Podcasts about percussion

Der französische Komponist Erik Satie starb im Juli vor 100 Jahren. Sein Lebensende war wenig glanzvoll: Er war ein mittelloser Alkoholiker, litt an Leberzirrhose und sein musikalisches Talent war nur von wenigen erkannt worden. Heute gilt Satie als Vorläufer von Minimalismus und Ambient Music. Die reduzierte Struktur seiner Musik fasziniert auch den pfälzischen Cellisten Burkard Maria Weber. Ihm ist es ein Anliegen, das Moderne an Saties Musik zur Geltung zu bringen – und dafür hat er viele seiner Stücke neu arrangiert und mit Cello, E-Gitarre, Bass und Percussion eingespielt. In dieser Woche gastiert er auch im SWR-Sendegebiet.

Today, the Spotlight shines On guitarist and composer Kim Perlak.Kim chairs the guitar department at Berklee College of Music, where she's spent over a decade expanding from classical performance into composition and improvisation. Her new album, Spaces, is a collaboration with percussionist Francisco Mela. The record captures four nature-inspired suites that obliterate the lines between written music and spontaneous creation.The project shows how Kim moved from performing exclusively new classical works to embracing improvisation and collaborative music-making. Recorded live in a single afternoon at a studio overlooking New Hampshire's Squam Lake, Spaces reveals Kim's deep connection to the natural world and her belief in creating musical environments where artists can truly listen to each other.Kim is here to share the story behind this unique project and discuss how creating space—both musical and personal—has shaped her approach to teaching and performing.(The musical excerpts heard in the interview are from Kim Perlak & Francisco Mela's album Spaces)–Dig DeeperVisit Kim Perlak at kimperlak.com and follow her on Instagram, Facebook, and YouTubePurchase Kim Perlak & Francisco Mela's Spaces from Sacred Black Records or Qobuz and listen on your streaming platform of choice.Meet Dr. Kim Perlak, Chair of Guitar at Berklee College of MusicDig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our new online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Yes! We've done it! Another slightly aimless amble through some recent episodes as Tom and Beth take on huge topics including MICE, WASPS and PERCUSSION.Some of the products talked about today include:COMPOST BIN LINERS (for the freezer, if you're cool)BUNTINGHUMANE MOUSE TRAPSandMAP ERRORS FOR DADSThat's it for today - make sure you're fully subscribed up for some Pete Firman action next Tuesday. Till then have a great lifeToast xxTikTok Instagram YouTube New Episodes every Tuesday and Thursday Hosted on Acast. See acast.com/privacy for more information.

Today, the Spotlight shines On guitarist and composer Kim Perlak.Kim chairs the guitar department at Berklee College of Music, where she's spent over a decade expanding from classical performance into composition and improvisation. Her new album, Spaces, is a collaboration with percussionist Francisco Mela. The record captures four nature-inspired suites that obliterate the lines between written music and spontaneous creation.The project shows how Kim moved from performing exclusively new classical works to embracing improvisation and collaborative music-making. Recorded live in a single afternoon at a studio overlooking New Hampshire's Squam Lake, Spaces reveals Kim's deep connection to the natural world and her belief in creating musical environments where artists can truly listen to each other.Kim is here to share the story behind this unique project and discuss how creating space—both musical and personal—has shaped her approach to teaching and performing.(The musical excerpts heard in the interview are from Kim Perlak & Francisco Mela's album Spaces)–Dig DeeperVisit Kim Perlak at kimperlak.com and follow her on Instagram, Facebook, and YouTubePurchase Kim Perlak & Francisco Mela's Spaces from Sacred Black Records or Qobuz and listen on your streaming platform of choice.Meet Dr. Kim Perlak, Chair of Guitar at Berklee College of MusicDig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our new online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Episode 390 Dante Villagomez: Pocket Piano, Percussion and Effects Jason Greenlaw: Electric Guitar and Effects Jason Greenlaw is band leader for Denver based "Superimposition" and his fusion trio "Sixth Wind". Check out his music below! linktr.ee/sixthwind www.jasongreenlawmusic.com/about Night at Sea is an avant-garde music podcast aiming to shift the mind towards a meditative state. Collaborating with Pittsburgh and Denver musicians, Spices Peculiar presents a weekly improvised instrumental deep listening journey. Turn On, Tune In, Drop Out Produced by Dante Villagomez New episode uploaded every Tuesday @ 9 P.M. Eastern Explore the full array of music, videos, and art at www.spicespeculiar.com/ spicespeculiar.bandcamp.com/ Instagram: @spicespeculiar -true wisdom is only heard in silent darkness

Hello fellow Online Purchase History Rubber-kneckersToday it's the turn of the wonderful Vittorio Angelone to allow us to bravely explore his own personal Amazon. We start with his youth in Belfast and early relationships to his career in classical music and eventual and excellent pivot to stand-up comedy. Along the way we've got some classic weird purchases like a life-size Barack Obama cutout, some old Guinness posters, and the dilemma of useless but humane mouse traps. Also - the BEST domestic tip you'll hear all summer. Guaranteed.Make sure you go and check out Vittorio, too. He's got a show at Edinburgh this year, a wonderful tour happening in the autumn, and here's his mailing list. Go and sign up! Go on! Go and do it! Next week - Pete Firman!Thanks loves,Team Toast xxTikTok Instagram YouTube New Episodes every Tuesday and Thursday EPISODE CHAPTERS00:00 Introduction and Show Format00:26 Meet the Guest: Vittorio Angeloni01:31 Discussing Names and Accents03:04 Diving into Vittorio's Amazon History04:49 Teenage Relationships and Gifts06:42 School Pranks and Mischief09:41 Musical Journey and Comedy Transition13:52 Life at Music College20:29 Budgeting Hacks and Clever Tricks22:29 Long-Distance Relationship Challenges23:57 The Importance of University Relationships24:46 The Watch Obsession27:37 Rugby and Sports Injuries32:07 Pandemic Projects and Cable Chaos33:16 Humane Mouse Traps and Housemates38:52 Dog Sitting and Flea Problems40:39 Upcoming Shows and Final Thoughts Hosted on Acast. See acast.com/privacy for more information.

Join Kyle and Dirkjan van Groningen (Netherlands) for a discussion around using backing tracks to improve the skills of your percussion students.Band Music CenterAudio StretchThe Benefits of Preparing Percussion Music with RecordingsDirkjan's Youtube ChannelStormbreak-Jim Casella

In this episode of The Bandwich Tapes, I had the pleasure of sitting down with Dr. Brett Dietz, Director of Percussion at LSU, and someone who had a tremendous impact on my own family. Brett taught my son Skyler throughout his college years, and I've long admired him as both an educator and an artist. This was a special and personal conversation.We discuss Brett's journey from studying under Michael Burritt at Northwestern to his unexpected opportunity at LSU in 2003, where he has been teaching for over two decades. He reflects on the evolution of the percussion studio, the effects of the 2008 recession and the COVID-19 pandemic on student development, and how the landscape of music education has shifted over the years.We delve into teaching philosophies and how Brett identifies the most minor technical issues that unlock major improvements, and why teaching is ultimately about remembering what it's like to struggle. We also cover the deceptively complex art of triangle and tambourine playing, and how Brett balances classical rigor with kindness and adaptability.And then there's Brett the composer. He shares the backstory behind his works, such as Sharpened Stick and Headcase, and how his early days in a high school garage band with Doug Perkins (yes, that Doug Perkins) led to a lifelong love of composing. He discusses studying under legends like Stanley Leonard, David Stock, and J. Allen Yim, and how those mentors shaped his artistic voice.Whether you're a percussionist, a teacher, or just someone who loves stories about finding your path and making an impact, this episode is packed with insight, warmth, and some great laughs.To learn more about Brett, visit his website.  Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.The theme song, Playcation, was written by Mark Mundy. 

Mit "Pet Sounds" wollten The Beach Boys rund um Brian Wilson das größte Rockalbum aller Zeiten schaffen. Bis heute gilt es als wegweisender Meilenstein der Musikgeschichte. "Pet Sounds" erschien am 16. Mai 1966 als elftes Studioalbum der Beach Boys. Die kalifornische Band bestand aus den Brüdern Brian, Dennis und Carl Wilson, ihrem Cousin Mike Love und dem Schulfreund Alan Jardine. Mit "Pet Sounds" entfernten sie sich von ihrem sommerlichen Surfsound und wandten sich vielschichtigen, komplexen Kompositionen mit lyrischer Tiefe zu. Während der Produktion des Albums war ein Großteil der Beach Boys eigentlich gar nicht dabei. Die Band tourte gerade durch Japan. Nur Brian Wilson, der kreative Kopf der Gruppe, blieb zurück in Kalifornien, um sein Ziel zu erreichen, das beste Rockalbum aller Zeiten zu komponieren. Dabei orientierte er sich am Album "Rubber Soul" von den Beatles, das ein Jahr zuvor erschienen war. Brian Wilson war ein großer Fan des amerikanischen Produzenten Phil Spector, der für die Komposition dichter und orchestraler Klangflächen bekannt wurde, der sogenannten "Wall Of Sound". Spector war unter anderem am Song "Be My Baby" aus dem Jahr 1963 von den Ronettes beteiligt. Wilson bezeichnete das Lied als das beste Popstück, das je geschrieben wurde. Tief beeindruckt von Spectors Arbeit, wollte Wilson ihn jedoch nicht einfach nachahmen. Sein Anspruch war, ihn zu übertreffen. Neben der neuartigen Kompositionsweise finden sich auf "Pet Sounds" viele interessante Instrumente, oder eher Alltagsgegenstände, die zu Instrumenten umfunktioniert wurden. Im gleichnamigen Titelsong "Pet Sounds" spielte der Schlagzeuger die Percussions am Anfang mit zwei leeren Cola-Dosen ein. In "You Still Belive In Me" kommt eine Fahrradhupe zum Einsatz. An anderen Stellen klingen Löffel als Rhythmusinstrumente mit und der letzte Song des Albums, "Caroline, No", endet mit Hundegebell und einem vorbeifahrenden Zug. "Pet Sounds" ist ein einzigartiges Album, das die Musikwelt bis heute prägt. Bei seiner Veröffentlichung blieb der große Erfolg jedoch zunächst aus. Es schien, als hätte Brian Wilson sein Ziel, das größte Rockalbum aller Zeiten zu schreiben, verfehlt. Die Enttäuschung traf den Musiker damals tief. __________ Über diese Songs vom Album "Pet Sounds" wird Podcast gesprochen (22:43) – "Wouldn't It Be Nice"(36:25) – "Pet Sounds"(39:26) – "You Still Believe In Me"(40:07) – "Caroline, No"(45:53) – "Sloop John B"(51:37) – "God Only Knows"(01:02:31) – "I Just Wasn't Made For These Times" __________ Alle Shownotes und weiterführenden Links zur Folge: linkhttps://1.ard.de/the-beach-boys-pet-sounds __________ Ihr wollt mehr Podcasts wie diesen? Abonniert "Meilensteine – Alben, die Geschichte machten"! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de

Northern Illinois University Director of Steel Pan Studies, as well as Performer, Educator and Composer Liam Teague stops by to talk about his job, how he came to NIU in the 1990s, writing and arranging for steel drum ensemble, working with non-majors, and musical preparation (03:20), his musical upbringing in Trinidad & Tobago, the importance of the “University of the Panyard”, his early experiences, and how the instrument and the music for the instrument inspired its development (33:55), attaining his undergrad and masters at NIU, overcoming the challenges of being in a new country in the 1990s, and the importance of his support system (51:50), becoming a Professor at NIU and his enjoyment of the musical development of his children (01:07:00), and finishing with the Random Ass Questions, including segments on the importance of collaboration, impressions, great movies and TV shows, Trinidadian sayings, soccer, a memorably Italy performance, and being inspired by great performers in many genres (01:14:10).Finishing with a Rave on Robert Caro's The Years of Lyndon Johnson: Master of the Senate (01:42:20).Liam Teague links:Liam Teague's NIU pageLiam Teague's website“Chant” - Liam Teague“Rain Drops” - Liam Teague“Fayed to Blue” - Pangelic“A Visit to Hell” - Liam Teague (Jaden Teague-Nunez performing)Other Links:Al O'ConnorCliff AlexisYuko AsadaFame opening creditsJascha HeifetzItzhak Perlman“So What” - Miles Davis“Cherokee” - Charlie Parker“Pan in A Minor” - Lord KitchenerSymphony No. 4, Movement IV - P.I. Tchaikovsky (Steel Band version)“Feeling It” - Invaders Steel Orchestra (Arden Herbert arr.)Ellie MannetteBertie MarshallAnthony WilliamsThe Pan Am North Stars on Ed SullivanWinnifred Atwell and the Pan Am North Stars - Ivory and SteelLester Trilla Jr.Robert ChappellYuja Wang“Coffee Street” - Andy NarellSchlindler's List trailerThe Da Vinci Code trailer“Pedro Navaja” - Ruben BladesAndy Narell in South AfricaPablo PicassoSalvador DaliJonathan Scales Fourchestra - Tiny DeskRaves:The Years of Lyndon Johnson #3: Master of the Senate - Robert A. Caro

The Black: Oceania - Episode 15 - Percussion Support the podcast by purchasing The Black: Evolution Ebook/Paperback available from Amazon Become a member for exclusive content Written by Paul E Cooley Text Copyright:    ©2023 Paul E Cooley Audiobook Copyright:    ©2025 Paul E Cooley Support the podcast and get access to published and unpublished books all voiced by the author! If you are suffering from depression or other mental disorders, please get help. http://www.bipolarsupport.org/ https://suicidepreventionlifeline.org/ Please visit Shadowpublications.com for more information about the author and this series. To stalk the author on social media: Email: paul@shadowpublications.com Mastodon: @paul_e_cooley@vyrse.social Newsletter: http://mailinglist.shadowpublications.com    

Third Coast Percussion Month concludes with Ensemble Member and Development Director Robert Dillon, who stops by to talk about the early years for the group, his previous jobs and his orchestral career prior to TCP going full time (02:45), the importance of grant writing and his version of the Glenn Kotche story (21:20), bringing in Peter Martin and Sean Connors as full-time members and Robert's roles in those interactions, and the need for ensemble members to prioritize TCP (35:35), growing up in Michigan, his extensive musical background, and many of the great teachers he learned from (53:35), attending Northwestern University (IL) for undergrad (01:10:20), going to New England Conservatory (MA) for his graduate work (01:23:40), and finishes with the Random Ass Questions, including segments on pizza making, his many doppelgängers in contemporary music, Gymkata, Barbara Kingsolver, the Yoga Festival Story (Part 4), and The Wire (01:32:05). Finishing with a Rave and Reflection on the interviews of the past month (02:04:45).Robert Dillon links:Third Coast Percussion's pagePrevious Podcast Guests Mentioned:Rebecca McDaniel in 2017Nicholas Papador in 2024Edward Choi in 2023Other Links:Anthony Di SanzaGregory CohenGlenn KotcheLiz PesnelPierre BoulezDavid TaylorDetroit Metropolitan Youth SymphonyDetroit Civic Youth EnsemblesMichael RosenShane MizickoJerry NobleMichael BurrittLeigh Howard StevensJames RossPaul WerticoRubén Alvarez“Rebonds B” - Iannis Xenakis“Third Construction” - John CageWill HudginsStephen DruryJohn ZornHáry-János Suite - Zoltán KodályConcerto for Percussion and Orchestra - Joseph SchwantnerFrank EpsteinPierre BoulezDaniel SchlosbergMoonlight trailerThe Big Lebowski trailerGymkata trailerThe Bourne Identity trailerMortal Kombat trailerCATS trailerBarbara KingsolverHaruki MurakamiMusekiwa ChingodzaThe Wire trailerThe Last of Us trailer

Aktuelle experimentelle Musik, drei Tage lang im Dauerrausch: das nach wie vor revolutionäre Ear We Are Festival in der Alten Juragarage Biel ist eine Bühne für installative Objektkunst bis hin zu Noise, Jazz und elektroakustischer Improvisation. Inklusive Lust am Suchen, am Wagen, am Risiko. Von Underground bis Hochkultur, von roh bis filigran – wir senden Ausschnitte aus der 14. Festivalausgabe. Mit Tomoko Sauvage und dem Wet Ink Ensemble. Josh Modney: Lynx [2023] for violin, cello, and electronics Eric Wubbels: chlorophyll from Second Nature [2024- ] for alto flute, computer-controlled cymbals, and percussion Mariel Roberts Musa: Jalan Mentari [2025] Ingrid Laubrock: Fight, Flight, Freeze [2023] for violin, cello, piano, percussion, and electronics Sam Pluta: Lines on Black [2018] for flute, percussion, violin, cello, and electronics Wet Ink Ensemble (Sextett) Tomoko Sauvage: «Waterbowls» Konzert vom 6. Februar 2025, Alte Juragarage Biel Das Konzert steht unbeschränkt zum Nachhören zur Verfügung.

Mathilde se remémore le comportement abusif de son défunt mari durant leur 58 années de mariage. Malgré les difficultés, elle a trouvé des solutions pour préserver son indépendance et sa dignité. Cette saison, Joseph Agostini accueille les auditeurs le dimanche soir de 23h à 1h sur RTL au 09 69 39 10 11.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

À l'occasion de la Fête de la musique, l'association Zone Verte et ONU-Habitat organisent pour la première fois le Green Drums Day, une compétition musicale inédite consacrée à la batterie, au cœur d'un espace vert délaissé du quartier El Manzah à Tunis.Elissa Amara, actuelle présidente et fondatrice de l'association Zone Verte, explique : « La batterie, c'est l'instrument musical de l'urbain par défaut, un instrument qui fait du bruit — mais un bruit artistique, qui fait vibrer les cœurs. »Au programme de cette journée : deux catégories de jeunes batteurs — de moins et de plus de 15 ans — doivent se produire sur scène, entrecoupés d'intermèdes artistiques, dont un hommage musical écologique signé par des artistes venus du Japon. L'objectif ? Mettre en lumière un espace vert menacé, aujourd'hui réduit à un parking bitumé, et rappeler sa vocation originelle. « Nous voulons réhabiliter cet espace en jardin urbain, où la biodiversité peut s'épanouir et les citoyens retrouver leurs droits environnementaux. »Pour Elissa Amara, l'événement incarne bien plus qu'un simple concert : « Les jeunes doivent pouvoir s'approprier ces lieux, pour créer, respirer et tisser des liens intergénérationnels. Une ville sans espaces verts est une ville sans santé publique. » Découvrez l'intégralité de son entretien en audio.(Interview : Elissa Amara, présidente et fondatrice de l'association Zone Verte; propos recueillis par Cristina Silveiro) 

Daniel Savio started his professional theater career playing keyboards for the Mime Troupe in 2006, and since 2020 he has been the Troupe's resident composer/lyricist. This year Daniel led the band, was co-arranger, and composed additional music for SFBATCO's original musical Sign My Name To Freedom: The Unheard Songs of Betty Reid Soskin. He was recently musical director for the Marin Mountain Play production of Kinky Boots. Daniel has been MD of numerous community and children's productions at theaters in the North and East Bay. He has a BA in music from the University of California at Santa Cruz. SF Mime Troupe Web Site DISRUPTION - A Musical Farce Written by Michael Gene Sullivan & Marie Cartier Music and Lyrics by Daniel Savio Directed by Michael Gene Sullivan Music Direction by Daniel Savio DISRUPTION - A Musical Farce features a four-person cast that includes veteran SF Mime Troupe collective members: Michael Gene Sullivan* (Hector Washington); Alicia M.P. Nelson* (Zubari Macintosh); and features Lizzie Calogero* (Elizabeth); Jed Parsario* (Augie Dimalanta). SFMT BAND: Guinevere Q (Bass); Daniel Savio (Keyboards); and Jason Young (Drums, Percussion). In a city where nothing is more important than “innovation,” son of immigrants Augie Dimalanta (Jed Parsario) works hard. His friend Elizabeth (Lizzie Calogero) may think patching over problems is counterrevolutionary, but after his shift at the “Fried Thangs Diner” Augie's life's all about helping his neighbors navigate an increasingly underfunded and inhuman system. His efforts to make up for the cuts are making a real difference, but at what point does he need to stop plugging the holes in the system and try to change it instead? And while Augie is filling holes, tech genius Zubari Macintosh (Alicia Nelson) is busy digging more! As the head of MOPS (The Mayor's Office of Public Safety) she's all about optimization and “efficiency,” making a city attractive to investors and the right kind of people - and who wouldn't want that? Never mind that she has no experience beyond developing a social media app - how hard can government be? Maybe the only real barrier to giving the people what they really want all this time has been the inefficiency of democracy itself. And with proudly working-class, red-hatted police officers like Hector Washington (Michael Gene Sullivan) to clear the streets, San Francisco will soon be a beautiful and prosperous suburb of Silicon Valley - and hopefully in time for the president's upcoming visit. But if the city is poised to be a calm, efficient paradise why is everything suddenly on… FIRE!

Broadcasting live from Northeast Wisconsin, hosts John Maino and Jim Schmitt explore the emotional journey of military families with guest Liz Hastings, whose daughter, a sergeant and medic, is deployed with the U.S. Army. Liz shares the pride and anxiety of having a child in the military, highlighting the maturity and life-changing experiences gained through service. The conversation shifts to music with Leah Reed and Jonathan Leahy from Hyde Music, celebrating Make Music Day. They discuss the joys of communal music-making, the creative process behind jingles, and the therapeutic power of learning an instrument. A podcast on music education, Sound Underground, is also spotlighted Maino and the Mayor is a part of the Civic Media radio network and airs Monday through Friday from 6-9 am on WGBW in Green Bay and on WISS in Appleton/Oshkosh. Subscribe to the podcast to be sure not to miss out on a single episode! To learn more about the show and all of the programming across the Civic Media network, head over to https://civicmedia.us/shows to see the entire broadcast lineup. Follow the show on Facebook and X to keep up with Maino and the Mayor! Guests: Leah Reed, Liz Hastings, Jonathan Leahy

Aujourd'hui dans "Punchline", Laurence Ferrari et ses invités débattent du risque de l'augmentation du prix du carburant au vu de l'escalade entre Israël et l'Iran.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

In this episode of The Bandwich Tapes, I sit down with William James, Principal Percussionist of the St. Louis Symphony Orchestra. We talk about his journey through the world of orchestral percussion, from early influences and summer programs to the high-pressure world of auditions. Will shares thoughtful insights on what it takes to succeed as a modern percussionist, both musically and administratively.We dig into the evolving expectations placed on orchestral players, the challenges of recording and venue acoustics, and how creativity, flexibility, and technology are reshaping the field. We also reflect on the importance of great teachers, the value of building a strong repertoire, and the ongoing role education plays in both our lives.Will's passion for percussion extends far beyond performance—he's a dedicated educator, chamber musician, and author. His contributions to the percussion community have had a lasting impact, and I was grateful for the opportunity to delve deeper into his story.About William James: William James is the Principal Percussionist of the Saint Louis Symphony Orchestra. He won the position at just 25, following studies at Northwestern University and the New England Conservatory. A versatile performer and educator, Will has played with top orchestras across the country, given solo recitals, taught masterclasses nationwide, and authored The Modern Concert Snare Drum Roll. You can learn more about William at: williamjamespercussion.comMusic from the Episode:Scirocco (Michael Burritt)Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.The theme song, Playcation, was written by Mark Mundy. 

Tous les jours de la semaine, invités et chroniqueurs sont autour du micro de Pierre de Vilno pour débattre des actualités du jour.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Das luxuriöseste Hotel im Staate New York samt exklusivem Entertainment - das war das Concord am Kiamesha Lake. Der Orchesterchef, der dort zum Tanz aufspielte, war der König des Latin Jazz. Von Götz Alsmann.

DrumCorpsAF Minisode - Double Ewe Gee Eye Finals - Percussion - Host Fossil Chops is joined by Jeff Ream to talk all about the 2025 WGI Percussion championships and stuff.We want to hear YOUR voices - call our submission line at 913-390-3190 and leave your best 2-3 minute take. You can use your real name or a pseudonym.Leave us a review on iTunes!https://podcasts.apple.com/us/podcast/drum-corps-af/id1367724568 Drum Corps AF is an irreverent podcast about drum corps and the marching arts. We love the activity, but we also get sick of all the saccharine BS that passes for commentary. Call it snark or call it shade, it's what we do. But at the end of the day, we still love drum corps.To join in the Drum Corps AF community, check us out atFacebook: https://facebook.com/groups/drumcorpsaf/Instagram: https://instagram.com/drumcorpsafpodcastBlueSky: @drumcorpsafpodcast.bsky.socialShow Notes: https://docs.google.com/document/d/1_RJ3E0GMk73-JyWEJRz47sD4EHt_gDx34-f9dvYW4zE/edit?usp=sharing Credits:Hosts: Brandon “Fossil Chops” Worf, Jeff ReamProducer: Fossil ChopsSugar Daddy: Jeff ReamDrum Corps AF is available on Apple Podcasts, Spotify, Spreaker, and wherever else you get your podcasts.

Episode 176 Chapter 35, Live Electronic Music— Historical Practices. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 35, Live Electronic Music— Historical Practices from my book Electronic and Experimental music.   Playlist: LIVE ELECTRONIC MUSIC—HISTORICAL PRACTICES   Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     Karlheinz Stockhausen, “Mikrophonie I” (1964) from Mikrophonie I · Mikrophonie II.   Mikrophonist 1, Johannes Fritsch; Mikrophonist 2, Harald Bojé; Electronic Filters and Potentiometers 1, Karlheinz Stockhausen; Electronic Filters and Potentiometers 2, Hugh Davies, Jaap Spek; Tam-tam, Aloys Kontarsky; Tam-tam, Fred Alings.  Brüsseler Version 1965 recorded at WDR, Cologne. 07:24 01:42 2.     AMM, “In The Realm Of Nothing Whatever” (1966) from AMMMusic 1966. Cello, Accordion, Clarinet, Transistor Radio, Lawrence Sheaff; Electric Guitar, Transistor Radio, Keith Rowe; Music by, Cardew, Prévost, Rowe, Sheaff, Gare; Percussion, Eddie Prévost; Piano, Cello, Transistor Radio, Cornelius Cardew; Tenor Saxophone, Violin, Lou Gare. Recorded on the 8th and 27th June 1966 at Sound Techniques. 13:22 09:06 3.     Musica Elettronica Viva (MEV), “SpaceCraft” (1967) from MEV 40. Mbira Thumb Piano Mounted On A Ten-litre Agip Motor Oil Can, Contact Microphones, Amplified Trumpet, Voice, Alvin Curran; Amplified Glass Plate With Attached Springs, Contact Microphones, Frederic Rzewski; Homemade Synthesizer from Electronic Organ Parts, Allan Bryant; Moog Modular Synthesizer, Contact Microphones, Voice, Richard Teitelbaum; Tenor Saxophone, Ivan Vandor; Voice, Carol Plantamura. 30:45 22:26 4.     David Tudor, “Rainforest Version One” (1968) from Rainforest. Live electronics, David Tudor, Takehisa Kosugi. Used transducers to amplify objects. Recorded by Rob Miller. 21:50 53:10 5.     Karlheinz Stockhausen, “Kurzwellen” (1968), excerpt from Festival of Hits. Composed By, Mixed By, Electronics, Filters, Potentiometers, Karlheinz Stockhausen; Electronium, Harald Bojé; Tamtam, Alfred Alings, Rolf Gehlhaar; Piano, Aloys Kontarsky; Electric Viola, Johannes G. Fritsch. This is the opening of this long work, excerpted for this strange collection of greatest “hits” by Stockhausen (you had to be in 1970 to understand this). Kurzwellen is a piece where the musicians need to improvise and react to signals they receive on randomly tuned shortwave radios. This is from the Cologne recording made in the Rhenus studio in Godorf for the Cologne Radio (WDR, Westdeutscher Rundfunk Köln) on the 8th and 9th of April 1969 (53'30), which was record 2 of the original 2-record set. By the way, this ensemble also featured the Electronium Pi, made by Hohner beginning in 1952. It was a monophonic, electronic keyboard instrument and was an add-on instrument for the piano mounted under the keyboard, which is the model used by Stockhausen. His keyboardist, while Harald Bojé used the accordion-like model. 06:19 01:14:56 6.     The Music Improvisation Company, “Tuck” (1970) from The Music Improvisation Company. Electric Guitar, Derek Bailey; Live Electronics, Hugh Davies; Percussion, Jamie Muir; Soprano Saxophone, Evan Parker. 03:00 01:21:14 7.     David Tudor, “Rainforest IV” (1973) from Rainforest IV.  Composed in 1973 by David Tudor; performed by Composers Inside Electronics (David Tudor, Martin Kalve, Philip Edelstein, Ralph Jones, Bill Viola, John Driscoll). Recorded at the exhibition "Für Augen und Ohren - Von der Spieluhr zum akustischen (Environment (For eyes and ears - from the mechanical clock to the acoustic environment)" at the Akademie der Künste, Berlin, January 1980. 25:12 01:24:24 8.     Maryanne Amacher, “"Head Rhythm 1" And "Plaything 2" (1999) from Sound Characters (Making The Third Ear). Electroacoustic composer of sound installations, best known for her incorporation of otoacoustic emissions -- sounds that seem to be emanating from inside one's own head. This track plays with that concept and sets your brain up to experience itself, so to speak. 10:04 01:49:36 9.     Caroline Park, “Grain 5” (2011) from Grain. This is a cassette release by Park, often known her for generative composition work and electronic improvisations based on parameters that she defines. Recorded, performed by Caroline Park. 09:05 01:59:32 10.   Caterina Barbieri. “This Causes Consciousness To Fracture” (2017) from Patterns Of Consciousness.  Italian composer and musician from Bologna. This album was created using analog synthesis. Barbieri has said, “In Patterns of Consciousness I was interested in exploring the power of sound on our consciousness. I wanted to explore how a pattern creates a certain state of consciousness and how the gradual transformation of that pattern can affect that state of consciousness. I believe that sound is a tool for the exploration, reconfiguration and expansion of human perceptions.” I find this to be in a similar psychological vein as the Amacher work also heard in this episode. 22:44 02:08:36 11.   Sarah Davachi, “First Cadence” (2021) from Antiphonals. Composed, recorded, performed, Mellotron (bass flute, recorder, oboe), Tape Echo, Sarah Davachi. 05:48 02:31:20 12.   Asha Tamirisa, “Live Performance,”(2023) at the Waterworks 2023: Festival of Experimental Sound. Laptop synthesis, snare drums, Asha Tamirisa. Soundtrack for a video recorded by Wenhua Shi & Nick Stevens, video editing by Nick Stevens, and audio recording and mixing, Matthew Azevedo. 25:10 02:37:02   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Executive Director for the Symphony of the Mountains Orchestra, Percussionist, Freelancer, and Educator Cassidy Lester stops by to talk about her work with the Symphony (03:05), her freelancing and teaching and how important performing is to her mental health (16:30), growing up in the Tri-Cities region of Tennessee, traveling with family to jam band concerts, getting into percussion, and her unique marching experiences (31:30), attending East Tennessee State University, getting her undergrad and MBA degrees, and how COVID changed her path (51:20), and finishing with the Random Ass Questions, including discussions of instrument stereotyping, the Pride and Prejudice movie from the mid-2000s, the Fourth Wing books, and great artwork (01:12:05).Finishing with a Rave on the 2022 nonfiction book Dangerous Rhythms: Jazz and the Underworld (01:52:00).Cassidy Lester links:Symphony of the MountainsPrevious Podcast Guests mentioned:Matthew Geiger in 2019Evan Chapman in 2019Andy Bliss in 2023Other Links:David MitchellDiana LoomerMorgan TaoBlue Iron PercussionThe Planets - Gustav HolstDon Felder“The Hero” - Clarice Assad (arr. TCP)“Second Thoughts” - Evan Chapman“Re(new)al” - Viet Cuong“Happy Now” - Blue Iron Community Steel Band“Watercolor Sun” - Ivan TrevinoRhythm & Roots Reunion FestivalThe 1927 Bristol SessionsWidespread Panic live“Esther” - Phish“Cassidy” - The Grateful Dead“Welcome to the Black Parade” - My Chemical RomanceRande SanderbeckPride and Prejudice Original SoundtrackPride and Prejudice trailerEternal Sunshine of the Spotless Mind trailerIT trailer (1990)Avengers: Endgame trailerThe LEGO Movie trailerThe LEGO Movie 2: The Second Part trailerFahrenheit 451 - Ray BradburyFourth Wing - Rebecca YarrosThis is Your Brain on Music - Daniel J. LevitinMusicophilia - Oliver SacksInto the Wild - Jon KrakauerRhinoceros Success - Scott AlexanderHeaven Breaker - Sara WolfTo Sleep in a Sea of Stars - Christopher PaoliniVampire Diaries: Season 1 trailerRed - John LoganFour Darks in Red - Mark RothkoThe Stranger - Albert CamusLong Day's Journey into Night - Eugene O'NeillRaves:Dangerous Rhythms: Jazz and the Underworld - T. J. English

This is a really short clip explaining who it is that plays the beautiful Gene Krupa esque drum intro on the podcast. its none other than Homer Steinweiss! check out his incredible discography. www.homersteinweiss.com

Episode 174 Chapter 33, Digital Synthesizers and Samplers. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 33, Digital Synthesizers and Samplers from my book Electronic and Experimental music.   Playlist: DIGITAL SYNTHESIZERS AND SAMPLERS   Time Track Time Start Introduction –Thom Holmes 01:38 00:00 1.     Jon Appleton, “Syntrophia”(1978) from Music For Synclavier And Other Digital Systems. Composed and performed on the Synclavier, Dartmouth Digital Synthesizer, Jon Appleton. 08:55 01:40 2.     Claude Larsen, “Nitrogen” (1980) from Synthesis. Sounds a bit like “Oxygen” by Jarre from 1976. Programmed, performed, Fairlight CMI Music, Roland System 700, Oberheim TVS-1 Four Voice, Polymoog, Roland MC 8 Micro-Composer, Syntovox vocoder, Claude Larson. 02:31 10:36 3.     Eberhard Schoener, “Fairlight 80” (1980) from Events. Featured the Fairlight CMI played by Schoener and vocals by Clare Torry. 04:20 13:04 4.     Eberhard Schoener, “Events - A La Recherche Du Temps Perdu” (1980) from Events. Mellotron, Violin, Piano, Moog, Oberheim, Fairlight CMIsynthesizers, Eberhard Schoener;  Fairlight CMI, Morris Pert; Gong, Percussion (Gede, Kempli, Rejong), Furst Agong Raka; Gong, Percussion (Gender, Lanang, Rejong), Ketut Tama; Gong, Percussion (Wadong, Rejong), Rai Raka; Percussion, Morris Pert; Fender electric piano, Roger Munnis; tenor saxophone, Olaf Kübler; Drums,  Evert Fraterman, Pete York; Electric Bass, Steve Richardson; Electric Guitar, Ian Bairnson. 11:07 17:26 5.     Klaus Schulze, “Death Of An Analogue” (1980) from Dig It. All music played on the Crumar GDS digital synthesizer/computer. All percussion by F.S. Drum Inc. and GDS. 12:20 28:31 6.     Klaus Schulze, “The Looper Isn't A Hooker” (1980) from Dig It. All music played on the Crumar GDS digital synthesizer/computer. All percussion by F.S. Drum Inc. and GDS. 07:05 40:52 7.     Joel Chadabe and Jan Williams, “Song Without Words” (1981) from Rhythms For Computer And Percussion. "The equipment used in RHYTHMS is a portable minicomputer/digital synthesizer system designed and manufactured by New England Digital Corporation in Norwich, Vermont, expressly for making music.” This was an early Synclavier without a keyboard controller. Synclavier digital synthesizer, Joel Chadabe; Percussion, Vibraphone, Marimba, Slit Drum, Log, Wood Block, Temple Block, Cowbell, Singing Bowls, Jan Williams. 07:24 47:54 8.     Don Muro, “Deanna Of The Fields” (1981) from Anthology. Vocals, Piano, Electric Piano, Acoustic Guitar, Electric Guitar, Synthesizer, Korg M1 Music Workstation, Bass, Drums, Percussion, Don Muro. 02:52 55:18 9.     Nervous Germans, “Hometown” (1981) from Nervösen Deutschen. Bass, Producer, Micki Mäuser; Drums, Udo Dahmen; Guitar, Manni Holländer; Vocals, Casio VL Tone micro keyboard, Grant Stevens. 05:15 58:10 10.   Tuxedomoon, “Blind” from Time To Lose, Blind. Effects, Guitar, Peter Principle; Casio M-10, Blaine L. Reininger; Vocals, Moog, Soprano Saxophone, Steven Brown; Vocals, Winston Tong. 07:44 01:03:26 11.   Herbie Hancock, “Rough” (1983) from Future Shock. Fairlight CMI, AlphaSyntauri, Emulator, Herbie Hancock; Background Vocals, Bernard Fowler, Grandmixer D.ST., Nicky Skopelitis, Roger Trilling; Bass, Bill Laswell; Drums, Sly Dunbar; Lead Vocals, Lamar Wright; Prophet-5, Michael Beinhorn; Turntables, Voice, Grandmixer D.ST. 06:54 01:11:00 12.   Wendy Carlos, “Genesis,” “Eden,” and “I.C. (Intergalactic Communications)” (1984) from Wendy Carlos' Digital Moonscapes. Programmed All Sounds programmed and performed on the Crumar GDS/Synergy digital synthesizer, Wendy Carlos. 15:20 01:17:50 13.   Ron Kuivila, “Household Object” (1984) from Fidelity. Casio VL toneand homemade electronics, Ron Kuivila. 09:34 01:33:20 14.   Lejaren Hiller, “Expo '85” (1985) from Computer Music Retrospective. Four short pieces highlight the versatility of the Kurzweil K250: “Circus Piece - A Cadential Process” (4:04), “Transitions - A Hierarchical Process” (2:12), “Toy Harmonium - A Statistical Process” (1:41), “Mix Or Match - A Tune Generating Process (5 Examples)” (3:44). 11:55 01:42:52 15.   Third World, “Can't Get You (Out Of My Mind)” (1985) from Sense Of Purpose. Yamaha DX7, Prophet 5, PFR Yamaha, Grand Piano Yamaha Acoustic, Organ Hammond B3, Clavinet Mohner D6, Percussion, Vocals, Michael "Ibo" Cooper; Backing Vocals, Glenn Ricks, Meekaaeel; Bass, Rhythm Guitar, Backing Vocals, Percussion, Richie "Bassie" Daley; Drums Yamaha Acoustic Drums, Electronic Drums Simmons, Drum Machine D.M.X., Drum Machine Linn Drum Machine, Percussion, Backing Vocals, Willie Stewart; Keyboards, Lead Guitar, Rhythm Guitar, Harmonica, Acoustic Guitar The Washburn Electro Acoustic, Vocals, Percussion, Stephen "Cat" Coore; Lead Vocals, Backing Vocals, Bill "Bunny Rugs" Clarke; Percussion, Neil Clarke; Percussion, Binghi Drums, Junior Wedderburn, Tschaka Tonge. 03:37 01:54:46 16.   George Todd, “Sound Sculptures” (1985) from Music For Kurzweil And Synclavier. Synclavier Digital Music System, George Todd. 09:02 01:58:22 17.   Russ Freeman, “Easter Island” (1986) from Nocturnal Playground. Electric Guitar, Acoustic Guitar, Guitar Synthesizer, Keyboard Bass, Emulator II, Linn 9000 Drum programming, Russ Freeman; Drums, Percussion, David Renick; Percussion, Emulator II programming, Steve Reid; Alto Saxophone, Brandon Fields. 05:30 02:07:22 18.   Donald Steven of G.E.M.S., “Images - Refractions Of Time And Space (1986)” from Group Of The Electronic Music Studio - McGill University. Yamaha DX7, Laurie Radford; Bass, John Oliver; Electric Flute, Jill Rothberg; Percussion, Elliot Polsky, François Gauthier. 11:42 02:12:52 19.   Jane Brockman, “Kurzweil Etudes” (1-3) (1986) from Music For Kurzweil And Synclavier. Kurzweil K250, Jane Brockman. 10:19 02:24:32 20.   Richard Burmer, “Across The View” (1987) from Western Spaces. Emulator II plus an analog synth, Richard Burmer. 04:38 02:34:48 21.   Sonny Sharrock Band, “Kate (Variations On A Theme By Kate Bush)” (1990) from Highlife.  Electronics, Korg M1, Korg Wave Station, Dave Snider; Bass, Charles Baldwin; Drums, Abe Speller, Lance Carter; Guitar, Sonny Sharrock. 05:52 02:39:32 22.   Second Decay, “Taste” (1994) from Taste. Produced with the Roland Compu Music CMU-800R workstation and without MIDI; Simmons Electronic Drums,Thomas V.. Other synths used: ARP Odyssey, ARP 2600, PPG Wave 2.0, Emulator I and II, Roland SH-101, SH-7, CR-78, TR-808, MC-4, TR-606, EMS Synthi A, Solina String, Mellotron, Crumar Performer, Teisco 110F, Wasp, Linn LM-1, SCI Pro-One, Minimoog, Korg Mono-Poly, SQ-10, Elektro Harmonix Minisynth, Vocoder and effect devices, Compact Phasing A, Roland Echos RE 201, SRE 555.  04:20 02:45:18   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

2025 University of Missouri Master of Music in Percussion Performance graduate Luke Haymon stops by to talk about his final master's recital (03:55), studying outside of percussion at Mizzou, including conducting with Dr. Christian Noon and piano tuning from Lucy Urlacher (14:15), his overall percussion activities here, including his role as assistant director of the Marching Mizzou drumline, teaching, and performing (23:45), his upcoming job as Assistant Band Director and Percussion Specialist at Rome High School in Georgia (34:00), growing up near Huntsville, Alabama, his years in drum corps, and his early years on percussion and piano (43:20), going to Jacksonville State University (AL) for undergrad and finding his way to Mizzou (01:01:00), and finishing with the Random Ass Questions, including segments on moving one's body to music, great books, the NBA playoffs, and the anime series One Piece (01:27:55).Finishing with a Rave on the 2025 National Conference on Percussion Pedagogy, including a performance of one of Pete's compositions! (02:00:55).Luke Haymon Links:Luke Haymon's Master's Recital ProgramPrevious Podcast Guests Mentioned:Megan Arns in 2017Julia Gaines in 2016Clif Walker in 2021Andrew Lynge in 2025Matthew Jordan in 2022Omar Carmenates in 2018Andrea Venet in 2018Tracy Wiggins in 2022Lauren Teel in 2017Miles Bohlman in 2024Other Links:“Merlin” - Andrew Thomas“Velocities” - Joseph Schwantner“Khan Variations” - Alejandro Viñao“Concerto for Vibraphone” - Emmanuel Sejourné“Side by Side” - Michio Kitazume“Rooted” -Brian BlumeTom Andes“Armando's Rhumba” - Chick Corea“I'm Old Fashioned” - Chet Baker“Ritmicas 5 and 6” - Amadeo Roldán“Color Fields in Vector Space” - Omar Carmenates“REFRAKT” - Andrea Venet“Vespertine Formations” - Christopher Deane“Fantaisie-Impromptu” - Frederic Chopin“Take the “A” Train” - Duke EllingtonRick BeatoCarolina Crown 2024Santa Clara Vanguard 2024Dan AllenJoshua FoustClint Gillespie“Come Sunday: Shout” - Omar Thomas“Adoracion” - Eddie PalmiereThe Sixth Sense trailerShawshank Redemption trailerThe Shining trailerThe Night Circus - Erin MorgensternSteph Curry's top 35 plays“Insomnia” - Cody HolmesOne PieceRaves:National Conference on Percussion Pedagogy

For 17 May 2025, Saturday of the Fourth Week of Easter, based on Psalm 98:1-4

Episode 173 Chapter 32, Other Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 32, Other Analog Synthesizers from my book Electronic and Experimental music.   Playlist: OTHER EARLY SYNTHESIZER RECORDINGS (PRE-MIDI AND NOT MOOG)   Time Track Time Start Introduction –Thom Holmes 01:36 00:00 1.     Raymond Scott, “Space Mystery” (1963). Used Scott's Electronium, a custom-made analog synthesizer/sequencer. 05:08 01:42 2.     Pauline Oliveros, “Alien Bog” (1967). Used a prototype Buchla 100 modular synthesizer at Mills College. 33:13 06:53 3.     John Eaton, “Soliloquy For Syn-Ket” (1973) from Electro-Vibrations (The Music Of John Eaton). Used the Synket, an Italian-made modular synthesizer of which only six were ever made. 06:38 40:06 4.     John Keating, “Earthshine” (1975) from Space Experience 2. Featured the ARP 2600 and Pro- Soloist. 04:09 46:46 5.     Patrick Gleeson, “Saturn, The Bringer Of Old Age” (1976) from Beyond The Sun: An Electronic Portrait Of Holst's The Planets. Used Eµ Systems Polyphonic synthesizer. 09:31 51:02 6.     Jean Michel Jarre, “Oxygene, Part IV” (1976) from Oxygene. Used the ARP Odyssey, EMS Synthi AKS, EMS Synthi VCS3, and RMI Harmonic Synthesizer and Keyboard Computer. 03:07 01:00:34 7.     Bennie Maupin, “Crystals” (1978) from Moonscapes. Featured the E-mu Modular Synthesizer programmed by Patrick Gleeson, who owned Different Fur Studios in the San Francisco area and owned E-mu synthesizers (see previous track for an example of the E-mu Systems Polyphonic synthesizer). Here, we have a different treatment of the same instrument by jazz woodwind player Maupin, who played Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Flute, Marimba, Glockenspiel, E-mu Synthesizer, and Computone Synthesizer Winddriver on this album. I picked this track because this is most stripped-down arrangement featuring only Maupin playing the E-mu synthesizer and other instruments. 01:18 01:03:44 8.     Pere Ubu, “On the Surface” (1978) from Dub Housing. Allen Ravenstein used the EML Electrocomp 101 modular synthesizer as a member of this band. 02:37 01:05:02 9.     Sylvester, “You Make Me Feel (Mighty Real)” (1978) from Step II. One of the few albums to feature EML (Electronic Music Laboratories) Modular Synthesizer plus String synthesizer, Electro-comp 101 synthesizer and 200 expander unit, Oberheim DS-2 Sequencer, Effects, Pat Cowley; organ, Electric piano, Clavinet, Michael C. Finden; Percussion, David Frazier; Producer, Lead Vocals, Piano, Sylvester. EML was a Connecticut-based synth maker that was around from about 1970 to 1984. They were best-known for their Electro-comp modular synths. The 101 was a duophonic semi-modular 44-note synth and the model 200 was an expander unit that added ring modulation, spring reverb, and high and low filters to the setup. It was interesting to hear this Moroder-like pulsating synth sound coming from something other than a Moog. 06:34 01:07:40 10.   Isao Tomita, “The Sea Named Solaris” (1978) from Kosmos. Used the Roland System 700, Roland Strings RS- 202, Roland Revo 30, in addition to Moog Modular III, Moog System 55, and Polymoog synthesizers. 12:28 01:14:11 11.   Moebius, “Song For Lya” (1979) from Moebius. Serge, Oberheim, and Minimoog synthesizers, vocals, Bryce Robbley; Serge, Oberheim synthesizers, Doug Lynner; Violin, John Stubbs. Listen closely to tune-out the parts by the Odyssey and Minimoog and you will experience a lovely bed laid down by the Serge. Moebius had three members, one a violinist, heard in this tune blending with the Serge. Although the group used a Sennheiser vocoder on another track, the vocal distortion on this track may have actually been the voice processed with the Serge. 03:15 01:26:42 12.   Pascal Languirand, “O Nos Omnes” (1980) from De Harmonia Universalia. Features the Farfisa Synthorchestra, the famous Italian's company entry into the string synthesizer fray. The Syntorchestra was split into two keyboard sections, strings (polyphonic), and mono synth voices. It was a hybrid organ and synthesizer and used much by Klaus Schulze and other German electronic musicians for the short time that it was available from 1975 to 1978. Nine slider controls were positioned next to a 3-octave keyboard and provided some “chaotic” control episodes for this much beloved and rare keyboard. 07:15 01:29:56 13.   Henry Kucharzyk, “Play Dot Sam” (1981) from Walk The Line - Three New Works By Henry Kucharzyk. This work is performed at the Samson Box at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, Palo Alto, California. This track is an escapee from the 1970s but nonetheless fills a void in that period when commercial synthesizers were moving to digital technology and were quite expensive. The Samson Box was a computer-based digital synthesizer created in 1977 by Peter Samson, who worked at the university. “Samson” was formally known as the “Systems Concepts Digital Synthesizer. It was a one-off special-purpose dedicated audio computer designed for use by student composers at Center for Computer Research in Musical and Acoustics (CCRMA) at Stanford University. 03:05 01:37:08 14.   Terry Riley, “The Ethereal Time Shadow” (1981-82) from Music from Mills. Used two Prophet V synthesizers, tuned to just intonation and employing sequencing. 08:51 01:40:12   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

The drummer and percussionist Billy Martin, whose name many Time Sensitive listeners may recognize—he created the Time Sensitive theme song—defies any boxed-in or limiting definitions of his work. Best known as a member of the band Medeski Martin & Wood (MMW), he's spent the past three-plus decades making experimental, boundary-pushing, and uncategorizable instrumental jazz-funk-groove music, shaping sounds that feel as expansive as they are definitive and distinctive. Across all his artistic output, Martin continually, meditatively searches for harmony. He is also a composer, a teacher, a visual artist, and a builder and craftsman. His expansive creative practice comes most alive at his home in Englewood, New Jersey, where he has cultivated a bamboo garden, crafted his own Japanese-style teahouse, and constructed a music studio. Martin is someone for whom rhythm is not just something heard, but also seen and felt.On the episode, he talks about his MMW journey at length, his concept of “rhythmic harmony,” and why he views sound creation as a sacred act.Special thanks to our Season 11 presenting sponsor, Van Cleef & Arpels.Show notes:Billy Martin[7:31] Medeski Martin & Wood[7:31] John Medeski[7:31] Chris Wood[7:31] “Not Not Jazz” (2024)[10:12] Iggy Pop's “Avenue B” (1999)[10:12] Don Was[11:27] “The Lover” (1995)[11:27] “Friday Afternoon in the Universe” (1995)[11:27] “Old Angel Midnight” (1973) by Jack Kerouac[13:44] Ra-Kalam Bob Moses[13:44] John Scofield[13:44] David Baker[15:57] “Shuck It Up” (1993)[15:57] “It's a Jungle in Here” (1993)[18:12] “Latin Shuffle” (1998)[18:12] “Combustication” (1998)[18:12] Frankie Malabe[18:12] Art Blakey[33:25] Thelonious Monk[33:58] “Life on Drums” (2011)[38:32] John Bonham[38:32] Charlie Watts[38:32] Stewart Copeland[38:32] Elvin Jones[38:32] Max Roach[38:32] Danny Richmond[38:32] Charles Mingus[38:32] Jack DeJohnette[38:32] Joe Morello[38:32] Roy Haynes[38:32] Stan Getz[38:32] Airto Moreira[38:32] Naná Vasconcelos[38:32] Babatunde Olatunji[39:58] Gus Johnson[39:58] “Whatever Happened to Gus” (1998)[39:58] Steve Cannon[40:54] “Chubb Sub” (1995)[40:54] ”Uncle Chubb” (1992)[46:41] “Shack-man” (1996)[47:06] “Drumming Birds” (2004)[54:48] “Bamboo Rainsticks” (1999)[54:48] Amulet Records[1:00:23] Creative Music Studio

University of Illinois Percussion Professor Josh Graham returns to talk about his post-master's degree years in Michigan and taking non-music opportunities to make it work (02:15), moving to Chicago, getting his doctorate at the University of Illinois, getting more fully into chamber music, and his time teaching at the University of Northern Iowa (10:30), and finishing with the Random Ass Questions, including segments on commissioning non-percussion composers, working at Wendy's, Alfred Hitchcock movies, Detroit sports, and Olivier Messiaen (27:25).Finishing with a Rave on the 2025 film Sinners (56:35).Josh Graham links:Part 1 with Josh GrahamJosh Graham's websiteJosh Graham's Illinois pageF-PLUS MusicPrevious Podcast Guests mentioned:Megan Arns in 2017Garrett Arney in 2019Marco Schirripa in 2022Other Links:Aspen Music FestivalContemporary Directions EnsembleSteven Stucky“Micro-Concerto” - Steven MackeyCloyd DuffJoe GramleyAndrew SpencerJenny KlukkenDoug PerkinsRaves:Sinners trailer

Coaches Justin, Amanda, and William offer programming, form coaching, diet coaching and more, here!   In this episode of the Bacon Bibles and Barbells podcast, Coaches Justin, Bill, and Amanda discuss the roles of chiropractors and physical therapists in health and rehabilitation. They share personal experiences and insights on the effectiveness of these professionals, emphasizing the importance of individualized care, progressive overload in therapy, and the limitations of chiropractic adjustments. The conversation highlights the need for strength training in recovery and the potential impact of the placebo effect in treatment outcomes. In this conversation, the coaches delve into the complexities of back pain, chiropractic care, and the importance of movement and strength training. They discuss the physiological aspects of back pain, the risks associated with neck manipulation, and the origins of chiropractic practice, highlighting its controversial history. The coaches emphasize the need to identify quackery in chiropractic practices, the significance of movement and strength training in pain management, and the role of massage and physical therapy. They advocate for a holistic approach to health that prioritizes movement and strength over reliance on supplements and chiropractic adjustments.   Takeaways Physical therapists are often utilized for rehab post-injury or surgery. The effectiveness of physical therapy can vary based on the therapist's knowledge and approach. Progressive overload is crucial in physical therapy for effective recovery. Chiropractic adjustments may provide temporary pain relief but do not create lasting changes in spinal alignment. Individual attention from a physical therapist can lead to better outcomes than cookie-cutter approaches. Pain management in physical therapy should not lead to prolonged discomfort post-session. Strength training is essential for long-term injury prevention and recovery. The placebo effect can play a significant role in perceived benefits from chiropractic care. Finding a chiropractor with a sports rehab background may yield better results. Elderly patients often require strength training rather than just range of motion exercises. Chiropractic manipulation can provide neuromuscular facilitation. Most back pain stems from muscle atrophy, particularly in the erectors. Neck manipulation is never appropriate due to associated risks. Chiropractic practice has a controversial history and origins. Identifying quackery in chiropractic practices is crucial for patient safety. Movement and strength training are essential for pain management. Massage therapy can be more beneficial than chiropractic adjustments. Percussion massage can help relax tight muscles effectively. Holistic approaches to health prioritize movement and strength. Lifestyle changes are key to reducing pain and improving overall health.  

Freelancer, Performer, and Director of Percussion Activities at the University of Illinois Josh Graham stops by to talk about his work with the F PLUS chamber trio (04:55), his job at Illinois and replacing legends there (19:20), growing up near Detroit, getting into percussion, and the novels of William Faulkner (38:30), his undergrad years at the University of Central Michigan (48:30) and his masters years at the University of Michigan (01:02:40).Finishing with a Rave on Pete's experiences at the 2025 Percussive Arts Society Missouri Day of Percussion (01:16:50).Josh Graham links:Josh Graham's websiteF PLUSChen Family QuartetJosh Graham's Illinois

As someone who plays drums, naturally, I follow several drummers. It was when @sterloid posted a particular snare that I reached out to today's guest, Jefferson Shallenberger, founder of Sugar Percussion. We chat drum building, Sugar's beginnings and process, Jefferson's time spent building furniture, and we even dig into his internal work which has affected every relationship he shares. We wrap things up discussing a very special watch and the story behind the two unique cars in his garage - one hosts an incredibly beautiful steering wheel made from Claro Walnut, Ebony and Holly.Links:STANDARD Hhttps://standard-h.com/@standardh_Sugar Percussionhttps://www.sugarpercussion.com/@sugarpercussion

This performance used with permission from Aidan Plank. While Lyle Mays was widely known for his work with Pat Metheny, his solo work has warranted considerably less attention.  In this performance, Northeast Ohio based bassist Aiden Plank enlisted performers from the Cleveland Jazz Orchestra and musicians from around the area to explore and perform compositions from the catalog of the 11 time Grammy winner. Featuring Anthony Fuoco on Piano, Dan Bruce on Guitar, Dustin May on Drums, Brad Wagner on Saxophones, Garret Folger on Trumpet and Flugelhorn, Dan Bailey on Keyboards, Patrick Duke Graney on Percussion and Aiden Plank on Bass, and from a December19th, 2024 performance, it's Aiden Plank Presents the Music of Lyle Mays - Live at the Bop Stop. Bill Evans - Mays Fictionary - Mays Hard Eights - Mays Sienna - Mays August - Mays Au Lait - Metheny/Mays Either Ornette - Mays Slink - Mays Close to Home - Mays For more information on the program, click on the Live at the Bop Stop Radio Show link at thebopstop.org.

North Carolina Central University Percussion Professor, Freelancer, Bandleader, and Composer Thomas Taylor stops by to talk about his career so far at NCCU (03:25), the music program and jazz program there and its place in the state (16:50), his freelancing career (33:40), growing up in Elizabeth City (NC), his early life in percussion, and playing sports growing up (37:50), his undergrad years at UNC-Greensboro, studying with Cort McClaren, and the formation of his jazz group In The Black (56:30), post grad years of teaching and performing, eventually getting his Master's degree, and the importance placed on credentials (01:13:00), and finishes with the Random Ass Questions, including segments on “Siloism”, getting opportunities, bad jobs and good food, Questlove's books, and King Godwin's artwork (01:27:45).Finishing with a Rave on the 2020 edition of The Best American Sports Series (02:00:40).Thomas Taylor Links:Thomas Taylor's websitePrevious Podcast Guests mentioned:Cort McClaren in 2022Eric Willie in 2022Other Links:Jazz at NCCUJack Rudin Competition 2023Benito GonzalezJeff Tain Watts“Jazz Party” - Delfeayo MarsalisGrady Tate“Soul Bossa Nova” - Quincy Jones“Naughty Number Nine” - Schoolhouse RockSooley - John Grisham“Cherokee” - Max RoachMax Roach and Abbey Lincoln“When Sunday Comes” - Daryl Coley“Hear My Voice” - John P. KeeJohn Brown JazzInternational Black Theater Festival“Band of Gold” - Freda PayneAngela BassettEd SophQuincy DavisSteve DavisEd ThigpenAlan DawsonLynn SeatonBlue Giant trailerMo' Meta Blues - QuestloveHip Hop is History - Questlove10x is Better than 2x - Dan SullivanWho Not How - Dan SullivanKing Godwin ArtRaves:The Best American Sports Writing 2020 - Jackie Macmullan and Glenn Stout

Relentless rhythms and Latin dance history from one of TraTraTrax's finest. Percussion is, at the root, a conversation. It's about different instruments meeting each other, and interacting to form something bigger than the sum of its parts. Few engage in this dialogue as boldly as Pablo De Vargas, AKA Uruguayan experimentalist Lechuga Zafiro, who draws from tradition, to make sounds like candombe and clave feel, well, completely new. De Vargas' music reaches outward, building bridges between Montevideo and Bogotá, Tijuana, Berlin and beyond. He's a key figure in the hybridisation of Latin American club music, with releases on labels like NAAFI and an album on TraTraTrax. His RA Podcast plays like a manifesto in motion. RA.985 opens with a recording of Jorginho Gularte, a Uruguayan composer, playing a jazz rhythm, from there, it expands: cuban guaguancó, Venezuelan drums, batida, tribal, techno—it's all here, stitched together with precision and intention. De Vargas is also, crucially, reckoning with these roots. His 2018 EP Testigo confronted the colonial violence embedded in the history of the Río de la Plata. His sets are similarly alive with memory—asking, without nostalgia: what does it mean to inherit rhythm? Who gets to carry it forward? He's also just a killer DJ, one of those rare artists who uses CDJs like an instrument. His sets are full of hot cues, delay FX and left turns. It's technical, but never cold. It's, in a word, funky. @lechugazafiro Find the interview and tracklist at ra.co/podcast/985

The percussion quartet serves as faculty and ensemble-in-residence at the UMKC Conservatory. Playing on wine glasses and an empty bourbon bottle (in addition to a vibraphones and drums), Sandbox Percussion recently performed a dynamic Tiny Desk Concert at NPR.

On this jam-packed On A Water Break episode, host Stephen McCarrick is joined live by Matt Walters (@surfingdrums), Austin Hall (@austin_hall10), Woody Woodward (@remoking100), Joey Montes (@marchingbymontes), and first-time guest Daniel Balls (@balls_boy) to break down all the action from WGI Championships 2025.

Sabian Cymbal Company National Director of Sales and Education for Music Schools and Director of the Ohio State University Marching Band drumline Mark Reynolds returns to talk about growing up in Columbus, OH, his early days playing percussion, and rolling skating and bowling as a young man (03:30), going to Ohio State for undergrad (18:40), getting into the music industry business, and what it takes to be successful there (31:50), and settles in for the Random Ass Questions, including discussion of percussion methods classes, bad jobs, food stories, great movies and books, bourbon, and his son's artwork (44:40).Finishing with a Rave on the 1974 film The Conversation (01:19:40).Mark Reynolds Links:Part 1 with Mark ReynoldsMark Reynolds' LinkedIn PageMark Reynolds' Ohio State pagePrevious Podcast Guests mentioned:Fernando Meza in 2020Tim Heath in 2023Mark Ford in 2023Eric Willie in 2022Scott Herring in 2022Cameron Leach in 2023Other links:“Bunker Hill” - Haskell HarrJohn MapesIan GromJames SwearingenRhythm XJames L. MooreJack JennyMark BerryLarry KaptainTim AdamsMichael BumpSusan PowellBlue Devils DCIGlassmen DCIPhantom RegimentPaul RennickPiezano Pizza MakerThe Shawshank Redemption trailerA Quiet Place trailerSeverance trailerLEAD…For God's Sake - Todd GongwerChristian LindbergRaves:The Conversation trailer

Portland’s Third Angle New Music will debut a new commissioned piece at its upcoming show on April 16 at OMSI’s Kendall Planetarium. The composition, called “Spheres,” was written for percussion quartet and three American Sign Language performers. Deaf and hard of hearing audience members can experience the program through haptic vests that translate the sound from the instruments music into physical vibrations. The vests were developed by local nonprofit CymaSpace, which aims to make arts and culture performances accessible to Portlanders who are deaf or hard of hearing. Sarah Tiedemann is the artistic director of Third Angle. She joins us to talk about the new show and accessibility in the arts. 

Sabian Cymbal Company National Director of Sales and Education for Music Schools and Director of the Ohio State University Marching Band drumline Mark Reynolds stops by to talk about his Sabian job, the school rewards program, and folks who professionally represent Sabian well (03:45), the Ohio State drumline job, updating the sound and look of the group, and the challenges of the Rose Bowl parade (47:45) and the popularity of Ohio State's halftime shows (01:11:40).Finishing with a Rave on the 2006 documentary Dixie Chicks: Shut Up and Sing (01:36:00).Mizzou Percussion Ensemble Concert 1 YouTube linkMizzou Percussion Ensemble Concert 2 YouTube linkMark Reynolds links:Mark Reynolds' LinkedIn pageMark Reynolds' OSU page“Demystifying the Texas Percussion Program”“The Music of Rush” - Ohio State Marching BandOhio State Drumline 2021 Snare JamPrevious Podcast guests mentioned:Thomas Burritt in 2021Mark Ford in 2023Brian Zator in 2017Keith Aleo in 2020Other Links:Paul RennickSandi RennickGon Bops and Alex AcuñaJessica FlanniganNeil FlanniganJoe HobbsMark HunterJames SwearingenBluecoatsSouthwind Drum and Bugle CorpsJon WatersChristopher HochOhio State's 2022 Elton John ShowOhio State's 2013 Michael Jackson showMusic for 18 Musicians - Steve Reich“Buckeye Jazz Cafe” - 2022 showMichael KleschMichael MartinThe Ghost Rider - Neil Peart“Shofukan” - Snarky PuppyRaves:Dixie Chicks: Shut Up and Sing trailer

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark. Come watch the Los Angeles Brass Alliance (LAB-A) at 7PM on May 4th at Glendale First baptist Church for their second installation of Next Up! This free concert (generously sponsored by Bob Reeves Brass) spotlights LAB-A's annual collaboration between emerging LA-based composers and brass musicians.  Learn more at: www.labrassalliance.org. Join hosts Noah and John as they interview Michael Dease, commercial trombonist from Los Angeles. About Michael: Michael Dease is one of the world's eminent trombonists, lending his versatile sound and signature improvisations to over 200 recordings and groups as diverse as Grammy winning artists David Sanborn, Christian McBride, Michel Camilo, and Alicia Keys. Born in Augusta, GA, he played the saxophone and trumpet before choosing the trombone at age 17. In 2001, Dease moved to New York City to become part of the historic first class of jazz students at The Juilliard School, earning both Bachelors and Masters degrees, and quickly established a reputation as a brilliant soloist, sideperson, and bandleader.   Best Next Thing (Posi-Tone, 2022), Dease's newest release, his ninth on Posi-Tone, gathers together an assemblage of exceptional musicians to help him interactively explore the essence of the blues and reframe the abstract truths of jazz as the "Best Next Thing "for today's audience of listeners. Dease, the winner of the 69th Annual DownBeat Magazine Poll for Trombonist of the Year and multi-Grammy award winner, is also a sought-after lead, section and bass trombonist with today's leading jazz orchestras. His experiences include bands led by Christian McBride, Roy Hargrove, Nicholas Payton, Charles Tolliver, Rufus Reid, Jazz at Lincoln Center Orchestra and the Dizzy Gillespie All-Star Big Band. However, it is on the frontline of quintets and sextets led by master musicians like The Heath Brothers, Winard Harper, Renee Rosnes, Bill Charlap, Claudio Roditi, and Lewis Nash, where Dease has revitalized the trombone's image. Not content to simply improvise, Dease arranges and composes for many different bands, constantly adjusting his tone and timbre to add just the right flavor to the music. Dease's unique blend of curiosity, hard work and optimism has helped him earn worldwide recognition, including awards from ASCAP, The International Trombone Association, Yamaha, Eastern Trombone Workshop, New York Youth Symphony, Hot House Magazine, Michigan State University, among others. Dease was profiled in Cicily Janus' book, The New Face of Jazz: An Intimate Look at Today's Living Legends (Random House). His experience in the studio has led him to produce several recording sessions for emerging artists, often composing and writing liner notes for the releases. Dease's singular talent has made him an effective and prolific teacher, resulting in invitations, master classes and residencies at University of North Texas, Scranton University, University of Iowa, Florida State College, Broward College, and many institutions abroad. He serves as Professor of Jazz Trombone at the renowned Michigan State University jazz program and has also been on faculty at Queens College - CUNY, The New School and North-eastern University. Many of Dease's current and former students are enjoying successful careers in the music world. Always an informed, but forward-thinking musician, Dease learned the craft from trombone legends Wycliffe Gordon and Joseph Alessi. His associations have run the entire spectrum of musical experience: Alicia Keys, Paul Simon, Paul Schaffer and the CBS Orchestra, Elton John, Neal Diamond, Illinois Jacquet, Slide Hampton & The World of Trombones, Fred Wesley, Maceo Parker, WDR Big Band, George Gruntz, Billy Harper, and numerous others. Dease enjoys spending every possible minute with his extraordinary wife and Professor of Percussion at MSU, Gwendolyn Dease, and their daughters Brooklyn & Charley. Michael Dease is a Yamaha Performing Artist and uses Pickett Brass and Vandoren mouthpieces exclusively. View Michael's All Music Guide entry here for a partial listing of his sideperson credits and discography.

In this episode we talk to Dr. Dan Piccolo and several members of the BGSU Percussion Ensemble including Jacob Koch, Chris Harris, Nick Bahr, Emma Zemancik, and Frank Sanzo. Join us as we listen to them talk about their journey as percussionists, the history of percussion in the American conservatory tradition, and the challenge of teaching and playing global music. The group also plays many examples for us to illustrate their work. Dr. Piccolo hopes most to show us that ”music is not a universal language but, like language, music is universal.” All cultures have music, and much can be learned through listening to and playing music from different places.You can find The BGSU Percussion Ensemble at BGSU.edu/percussion, on FaceBook at facebook.com/bgsupercussionstudio, on instagram instagram.com/percussionbgsu and on YouTube at YouTube.com/@bgsupercussion. Curious? Go see the live performance of Samba Bateria at PorchFest on May 31, 2025 at 1:45 p.m. in Bowling Green, OH. A transcript of this episode can be found here:https://www.rev.com/transcript-editor/shared/f3N2Ckme5N2QjLmcjaLJ8GN0isG3JQXkEM2LrA4UShhEhxa80_toIwZZgrGKojrRXk-0lKDQ9VpakIw32lqSTXjPnjM?loadFrom=SharedLink

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Keith sits down with Dave Lombardo to discuss collaborating with the Misfits and John Zorn, Dave and his family emigrating from Cuba to settle in Los Angeles, learning to play the drums, meeting Kerry King, the formation and early days of Slayer and some stories from Dave's time with the band. We also discuss collaborating with Mike Patton in Fantomas, Mr. Bungle and Dead Cross, meeting his wife Paula, collaborating with her on Venamoris, the making of their new LP "To Cross Or To Burn" on Ipecac Recordings, Dave's solo LP Rites of Percussion and more. Keith also meets with Paula Lombardo to discuss growing up in Canada, taking piano lessons and discovering her voice at a young age, and moving to Las Vegas to become a backup singer and tour with Wayne Newton. We also discuss Paula breaking off on her own in Nashville to try and become a singer/songwriter, moving to Los Angeles, meeting Dave Lombardo and teaming with him to write music once again as Venamoris, the making of their debut LP "Drown In Emotion" and the new LP "To Cross or To Burn", Paula's creative process and more. 

U.K.-based percussionist, session musician and performer Joby Burgess stops by to talk about all things session musician work and his career in chamber music (03:00), his album A Percussionist's Songbook (42:20), growing up in western England, his piano background, and his time as a university student at the Guildhall School (54:30), and finishing with the Random Ass Questions, including discussions of difficult percussion concerti, playing with “too hard” mallets, cooking at home, traveling in Italy, Quentin Tarantino, John Steinbeck, American Football, Cricket, and inspiring artwork (01:15:30).Finishing with a Rave on the 2021 documentary film Ennio (01:52:30).Joby Burgess Links:Joby Burgess's websiteA Percussionist's Songbook - Joby BurgessOther Links:Abbey Road Studios“Asturias” - Isaac Albeniz (John Williams, guitar)John Kenny“Dmaathen” - Iannis Xenakis“Psappha” - Iannis XenakisStewart CopelandPierre Boulez“Drumming” - Steve Reich“Desert Music” - Steve ReichMatthew FaircloughBang on a CanLittle SimzGabriel ProkofievGraham FitkinModern Jazz QuartetMilt JacksonDavid Corkhill“Jump” - Van Halen“To Be With You” - Mr. Big“More Than Words” - Extreme“She Talks to Angels” - Black Crows“So What” - Miles Davis“Milestones” - Miles Davis“Seven Steps to Heaven” - Miles Davis“A Night in Tunisia” - Dizzy Gillespie“Black Market” - Weather Report”Brother Sister” - Brand New Heavies“Virtual Insanity” - Jamiroquai“What is Hip?” - Tower of Power“Wonderwall” - Oasis“Girls & Boys” - BlurBarbican TheaterPedro Carneiro“Khan Variations” - Alejandro Viñao“Time for Marimba” - Minoru MikiGary Burton Tiny Desk concertConcerto for Bass Drum and Orchestra - Gabriel ProkofievCinqueTerreQuentin TarantinoPulp Fiction trailerReservoir Dogs trailerBack to the Future trailerGet Shorty trailerThe Matrix Reloaded trailerJohn Steinbeck1980s San Francisco 49ersYayoi KusamaRaves:Ennio trailer

Dr. Terry Longshore, Professor of Music, Artist in Residence, and Director of Percussion Studies joins the Exchange to discuss the Northwest Percussion Festival, April 4-6.

Christina Goh is a French composer, poet, and vocalist whose multidisciplinary universe includes digital art, poetry and musical creation. She’s the initiator of a vocal technique for accompanying high range percussion and she’s a member of the Board of Directors of the French Association for Percussion. Christina has performed her music from Indonesia to Canada, demonstrating her vocal technique with unique configurations. Since 2023, the Chanson prize in the historical Jardin de France literary competition bears her name. Christina was cited among the 500 personalities of African descent who have impacted the world by the South African media Tropics Magazine in 2021. Her seventh album, Andromede, came out in 2024. SONG 1: Duniya Mein Hum Aaye Hain by Lata Mangeshkar from the original 1957 Mother India motion picture soundtrack. https://youtu.be/HQ03mTy8HR4?si=GDSBcsS_eIHb6mVW SONG 2: Avant toi (Olympia) by Mama Béa from Edith et Marcel (Bande originale du film) released in 1983. https://youtu.be/OJUkBY21PEo?si=xfgWYMSTfuBWykYC SONG 3: Pride and Joy by Stevie Ray Vaughan, released in 1983. https://youtu.be/Chk4tCMRBxk?si=CN_5Yx9T7pOR_De7See omnystudio.com/listener for privacy information.