Podcasts about eastman school

Artist Entreprenuer Susan Zhang joins the Feeding the Starving Artist podcast. In addition to her work with the Concert Truck, Susan is an acclaimed pianist with "astounding musical authority" (Columbia Free Times), Susan made her orchestral debut at the age of twelve with the Augusta Symphony. She has since been featured as a soloist with the South Carolina Philharmonic, the Aiken Civic Orchestra, the University of South Carolina Symphony, and the Atlanta Symphony Youth Orchestra. She has performed in Kodak Hall at Eastman Theatre and Woodruff Arts Center as well as numerous other venues in North America, Europe, and Asia. Her recordings have been featured on SC Public Radio.Susan was a prizewinner of the Thousand Islands Chopin Competition, the Bauru-Atlanta Competition, the Burgos International Music Festival Competition, the Arthur Fraser International Piano Competition, South Carolina MTNA Young Artist Competition, and the University of South Carolina Concerto Competition. Her summer festival appearances include Pianofest in the Hamptons, the Banff Piano Master Class, Burgos International Music Festival, the Southeastern Piano Festival, and Brevard Music Center.Susan is a graduate of the Eastman School of Music, Peabody Conservatory, and the University of South Carolina. Her primary teachers have included Marina Lomazov, Joseph Rackers, Enrico Elisi, and Boris Slutsky. Susan has served on faculty at the Gilman School and Peabody Conservatory.

On this episode of The Bandwich Tapes, I sit down with conductor, composer, and longtime contemporary music advocate Brad Lubman for a wide-ranging conversation about interpretation, rehearsal, composition, and the deeper responsibilities of making music with other people.Brad first came onto my radar through his work conducting Steve Reich's music, but this conversation quickly opened into something much larger. He talks about the way audiences often associate him with Reich's music, while reminding us that he had already built a substantial life in new music long before that connection began. From there, we get into a fascinating discussion about what conductors actually do, and why he resists the idea that great conducting is about imposing personality on a score. For Brad, the work begins with the composer's intentions and the discipline of bringing those intentions to life as clearly and honestly as possible.We also spend time on Brad's path as both a percussionist and a conductor, including how his early love of drums and rock music, and later of orchestral music, shaped the musician he became. He reflects on what percussion taught him about immediacy, time, and gesture, and how those lessons still inform the way he teaches conductors today. His thoughts on rehearsal are especially compelling: the idea that a conductor's role is not to dominate but to create conditions in which musicians can play with confidence, clarity, and artistry.A particularly rewarding part of this conversation centers on Brad's own music, especially his powerful piece Tangents for two pianos and two percussionists. He shares the origin of that work, how it emerged during a moment when he was considering stepping away from composition, and why it marked the beginning of a new phase in his musical language. We also talk about his long association with Steve Reich, Ensemble Signal, and the kinds of life-changing moments that can come from simply doing your work well and being ready when the right people are listening.By the end of the conversation, what comes through most clearly is Brad's seriousness of purpose and his belief in music as a communal act. Whether he is conducting, composing, teaching at the Eastman School of Music, or building programs with Ensemble Signal and major orchestras around the world, he approaches music with precision, humility, and an unwavering sense of service to the score and the people making it.Key TakeawaysBrad Lubman offers a thoughtful distinction between “interpretation” and serving the composer's intentions, arguing that great conducting begins with fidelity to the score rather than ego.He explains why so much of what audiences hear as a conductor's influence is actually shaped in rehearsal, not just in performance.Brad reflects on how his background as a drummer and percussionist sharpened his sense of time, touch, and physical gesture.We talk in depth about his piece Tangents and why that work marked a turning point in his life as a composer.Brad shares how key moments in his career — including his connection to Steve Reich and the New York premiere of City Life — came through preparation, reputation, and musical trust.He discusses the communal nature of orchestral music-making and his belief that an ensemble can model cooperation at the highest level.The conversation concludes with a look at his current work as a teacher, conductor, composer, and advocate for contemporary music worldwide.Music from the EpisodeMusic for 18 Musicians (Pulse) - Steve Reich (Ensemble Signal - Brad Lubman, Conductor)Radio Rewrite (I. Fast) - Steve Reich (Ensemble Signal - Brad Lubman, Conductor)Double Sextet (I. Fast) - Steve Reich (Ensemble Signal - Brad Lubman, Conductor)Tangents - Brad Lubman (Icaras Quartet)About the PodcastThe Bandwich Tapes is my chance to sit down with musicians, composers, songwriters, conductors, and creative artists I admire for honest conversations about craft, collaboration, career, and the deeper ideas that shape their work. It's a show about process, perspective, and the stories behind a life in music.Connect with the ShowEmail: contact@thebandwichtapes.com

In the month of May, the nation recognizes the cultural and historical contributions of people of Asian American descent and individuals from the Pacific Islands by honoring how they have helped shape our society. WXXI commemorates AAPI Heritage Month by spotlighting community members who trace their lineage back to Asia and the Pacific Islands, but now call Rochester home. Three of them sit down with guest host Racquel Stephen to tell how they are doing their part to make the community better. In studio: Mimi Hwang, cellist, assistant professor of chamber music at Eastman School of Music, and artistic director of the Rochester chapter of  the "If Music Be the Food..." concert series Joanna Ra, co-founder and program director of AGAPE Black Belt Center and president of the Rochester chapter of Asian Pacific American Public Affairs John Ra, chief master instructor and founder of AGAPE Black Belt Center and former chairman of the Rochester chapter of Asian Pacific American Public Affairs ---Connections is supported by listeners like you. Head to our donation page to become a WXXI member today, support the show, and help us close the gap created by the rescission of federal funding.---Connections airs every weekday from noon-2 p.m. Join the conversation with questions or comments by phone at 1-844-295-TALK (8255) or 585-263-9994, email, Facebook or Twitter. Connections is also livestreamed on the WXXI News YouTube channel each day. You can watch live or access previous episodes here.---Do you have a story that needs to be shared? Pitch your story to Connections.

This episode of The Other Side of the Bell, featuring historical, classical and jazz trumpeter Brian Shaw, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Brian Shaw Trumpet Interview" And, find the expanded show notes, transcript and more photos here --- Whether it's big band jazz, classical baroque, or any number of styles in between, Brian Shaw's trumpet career is a reflection of the word, "versatility." Brian is the type of musician who, when having trouble deciding whether to major in classical or jazz, decided to simply do both! Hence a double major in jazz studies and classical performance, which yes, did result in him having to do two senior recitals. But Brian embraced the challenge, just as he did in finishing his doctorate in one year instead of three, so that he would have more time to pursue all the various avenues he wanted to explore. Today, Brian pursues teaching, writing, performance, arrangement and more from his home base near Seattle, WA. And, as you'll know from our recent "Kenny Wheeler Special," he and Nick Smart recently collaborated on a biography of inspirational trumpeter Kenny Wheeler, Song For Someone: The Musical Life of Kenny Wheeler, which added published author to Brian's resume as well. Brian joins us today to talk about his early inspirations coming from a non-musical family in small town southern Illinois, to being the first in his family to attend college, taking control of your musical education, and the various stops and projects he's pursued along his trailblazing journey. About Brian Shaw: Brian Shaw is an active performer, arranger, and educator known for his versatility. He is one of the few trumpet players in the world equally comfortable in early music, orchestral, jazz, and commercial settings on modern and period instruments, and enjoys an international performing career as a modern and historical trumpet soloist. He holds principal positions with the Dallas Winds, Santa Fe Pro Musica, Spire Baroque Orchestra. He is also a regular guest instructor of Historical Trumpet at the Eastman School of Music. From 2007-2021, he was Professor of Trumpet and Jazz Studies at Louisiana State University and was Principal Trumpet of the Baton Rouge (Louisiana) Symphony from 2014-2021. Brian has also served as guest Principal Trumpet of the Oregon Symphony, Kansas City Symphony, St. Louis Symphony, and Pacific Northwest Ballet Orchestra (US). A noted Baroque trumpet player, Shaw's 2008 recording Virtuoso Concertos for Clarino includes some of the most difficult pieces ever written for the instrument. Early Music America observed: "Shaw's tone is beautiful, and his playing unfailingly musical… His is a voice that will make a major mark on Baroque trumpet playing." His critically-acclaimed 2014 solo trumpet recording redshift was accompanied by the Dallas Wind Symphony and conductor Jerry Junkin. Brian has also released a collaborative album of classic recital pieces with pianist Jan Grimes called Sonatas and Fantasies: A Century of Standards for Trumpet and Piano, and has just completed another recording project called Virtuosic Versatility, outlining the history of the trumpet, from early music to modern jazz.  As a jazz musician, Brian plays solo and lead trumpet professionally in the Seattle area and leads a big band in Baton Rouge every December, which released a holiday-themed album titled Christmas at the Manship! in 2017. He is in demand as an arranger as well, with many scores for jazz band, brass ensemble, studio orchestra, and wind ensemble to his credit. Brian Shaw lives near Seattle with his wife Lana, their sons Thomas and Elliot, and their dog, Ernie. Episode Links: www.brianshawmusic.com YouTube: https://www.youtube.com/user/bshawmusic Apple Music: https://music.apple.com/us/artist/brian-shaw/1564984803 Kenny Wheeler book: https://www.equinoxpub.com/home/song-someone-musical-life-kenny-wheeler/ Bob Reeves Brass Events and Appearances: William Adam Trumpet Festival July 9-12, Southern Illinois University, Carbondale, Ill. Book your trumpet alignment here: https://trumpetmouthpiece.com/products/william-adam-trumpet-festival-valve-alignment-presale Podcast Credits: "A Room with a View" - composed and performed by Howie Shear Podcast Host - John Snell Photo Credits - Courtesty Brian Shaw and Equinox Publishing Audio Engineer - Ted Cragg

Alie Dumas-Heidt chats with fellow authors about their earliest beginnings and answer everyone's favorite question - What happens next? - on The Writer's Journey. Maia Chance is a national bestselling author whose writing has been described as “compulsive,” “twisty,” and “heart-wrenching.” She graduated from Eastman School of Music with a B.M. in Violin Performance and went on to earn a Master's in Violin Performance from Longy School of Music. After a brief career as an orchestral musician in the Boston area, she returned to the Northwest to earn a PhD in English Literature from the University of Washington. She has published nine mystery novels, three short stories, and one of her mysteries was anthologized in Reader's Digest Fiction Favorites. THE BODY NEXT DOOR is her first thriller. She lives in Washington State with her husband, two children, and one naughty dog. http://maiachance.com --- Alie Dumas-Heidt is the author of The Myth Maker, a detective thriller introducing Det. Cassidy Cantwell, set in Tacoma Washington. She lives in the PNW with her husband, adult kids, and two spoiled dogs. http://aliedh.com

Alie Dumas-Heidt chats with fellow authors about their earliest beginnings and answer everyone's favorite question - What happens next? - on The Writer's Journey. Maia Chance is a national bestselling author whose writing has been described as “compulsive,” “twisty,” and “heart-wrenching.” She graduated from Eastman School of Music with a B.M. in Violin Performance and went on to earn a Master's in Violin Performance from Longy School of Music. After a brief career as an orchestral musician in the Boston area, she returned to the Northwest to earn a PhD in English Literature from the University of Washington. She has published nine mystery novels, three short stories, and one of her mysteries was anthologized in Reader's Digest Fiction Favorites. THE BODY NEXT DOOR is her first thriller. She lives in Washington State with her husband, two children, and one naughty dog. http://maiachance.com --- Alie Dumas-Heidt is the author of The Myth Maker, a detective thriller introducing Det. Cassidy Cantwell, set in Tacoma Washington. She lives in the PNW with her husband, adult kids, and two spoiled dogs. http://aliedh.com

Mark and Shane talk about a boxing event that went wrong, Eastman School of Music students hanging with prisoners, and Amber Alert drama.

Today, The Tonearm's needle lands on composer and avid birdwatcher Maria Schneider.Few composers working today have Maria Schneider's range. She holds seven Grammy Awards, was named an NEA Jazz Master, and this year took home the Rolf Schock Prize in Musical Arts, one of the most prestigious honors in the field.Maria Schneider joins the podcast to talk about American Crow, her recent EP that uses jazz to make a case for something we've mostly lost, the ability to actually listen to each other. The music moves from distressed Americana into something quiet and more human, a sound Schneider connects to her Midwestern childhood, when disagreement didn't have to mean war.Maria's here to talk about the record, what jazz improvisation has to teach a fractured society, and more.(The musical excerpts heard in the interview are from Maria Schneider's American Crow)—Dig DeeperArtist and EPVisit Maria Schneider at mariaschneider.com and follow her on Instagram, Facebook, and YouTubePurchase Maria Schneider's American Crow EP from ArtistShareWatch American Crow: A Narrative in Notes and Frames — the full longform music video, free on YouTubeSelected DiscographyData Lords (ArtistShare, 2020) — Pulitzer Prize Finalist; two Grammy Awards; the double album that precedes and informs American CrowSky Blue (ArtistShare, 2007) — includes "Sky Blue," discussed at length in this episodeEvanescence (Enja, 1994) — Schneider's debut; features "Wyrgly" and "Dance You Monster to My Soft Song," both favored by David BowieEnsemble Members and CollaboratorsDonny McCaslin — tenor saxophonist; featured throughout the conversation; also Bowie's Blackstar bandleaderDonny McCaslin on The TonearmBen Monder — guitarist; featured soloist on Data LordsMike Rodriguez — trumpeter; featured soloist on American CrowJeff Miles — guitarist; featured on "A World Lost" on the American Crow EPGary Versace — pianist; longtime Schneider Orchestra member; on faculty at Eastman School of MusicBob Brookmeyer (1929–2011) — valve trombonist and arranger; Schneider's mentor; his critique of "Green Piece" is discussed in this episodeFrank Kimbrough (1956–2021) — pianist; longtime Schneider Orchestra member; referenced in the discussion of "Thompson Fields"Books ReferencedThe Art Spirit by Robert Henri — the key artistic text Schneider returns to when discussing how music transmits lived experience to an audienceFootprints: The Life and Work of Wayne Shorter by Michelle Mercer — Mercer reviewed a live performance of "American Crow" in Call and Response, quoted in this episode and in the press releaseBirdingMerlin Bird ID app — the free sound- and photo-identification app from the Cornell Lab of Ornithology, enthusiastically endorsed by both Schneider and LawrenceCornell Lab of Ornithology — the institution behind Merlin and one of the world's leading centers for ornithological research and citizen scienceThe David Bowie ConnectionBlackstar (Columbia, 2016) — Bowie's final studio album, featuring McCaslin's band and Schneider's arrangement of "Sue (Or in a Season of Crime)," which won a GrammyDonny McCaslin on the Blackstar collaboration — background on McCaslin's role in Bowie's final project—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice.• Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, The Tonearm's needle lands on composer and avid birdwatcher Maria Schneider.Few composers working today have Maria Schneider's range. She holds seven Grammy Awards, was named an NEA Jazz Master, and this year took home the Rolf Schock Prize in Musical Arts, one of the most prestigious honors in the field.Maria Schneider joins the podcast to talk about American Crow, her recent EP that uses jazz to make a case for something we've mostly lost, the ability to actually listen to each other. The music moves from distressed Americana into something quiet and more human, a sound Schneider connects to her Midwestern childhood, when disagreement didn't have to mean war.Maria's here to talk about the record, what jazz improvisation has to teach a fractured society, and more.(The musical excerpts heard in the interview are from Maria Schneider's American Crow)—Dig DeeperArtist and EPVisit Maria Schneider at mariaschneider.com and follow her on Instagram, Facebook, and YouTubePurchase Maria Schneider's American Crow EP from ArtistShareWatch American Crow: A Narrative in Notes and Frames — the full longform music video, free on YouTubeSelected DiscographyData Lords (ArtistShare, 2020) — Pulitzer Prize Finalist; two Grammy Awards; the double album that precedes and informs American CrowSky Blue (ArtistShare, 2007) — includes "Sky Blue," discussed at length in this episodeEvanescence (Enja, 1994) — Schneider's debut; features "Wyrgly" and "Dance You Monster to My Soft Song," both favored by David BowieEnsemble Members and CollaboratorsDonny McCaslin — tenor saxophonist; featured throughout the conversation; also Bowie's Blackstar bandleaderDonny McCaslin on The TonearmBen Monder — guitarist; featured soloist on Data LordsMike Rodriguez — trumpeter; featured soloist on American CrowJeff Miles — guitarist; featured on "A World Lost" on the American Crow EPGary Versace — pianist; longtime Schneider Orchestra member; on faculty at Eastman School of MusicBob Brookmeyer (1929–2011) — valve trombonist and arranger; Schneider's mentor; his critique of "Green Piece" is discussed in this episodeFrank Kimbrough (1956–2021) — pianist; longtime Schneider Orchestra member; referenced in the discussion of "Thompson Fields"Books ReferencedThe Art Spirit by Robert Henri — the key artistic text Schneider returns to when discussing how music transmits lived experience to an audienceFootprints: The Life and Work of Wayne Shorter by Michelle Mercer — Mercer reviewed a live performance of "American Crow" in Call and Response, quoted in this episode and in the press releaseBirdingMerlin Bird ID app — the free sound- and photo-identification app from the Cornell Lab of Ornithology, enthusiastically endorsed by both Schneider and LawrenceCornell Lab of Ornithology — the institution behind Merlin and one of the world's leading centers for ornithological research and citizen scienceThe David Bowie ConnectionBlackstar (Columbia, 2016) — Bowie's final studio album, featuring McCaslin's band and Schneider's arrangement of "Sue (Or in a Season of Crime)," which won a GrammyDonny McCaslin on the Blackstar collaboration — background on McCaslin's role in Bowie's final project—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice.• Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

This week's guest, Sal Andolina, is the BPO's hottest switch-hitter in his permanent position of clarinetist, bass clarinetist and saxophonist. He has been a full-time member of the BPO for the past 21 seasons. His association with the Orchestra began in the late '70s when he was a standout performance major at the University at Buffalo as a full-scholarship student on the clarinet. Upon completion of his degree at UB under former BPO clarinetist James Pyne, Andolina pursued advanced clarinet studies with Stanley Hasty at the Eastman School of Music in Rochester and coaching with the legendary Benny Goodman in New York City. In addition to appearing as a soloist with the BPO, Andolina has been featured with the Rochester Philharmonic, the Grand Rapids Symphony, the Fresno Philharmonic, the Arts Nova Chamber Orchestra and the North American New Music Festival. More significantly, Andolina has been featured on at least 15 studio recordings, including his prized CD: "Like Benny to Me," a tribute to Goodman. Note, this episode was originally recorded on April 9, 2026 where we talked about his association with Michael Tilson Thomas. Sadly Mr. Thomas passed away on April 22, 2026.

Claron mc Fadden: Uniek vertolkster van Oude, Klassieke, Hedendaagse muziek én van jazz en geïmproviseerde muziek➢ Sopraan Claron McFadden, actief in zowel barok- als hedendaagse muziek, behaalde haar bachelordiploma cum laude aan de Eastman School of Music in Rochester, New York. Ze werkte samen met vooraanstaande dirigenten als Pierre Boulez, Frans Brüggen en William Christie. […]

Bone2pick welcomes one of the world's premier instrumentalists, Mr. Charles Pillow. Charles sits down to discuss how he became one of New York's most in-demand doublers, his 9 recordings as a leader including the critically acclaimed Electric Miles & Electric Miles 2, his return to the Eastman School of Music as professor of saxophone and his myriad of recording credits. Enjoy!

This special episode of The Other Side of the Bell, featuring the life of trumpet composer, performer and innovator Kenny Wheeler, a conversation with biographers Nick Smart and Brian Shaw, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Kenny Wheeler Special" And, find the expanded show notes, transcript and more photos here --- Kenny Wheeler has been an inspiration to trumpet players for generations, but in typical Kenny style, we haven't known a lot about his back story, career path and personality.   Until now.   Nick Smart and Brian Shaw, trumpet trailblazers in their own right, have collaborated on a new biography of Kenny Wheeler called Song For Someone: The Musical Life of Kenny Wheeler, which draws from interviews and archival material and research to tell a compelling and touching story.   Kenny went from small town Canada to becoming one of the most influential yet enigmatic jazz musicians in Europe. Along the way, he navigated through all kinds of obstacles, personal and professional, with quiet and understated courage, to truly become a distinct performer. Kenny's solos, improvisation and technical abilities were so unique that he garnered unmatched praise and respect as his career evolved.   And yet, underneath it all were what we would now consider mental health struggles, lack of confidence, imposter syndrome - all things that weren't discussed or acknowledged at the time.   Those who knew Kenny personally were full of universal acclaim for his warmth, kindness and subtle humor. Brian and Nick join John Snell on today's special episode to share some of the stories from their book, which paints a full picture of Kenny Wheeler's life and music.   About Kenny Wheeler: From Song For Someone: The Musical Life of Kenny Wheeler:   Trumpeter and composer Kenny Wheeler (1930–2014) was one of the most enigmatic and influential musicians in recent memory. His instantly recognisable sound was a driving force within every major innovation in modern European jazz during the last half of the 20th century. More importantly, his life provides us with a profound example of the way music can manifest itself in the most unlikely of vessels.   About Nick Smart: Head of Jazz Programmes at the Royal Academy of Music, Nick Smart is an internationally renowned Grammy nominated jazz trumpeter, conductor and educator who has given guest masterclasses and performances around the world.   Nick was a close colleague and friend of the late Kenny Wheeler and has been instrumental in keeping Wheeler's legacy alive. As well as being a member of Kenny's big band, Nick helped manage the latter stages of Kenny's career, secured the Kenny Wheeler Archive into the Royal Academy of Music Collections, and completed a PhD focused on Wheeler's development.   He also led and produced the Grammy nominated album recording, Kenny Wheeler Legacy - Some Days Are Better - released to critical acclaim on the US label Greenleaf Music in January 2025, featuring the Academy Jazz Orchestra in collaboration with the University Miami's Frost Jazz Orchestra.   About Brian Shaw: Brian Shaw is an active performer, arranger, and educator known for his versatility. He is one of the few trumpet players in the world equally comfortable in early music, orchestral, jazz, and commercial settings on modern and period instruments, and enjoys an international performing career as a modern and historical trumpet soloist.   Brian holds principal positions with the Dallas Winds, Santa Fe Pro Musica, Spire Baroque Orchestra. He is also a regular guest instructor of Historical Trumpet at the Eastman School of Music. From 2007-2021, he was Professor of Trumpet and Jazz Studies at Louisiana State University and was Principal Trumpet of the Baton Rouge (Louisiana) Symphony from 2014-2021.    Music Links From This Episode: Some Days Are Better: The Lost Scores (Dave Douglas, Kenny Wheeler Legacy), 2025 Gnu High, 1976 Deer Wan, 1978 Anthony Braxton, New York Fall, 1975 Ralph Towner Old Friends New Friends, 1979 Around Six, 1980 Music for Large and Small Ensembles, 1990   Purchase Song For Someone: The Musical Life of Kenny Wheeler    Bob Reeves Brass Upcoming Events and Appearances: Arkansas Trumpet Day, April 18th, Arkansas State University, Jonesboro, AR Valve alignments: First come, first served! Next Up! Concert Series: Los Angeles Brass Alliance, with special composition by Dan Rosenboom Pasadena Presbyterian Church, May 9, 7:00 pm https://www.labrassalliance.org/events/next-up-2026 Streaming link will appear in advance. William Adam Trumpet Festival July 9-12, Southern Illinois University, Carbondale, Ill. Podcast Credits: "A Room with a View" - composed and performed by Howie Shear Podcast Host - John Snell Cover Photo Credits - Courtesy Nick Smart, Brian Shaw and Equinox Publishing Audio Engineer - Ted Cragg

Today we put The Tonearm's needle on Ben Wendel.Ben is a Grammy-nominated saxophonist, composer, and co-founder of Kneebody, with a discography that covers post-bop, chamber jazz, and electronic music. He's worked with Bill Frisell, Tigran Hamasyan, Terence Blanchard, and yes, Prince.His new album BaRcoDe just dropped on Edition Records. It's built around a concept that's hard to pull off: four of the most in-demand vibraphonists working today—Joel Ross, Simon Moullier, Patricia Brennan, and Juan Diego Villalobos—surrounding one saxophonist. The group developed the music across two residencies at The Jazz Gallery in New York City, and the result is something that sits between chamber music and jazz improvisation, with electronics running through all of it.Ben's here to walk us through how this project came together and what it took to write for an ensemble like this.(The musical excerpts heard in the interview are from Ben Wendel's album BaRcoDe)—Dig DeeperArtist and AlbumVisit Ben Wendel at benwendel.com and follow him on Instagram, Facebook, and YouTubePurchase Ben Wendel's BaRcoDe from Edition Records, Bandcamp, or Qobuz and listen on your streaming platform of choice.BaRcoDe — Postgenre reviewBaRcoDe — PopMatters reviewKneebody — Ben Wendel's long-running band; Reach (2025) includes "Repeat After Me," also recorded on BaRcoDeThe Jazz GalleryThe Jazz Gallery — the New York venue where BaRcoDe was commissioned and developed across two residencies (2023 and 2025)Ensemble MembersJoel Ross — iplayvibes.com | Blue Note Records pageSimon Moullier — simonmoullier.comPatricia Brennan — patriciabrennanvibes.com | The Tonearm InterviewJuan Diego Villalobos — juandiegovibes.comMusical Influences and ReferencesSō Percussion — the Grammy-winning new-music percussion quartet whose members came up with Wendel at the Eastman School of Music; a key inspiration for BaRcoDeAntônio Carlos Jobim — "Olha Maria" — one of Wendel's favorite compositions of all time; the sole non-original on the albumKit Downes — British pianist and organist on ECM Records; a loose inspiration for "Birds Ascend"Aidan O'Rourke — Scottish fiddle player and composer; also a loose inspiration for "Birds Ascend"The Creative Act: A Way of Being by Rick Rubin — Wendel paraphrases a line from this book when discussing the title BaRcoDeLos Angeles ConnectionsThe World Stage — performance and education space in Leimert Park Village, Los Angeles; co-founded by drummer Billy Higgins; a formative venue for WendelTerrace Martin — Wendel's high school friend and collaborator; hip-hop producer for Kendrick Lamar and Snoop Dogg (verify URL before publishing)Billy Higgins — legendary jazz drummer and World Stage co-founder; an early mentor whose spirit Wendel also invokes when describing the Village VanguardFurther Reading / ListeningJohn Patitucci — bassist scheduled to guest with Wendel at the Village Vanguard in JulyUnderstory: Live at the Village Vanguard — Ben Wendel (Edition, 2024)All One — Ben Wendel (Edition, 2023) — Grammy-nominated for Best Contemporary Instrumental Album—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today we put The Tonearm's needle on Ben Wendel.Ben is a Grammy-nominated saxophonist, composer, and co-founder of Kneebody, with a discography that covers post-bop, chamber jazz, and electronic music. He's worked with Bill Frisell, Tigran Hamasyan, Terence Blanchard, and yes, Prince.His new album BaRcoDe just dropped on Edition Records. It's built around a concept that's hard to pull off: four of the most in-demand vibraphonists working today—Joel Ross, Simon Moullier, Patricia Brennan, and Juan Diego Villalobos—surrounding one saxophonist. The group developed the music across two residencies at The Jazz Gallery in New York City, and the result is something that sits between chamber music and jazz improvisation, with electronics running through all of it.Ben's here to walk us through how this project came together and what it took to write for an ensemble like this.(The musical excerpts heard in the interview are from Ben Wendel's album BaRcoDe)—Dig DeeperArtist and AlbumVisit Ben Wendel at benwendel.com and follow him on Instagram, Facebook, and YouTubePurchase Ben Wendel's BaRcoDe from Edition Records, Bandcamp, or Qobuz and listen on your streaming platform of choice.BaRcoDe — Postgenre reviewBaRcoDe — PopMatters reviewKneebody — Ben Wendel's long-running band; Reach (2025) includes "Repeat After Me," also recorded on BaRcoDeThe Jazz GalleryThe Jazz Gallery — the New York venue where BaRcoDe was commissioned and developed across two residencies (2023 and 2025)Ensemble MembersJoel Ross — iplayvibes.com | Blue Note Records pageSimon Moullier — simonmoullier.comPatricia Brennan — patriciabrennanvibes.com | The Tonearm InterviewJuan Diego Villalobos — juandiegovibes.comMusical Influences and ReferencesSō Percussion — the Grammy-winning new-music percussion quartet whose members came up with Wendel at the Eastman School of Music; a key inspiration for BaRcoDeAntônio Carlos Jobim — "Olha Maria" — one of Wendel's favorite compositions of all time; the sole non-original on the albumKit Downes — British pianist and organist on ECM Records; a loose inspiration for "Birds Ascend"Aidan O'Rourke — Scottish fiddle player and composer; also a loose inspiration for "Birds Ascend"The Creative Act: A Way of Being by Rick Rubin — Wendel paraphrases a line from this book when discussing the title BaRcoDeLos Angeles ConnectionsThe World Stage — performance and education space in Leimert Park Village, Los Angeles; co-founded by drummer Billy Higgins; a formative venue for WendelTerrace Martin — Wendel's high school friend and collaborator; hip-hop producer for Kendrick Lamar and Snoop Dogg (verify URL before publishing)Billy Higgins — legendary jazz drummer and World Stage co-founder; an early mentor whose spirit Wendel also invokes when describing the Village VanguardFurther Reading / ListeningJohn Patitucci — bassist scheduled to guest with Wendel at the Village Vanguard in JulyUnderstory: Live at the Village Vanguard — Ben Wendel (Edition, 2024)All One — Ben Wendel (Edition, 2023) — Grammy-nominated for Best Contemporary Instrumental Album—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

It's our weekly news roundup. First, the story of the missing birdsong. WXXI's Jeremy Moule reports on how the Canadian wildfires have made some birds go quiet. Then WXXI Classical's Mona Seghatoleslami introduces us to Lisa Bielawa, a composer and visiting professor at the Eastman School of Music. Bielawa is in town for her "Rochester Broadcast" — an outdoor performance by hundreds of musicians planned for Parcel 5. We discuss how you can get involved. Finally, tax deadline day is coming, and we are bailing out the procrastinators in a conversation with CPA Mark Kovaleski, managing partner at MMB+CO. Our guests: Jeremy Moule, deputy editor for WXXI News Mona Seghatoleslami, music director, host, and producer for WXXI Classical 91.5 FM Lisa Bielawa, composer, vocalist, and Howard Hanson Visiting Professor at the Eastman School of Music at the University of Rochester Mark Kovaleski, CPA, managing partner and chair of the executive committee at MMB+CO ---Connections is supported by listeners like you. Head to our donation page to become a WXXI member today, support the show, and help us close the gap created by the rescission of federal funding.---Connections airs every weekday from noon-2 p.m. Join the conversation with questions or comments by phone at 1-844-295-TALK (8255) or 585-263-9994, email, Facebook or Twitter. Connections is also livestreamed on the WXXI News YouTube channel each day. You can watch live or access previous episodes here.---Do you have a story that needs to be shared? Pitch your story to Connections.

In this episode, we speak with Kate Sheeran—Joan and Martin Messinger Dean of the Eastman School of Music—about her journey from professional musician to leading one of the greatest music conservatories in the world. Kate reflects on the experiences that shaped her path—from performing at the highest levels as a French horn player to leading major institutions like Kaufman Music Center to returning to the school where she got her start. We begin our conversation with the moment that set it all in motion—how a choice between a jean jacket and a French horn pointed her toward a life in music.

Mark Hodges is the Principal Percussionist of the Grammy Award–winning Buffalo Philharmonic Orchestra. An accomplished recording artist, he has appeared on more than 60 recordings with the BPO and has also recorded extensively with the world-renowned Cleveland Orchestra. He has toured internationally across multiple continents, performing both standard and contemporary repertoire. Alongside his performing career, Hodges is deeply committed to education. He serves on the percussion faculty at the Eastman School of Music and SUNY Buffalo State University, and is a highly sought-after clinician, adjudicator, and lecturer. Mark's work also extends beyond the concert hall and classroom. He is the founder of Druminar, a Buffalo-based program that uses music-driven, hands-on experiences to support corporate training, leadership development, and team building. Through Druminar, Mark works with organizations to strengthen communication and collaboration, partnering with Fortune 100 companies, national banks, international manufacturers, and nonprofit organizations. Hodges holds degrees from the Cleveland Institute of Music/ Case Western Reserve University, and the University of Cincinnati College-Conservatory of Music, as well as a Master of Business Administration from Capella University. Mark visited the Flamingo Lounge on

www.vcb.churchGuest Speaker Raffi WrightRaffi Wright serves as Music Director and Youth Director at Lancaster Presbyterian Church in Lancaster, NY. A Buffalo, NY native, he graduated from the Eastman School of Music in 2022 with a B.M. in Vocal Performance, an Honors B.M. in Musical Arts (Arts Administration, Institute for Music Leadership), and a Secondary Piano concentration in English Literature. He is currently pursuing a Master of Divinity in Worship Leadership (Biblical Worship) at The Southern Baptist Theological Seminary.

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Larry Zalkind, former principal trombone of the Utah Symphony, as well as current professor of trombone at Eastman School of Music. About Larry: Larry Zalkind's illustrious career as a trombonist began with a twist of fate: reaching the instrument line in elementary school after all the trumpets were taken. Encouraged by his teacher that he "looked like a trombone player," he set off on a path that would lead him to the University of Southern California and the University of Michigan. Under the mentorship of legends like Tommy Johnson and Robert Marsteller, Larry quickly rose to prominence, winning the audition for Principal Trombonist of the Utah Symphony while still a doctoral student—a position he held with distinction for 34 years. Beyond his long tenure in Utah, Larry's orchestral reach is vast. He has performed as Acting Associate Principal Trombone with the Los Angeles Philharmonic during Gustavo Dudamel's inaugural season and has recorded or performed with the Chicago, Atlanta, St. Louis, and Seattle Symphonies. A longtime member of the Summit Brass and a veteran of the Grand Teton Music Festival, his versatility also extends to the euphonium and solo performances with prestigious ensembles ranging from the U.S. Army Band to the Eastman Wind Ensemble. Today, Larry serves as the Trombone Professor at the renowned Eastman School of Music. He is a deeply committed educator who has held faculty positions at several colleges and mentored students at festivals across the globe. As a Yamaha Artist, his influence even extends to the instruments themselves; he was a key figure in the design and production of the Yamaha 882OR large-bore tenor and alto trombone models that he plays today. Outside of his professional life, Larry shares his musical passion with his family. He is married to violist Roberta Zalkind, whom he met as a student at the Music Academy of the West, and two of their three children have followed in their footsteps by pursuing careers in music. With three solo albums on the Summit Records label—including his latest crossover collaboration, Lost in the Stars—Larry continues to be a defining voice in the world of brass.

Dr. Dan is in the virtual studio today with award-winning music educator and entrepreneur Kenneth Thompson to explore what it truly means to grow into your purpose—especially when the path is anything but linear. Ken, the founder and CEO of the Musical Arts Center of San Antonio, Inc. (MACSA), holds a Bachelor of Music/Piano Performance from the Eastman School of Music (where he studied with Nelita True and Anton Nel). Ken shares his journey from early struggles with learning differences, bullying, and feeling unseen, to discovering connection, creativity, and self-awareness through music. What begins as a story about piano and performance becomes a profound exploration of resilience, mindset, neurodiversity, and leadership. Together, Dr. Dan and Ken unpack the hidden costs of chasing validation, the pressure of elite performance environments, and the courage it takes to redefine success. They explore why growth requires both safety and intensity, how authentic connection unlocks human potential, and why teaching, mentoring, and advocacy are among the most powerful forms of leadership. This episode is a reminder that purpose evolves, growth is relational, and true empowerment comes from being met—exactly as you are—while being challenged to become more. For more information, visit macsainc.com and follow @Ken.CreativeCoach on Instagram. Please listen, follow, rate, and review Make It a Great One on Apple Podcasts, Spotify, or wherever you listen to podcasts. Follow @drdanpeters on social media. Visit www.drdanpeters.com and send your questions or guest pitches to podcast@drdanpeters.com. We have this moment, this day, and this life—let's make it a great one. – Dr. Dan Learn more about your ad choices. Visit podcastchoices.com/adchoices

On today's episode, I talk to harpist Mary Lattimore. Originally from Asheville, North Carolina, Mary began playing the harp as a tween and eventually attended the Eastman School of Music to study it more seriously. In 2012, Mary released her first album, a self-titled cassette, on Fred Thomas' Life Like imprint. This was re-released a year later on Desire Path Recordings with a new title, The Withdrawing Room. Since then, she's released almost a dozen more albums and collaborations on labels like Ghostly International, Three Lobed and Thrill Jockey, and her latest, Tragic Magic, an album she made with Julianna Barwick, was just released in the middle of January, and it's fantastic! This is the website for Beginnings, subscribe on Apple Podcasts, follow me on Twitter. Check out my free philosophy Substack where I write essays every couple months here and my old casiopop band's lost album here! And the comedy podcast I do with my wife Naomi Couples Therapy can be found here! Theme song by the fantastic Savoir Adore! Second theme by the brilliant Mike Pace! Closing theme by the delightful Gregory Brothers! Podcast art by the inimitable Beano Gee!  

Since Russia launched its full-scale invasion of Ukraine, it has also escalated a shadow war against the West. Using cyberattacks, destruction of property, arson, assassinations, and information operations, Russian agents sow chaos and fear, while probing and testing capabilities and responses in the event of a broader full-scale war. In a wide-ranging conversation, host Bakhti Nishanov talks to shadow war and energy expert Benjamin Schmitt about his experiences tracking Russia's sabotage attempts across the globe. They delve into Schmitt's quest to show the world how Russia's actions affect the lives and livelihoods of people throughout the West, a journey that has taken him from Chile to the Arctic to the Baltic Sea and beyond.  Read "Underwater Mayhem: Countering Threats to Energy and Critical Infrastructure Across the NATO Alliance and Beyond," here: https://kleinmanenergy.upenn.edu/research/publications/subsea-sabotage-protecting-energy-infrastructure-from-hostile-aggression/  --- Benjamin L. Schmitt is a senior fellow at the University of Pennsylvania, where he holds a joint academic appointment with the Department of Physics and Astronomy and the Kleinman Center for Energy Policy. He is also a senior fellow and the director of the graduate program at Perry World House. At Penn, Schmitt focuses on the project development and field deployment of the Simons Observatory, a new set of experimental cosmology telescopes and energy support infrastructure under construction at a high-altitude site in the Atacama Desert in northern Chile. In his joint role at Penn, he also pursues research and teaching with the Kleinman Center related to European energy security, critical infrastructure protection, export controls policies, and modern sanctions regimes. At Perry World House, Schmitt focuses on national security analysis focused on the transatlantic community and the Indo-Pacific, as well as emerging space security challenges. Previously, Schmitt was a research associate and project development scientist at the Harvard-Smithsonian Center for Astrophysics, where he supported the technical design, project management, and deployment of novel instrumentation and infrastructure for next-generation experimental cosmology telescopes at the South Pole. For this work, he traveled to the Amundsen-Scott South Pole Station in Antarctica in early 2020 and received the U.S. Antarctica Service Medal. Schmitt remains an affiliate of the Harvard-Smithsonian Center for Astrophysics and is also an associate of the Harvard-Ukrainian Research Institute. Schmitt is a term member of the Council on Foreign Relations. He is co-founder of the Duke Space Diplomacy Lab, where he is also a fellow of Duke's Rethinking Diplomacy Program. Schmitt is also a senior fellow for Democratic Resilience at the Center for European Policy Analysis (CEPA). Previously, Schmitt served as European energy security advisor at the U.S. Department of State, where he advanced diplomatic engagement vital to the energy and national security interests of the transatlantic community, with a focus on supporting the resilience of NATO's eastern flank and Ukraine in the face of Russian malign energy activities. Schmitt has been an invited lecturer on energy, national security, and science policy at Harvard, Princeton, Stanford, Morgan Stanley Investment Management, the National Defense University, and more. He also regularly publishes in Foreign Policy, The Daily Beast, Newsweek, The Hill, Atlantic Council, and Harvard International Review. Schmitt regularly provides expert commentary for print, television, and radio, including The New York Times, The Washington Post, The Wall Street Journal, Foreign Policy, NPR's Marketplace, BBC World Service, Slate, Vox, The Sunday Telegraph, Voice of America, Deutsche Welle, Bild Zeitung, Handelsblatt, and the Kyiv Post. Schmitt is a past recipient of the Government of Poland's Amicus Poloniae Award, has been honored as "Ukraine's Friend of the Week" by the Kyiv Post, and has received both Superior and Meritorious Honor Awards from the U.S. Department of State. Before entering government, Schmitt served as a NASA Space Technology Research Fellow while pursuing doctoral research in experimental cosmology at the University of Pennsylvania. For this work, Schmitt received both M.A. and Ph.D. degrees in experimental physics from the University of Pennsylvania. Schmitt has also previously served as a U.S. Fulbright Research Fellow to the Max-Planck-Institute for Nuclear Physics in Heidelberg, Germany. Schmitt is an Eastman School of Music trained classical vocalist with multiple leading operatic roles and solo concert performances on his resume. He is also a member of the United States Golf Association. Schmitt is a proud native of Rochester, New York. He resides in Philadelphia, Pennsylvania. --- This podcast is hosted by Bakhti Nishanov and produced by Alanna Novetsky, in conjunction with the Senate Recording Studio.

Lost At Christmas: Part 2 A vulnerable confrontation with an old crush. Based on a post by Tx Tall Tales, in 2 parts. Listen to the Podcast at My First time. Christmas What had started out with the potential for so much disappointment, my first Christmas away from home, was actually quite wonderful. The family embraced me and treated me as one of their own. Dinner was scrumptious, a Christmas ham, with the full complement of side dishes. After dinner we chatted, drank a little too much spiked eggnog, and told stories of the last few years. I sat close to Sheri when I could, beside her at the dinner table, and next to her on the couch while we had our eggnog. I tried to engage her in some quiet conversation of our own, but the setting was all wrong for that, and I eventually abandoned those attempts. It was nice enough just to be near her. Tommy's step-father Dave, insisted I call Santiago, even though I knew the price would be outrageous, and I did. I gave my family my Christmas wishes, and told them how much I missed them and was looking forward to seeing them in a couple of days. Everyone in the room took a minute to say hello and share season's greetings. I had to spend a few minutes trying to get my Mom to stop crying at the far end, before we finally were able to hang-up. The small ones had to go to bed relatively early, and so we all got to open one gift the night before, as was their tradition. I gave Tommy his gift, and his mother opened the family gift and everyone acted pleased. In turn, they had bought me a present which I opened. It was two books for the trip, and they had a card for me. Inside was $50. I was completely in shock. "Dear Steve, Your short visit was a wonderful Christmas gift to us all. Thanks so much for choosing to spend this Christmas with us. Here's some mad money for the trip home. We all love you. Dave, June, Robert, Sheri, John and Jean" I was deeply touched by the gesture. I went over and gave Tommy's Mom a big hug, thanking her for the card and books. The kids jumped up with presents of their own, and I got two new drawings for my dorm room, as well as some mystery invention from John, which was supposed to be a spy tool to stop people from breaking into my room. I thanked them profusely, and they were put to bed shortly after. Dave, Tommy and I discussed the logistics of my morning bus ride back to Charleston. It left at 7:30 am, but was only about 15 minutes away, so we figured on getting a 7:00am start. We relaxed around the fire, ruminating on the poor souls who had the job of driving that bus all day Christmas day. There was a guitar in the corner, Greg's. I was surprised he hadn't taken it with him. I went over and grabbed it, and finding it miserably out of tune, I tuned it up. "Play something Christmassy", Tommy's Mom asked, and so I played a couple of tunes. I'm a fair guitarist; I was studying guitar at the Eastman School of Music since it was convenient, and ROTC was picking up the tab, and had improved quite a bit from the days of our first band. I got rave reviews from my small audience, and took requests for a while, before we broke it up. The parents still had some work to do for the kids, and Tommy and I wanted to hit the hay early, in order to catch that 7:30 bus. More hugs and kisses all around, with a firm handshake for Dave, and I retired to my room to finish my packing. I got ready for bed, dressed in boxers and a t-shirt, laid out my clothes for the morning, and completed my packing. I had one last thing I wanted to do before hitting the sack, so I went back into the bathroom, and knocked on the opposite door into Sheri's room. I heard a muffled "Come in" or something to that effect, and opened the door to find Sheri sitting up in bed, brushing her long blonde hair. She was dressed in a nearly see-through pale green nightie that took my breath away. "Hi." I felt incredibly awkward, like I was 16 all over again. She looked up at me, giving me a quizzically upraised eyebrow. "I had a gift for you, but I felt kind of silly giving it to you out there. I hope you don't mind that I waited until now." I handed her a small leather pouch. She took it, laying her brush to the side, and opened it, pulling out a small cross. She stretched out the cord, and looked at me in surprise. "But this is your mountain cross! You always wear this!" She said, looking at me with a strange look I couldn't quite fathom. The cross was one I had found mountain climbing several years earlier. I had been in a small accident. I'd fallen into a glacier fed stream on a mountain trip, while collecting firewood in a storm. I'd almost frozen before I'd made it back to the cabin. Literally. I thought I was going to die. I was staggering the last 20 feet to the building, in a daze, when a friend returning from the outhouse ran into me, and dragged me inside to warm up. The next morning I found a small ivory cross on a rotted leather lanyard at almost the very place I had climbed out of the stream, and I had worn it for years since then. Sheri knew the story. I had told her the whole thing one evening when I had been giving her driving lessons. I don't know what had motivated me to give it to her, but I had had this urge, and I've always been a pretty impetuous person. "I just want you to have it." I explained. She patted the bed beside her for me to sit down then she handed me the cross to put around her neck and turned her back to me. I passed my hands over the head, letting the cross dangle in the valley between her breasts, and she reached back and pulled her hair up and out of the way, so I could latch the necklace on her. When I was done she turned to me, and fingering the cross she thanked me. "I got the strangest call today." She told me. "Strange how?" I asked. "Kathryn called me. We haven't talked probably in over a year, but she called me out of the blue, and we talked about nothing but you for over an hour." She said with a teasing smile. I could feel my face burning from the blush. We were real quiet for a bit. Then she spoke up softly, not looking at me at all, just looking down at her hands. "Do you remember the skating party where you asked me to skate, like 5 times?" "Do I ever! My hand was so sweaty I was embarrassed to hold yours, but didn't know how to dry it off, and I wasn't good enough a skater to make a real dance out of it." I laughed. "I thought you liked me, and were going to ask me out, but you never did. Why not?" She asked. The memory was embarrassing, and I thought about it a bit before confessing. "I had skated with Kathryn earlier in the evening, and she asked me who I liked. I told her I would answer by the end of the evening. Later, just when I was trying to get the nerve up to skate with you again, and ask you to sit by me on the Pensacola bus trip, Jack found me and told me that I had better ask Kathryn to skate. She was waiting for me to tell her something. Well, I did ask her to skate, and she reminded me of our previous conversation. I admitted that I really liked two people, you and her. Then she asked me if I minded if she 'monopolized' me for a while. I went along. You know the rest. One out-of-town bus trip; one back-row of the movie; and me completely screwing everything up." She listened without showing too much surprise. "But how come you never tried anything after that?" "God! How could I? You knew everything that had happened. Don't you remember the time I stopped by when Net was over here spending the night. Every time I passed you guys, you seemed to be laughing at me. And then when you passed me in the hall and whispered, "Oooh, I Love You," teasing me with what I'd said to Kathryn before completely blowing her off, I was just devastated. I hadn't screwed up just the one chance, but you as well." Sheri had the grace to blush from embarrassment at that. "I really didn't know much of what was going on. Kathryn just told me to go up to you and say that. I'm sorry." "Not half as sorry as I was." I told her. "You had to know how much I liked you. I was always trying to be around you and do things with you." "I didn't know how much of that was just being Tommy's sister, or what. I kept waiting for you to try something, anything, but you never did." She looked at me intensely almost with anguish. I was 16 all over again. I was still embarrassed over my ineptness around women. I had screwed things up with Kathryn. I had screwed up with Teri. And I had screwed up with Sheri. Since then I'd had more than my share of success with the young women I'd known, but all of a sudden, it was like I was a clumsy, scared virgin all over again. Sheri looked at me for a long while, then finally sighed and looked away, picking up her brush and going back to brushing her hair. "Some things will never change, I guess," she muttered, ignoring me. I started to get up, to go to my room, knowing this was neither the time, nor the place to try to start something with Sheri, but I just couldn't leave things as they were. I reached out and took the brush from her, which she relinquished slowly. I then took her by the shoulders and turned her away from me, so I could brush her hair. I brushed her hair in silence for a bit, before speaking. "For at least a year after leaving here, I would dream about you all the time. You were the girl of my fantasies. We wrote so well for a while, and I kept all your letters, reading them over and over again, looking for hidden meaning in the words, wondering if I'd ever get a chance to be with you. I still have those letters." I confessed. Several long seconds later Sheri reached down to the bottom drawer of her chest, next to the bed and opened it. She reached under her sweaters, and pulled out a pile of letters held together with a rubber-band. I recognized my writing. She turned to look at me, and her eyes glistened. I dropped the brush, leaned over and nervously kissed her, hoping beyond hope she wouldn't throw me out of her room with a ruckus. Instead she turned, and returned my kiss with a depth and passion I could only have prayed for. When we broke apart, we just looked at each other. Suddenly I couldn't help but giggle. "What?" She asked, almost crossly. "Do you remember how you thought you'd get pregnant from French kissing?" I recalled. She blushed again. "I can't believe you still remember that, you beast. How did you find that out anyway?" "Kathryn told me on the bus trip. I think she was trying to make you seem naive to me, sort of solidify her hold on me." I told her. "That Bitch! She always denied it, but I couldn't think of anyone else who knew." We laughed a bit, and gradually fell back into kissing each other. At the next break in our kissing, Sheri nailed me again. "Tommy said you did it with Angela. Was she your first?" "No. I never did do it with her. And Colleen was my first." I admitted. "Colleen? From yearbook?" "Yeah. But not until a year later. She went to Mosley with me, and we hooked up at a party. It was weird and nothing much happened of it. Three weeks later I was headed to Chile." I told her. She just shook her head at me. "Since it's time for true confessions, who was your first?" I asked teasing. "Rich? Mike?" "Oh God, no!" she laughed. "Then who?" She never answered, just turned a bright red. "Come on, fair's fair. I told you." I urged her relentlessly. She mumbled something I couldn't make out. "I can't hear you, who was it?" I teased again. She looked up, almost fiercely. "Nobody, all right?" I was stunned, and the ensuing silence seemed endless. "You're kidding me." I finally said, hardly believing. Her answer was so soft I almost missed it. "At one time I thought you'd be my first." This time when we kissed, I allowed my hands to wander, throwing caution to the wind. I cupped her perfect young breast in my hand, letting my thumb brush across her nipple, getting it hard. We were both gasping when we broke apart. "Steve?" "Yes?" "Go close your door, and turn off your light, then turn off the light in the bathroom," she said softly. I did, and she had turned down the light in her room. She was lying in the bed, the covers folded down neatly, waiting for me. She was still in her nightie. I stood beside the bed and made my commitment. I removed my shirt, and then my shorts, sporting a huge hard-on, which she stared at in wonder. I climbed into her bed completely naked. She had been laying sideways, leaning on her elbow, but as I entered the bed, she rolled onto her back, lying down, waiting for me. She was achingly beautiful in the dim light, and I was afraid I was going to come on the spot if she even touched me. I leaned over her and kissed her, but this time the kiss never stopped. I lost my soul in that kiss. I lost all track of time and presence. Our mouths stayed connected as we explored and played with our tongues, and my hands embarked on their exploration of the wonders of her body. My hands touched her all over, before finally settling in the warm crease between her legs. She had panties on, and as my fingers rubbed up and down her hidden folds, I found a small wet spot, maybe the size of a dime slowly spreading. Once I was aggressively rubbing her, sliding the material up and down, half-an inch into her by this time, the wetness enveloped the entire area. I slid my hand less than a foot up her body, and let my finger tips creep under the band of her panties. My hand slid down, the soft down of her hair like a magical lure, the gentle pressure of her panties against the back of my hand trapping me. Our kiss finally broke, and from an inch away we looked into each other's eyes as I slowly slid my middle finger between those forbidden lips, and into her. The aroma of her need assaulted me, and the quiet squish of her wetness against my finger was the ultimate aphrodisiac. I was engulfed with desire. I started to crawl over her, placing my knee between hers when she stopped me. "Wait." Then she raised her hips, and scrunched down, raised her knees, moments later passing me a small, but incredibly erotic piece of plain, white material. I was beyond reason, and I climbed between her legs. She spread them for me, seeming as eager as I. I grabbed my throbbing rod in hand, and by feel, rubbed the head up and down her moistness, adding pressure bit by bit, until I felt it settle in at the mouth of her pussy. She gave a small gasp, as the head slid in just a bit, not quite in her yet, but knowing that I was one small push from being inside. "Be gentle," she said, and I could see a hint of nervousness and fear in her eyes. I leaned over and kissed her softly, and while our lips touched, I pushed, sinking into her. At least for a bit. About halfway in I hit a barrier. I was confused at first. I pulled back and pushed again, a little harder, thinking I was sticking, and she grunted a little as if in pain. It finally sunk in. I had been with plenty of women, and several who had claimed to be virgins, but none with their cherry intact. I wasn't sure what to do. I probed again, and this time elicited a small 'ow'. What was I to do? I lay on top of her, my cock buried four inches deep in the girls of my dreams, and I was at a complete loss. Sheri shifted a bit under me, wrapped her legs around mine, and pulled me close. She whispered into my ear. "Take me." It was the sexiest thing I'd ever heard. Nervously I pulled back until I was just at the opening and I drove down hard, feeling just a pinch before my pelvis was grinding into hers. I was completely inside her. I got up on my elbows and looked down at her. I could see a single wet trail that glistened from the side of her eye to her ear. "Are you ok?" I asked her, holding myself still, deep inside of her. "Wonderful," she said softly, tilting her chin up slightly for a kiss. I accepted the offer, and kissed her gently, while I experimented with moving my cock within her incredibly tight sheath. I felt I was only moments from coming, but I couldn't resist moving my hips just a bit, exploring the feeling of being inside her. I leaned down and whispered in her ear. "I always wanted you. You knew it. I knew it. But I was afraid. I was afraid of the ribbing from your brother. Afraid of being exposed for knowing nothing about what to do with a girl. Afraid of ruining our friendship. Afraid of striking out, and you telling all the other girls, and my being the laughingstock. Afraid of so many stupid things. I was an idiot." "You weren't afraid of Kathryn," she answered softly. "She initiated it all. She pushed forward, asking to monopolize me, holding my hand. I probably never would have made the move. If I could change one thing, it would be that skating party. I should have saved that last moonlight skate for you, and asked you out. I should have told Kathryn that you were the one girl I was interested in. Who knows how things might have worked out? Plus, it wasn't as big a deal. If things didn't work out, oh well. But if I ruined things with you, it would have killed all my dreams." She was hot beneath me, her skin almost burning to my touch, I was finally moving inside of her, but I quickly had to stop, again on the verge of coming, and embarrassed at my short trigger. "Make love to me Steve," she said breathlessly. I gave a few more strokes and had to stop again. "Don't stop," she pleaded. "I'm sorry, I'm so excited I'm on the verge of coming now. If I move I won't be able to stop," I finally confessed. "Do it. Pump me, take me, come deep inside me," she answered. Those words were too much, and with a gasp I drove my cock in hard, and exploded inside her. I pulled back and slammed into her a dozen times or so, making the bed creak alarmingly as I emptied myself inside her virgin moistness. As my heart hammer away in my chest, and my breathing gasped, she gave me a small joyous laugh. "Wow, I guess you were close!" Then she gave a big hug before she pushed me off of her. She climbed over me, her hand pressed between her legs and scrambled into the bathroom, waddling inelegantly but still incredibly arousing to me. I heard her tinkle, and then return to the bed with a facecloth with which she wiped my semi-hard cock clean. Then she climbed into bed, her head on my shoulder and talked. She recounted almost ever time that we'd been together alone, all the adventures we'd had, the summer we'd learned to play tennis together, and what she'd thought might happen. We laughed a little at my ineptness and her caution as well. Then I felt her hand creep down between my legs. "Do you think we could try that again?" she asked me hesitantly. "I'm dying to, but I was afraid I might have hurt you." I laughed my foolish insecure laugh. "So hurt me," she teased, giving a tug on my cock. This time I held out a little better. I climbed between her legs again, and made love to her, still gently, still nervous. But before long I was feeling that familiar rhythm of need, and my strokes became longer and more insistent. I had to have her. I had to take her. I had to fill her deeply, completely. I sat up in the bed, discarding the covers, and raised her legs, pushing them back, and screwing her powerfully, shaking her body, crashing into her with a burning need. She was still wearing her nightie, but it had ridden up above her belly button, just a couple of inches below her breasts. I stopped my motion and whispered to her, "Rise up on your elbows." She looked at me oddly but did, raising her head a few inches off the pillow. I leaned over and lifted her nightie up above her breast, allowing me to see the objects of my desire and fantasies. "God, I've pictured those in my mind for four years, and yet never came close to imagining how perfect and beautiful they are." I said, more to myself than to her. I resumed my fucking, for that was what I was doing now, fucking her. Fucking her hard. She had her bottom lip captured between her teeth, and now she was holding her nightie in her hands, almost to her chin, allowing me an uninterrupted view of her oh-so-perfect tits. The visuals were all too much and pushed me over the edge once again. The beautiful face, the long hair arrayed across the pillow, the full breasts, bouncing a counter-beat to my pounding, her flat stomach, hollowed, and the light fur of her hair parted to allow my pole to penetrate her again and again. With a moan I came for her again, collapsing beside her, sated, and in complete serenity and joy. "I guess you really do like me," she laughed, cuddling up to my side. Then she was asking me about my afternoon meeting with Kathryn. "What did she tell you?" I asked, a little nervous. "No, you tell me what happened. I don't trust her," she insisted. I told her the whole story, including the ending. In full short-but-sweet detail. "I knew it!" She laughed. "She said you tried to come on to her, and made her grab you there, but she turned you down." "If that's how she wants to tell it that's fine by me. I owe her one; let her have it however she wants." I said "When you went to the movies, what really happened there?" she asked, with her one-track mind. I wasn't sure what her preoccupation was but I finally told her the whole scene, everything I'd done, every liberty I'd taken. At the end I waited in judgment. "She's such a liar. She said you tried to reach inside her pants but she stopped you." "Hardly, I could smell her on my fingers for day afterwards." I laughed. Sheri was lost in thought pressed up against me. My hands were idling rubbing her back, the material of her nightie soft and silky against my fingertips. "I guess there's only one thing she's done with you that we haven't done," Sheri started, and then she slid under the covers and a moment later I felt the warm wetness of her mouth enveloping me. I could see the covers moving as she used her mouth to pleasure me, taking only a few moments to make me hard, and then sucking me like there was no tomorrow. Which, in a way I guess there wasn't. I wanted to see her, so I pulled the covers back and looked down at her. She continued a few more strokes, then shifted and faced me a little more, finally lifting her eyes to watch me, watching her, suck my cock. A few more deep strokes and she pulled off with a smile. "I can see that's one thing you like," she said with a grin. "Like is an understatement." I laughed. She gave me a couple more sucks, and then she straddled me, and rose up to take me inside of her again. I wanted her so bad I could almost scream. She got me positioned right, and then slowly lowered herself the full length of my staff with one long, smooth stroke. Then, settled on my hips, my turgid meat buried in her achingly tight recess, she lifted the bottom of her nightie and pulled it up and over her head. I'd been to several strip shows before that, but never in my life had I seen anything so beautiful or so erotic. I could feel my pulse in my cock, throbbing inside her. She opened her eyes wide, and looked down between her legs. "Wow, I could feel that. At least one part of you really likes to see the girls," she laughed, holding her breasts cupped in her hands, and jiggling them for me. "You are the most beautiful thing I've ever seen." I told her. "Right, and now I guess you're going to tell me you love me, just like Kathryn." She said it with a hint of bitterness I didn't understand. "The difference is back then it was the hormones of a 16 year old talking. You on the other hand, I've loved for three years. And you know it." I said, and only as I spoke the words did I realize to my very soul, just how true it was. Sheri didn't answer. She leaned forward and rocked back and forth on my hard cock, enjoying the feeling of controlling the penetration, the pace, the timing. She paced herself to my breathing and excitement. When I started to get really excited she'd slow down and hold me, letting me ease back from the edge. When I was strong and ready, she'd ride me hard. She let my hands explore her as she did the work, and I touched her everywhere I could reach, just wallowing in the sensations. I pulled her down within reach, and tasted her nipples, playing with those perfect globes. The feel of her breasts, that impossible soft pale skin under my lips, making way to the crinkled, tougher skin, peaking to a little nub seemingly designed for me to tease and taste. Finally, after what seemed an eternity of sensual, erotic play, she laid down on me, her breasts pressed against my chest, her mouth on my neck, while she slowly rocked her hips, fucking herself gently on my rod. "Come for me Steve," she said, almost as a command. I reached down and took her full, soft ass cheeks in my hands, grasping them tight, and I held her up a bit off of me, so I could us my hips to drive in and out of her channel more completely. I was able to get a good long stroke established, and I could feel the cool air brushing against my wet shaft each time I pulled outward. We had made love for what seemed ages before she issued that first command for me to come. Now she issued another one. "Tell me again." I couldn't hold back any longer, and didn't want to. I was fucking the prettiest girl I'd ever known; The first girl that I had really badly wanted; The sweet little virgin that I had fantasized about for so long; Whose pretty face had been the image I'd been picturing as I filled enough old gym socks with cum to fill a stadium. "I love you, Sheri. I've loved you as long as I've known you." And with that I pulled her down hard on my cock, coming inside my dream girl again, and absorbing the feeling, knowing I was leaving within hours, not knowing when I'd see her again. "I love you, Steve," she said, I could feel her tears rolling down the side of my face. I looked up to see the sky lightening with the coming dawn, and thought to myself, "That's another one you've got up on Kathryn." I disentangled myself from her limbs and kissed her. "I have to go. Tommy's going to be looking for me any minute." Somehow we had spent the entire night reminiscing, sharing and making love. It was so difficult, but I tore myself from her arms, tucked her in bed, and kissed her goodnight. "Get a couple of hours of sleep; I'll be able to sleep on the bus." I told her. She was still wearing the cross I'd given her. She held it now. "Thanks for the Christmas present." She said with a small sad smile. I kissed her again, and retreated to the bathroom for a quick shower and shave. Back in my room, I dressed, and found a present waiting for me on my suitcase. A 8 by 10 picture of Sheri, as beautiful as I'd ever seen her, with a small inscription on the back. "Merry Christmas. Don't forget about me. Love, Sheri" I had just finished putting it away when Tommy knocked on my door, dragging me out to breakfast, and then off to the bus. The rest of that trip was uneventful; I made it home OK, picked up some presents in Panama, saw some old friends, and made it back to college in one piece. But I'll always recall that first Christmas away from home, and the greatest Christmas present I ever received. Not my first erector set, or the 114 piece Lincoln Log tube. Not my first really Cool bicycle, a purple spider bike with banana seat, big handle bars and a three speed shifter on the bar. Not my first electric guitar, a Fender, and amp, which I think my parents had some second thoughts about. No, Sheri's was the nicest gift I ever received, and probably ever will receive, for Christmas. "Thanks" just doesn't seem to say enough. Based on a post by Tx Tall Tales, in 2 parts, for Literotica

In episode number one of SEASON 6 (!), we are joined by two remarkable figures in the world of music and cherished in the brass community: Chris Gekker and Eric Ewazen. Chris is a celebrated trumpet professor at the University of Maryland and has performed as a soloist at prestigious venues like Carnegie Hall. His rich career includes collaborations with many composers, showcasing his dedication to both performance and new works. Eric, a prolific composer and educator, has a long history of writing for brass instruments, with works performed worldwide. He has taught at Juilliard and has garnered numerous awards for his compositions.In this first part of our conversation, Chris and Eric share their memorable experiences from their time at the Eastman School of Music, where they first crossed paths. They discuss their early influences, the importance of collaboration, and the creative processes that shape their work. As Chris reflects about Eric's writing, "When he writes a piece, he creates a dialogue, and it's a very creative process."[Subscriber Content] In the second part, we dive deeper into their collaboration on various pieces, including the intricacies of composing and performing. They'll share insights about their teachers, including a few key lessons learned from significant figures in their musical journeys. Eric's experience with writer's block and their approach to revising works are enlightening. Chris notes concerning writing specifically for trumpet, "We're not babies. We can handle difficult music, but you need to give us a break," emphasizing the unique physical challenges trumpet players face. Stay tuned for their engaging discussions about the future of their collaborations and how their friendship continues to flourish through music.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

The Horn Signal is proudly brought to you by Bob Reeves Brass. Join hosts John Snell and Preston Shepard as they interview horn players around the world.  Today's episode features Julie Pilant, formerly of the Met, now with Utah Symphony.   About Julie: Julia Pilant is currently the acting 3rd horn for the Utah Symphony/Utah Opera, and a regular guest with the Los Angeles Chamber Orchestra horn section and the Chamber Music Society of Lincoln Center. Previously, she was the assistant principal horn for the Metropolitan Opera Orchestra for 14 years and a horn instructor for the Bard College Conservatory of Music for 16 years. Prior to holding those positions, she was the principal horn of the Syracuse Symphony Orchestra for 10 years. Ms. Pilant also freelanced for several decades in New York City and performed regularly with Orpheus Chamber Orchestra, Orchestra of St. Luke's, New York City Ballet, and numerous Broadway shows. She has played principal horn for the Saito Kinen/Ozawa and Tokyo Opera Nomori music festivals, the Mito Chamber Orchestra in Japan, and has participated in the Santa Fe Chamber, Affinis (Japan), Sarasota, Festival Napa Valley, Classical Tahoe, Strings, Mainly Mozart, and La Jolla Music Society Summerfest music festivals. In 1994 she won the American Horn Competition. As an equally enthusiastic music educator, she has given masterclasses in schools and festivals across the country, including The Juilliard School, USC, Interlochen Arts Camp, and the Boston University Tanglewood Institute, and is a founding member of the recently formed Coalition of Musicians for Ethical Change. Ms. Pilant received her Bachelor's degree from Eastman School of Music (student of Verne Reynolds), and her Master's and Doctoral degrees from The Juilliard School (student of Julie Landsman).

In what ways are you an artist?...Today, Abbie, Annie, and Dorianne discuss ‘The Art of Collaboration: Chamber Music Rehearsal Techniques and Team Building,' Annie and Dorianne's new book that introduces themes of co-leadership and empathy which are relevant for all small group communication. Particularly, Abbie, Annie, and Dorianne talk about ‘We Presence,' LBAD (Live, Breath, and Die), and “trying out everyone's ideas as if they were your own.”...Violinist Annie Fullard, celebrated for her "gleaming artistry, bravura, and sensitivity," stands as a pioneering force in chamber music education and advocacy. As Director and Sidney M. Friedberg Chair of Chamber Music at The Peabody Institute, Johns Hopkins University, and Distinguished Artist and Charles and Mary Jean Yates Chair in Chamber Music at The Robert McDuffie Center for Strings at Mercer University, she continues to shape the next generation of chamber musicians while advancing the art form's reach and impact. Annie is co-author, with Dorianne Cotter-Lockard, PhD, of the highly anticipated guidebook 'The Art of Collaboration: Chamber Music Rehearsal Techniques and Team Building' (Oxford University Press, February 2025). Beyond the concert hall, Fullard views the empathy and connectivity of chamber music as a metaphor for the kind of communication that we should strive for between cultures and nations. As a founding member of the Cavani String Quartet, Fullard has earned international recognition through extensive touring and prestigious honors including the Naumburg Chamber Music Award, the Cleveland Quartet Award (Eastman), and top prizes at the Banff International, Fischoff, Coleman, and Carmel Chamber Music competitions. Dorianne Cotter-Lockard served as a divisional C-level leadership team member of a Fortune 100 company. She holds a PhD in Human and Organizational Systems from Fielding Graduate University, an M.B.A. from New York University, and a Bachelor of Music degree from the Eastman School of Music. Dorianne teaches theories and applications of mindful leadership, ethics in healthcare, and creativity at work, and supervises student research at Saybrook University. She is a faculty member at Munich Business School, developing and teaching leadership and organization courses for the Conscious Business Education initiative. She conducts research on the topics of team collaboration, leadership, spirituality in the workplace, coaching, and music education through the Institute for Social Innovation, Fielding Graduate University, and is a member of the International Consortium of Integral Scholars. In addition to her consulting and coaching practice, Dorianne serves as faculty to certify SQ21 Spiritual Intelligence coaches, is certified through the International Coach Federation, and is a certified Emotional Intelligence coach. ...Stories Lived. Stories Told. is created, produced & hosted by Abbie VanMeter.Stories Lived. Stories Told. is an initiative of the CMM Institute for Personal and Social Evolution....Music for Stories Lived. Stories Told. is created by Rik Spann....⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Explore all things Stories Lived. Stories Told. here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Explore all things CMM Institute here.

We're joined by Grammy-winning and Oscar-nominated jazz trumpeter and film composer Terence Blanchard. Blanchard has written dozens of scores for film and television and frequently collaborates with Spike Lee. He'll be in Rochester next week as part of the inaugural Soundtrax Film Music Festival, hosted by the University of Rochester. According to organizers, Soundtrax is the first film music festival in North America. They say its roots trace back to George Eastman, who founded the Eastman School, in part, to train organists for silent films. This hour, we preview the festival, go behind the scenes of film music, and discuss the artistic and technical innovations that could change the future of the industry.Our guests: Terence Blanchard, Grammy-winning and Oscar-nominated composer/trumpeter Alexander Laing, president and artistic director of Gateways Music Festival Kate Schimmer, associate dean for artistic planning at the Eastman School of Music Mark Watters, co-director of Soundtrax; Emmy-winning composer and conductor; and associate professor of contemporary media and film composition, and director of the Beal Institute for Film Music and Contemporary Media at the Eastman School of Music  ---Connections is supported by listeners like you. Head to our donation page to become a WXXI member today, support the show, and help us close the gap created by the rescission of federal funding.---Connections airs every weekday from noon-2 p.m. Join the conversation with questions or comments by phone at 1-844-295-TALK (8255) or 585-263-9994, email, Facebook or Twitter. Connections is also livestreamed on the WXXI News YouTube channel each day. You can watch live or access previous episodes here.---Do you have a story that needs to be shared? Pitch your story to Connections.

Show Notes In this episode, I sit down with Mark Watters to talk about a life lived in music: from Disney, Pixar, and Olympic scores, to his role today at Eastman School of Music, where he oversees the Beal Institute for Film Music and Contemporary Media. We get deep into the Eastman Film & Media Festival—how it started, what it's become, and why Rochester, NY is fast becoming a home for composer communities and cinematic sound.Mark reveals:His early obsession with film music (yes, Star Wars fourteen times just for the score)How “The Art & Craft of Music for Animation” ended up as a session at Soundtrax, hosted by him. Soundtrax Film Music Fest+1Why the Eastman Festival is more than panels and concerts—it's an immersive space for composers to test ideasHis thoughts on legacy, mentorship, and how teachers and students exchange influenceThe way he listens now—and how that listening echoes what first drew me into musicWe also weave in my own origin story: discovering Mo' Better Blues via BBC Two, being changed by Terence Blanchard's trumpet, and inviting back Cynda Williams (as Clarke Bentancourt, and on “Harlem Blues”) because she embodies that space between story and song.As part of this musical conversation, I reference how The South Bank Show elevated composers through storytelling, and I end with a poetic note on Rochester—where winter winds and Eastman echoes make composition both memory and promise.Soundtrax Highlights to MentionFrom the Soundtrax Film Music Festival (October 16–18, 2025, at Eastman / Rochester) schedule: Soundtrax Film Music Fest“The Art & Craft of Music for Animation” — hosted by Mark Watters in Kilbourn HallFilm Scores Live! — Terence Blanchard with E-Collective & Gateways Festival Orchestra in Kodak HallJohn Williams Reimagined — concert of Williams' themes rearranged for flute, cello, piano University of Rochester Calendar+1Interstellar in Concert — live performance of the Zimmer/Nolan score in Rochester's Third Presbyterian Church visitrochester.com+1W: Soundtrax Film Music FestivalUse Promo Code "FILMMAKINGSWABY" for all my deals or just click the link:25% Off More Labshttps://www.morelabs.com/discount/FILMMAKINGSWABY20% Off Strong Coffee Companyhttps://strongcoffeecompany.com/discount/FILMMAKINGSWABY15% Off Tusslehttps://www.tusslegear.com/discount/FILMMAKINGSWABY20% Off Eric Javitshttps://ericjavits.com/discount/FILMMAKINGSWABY25% Off Quantum Energy Squarehttps://quantumsquares.com/discount/FILMMAKINGSWABY20% Off Long Tablehttps://longtablepancakes.com/discount/FILMMAKINGSWABY20% Off HyperNaturalhttps://hypernaturalstyle.com/discount/FILMMAKINGSWABY20% Off wearplaygroundhttps://wearplayground.com/discount/FILMMAKINGSWABY15% Off STAND+https://www.standshoes.com/discount/FILMMAKINGSWABY10% Off Molly Bzhttps://mollybz.com/discount/FILMMAKINGSWABY41% Off Cozy Earthhttps://cozyearth.com/discount/FILMMAKINGSWABYX (Twitter): @DamienSwaby https://x.com/DamienSwaby/status/1864468655582437405Instagram: @filmmaker__damien_swaby. https://www.instagram.com/filmmaker__damien_swaby/?hl=en 

TONY LEVIN is well-known to The ProgCast audience as bassist for KING CRIMSON, PETER GABRIEL, STICK MEN, LIQUID TENSION EXPERIMENT, and so many more. We talk about Tony's early days as a classical player and his transition to bass guitar/stick. Tony regales us with tales of his time with Buddy Rich, Peter Gabriel, forming the KC "Discipline" band, and even playing under Igor Stravinsky's baton, as a student bassist at Eastman School of music. A rather special episode celebrating the 5th Anniversary of The ProgCast!PROGCAST PATRONS get bonus episodes  / theprogcast  Study Drums/Composition/Music with Gregg: https://www.bendianmusic.com GREGG BENDIAN is a percussionist/composer/producer/educator/podcaster from Teaneck, New Jersey. During his wide-ranging career he has toured internationally and recorded with Todd Rundgren, Jan Hammer, The Mahavishnu Project, Keneally-Bendian-Lunn, The Musical Box, John Zorn, Derek Bailey, Nels Cline, Cecil Taylor, Pat Metheny, Ornette Coleman and Zoot Horn Rollo. On the academic front, Gregg develops and teaches courses in studio production aesthetics, music history, and composing/arranging at William Paterson University of New Jersey. For the Yale Oral History of American Music, he has contributed over 100 expansive interviews with major figures including Wayne Shorter, Sonny Rollins, Quincy Jones, Carla Bley and Steve Reich. Bendian is archivist/producer for the Bottom LIne Archive of historic concerts. Recorded over 30 years at the Greenwich Village venue, the series features discs by Jack Bruce with Billy Cobham, The Brecker Bros, Lou Reed/Kris Kristofferson, Pete Seeger/Roger McGuinn, and Doc Watson. An accomplished percussionist and a composer of over 200 works, he has created a body of innovative music for jazz, rock, percussion (solo and ensemble) and mixed chamber groups, which include his Interzone and Trio Pianissimo bands. Gregg's music is published by Iamuziks (ASCAP). Begun in August of 2020, The ProgCast explores the creative process and musical history of a diverse assortment of cutting edge artists. You can also find us on:SPOTIFY: https://open.spotify.com/show/0x9bzb0...APPLE PODCASTS: https://podcasts.apple.com/us/podcast...https://www.bendianmusic.comhttps://open.spotify.com/artist/0HBmV...https://www.bottomlinearchive.comhttps://guides.library.yale.edu/oham/...https://www.mahavishnuproject.comhttps://www.wpunj.edu/coac/department...

The death of Rochester musical icon Chuck Mangione was a huge loss for countless fans around the world — felt especially keenly here in his hometown. Let's celebrate the man and his music, with favorite musical and personal memories. Guest host Mona Seghatoleslami is joined in the studio by his niece Ardis Mangione-Lindley and an "alum" of his band. And we want to hear from you — the community of musicians, fans, and friends who experienced iconic concerts like "Friends and Love," played alongside him, and more.Our guests: Ardis Mangione-Lindley, niece of Chuck Mangione Bob Sneider, associate professor of jazz studies at Eastman School of Music and alum of Chuck Mangione Band

Join Tamara for an interview with musician (upright and electric bass) Marc Chesanow, whose music plays at the beginning and the end of every episode of this show!

"What if we didn't have to leave home to have a world class experience?" Those are the words of CITY Magazine editor Leah Stacy, writing about the Finger Lakes. The July issue of the magazine is all about the vacation destination right in our own backyard. This hour, we explore some of those world class experiences with the CITY team and with the people creating them. Our guests: Leah Stacy, editor of CITY Magazine Jacob Walsh, art director for CITY Magazine Roberto Lagares, multimedia reporter for CITY Magazine Patrick Hosken, arts reporter for CITY Magazine Rachel Snyder, president of the Wells Legacy Society and Wells College alumna (Class of 2011) Matt Cassavaugh, owner of Hemlock Canoe Jazmine Saunders, soprano performing with Finger Lakes Opera, Metropolitan Opera Lindemann Young Artist, alumna of the Eastman School of Music (Class of 2022) and the Julliard School (Class of 2024), and William Warfield Scholarship recipient  Lora Downie, director of food and beverage education programs at New York Kitchen Take our audience survey to help us learn more about you, and make a better show for you.

Shaya was born and raised in Washington State, became a believer as a young child and chose to be water baptized at age 11. She became interested in the Jewish roots of her faith during her undergraduate studies and then became further acquainted with them while in grad school at Eastman School, when she was invited to join a Messianic Passover seder. Shortly after that, Shaya felt God called her to become a part of the local Messianic congregation in Rochester, where she has been for over 12 years. Over that time, Shaya has served as a cantor, dance leader, occasional worship leader, kiddish (hospitality) coordinator, and a member of many teams and outreaches.

Sara Gazarek is a 2x Grammy Winning Jazz Vocalist. She has recorded five albums and done world tours. She has collaborated with luminaries like Kurt Elling, Fred Hersch, Larry Goldings and Billy Childs. She is a founder of Saje, the all-female vocal group. And she is the Jazz Voice Professor at the Eastman School of the University of Rochester.My featured song is my reimagined version of Joni Mitchell's reimagined version of a song by Charles Mingus called “The Dry Cleaner From Des Moines”. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH SARA:www.saragazarek.com________________________ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” is Robert's newest single.It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

The Horn Signal is proudly brought to you by Bob Reeves Brass. Join hosts John Snell and Preston Shepard as they interview horn players around the world.  Today's episode features Julie Landsman, former Principal Horn of the Metropolitan Opera and teacher at University of Southern California. About Julie: Principal horn with the Metropolitan Opera Orchestra for 25 years, Julie Landsman is a distinguished performing artist and educator. She received a bachelor of music degree from The Juilliard School in 1975 under the tutelage of James Chambers and Ranier De Intinis, and has served as a member of the Juilliard faculty since 1989. A native of Brooklyn, New York, Landsman achieved her dream of becoming principal of the MET in 1985 and held that position until 2010. She has also shared her talent to many other ensembles within the city as a current member of the Orpheus Chamber Orchestra and having performed and recorded with the New York Philharmonic. Additionally, she has performed with numerous groups outside the city, including her co-principal position with the Houston Symphony, substitute principal position with the St. Paul Chamber Orchestra, and recent performances with The Philadelphia Orchestra as Associate principal horn, and the Los Angeles Chamber Orchestra, principal horn. She has recorded for RCA, Deutsche Gramophone, CRI, Nonesuch and Vanguard labels, and is most famous for her performance of Wagner's “Ring” cycle as solo horn with the MET Opera under the direction of James Levine. Landsman has performed as chamber musician at many festivals and concert series, including the Marlboro Music Festival, Chamber Music Northwest, the Santa Fe Chamber Music Festival, Sarasota Music Festival, La Jolla Summerfest, the Chamber Music Society of Lincoln Center,  Orcas Island Chamber Music  Festival,  and the Metropolitan Museum of Art, where she appeared as a guest artist with the Guarneri Quartet. In the summers she performs and teaches at the Music Academy of the West , the Sarasota Music  Festival, and the Aspen Music Festival. World renowned as a master teacher, Julie Landsman holds faculty positions at The Juilliard School and Bard College Conservatory, and teaches frequently as a guest at the Curtis Institute. She has presented master classes at such distinguished institutions as The Colburn School, Curtis Institute, Eastman School of Music, Mannes College of Music, Manhattan School of Music, USC Thornton School of Music, Cal State Long Beach, Rowan University, University of Oklahoma, and University of Southern Mississippi, to name a few. She is also a visiting master teacher at the New World Symphony in Miami. Her international presence includes master classes in Norway, Sweden, and Israel.  In 2016 Landsman was an honored jury member at the ARD horn competition in Munich, Germany. Her students hold positions in the Metropolitan Opera Orchestra, Philadelphia Orchestra, Los Angeles Philharmonic, San Francisco Opera and Ballet Orchestras, Washington National Opera Orchestra, Dallas Symphony, St. Louis Symphony, New Jersey Symphony, Colorado Symphony, and the American Brass Quintet. She recently received the “Pioneer Award” from the International Women's Brass Conference and was a featured artist at the International Horn Society Conference in 2012 and 2015. Her recent series of Carmine Caruso lessons on YouTube have led to further fame and renown among today's generation of horn players. Landsman currently resides in Santa Barbara, California.

TOPICS: Ryan is podcasting from the APME Conference in Memphis; artists are pretending that their videos are AI-generated; Taylor Swift bought her original master recordings back and Ryan and Zak Sloan discuss; our guest this week is Kate Sheeran, the Dean of the Eastman School of Music at the University of Rochester. You can find out more about our guest's work by visiting esm.rochester.eduRate/review/subscribe to the Break the Business Podcast on iTunes, SoundCloud, Stitcher, and Google Play. Follow Ryan @ryankair and the Break the Business Podcast @thebtbpodcast. Like Break the Business on Facebook and tell a friend about the show. Visit www.ryankairalla.com to find out more about Ryan's entertainment, education, and business projects.” Hosted on Acast. See acast.com/privacy for more information.

How can the arts help us heal? Experts say music therapy can help people cope with anxiety, depression, and even post-traumatic stress disorder. A program called Music for Veterans aims to leverage the therapeutic qualities of music to support and enrich the lives of military veterans. The head of that national program has ties to Rochester. He's in town this week to help support the local chapter. This hour, we talk with him and with local program organizers and veterans about the healing power of music. Our guests: Roy Ernst, Ph.D., founder of Music for Veterans National Association and professor emeritus of music education at the Eastman School of Music Mike Doolin, president of Music for Veterans-Rochester, U.S. Navy veteran, and trumpeter in the New Horizons band, among others Judy Rose, executive director of Music for Veterans-Rochester, bass clarinetist in the New Horizons Band, and vice president of Datrose Inc. Laura Heltz, executive director of Veterans Outreach Center, U.S. Army veteran, and author

Nicole Cabell is an award-winning American soprano known for her rich voice and versatile artistry. Born in California with African American, Korean, and Caucasian heritage, she rose to international fame after winning the 2005 BBC Cardiff Singer of the World Competition. She has performed leading roles at top opera houses like the Royal Opera House and the Metropolitan Opera. Her acclaimed recordings include the solo album Soprano and performances in La Bohème and Imelda de' Lambertazzi. Cabell also serves as an Associate Professor of Voice at the Eastman School of Music, where she mentors young singers.

Joshua Conyers is an Assistant Professor of Voice at the Eastman School of Music at the University of Rochester, and a Grammy-nominated Baritone who is known for his captivating performances and recognized as one of the leading dramatic voices of today. He has performed with The Metropolitan Opera, Seattle Opera, Washington National Opera, Lyric Opera of Chicago, English National Opera, New York Philharmonic, National Symphony Orchestra, Carnegie Hall, and many others. His recordings include the Grammy-nominated “X: The Life and Times of Malcolm X” his debut solo album is “A Miracle in Legacy.” He says it tells his story of his “being born into the crucible of poverty, haunted by the specter of addiction and abuse.” He says “yet, amid the shadows, I found my guiding light in the melodies of classical music.” SONG 1: “I’ll Make Love to You” by Boyz II Men from their Album II released in 1994. https://youtu.be/USR_0iImpcM?si=VDXE1s_O2toNwRkJ SONG 2: “Nessun Dorma” by Giacomo Puccini from the opera Turandot...performed here by Franco Corelli from the 1958 film of Turandot.https://youtu.be/fWokel5YxM8?si=_D9UEH6jKbz1Bo2G SONG 3: “Cleanin’ Out My Closet” by Eminem off his 2002 album The Eminem Show. https://youtu.be/4t2ETI2Lrjg?si=pgmx0aGLs4Tag6HASee omnystudio.com/listener for privacy information.

When President Trump installed himself at the head of the Kennedy Center board, he promised less “wokeness” on stage. Musicians and artists have debated whether to keep their 2025 bookings, knowing they won't be invited back next year. Our colleagues from Classical 91.5 look at the history of government control of the arts. Steve Johnson, Ph.D., midday host/announcer for Classical 91.5 FM Mona Seghatoleslami, music director, host and producer for Classical 91.5 FM Sara Gazarek, associate professor of jazz voice at the Eastman School of Music

In the second hour of "Connections with Evan Dawson" on 3/25/25, we sit down with Kate Sheeran, the new dean of the Eastman School of Music, to discuss her ideas for the future of the school.

This episode of The Other Side of the Bell, featuring trumpeter, educator and recording artist Clay Jenkins, is brought to you by Bob Reeves Brass.  About Clay Jenkins:  Clay Jenkins is a renowned jazz trumpeter and educator whose dynamic career spans decades of performance and teaching. He launched his performing journey with the Stan Kenton Orchestra before moving to Los Angeles, where he toured and recorded with the big bands of Buddy Rich and the Count Basie Orchestra. A charter member of the Clayton Hamilton Jazz Orchestra, Clay has amassed over 100 recording credits, released seven solo albums, and recorded as a co-leader with many other notable names. Since joining the Eastman School of Music faculty, in Rochester, NY, in 2000, Clay has continued to perform worldwide, while mentoring the next generation of jazz musicians. Inspired by his close friendship with the late trumpet legend Eugene "Snooky" Young, he established the Snooky Young Endowed Scholarship at Eastman, and is currently writing a biography of Young's life.  Clay is wonderfully warm, down-to-earth and humble. If you listened to our last episode featuring Emile Martinez, you'll know that Clay was instrumental in guiding Emile on his artistic journey, and so how appropriate it is that we can follow up on that interview with this one today. And he's a lifelong practicer. Clay is always trying to improve, and it's inspiring to hear someone at his level still talking about what they go through every day, trying to better themselves.  Episode Links: "Hope Beats" - YouTube series with Clay Jenkins (trumpet), John Clayton (bass), Larry Koonse (guitar), Gene Bertoncini (guitar), Joe La Barbera (drums) Quasimodo, by Charlie Parker Grizzly, by John Clayton Podcast Credits: “A Room with a View“ – composed and performed by Howie Shear Audio Engineer – Ted Cragg Cover Art – Phil Jordan Podcast Host – John Snell

Send us a textMy experience last weekend with a group of focused killers.  Thoroughly impressed with what's going on up at Eastman School of Music

TOPICS: Chappell Roan gave a powerful speech at the Grammys about how record labels should do moreto support artists, but at least one editorial writer had some issues with her approach to activism; weinterview Gaelen McCormick, the Director of the Eastman Performing Arts Medicine Center at theUniversity of Rochester, an organization that aims to leverage the potential of the performing arts in thehealthcare environment, while also supporting the medical needs of artists. You can find out moreabout our guest's work by visiting https://www.urmc.rochester.edu/eastman-performance-medicine.Rate/review/subscribe to the Break the Business Podcast on iTunes, SoundCloud, Stitcher, and Google Play. Follow Ryan @ryankair and the Break the Business Podcast @thebtbpodcast. Like Break the Business on Facebook and tell a friend about the show. Visit www.ryankairalla.com to find out more about Ryan's entertainment, education, and business projects.” Hosted on Acast. See acast.com/privacy for more information.

Kathleen van Bergen is in her 14th season as CEO and president of Artis—Naples.  In that time, she has been recognized throughout Southwest Florida and the greater arts community as an example of leadership geared toward prudent growth and relationship building. Named one of Musical America's “Top 30 Professionals of the Year” in 2019, she is described as “a woman with a mission, a vision and a board to support both.” In 2022, she was named among Gulfshore Life magazine's “Forces of Philanthropy,” a select few leaders of Southwest Florida who “propel the philanthropic community into the future through mentorship, collaboration and camaraderie.”From the beginning of her tenure, she has made balanced budgets and operational surpluses a priority: The balance sheet has more than doubled over the last decade, and, as of 2021, the organization is debt free.  On her watch, its endowment has surpassed $150 million. Kathleen's vision for multidisciplinary thematic planning has allowed Artis—Naples to leverage its unique resources in order to enhance patron experiences with the visual and performing arts.The diversity of artistic excellence and world-class programming is one reason The Wall Street Journal said Artis—Naples has ushered in “an impressive new phase” for classical music in Southwest Florida.In 2022, Kathleen was a recipient of the Eastman School of Music's Centennial Award, given in honor of its 100th year to 100 individuals who exemplify the school's mission and legacy through their artistry, scholarship, leadership, community engagement and philanthropy

This episode of The Other Side of the Bell, featuring trumpeter Aaron Smith, is brought to you by Bob Reeves Brass.  About Aaron : Aaron Smith is an active freelance trumpet player in Los Angeles, CA. He also writes, arranges, and publishes music through his small business, TrumpetSmith Publishing (ASCAP). In addition, he serves on the Hearing Board for the American Federation of Musicians (AFM) Local 47 and on the Board of Directors for the Recording Musicians Association Los Angeles (RMALA).  Raised in an Army household with musician parents who played jazz and r&b, and later to receive classical conservatory training, Smith thrives on versatility, consistency, and accurate delivery of musical intent. As a trusted freelance musician in Los Angeles, he performs regularly for live orchestral events, musical theatre, films, independent recording projects, streaming, television, and video games.  He has recorded on film/tv projects for celebrated composers including Alan Menken, Bear McCreary, Branford Marsalis, Germaine Franco, Heitor Pereira, Kris Bowers, Rob Simonsen, and Terence Blanchard; on sound recordings for Adrian Younge, Austin Wintory, Charles Gaines, Dr. Dre, Joachim Horsley, John Daversa, and X Ambassadors. He has performed as a sideman in bands on the Academy Awards, Dancing with the Stars, Disney's Encore!, Ellen, the LATE LATE Show, and The Voice. He's also appeared as a sideman onscreen for films including Babylon and Joker: Folie à Deux; and tv commercials for Capital One and Microsoft. He's backed major artists including Beyoncé, Billie Eilish, Common, Danny Elfman, Jennifer Holliday, Josh Groban, Kelly Clarkson, Labrinth, Lady Gaga, Sigur Rós, Steve Lacy, and more. He has also performed for contemporary/new music ensembles and series including Alarm Will Sound, the Industry's Hopscotch Opera, Jacaranda, Southwest Chamber Music, wasteLAnd, WildUp, Green Umbrella, Monday Evening concert series, and Noon to Midnight Festival. In the L.A. theater world, Smith performs regularly at the Hollywood Pantages, Dolby, La Mirada Theaters and Pasadena Playhouse. Some notable shows from these theaters with Smith on solo trumpet include Back to the Future, Beetlejuice, Color Purple, Jelly's Last Jam, Les Misérables, Moulin Rouge, Wicked, and the Wiz.  As a composer, Smith strives to curate a top-tier experience for brass players especially. The primary focus is exploring boundaries while expressing a story; both through adapted arrangements structurally sound to the composer's intent and through his own original compositions. His work has been performed internationally. He has also created original chamber music commissioned by Marissa Benedict for University of Minnesota, Jim Self for University of Southern California, also by the Interlochen Center for the Arts, and Stomvi-USA.  Smith's training as a music performance major includes a Master of Fine Arts degree from California Institute of the Arts where he studied with Edward Carroll and John Fumo; and a Bachelor of Music degree from the Eastman School of Music with professor James Thompson. He is also a graduate of the Interlochen Arts Academy with Stanley Friedman.

This episode of The Other Side of the Bell, featuring trumpeter, Allen Vizzutti, is brought to you by Bob Reeves Brass. You can also watch this interview on Youtube. About Allen: Equally at home in a multitude of musical idioms, Allen Vizzutti has visited 70 countries, Japan 49 times, and every state in the union to perform with a rainbow of artists and ensembles including Chick Corea, Doc; Severinsen, the NBC Tonight Show Band, the Airmen Of Note, the Army Blues and Army Symphony Orchestra, Chuck Mangione, Woody Herman, Japan's NHK Orchestra and the New Tokyo Philharmonic, the Budapest Radio Orchestra, the Saint Paul Chamber Orchestra, the Leipzig Wind Symphony, the Slovenian National Orchestra and the Kosei Wind Orchestra. Performing as a classical and a jazz artist, often in the same evening, he has appeared as guest soloist with symphony orchestras in Japan, Germany, St. Louis, Seattle, Rochester N.Y., Dallas, Milwaukee, Buffalo, Phoenix, Edmonton, Vancouver, Seattle and Minnesota to name a few. Music lovers in Germany, Poland, England, Sweden, Brazil, Canada, Japan, Australia and the United States have heard his brilliant sound over the airwaves of national television. Allen's status as an artist has led to solo performances at the Hollywood Bowl, Carnegie Hall, Newport Jazz Festival, Banff Center for the Performing Arts, Montreaux Jazz Festival, the Teton, Vail, Aspen and Breckenridge Music Festivals, the Charles Ives Center, Suntory Hall & Opera City Hall in Tokyo and Lincoln Center in New York City. From his home in Seattle Washington, Allen's current career activities embody an impressive schedule of recitals, concerts, recording and composing. His continued commitment to music education and the value of music in everyday life results in an extensive schedule of guest appearances throughout North America, South America, Europe, Japan, Australia, Asia and New Zealand. Allen's many recordings include “Ritzville” featuring Chick Corea and Stanley Clarke,(available at www. vizzutti.com and on iTunes). Other solo jazz recordings include “Trumpet Summit” and “Skyrocket” from Summit Records. Classical recordings currently available (DeHaske Classical Recordings), are “The Emerald Concerto and Other Gems”, with the Budapest Radio Orchestra, “Vizzutti Plays Vizzutti” and “Vizzutti and Soli On Tour”. His “High Class Brass”, (on iTunes), is a wonderfully unique classical and jazz blend co-produced, co-written and performed with fellow trumpet artist, composer and conductor, Jeff Tyzik along with a 90-piece studio orchestra. (on iTunes) Other outstanding Vizzutti recordings are “Baroque and Beyond”, (CBS/Sony), “The Carnival of Venus”, (Summit Records), and “A Trumpeter's Dream, (Ludwig Music Publishing). As Artist in Residence, Allen has taught at the Eastman School of Music, the University of North Texas, the University of South Carolina, the Banff Center for the Performing Arts, Kansas State University, Ohio State University, West Texas State University, the Skidmore Jazz Institute, and the Trompeten Akademie of Bremen Germany. His extensive treatise, “The Allen Vizzutti Trumpet Method” and his “New Concepts for Trumpet”, (Alfred Music Publishing), have become standards works for trumpet study worldwide. Many more of Allen's jazz and classical books, play along recordings, and student and recital compositions are published by DeHaske/Hal Leonard, BIM Switzerland, and Village Place Music. His writing includes solo pieces for piano, flute, clarinet, saxophone, trombone, tuba, and harp, chamber groups, wind ensemble, jazz ensemble, and symphony orchestra. Allen's love of expression through composition has led to premier performances by the LosAngeles Philharmonic, Budapest Radio Orchestra, the Royal Philharmonic of London, the Nuremberg Symphony, Rochester Philharmonic, Syracuse Symphony, London Symphony, the renowned Summit Brass, the Royal Philharmonic Brass and others. After the world premier of his “Emerald Concerto” with the Syracuse Symphony Allen's writing was described in review: “The Emerald Concerto sparkles!...a vivacious treatment which speaks well for both his dramatic instinct and technical prowess as a composer.” While growing up in Montana, Allen was taught by his father, a self taught musician and trumpet player, until he left home to attend the Eastman School of Music on full scholarship. There he earned the Bachelor of Music and Master of Music degrees, a Performer's Certificate, a chair in the Eastman Brass Quintet faculty ensemble, and the first Artist's Diploma ever awarded a wind player in Eastman's history. Allen has performed on over 150 motion picture sound tracks, (such as Back To The Futureand Star Trek), as well as countless TV shows, commercials and recordings with such artists as Frank Sinatra, Barbra Streisand, Neil Diamond, Chick Corea, the Commodores and Prince. His soaring sound can be heard on recent the movies, “Mirror, Mirror”, “Furry Vengeance”, “40 Days and 40 Nights”, “Unfaithfully Yours”, “Gridiron Gang”, “Scary Movie Four”, “The Hulk” and the “Medal of Honor”, “Gears of War”, “World of Warcraft” ,and “Halo” video games. More information is available at www.vizzutti.com  Allen Vizzutti is a Yamaha Performing Artist

AyseDeniz was considered a child prodigy in her native Türkiye and made her concerto debut when she was nine, with the Gordion Chamber Orchestra playing J.S. Bach's Keyboard Concerto No. 5. At thirteen, she had already performed as a soloist with various orchestras under conductors including Ibrahim Yazici, Fahrettin Kerimov, Antonio Pirolli, Cem Mansur, Engin Sakpinar, Ertug Korkmaz, Rengim Gokmen, Vladimir Sirenko, and Kirill Karabits.  ​ As a young pianist, AyseDeniz attended prestigious summer festivals including the Verbier Academy, Music Academy of the West, Aspen Music Festival and School, PianoTexas, Goslar Konzertarbeitswochen, Tel Hai, and Beijing International Music Festival, studying with renowned piano pedagogues such as Menahem Pressler, Jerome Lowenthal, Arie Vardi, Yoheved Kaplinsky, as well as Lang Lang. In middle school, AyseDeniz moved to Spain for half a year to study with the renowned Bach interpreter Rosalyn Tureck, becoming one of her last students. ​ In 2009, she completed her Bachelor's Degree at Eastman School of Music (Rochester NY) in the studio of Douglas Humpherys with all semesters on Dean's List, and received the Howard Hanson and Clements Scholarships as well as the John Celentano Excellence in Chamber Music Award. In 2011, She completed her Masters in Piano Performance at the Royal Academy of Music in London, under the tutelage of Christopher Elton, and received the Maud Hornsby Award, graduated with Merit, and also completed the Licentiate of the Royal Academy of Music Teaching Certificate. ​ Throughout her early career, AyseDeniz has given concerts around the world including Cathedral of Christ The Savior Moscow (Russia); L'Eglise Verbier (Switzerland); Duke's Hall, Steinway Hall, Kings Place London (UK); Bellapais Antique Monastery (Northern Cyprus); Kiev Central Park of Culture Open Air Hall, Lysenko Hall (Ukraine); PepsiCo Hall (TX), Kilbourn Hall (NY), Harris Hall (CO), Pacific Amphitheater (CA) in USA; Teatro Cine Chacabuco (Argentina); Teatro Cine Gouveia, Teatro das Figuras Faro, Centro Cultural de Ãlhavo, Centro Cultural da Gafanha da Nazare, Groove Cascais (Portugal); Galleria d'Arte Moderna, San Fedele Milan, Teatro Dario Fo Venice, and St. Giorgio Cathedral Palermo (Italy); Silent Green Kulturquartier Berlin and Konzertsaal Friedenskapelle Münster (Germany); Sofia Central Military Club (Bulgaria), Ambato City Hall (Ecuador); Afundación and Mar de Vigo (Spain) and in almost all of Türkiye's most important music halls including Süreyya Opera House, Albert Long Hall, CRR, CKM and Zorlu PSM (Istanbul), State Opera House (Eskisehir); City Hall (Adana); Atatürk Cultural Center & KSÜ Yunus Emre Cultural Center (Antalya); Opera Hall (Mersin); Hikmet Simsek Cultural Center, (Izmir); METU, CSO and MEB Sura (Ankara).  AyseDeniz Links   Mr. Bill's Links   Podcast Produced & Edited by: Robert Fumo