, Guillermo Klein, Jean-Christophe Cholet, Matthieu Michel. Detailed playlist at https://spinitron.com/RFB/pl/9265241/Mondo-Jazz

In today’s episode we are speaking with saxophonist and composer Alex LoRe. We discuss his appearance in the YouTube series “The Working Musician,” his upbringing in Florida and mentorship under Bunky Green, his move to New York, practical tips for improving your technique, his advice for someone wanting to follow in his footsteps, and more.Support the Podcast: https://berniesbootlegs.com/supportConnect with Alex:Website: https://alexlore.com/Instagram: http://instagram.com/alexmloreFacebook: https://www.facebook.com/alexmloremusic/Connect with Bernie's Bootlegs:Website: http://berniesbootlegs.com/Instagram: https://www.instagram.com/berniesbootlegsFacebook: https://www.facebook.com/berniesbootlegsTwitter: https://twitter.com/berniesbootlegsYouTube: https://www.youtube.com/c/berniesbootlegs1Email: berniesbootlegs@gmail.comAbout Alex, courtesy of AlexLore.com:"Noted by the New York Times as a saxophonist who is “…making the connections among about 70 years’ worth of contemplative, articulate and light-toned players”, Manhattan-based saxophonist and composer Alex LoRe is one of the most in demand alto saxophonists on the current New York City jazz scene. Originally from Tarpon Springs, Florida, LoRe has been mentored by a “who’s who” of saxophonists, including Lee Konitz, George Garzone, Jerry Bergonzi, James Moody, and Steve Wilson to name a few. Internationally acclaimed saxophonist and educator Bunky Green says LoRe “…will emerge to become one of the leading voices on the international jazz scene.” Saxophonist George Garzone describes his playing as “bold and unforgiving”, with “…a beautiful sound; he understands the concept of melody.” With a strong upbringing in classical music, LoRe’s playing and compositions are influenced by many genres, ranging from European classical music through today’s most influential artists on both the jazz and popular music scenes.LoRe has been featured at venues such as New York City’s Museum of Modern Art (MoMa), the Jazz at Ravinia Festival held at the Stean’s Institute for Young Artists in Chicago, the Monterey Jazz Festival in California, and the Jacksonville and Clearwater Jazz Festivals in Florida, among others. In New York, he frequents prominent venues such as Smalls Jazz Club, Dizzy’s Club Coca Cola, The Jazz Gallery, and Smoke Jazz Club both as a leader of his own groups and as a sideman. He is a member of saxophonist Lucas Pino’s “No Net” Nonet, which currently holds a residency at Smalls Jazz Club. LoRe has had the opportunity to perform and work with artists George Garzone, Ingrid Jensen, David Liebman, Tony Malaby, Ron Blake, Steve Wilson, Aaron Parks, Dan Tepfer, Ralph Alessi, and Ari Hoenig, among others. Internationally, he has performed throughout the Netherlands, Australia, Israel, and Canada.LoRe holds a bachelor of music degree from Boston’s New England Conservatory of Music, and a master of music degree from New York’s Manhattan School of Music. Most recently, he plans to release his third album for Challenge Records International this coming September 6th, 2019. Entitled Karol, the record will feature compositions inspired by LoRe’s study of classical composers and features pianist Glenn Zaleski, bassist Desmond White, and drummer Allan Mednard."Support the show (http://berniesbootlegs.com/support)

Today there be crickets. Not like, the audience was so quiet you could hear crickets. But, I left the office window open and the recording equipment is so sensitive you could hear actual crickets.  And it was dusk.  So like, a cricket rave. Which actually, somehow...works. Because here there also be Dan Tepfer.  I don't have the brain or experience to do what he does.  But I do have the brain and experience to appreciate what he does...with a player piano, a computer, various algorithms, and a visual interpretation of what he does.  Which is create improvisational jazz pieces which, when the algorithm responds, requires that he then respond in kind to what the algorithm creates...thus making exciting and precarious pieces that require precision and structure but allow for such soul and depth of playing and communication that I guarantee you've never heard, nor will you feel, anything quite like this. And, when you watch the video from the tiny desk, or any of his live videos on YouTube, including pieces from his wonderful "Natural Machines" album, it becomes an entire multiple sensory experience.  Have a nice drink, alter your mood/mind in whichever way(s) you find effective, diffuse essential oils or burn incense, put on comfy clothes and make it a FULL ON sensory spa experience. And the crickets somehow add.  There are times when it feels like they are responding to Dan, or he to them...kind of like the Dark Side of the Moon with The Wizard of Oz situation. Hang, won't yinz? -G

The pianist and programmer has transformed the acoustic piano into his duet partner.

The pianist and programmer has transformed the acoustic piano into his duet partner.

In less than two decades Kneebody has established itself as reference band of forward-looking musicians. With a brand new EP out, "By Fire", their first release entirely dedicated to covers, a new outlet (the British musician-run reference label Edition Records), and new line-up following the departure of bassist Kaveh Rastegar, there's a been a lot going on for this influential group. So this week we look back at their genre-bending work, and at the busy careers and eclectic collaborations of its members, Adam Benjamin, Shane Endsley, Kaveh Rastegar, Ben Wendel and Nate Wood. The playlist features music by Kneebody Adam Benjamin, Shane Endsley, Kaveh Rastegar, Ben Wendel Nate Wood, Theo Bleckmann, Daedelus, Dan Tepfer, Billy Mohler, Tony Scott, Zing! Ro Sham Beaux, Hat. Detailed playlist available at https://spinitron.com/RFB/pl/7520254/Mondo-Jazz

durée : 00:55:25 - invité : Dan Tepfer - par : Alex Dutilh - Sur un disklavier, le pianiste Dan Tepfer dialogue avec les algorithmes et improvise le futur sur son nouvel album “Natural Machines” qui paraît chez Sunnyside. - réalisé par : Fabien Fleurat

John Horgan of the Stevens Institute of Technology on the impossibility of explaining the connection between the body and the mind. Tammy Whitlock of the University of Kentucky shares stories of successful Victorian con women. Composer and pianist Dan Tepfer explains how he has programmed his piano to improvise jazz with him. Alon Gorodetsky shares with us his research into squid skin.

Imagine a player piano that can play along with a live human, weaving intricate harmonies and rhythms based on what the pianist is playing but modified by algorithms that invert, echo, or otherwise mimic the live performance to provide, in essence, a robot accompanist. It may sound like something out of Westworld, but it's actually the method jazz pianist Dan Tepfer uses in his improvisational live performances and on his new album, Natural Machines, which has its digital release on May 17, 2019. We spoke with Tepfer about how he came up with the idea of playing alongside a computer and using math with music. See acast.com/privacy for privacy and opt-out information.

Known for his modern approach to jazz, technical mastery on the kit and high aptitude for rhythm and independence, Steve Lyman is emerging as one of the leading voices on the drums around the globe. Originally from Salt Lake City, Utah, Lyman moved to New York City in 2005 to study at the prestigious New School University. Lyman quickly began working with some of New York's finest musicians under the tutelage of his teacher and mentor, drummer Ari Hoenig. Lyman's first major opportunity was performing with vocalist José James (with whom Lyman was an active member from 2006-2008) performing on Mr. James's critically acclaimed album The Dreamer, which was voted #21 of the top 50 albums in 2008 (JazzTimes Magazine). As a performer, Lyman has enjoyed sharing the stage with some of the leading voices in jazz and contemporary music, including: Aaron Parks, Jon Batiste, Gilad Hekselman, Nir Felder, Julian Pollack, Chase Baird, José James, Ben van Gelder, Ben Street, Bill McHenry, George Garzone, Ralph Alessi, Logan Richardson, Jaleel Shaw, Thomas Morgan, Tyshawn Sorey, Madeline Eastman, Joe Martin, Dan Tepfer, Becca Stevens, Kris Johnson and Corey Christiansen to name a few. Lyman has also toured the world extensively as a performer. In Europe, Lyman has performed throughout the UK, France, Italy, Germany, the Netherlands, Spain, playing such venues as the BBC Studios London, The Blue Note Milan, and the New Morning Paris. In the United States, Lyman has performed at the renown Blue Note and Smalls jazz clubs regularly, both as a sideman and as a leader. As an educator, Lyman has led workshops and masterclasses throughout the US and is becoming a first-call international clinician. In 2018 Lyman led his first ever drum clinic tour in the UK—teaching to hundreds of drummers around the regions of London, Wales, Bristol and at Universities and music festivals throughout the greater UK. Upcoming clinics include: Argentina, Singapore as well as returning to the UK in 2020. Lyman released his debut record Revolver in 2013 which featured all original compositions and received 5 Stars from All About Jazz Magazine. Lyman is also the author of the book A New Approach to Odd-Times for Drumset published by Mel Bay Publications (2013). In 2019 Steve will be filming on online lesson for Drumeo and touring the US and EU with saxophonist Chase Baird. Endorsements: Craviotto Drum Company Drums, Istanbul Mehmet Cymbals, Remo Drumheads, Polynome Metronome App and Reflexx Practice Pads. Steve Lyman also serves as an Adjunct Associate Professor of Jazz Drumset Studies at the University of Utah and lives in Salt Lake City. https://www.stevelymandrums.com/

Dan Tepfer has made a name for himself as a pianist-composer of wide-ranging ambition, individuality and drive — “a remarkable musician” in the words of the Washington Post and one “who refuses to set himself limits” in those of France’s Télérama. The New York City-based Tepfer, born in 1982 in Paris to American parents, has performed with some of the leading lights in jazz, including extensively with veteran saxophone luminary Lee Konitz. As a leader, Tepfer has crafted a discography already striking for its breadth and depth, ranging from probing solo improvisation and intimate duets to richly layered trio albums of original compositions. His Sunnyside/Naïve album Goldberg Variations / Variations saw the prize-winning pianist performing J.S. Bach’s masterpiece as well as improvising upon it to “build a bridge across centuries and genres” (Wall Street Journal) in “an impressive feat that keeps coming back to a hearty and abiding respect” (New York Times). As a composer, he is a recipient of the Charles Ives Fellowship from the American Academy of Arts and Letters for works including Concerto for Piano and Winds, premiered in the Prague Castle with himself on piano, and Solo Blues for Violin and Piano, premiered at Carnegie Hall. Bringing together his undergraduate studies in astrophysics with his passion for music, his groundbreaking multimedia project Natural Machines integrates computer-driven algorithms into his improvisational process. Awards include first prize and audience prize at the Montreux Jazz Festival Solo Piano Competition, first prize at the East Coast Jazz Festival Competition, and the Cole Porter Fellowship from the American Pianists Association. http://www.dantepfer.com Natural Machines: https://www.youtube.com/playlist?list=PLUzNnspxG1f5Bks6R8ckCzDSEn__psaO8 Dan’s Apps: https://itunes.apple.com/us/developer/dan-tepfer/id906075109

Por Pachi Tapiz. Cuatro grabaciones lideradas por saxofonistas veteranos suenan en la entrega 458 de HDO: Vanished Gardens (Blue Note, 2018) de Charles Lloyd junto a la cantante Lucinda Williams y The Marvels (Bill Frisell, Greg Leisz, Reuben Rogers, Eric Harland); The Literature (Pine Eagle Records, 2018) de Rich Halley 3 (junto a Clyde Reed, Carson Halley); Fire (Jazzline, 2018) de Dave Liebman junto a Kenny Werner, Dave Holland, Jack DeJohnette; finalmente Decade (Verve, 2018) de Lee Konitz junto a Dan Tepfer. Tomajazz: © Pachi Tapiz, 2018 HDO es un podcast de jazz e improvisación (libre en mayor o menor grado) que está editado, presentado y producido por Pachi Tapiz. Para quejas, sugerencias, protestas, peticiones, presentaciones y/u opiniones envíanos un correo a hdo@tomajazz.com

Did it ever occur to you that J.S. Bach was a technology nerd? We're talking with Dan Tepfer, a pianist and composer who improvises with algorithms and cowrites with computers. Dan tells us how he discovered that music would be his primary pursuit after studying astrophysics in college and gives great advice for figuring out what you want to do with your life. Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSee omnystudio.com/listener for privacy information.

Dan Tepfer est un pianiste de jazz franco-américain de formation classique. Il s’est emparé des Variations Goldberg de Bach et nous propose une conversation musicale intime avec le Cantor entre classique et jazz. Conversation entre Dan Tepfer et Jeanne-Martine Vacher autour d’un piano.

Albums by Charles Lloyd/Jason Moran and Ben Wendel/Dan Tepfer are spun. Rene and Lee talk about duets and what makes them challenging. Rene gets on her soapbox to riff and rail about music in schools or the lack thereof.

  Onzième et dernière de la vingt-deuxième session !   Cette semaine, Marie-Eve Boulanger nous fait part de ses découvertes, du jazz postbop aux accents latin et monkien et notre saine dose de freejazz !   En musique: Yosvany Terry sur l'album Today's Opinion (Criss Cross, 2012);   Dan Tepfer Trio sur l'album Five Pedals Deep (Sunnyside, 2010);   Hobson's Choice sur l'album Off The Waves (Barnyard, 2012);   Pierrick Pédron sur l'album Kubic's Monk (ACT Music, 2012);Ingebrigt Håker Flaten New York Quartet sur l'album Now Is (Clean Feed, 2012)...  En compte-rendu:   Lee Konitz & Dan Tepfer en duo à l'Upstairs le 8 décembre 2012, 19h30...

  Onzième et dernière de la vingt-deuxième session !   Cette semaine, Marie-Eve Boulanger nous fait part de ses découvertes, du jazz postbop aux accents latin et monkien et notre saine dose de freejazz !   En musique: Yosvany Terry sur l'album Today's Opinion (Criss Cross, 2012);   Dan Tepfer Trio sur l'album Five Pedals Deep (Sunnyside, 2010);   Hobson's Choice sur l'album Off The Waves (Barnyard, 2012);   Pierrick Pédron sur l'album Kubic's Monk (ACT Music, 2012);Ingebrigt Håker Flaten New York Quartet sur l'album Now Is (Clean Feed, 2012)...  En compte-rendu:   Lee Konitz & Dan Tepfer en duo à l'Upstairs le 8 décembre 2012, 19h30...

Pianist Dan Tepfer creates fresh and dynamic music on his new trio album, Five Pedals Deep (Sunnyside, 2010). In this interview, Tepfer talks about forming his new trio with Thomas Morgan and Ted Poor; some differences between European and American approaches to jazz performance; and his extended musical partnership with Lee Konitz. Learn more at www.dantepfer.com.

Pianist Dan Tepfer creates fresh and dynamic music on his new trio album, Five Pedals...