Podcasts about percussion

Hosts of The Aged Out Podcast, Michael Fantini and Evan Worrell, discuss the current state of the DCI percussion judging system and use data to make an argument as to why its broken.

Born in Brooklyn, New York Rick Dior began his professional music career at the age of thirteen, freelancing in and around the metropolitan area in various small ensembles, orchestras and theater productions. He is a graduate of the Manhattan School of Music where he studied with timpanist Fred Hinger and jazz composer Bob Mintzer. He also studied extensively with famed jazz drummer Joe Morello. Rick has performed as a percussionist with a variety of superb artists in many musical genres including James Taylor, Aretha Franklin, Ray Charles, Al Jarreau, Roberta Flack, Martina McBride, BeBe and CeCe Winans, Linda Rondstadt, Glen Campbell, Bobby McFerrin, Mary Chapin Carpenter, Randy Newman, and Marvin Hamlisch. He has added his drum set talents to performances with many great jazz artists including Marvin Stamm, Bill Watrous, Rich Perry, Harold Danko, Clark Terry, Red Rodney, Chris Potter, Lionel Hampton and Russell Malone. Rick also has an extensive orchestral percussion background and has performed as principal percussionist, section percussionist and timpanist with the Charlotte Symphony Orchestra, Charlotte Ballet and Opera Carolina since 1990. As a first-call theater percussionist and drummer in Charlotte NC, Rick has performed in dozens of Broadway show tours. They include Chorus Line, Jesus Christ Superstar, Wicked, The Producers, Young Frankenstein, Spamalot, Hairspray, South Pacific, West Side Story, 9 to 5, Mary Poppins, Bring It On, Newsies, and Beautiful. His recording credits are extensive and include CD releases, movie soundtracks and commercial radio/television spots. As an engineer and producer Rick has been involved in hundreds of recordings. These include recording projects with artists such as Branford Marsalis, Delfeayo Marsalis, Ellis Marsalis, Ed Thigpen, Harry Connick Jr., Michael Spiro, Joey Calderazzo, Michael Carvin, and Jimmy Cobb. Rick is also a very active educator and has served as the Professor of Percussion at the University of North Carolina at Charlotte since 2001. He also maintains a busy private and online teaching studio. In this episode, Rick talks about: The variety of demands performing with the Charlotte Symphony Orchestra Playing percussion with touring musicals and the skills needed How important it is to develop fundamental technique at an early age Studying with and befriending the legendary Joe Morello Rick's Youtube channel: it's beginning and it's appeal His custom built drumsticks ⁠⁠⁠Here's our Patreon⁠⁠⁠ ⁠⁠⁠Here's our Youtube⁠⁠⁠ ⁠⁠⁠Here's our Homepage Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of The Bandwich Tapes, I sit down with percussionist, composer, educator, and Sō Percussion member Josh Quillen for a wide-ranging conversation about teaching, ensemble life, steel pan, podcasting, grief, musical history, and the value of listening closely.Josh joined Sō Percussion in 2006 and has spent nearly two decades helping the ensemble develop its distinctive approach to contemporary chamber music. We talk about how the group has evolved from a model built around four percussionists playing similar setups into one that more openly reflects the individual musical identities of its members. Josh shares how composers such as Steven Mackey helped the group recognize the value of those differences, from steel pan and drum set to marimba, electronics, singing, and synthesizers.We also spend time discussing the Sō Percussion Summer Institute, which Josh describes as one of the most demanding and rewarding parts of his year. He explains how the institute asks young musicians to learn an enormous amount of music with unfamiliar collaborators, confront insecurity, and discover that missing a note is rarely the most important problem in the room.The conversation becomes deeply personal as Josh talks about losing his father to ALS, preserving one of the final recordings of his voice, and how that experience helped shape his podcast, Concert Honesty. We discuss the importance of documenting artists as full human beings, the danger of turning musical heroes into myths, and what Josh has learned from speaking with musicians such as Russ Hartenberger, Bob Becker, Joan Tower, Steve Reich, and others.Along the way, Josh reflects on growing up in rural Ohio, learning discipline from his father's work at a bottling warehouse, discovering steel band in high school, traveling to Trinidad without a phone, and learning that musical development often comes from curiosity, failure, repetition, and the freedom to make mistakes without having every moment permanently documented.Key Takeaways• The Sō Percussion Summer Institute is designed to give young musicians an intensive taste of professional ensemble life, including uncertainty, limited rehearsal time, unfamiliar collaborators, and ambitious repertoire.• Josh believes strong teaching requires precision, empathy, and the ability to give honest criticism without stripping students of their confidence.• Sō Percussion's musical identity has gradually shifted from four players demonstrating similar technical skills toward a model that embraces each member's individual musical interests.• Steven Mackey's It Is Time became an important turning point by highlighting Josh's steel pan background and the distinct musical personalities of the Sō Percussion members.• Josh's approach to Steve Reich's music is rooted in chamber music precision, shared pulse, groove, and a clearly defined ensemble identity.• Concert Honesty began partly as a way to preserve the voices, experiences, and humanity of musicians beyond their résumés and major accomplishments.• Losing his father to ALS shaped Josh's understanding of memory, grief, recorded sound, and the importance of preserving a person's voice.Music from the EpisodeMusic for Wood and Strings (Part 1) - Bryce Dessner (Sō Percussion)To the Sky - Caroline Shaw (Sō Percussion)Let the Soil Play Its Simple Part - Caroline Shaw (Sō Percussion)Rectangles and Circumstance - Caroline Shaw (Sō Percussion)About the PodcastThe Bandwich Tapes is a podcast about how music gets made and the people who make it. Hosted by musician Brad Williams, the show features thoughtful, musician-to-musician conversations about craft, collaboration, creative process, artistic growth, and life in music.Connect with the ShowQuestions, comments, or guest suggestions:contact@thebandwichtapes.com

Philipp Kohnkes Leidenschaft ist das Schlagzeug. Wenn er davon spricht, meint er aber nicht nur das klassische Schlagwerk, er meint, so sagte er in einem Interview, „alles, auf das man draufhaut“. Die Begeisterung für das Instrument wurde 2022 zum Motor und zur Initialzündung für ein Percussion-Festival, dem Überschlag Festival, das sich inzwischen zu Europas größtem internationalen Schlagzeugfestival etabliert hat. Mitte August (19.8. bis 23.8.) ist es wieder so weit, dann wird die dritte Auflage des Festivals eröffnet und in Hannover spielen Rhythmus, Percussion, Schlaginstrumente, internationale, lokale Stars und Nachwuchstalente die große Rolle auf den Bühnen der Stadt.Vorher ist Philipp Kohnke, künstlerischer Leiter des Überschlag Festivals, zu Gast bei NDR Kultur à la carte und spricht mit Andrea Schwyzer über Programm, Impulse und Entwicklung eines in der Szene unverzichtbaren Festivals.

Episode 507 - Leonardo Soto Pete's Percussion Podcast Principal Timpanist for the Houston Symphony (TX) Leonardo Soto stops by to talk about his main gig, teaching at the University of Miami (FL), working at summer festivals, secrets of auditioning, and maintaining a busy schedule (03:35), his previous orchestral jobs at the Detroit Opera (MI) and Charlotte Symphony (NC) and his experiences on the audition circuit later in his career (33:45), growing up in Chile, his father the drummer and pop musician, the legacy of Chilean orchestral percussionists, studying percussion in Chile, and the challenges of equipment and music resources in the country (45:20), his master's degree work at Carnegie-Mellon University (PA), studying with Tim Adams and (later) Tom Freer, early audition experiences, and learning English through Seinfeld and the Rush Hour movies (01:04:05), and finishes with the Random Ass Questions, including segments on student learning styles, his sporting activities and doing cardio, playing athletic timpani music, Rafa Nadal, Chilean soccer, cooking mishaps, great books, and seeing the artwork in The Vatican (01:27:20).Finishing with a Rave on the 2026 documentary Cookie Queens (02:04:55).Leonardo Soto links:Leonardo Soto's Houston Symphony pageLeonardo Soto's University of Miami pageLeonardo Soto's Remo pageTimpani Concerto - Andy Akiho (Leonardo Soto, soloist)Previous Podcast Guests mentioned:She-e Wu in 2025Pablo Rieppi in 2024Andrés Espinoza in 2018Other Links:Matthew StraussBrevard Music CenterGrand Teton Music FestivalNational Youth OrchestraTom FreerTim AdamsCloyd DuffSteven ReinekeSvet StoyanovJoseph PetrasekEdward StephanMingyu SonLuft MalletsRichard WeinerShannon WoodLa Sonora de Tommy ReyThe All-American Drummer: 150 Rudimental Solos - Charley WilcoxinEtudes for Timpani - Richard HochrainerRafa NadalThe Inner Game of Music - Barry GreenCity Lights trailerCinema Paradiso trailerThe Undefeated Mind - Alex LickermanThe Alchemist - Paulo CoehloMeditations - Marcus AureliusMyriam HernandezThe VaticanRaves:Cookie Queens trailer

This week on the podcast is part one of our interview with John Sebastian Vera.  He's the Principal Trombonist of the Pittsburgh Opera; Head of Brass & Percussion and lecturer of music entrepreneurship at the Cleveland Institute of Music; adjunct Professor of Trombone at Duquesne University; Co-Founder of the Third Coast Trombone Retreat; and co-host of the Trombone Retreat podcast listened to in over 130 countries.His portfolio career also includes performing with many orchestras, being an artist for Thein Instruments, and he's the designer of the JSV signature trombone mouthpiece sold through Houghton Horns.Make sure you check out Sebastian's interview to hear his 360-degree approach to the music business! 

Your All-Access Pass to the Marching Arts.A Podcast for Marching Arts Enthusiasts — On the Field, In the Stands & Behind the Scenes.DCI 2026 Finals Week is here. Chris Rutt, Whitney Stone and Jeremy Svoboda from Drum Corps Today break down the final stretch of the drum corps season after DCI East, including Bluecoats tying the Allentown stadium record, the fight for Saturday night, Open Class in Dayton and Phantom Regiment's 70th Anniversary Alumni Corps.The episode also moves beyond scores: allegations involving the Denver School of the Arts band program lead to a conversation about student safety and rehearsal culture; Music for All names Anne Fennell Senior Director of Education; and WGI's July Board meeting brings changes for the 2027 Color Guard, Percussion and Winds seasons.In this episode:• Bluecoats ties the DCI East/J. Birney Crum Stadium record at 96.825• Blue Stars, Madison Scouts, Pacific Crest and the fight around the Top 12• Student safety and allegations involving Denver School of the Arts band• Anne Fennell joins Music for All as Senior Director of Education• WGI 2027 proposal and championship updates• The Battalion, Gold and Blue Devils B after Open Class Prelims in Dayton• DCI housing sites, rehearsal limits and the All-Age championship schedule• Govenaires prepares for its 100th anniversary in 2027• Water breaks, heat safety and long walks from warmup lots• Why color guard phrases need more choreography and less trick-to-trick staging• Phantom Regiment's 70th Anniversary Alumni CorpsPanel:Chris Rutt — @wildhornbrass1Whitney Stone — @dancerwhitJeremy Svoboda / Drum Corps Today — @drumcorpstodayPresented by Guard ClosetUniforms, flags, costumes, consignment and design services for the marching arts.GuardCloset.com | @guardclosetFind On A Water Break:Website: onawaterbreak.comListen everywhere: plinkhq.com/i/1653637341?to=pageYouTube: @OnAWaterBreakInstagram, Facebook & TikTok: @onawaterbreakBe a guest: onawaterbreakpodcast@gmail.comTIMESTAMPS00:00 DCI East, Bluecoats, Crown & the Fight for Finals09:58 Welcome to On A Water Break11:51 Denver School of the Arts Band Director Allegations17:00 Music for All Names Anne Fennell Senior Director of Education20:42 WGI Announces 2027 Rules & Championship Changes23:54 Bluecoats Tie the Allentown Stadium Record30:21 Water We Doing?!30:54 DCI Championship Housing & Rehearsal Problems32:48 Jeremy Svoboda on the Govenaires35:23 Govenaires Prepare for Their 100th Anniversary37:13 Give Performers More Water Breaks38:08 Why Are Warmups So Far From the Stadium?41:50 Color Guard Needs Complete Choreography Again44:29 Gush & Go44:44 DCI Open Class, The Battalion & SCV49:13 Getting Ready for DCI Finals Weekend50:14 Phantom Regiment's 70th Anniversary Alumni Corps51:55 Closing

Welcome back to Artbeat Radio!    In this episode of ABR, Service Users from EPI explore various percussion instruments including bongos, a djembe, tambourines, and a pickle shaker (for a moment pickles and their varieties are explored). First, PJ, Carlos, and Daniel play the bongos and tambourine and share a bit of bongo history. Then PJ and Yo-Yo play bells and the djembe together. PJ revisits “Maestro Incredo Gum”, previous explored and advertised by ART Center Service Users. Jamond shares some improvised beatboxing over a quick original beat, and then Rudy and Jamond sing a bit of the James Brown song “I Feel Good”.  Thanks for listening and tune in next time!   Follow us on instagram @artbeatradio   For more information about our organization, please visit our website www.ableartswork.org 

Episode 506 - Reed Puleo Pete's Percussion Podcast Denver-based percussionist and educator Reed Puleo stops by to talk about establishing himself in the Denver area and his Fulbright Award to study and work in Austria (02:20), growing up in New Jersey, family members in the arts, his early start in percussion ensemble and percussion performance, and his marching band experiences (34:25), attending Boston Conservatory (MA) for undergrad (47:35), living and studying in Amsterdam after undergrad, the challenges of being there at the time, and heading to the University of Michigan to complete his masters during and after the COVID epidemic (01:02:00), and settles in for the Random Ass Questions, including segments on developing young percussionists, maintaining his physical and mental health, cooking, great movies, New Jersey foods, and Curb Your Enthusiasm (01:17:35).Finishing with a Rave on the 2023 documentary Karen Carpenter: Starving for Perfection (01:44:40).Reed Puleo Links:Reed Puleo's webpagePrevious Podcast Guests mentioned:Michael Jones in 2026Ian Antonio in 2023Keith Aleo in 2020Other Links:Klangforum WienAlex LipowskiEnsemble ModernChristian DiersteinLucerne Festival AcademyImpulse New Music FestivalKenneth Piascik“Three Brothers” - Michael Colgrass“Ostinato Pianissimo” - Henry Cowell“Variations on a Ghanaian Theme - Dan LevitanNeil McNultyKyle BrightwellNancy ZeltsmanDoug PerkinsChosen Vale“Hop(2)” - Paul LanskyFrom My Little Island - Robert AldridgeAmerican Songbook II - George CrumbChris SiesColin Currie(Untitled) trailerMichael CompitelloNathan DavisA Different Man trailerUnfrosted trailerThe Catcher in the Rye - J.D. SalingerJannik Sinner“Mr. Brightside” - The KillersRose GardenRaves:Karen Carpenter: Starving for Perfection trailer

Episode 505 - Luke Helker Pete's Percussion Podcast Fort Hays State (KS) Director of Percussion Studies Luke Helker stops by to talk about the FHSU job and about recruiting to a small regional college (02:45), his recent presentation at the Canadian Percussion Network's annual conference and its beginnings (17:05), growing up in Pennsylvania, his vast array of musical influences and experiences, getting to travel with family, and his years of undergrad at Millersville University (PA) studying percussion and audio production (25:50), his grad school years at the University of Kansas, his time as a wedding DJ, studying under Mike Compitello and Sam Um, and his early teaching experiences (49:10), and then Luke settles in for the Random Ass Questions, including segments on marching vs. concert percussion, great and terrible movies, John Steinbeck, metal music, Philly sports, and the artist Alphonse Mucha (01:11:30).Finishing with a Rave on the book and movie versions of The Odyssey (01:48:05).Luke Helker Links:Luke Helker's websiteLuke Helker's Fort Hays State websitePrevious Podcast Guests mentioned:Michael Jones in 2026Other Links:Ryan Pearson“Child of Tree” - John Cage“The Ice is Talking” - Vivian Fung“Allegro ma non troppo” - Unsuk Chin“Echolalia” - Mark ApplebaumOklahoma! ABBAMozart for Monday MorningsPuccini and PastaThe WhoNeil YoungArab SpringJames ArmstrongStick Control - George L. StoneSyncopation - Ted ReedToccata for Percussion Instruments - Carlos ChavezRomeo and Juliet Fantasy Overture - PI TchaikovskySymphony No. 2 - Jean SibeliusRick RubinThe StrokesWilcoMy Morning Jacket@Percussion PodcastMichael CompitelloSam Um“Starships” - Nikki Minaj“Fireball” - Pitbull“At Last” - Etta James“I Loved Her First” - Heartland“Celebration” - Kool and the Gang“Shout” - The Isley Brothers“Wobble” - V.I.C.“Yeah!” - Usher and Lil Jon“Turn Down for What” - DJ Snake and Lil JonEd Sheeran“Art of Almost” - WilcoReflections on the Nature of Water - Jacob DruckmanHuberman Lab podcastNOPE trailerThe Fast and the Furious: Tokyo Drift trailerOrbital - Samantha HarveyThe Winter of Our Discontent - John SteinbeckSlipknotMetallicaGhostBell Witchsunn O)))Phillies 2008 World SeriesEagles vs. Patriots Super Bowl LIIJaylen BrownWawa“Friends in Low Places” - Garth BrooksAlphonse Mucha - Nelson Atkins MuseumRaves:The Odyssey - Homer (translation by Emily Wilson)The Odyssey trailer

Join Infinite and Brick for a guest-free deep dive into the language of music—how instruments “talk,” how arrangements create emotion, and why certain sounds carry meaning beyond the lyrics. From the way rhythm locks in the body to how melody speaks to the mind, they'll break down what to listen for and how to understand what you're hearing. They'll also cover practical basics every artist should know before signing a music contract—terminology, common traps, and questions to ask—so you can protect your work and your future.Homework Assignment:Listen & Map the Instruments**: Pick one track you love and write down the main roles each instrument plays (rhythm, melody, harmony, texture). Note when each instrument enters and what changes emotionally.Chord + Rhythm Check**: Find the chord progression (or listen for changes) and identify the song's rhythmic “engine” (drums/groove/percussion). Write 3 observations about how the groove supports the melody.Contract Prep Questions**: Choose a real contract clause you've seen (royalties, publishing, masters, exclusivity, term). Write:  What it means in plain language  What you think you're giving up  5 questions you would ask before signingWe would LOVE to hear what you think. Please drop a line.Support the show

Earlier this week I brought back the audio of one of my favorite conversations from the vault. Today, the full video version is here.If you missed the audio episode, here's the short version: in 2018, Mariana Ramirez became the first female Mexican percussionist to ever perform on a Broadway show, subbing Once On This Island. A year later she held the percussion chair on that show's national tour. Then came sub work on Head Over Heels (drumset book) and Ain't Too Proud, plus Off-Broadway runs of Merrily We Roll Along and Fiddler on the Roof in Yiddish.Today she holds the percussion chair at the hit Broadway show SIX.But watch this interview and you'll see the chair is just one piece of a much bigger career.Mariana began her studies at the National Conservatory of Music in Mexico City, where she won the percussion position at the Carlos Chávez Youth Orchestra, then earned her Bachelor of Music at the Mason Gross School of the Arts at Rutgers, picking up the Percussive Arts Society Thomas Siwe Scholarship along the way.She founded Percussion Quartet Excelsis — the first multinational all-female percussion quartet in the U.S. — which Jonathan Haas, head of the NYU Percussion Department, called one of the most innovative and exciting ensembles of this era of chamber music. Excelsis has performed twice on NPR's From the Top, at the Zeltsman Marimba Festival, Tippet Rise in Montana, and the Newport Classical Music Festival, and in 2024 the group received Chamber Music America's highest grant.Her recording credits include Platinum Girls and Song of Solomon on Broadway Records, and a concerto for bandoneon and violin with the Orpheus Chamber Orchestra. She has performed with the National Symphony of Mexico, the first all-women orchestra of Mexico, and premiered new works at Alice Tully Hall. She's appeared on The Late Show with Stephen Colbert and in Mozart in the Jungle. She won the FONCA grant for Mexican artists twice in a row, touring an original percussion-and-dance project across five Mexican cities. She teaches. She's endorsed by Sabian, Pearl, and Innovative Percussion.Traditional Mexican music. Symphony halls. Chamber ensembles. Television. Education. And eight shows a week on Broadway.Nobody builds a career like that by waiting for the phone to ring. Watch the conversation and you'll understand exactly how she did it — starting with a Santana concert in Mexico City when she was 11 years old, watching three percussionists light up a stadium and deciding, right there, what her life was going to be.Watch the full interview above.The audio version is available now on Apple Podcasts and Spotify if you'd rather listen on the go.And coming up next on the podcast: Spencer Inch. Stay tuned — that one's going to be worth the wait.For the complete roadmap to building a career in theater, grab Broadway Bound and Beyond at broadwayboundbook.com.Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career.His Broadway credits include Memphis, Lady Day at Emerson's Bar and Grill, Ain't Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Episode 504 - Kathy Armstrong Pete's Percussion Podcast Carleton University (ON) Ethnomusicologist and Director of Fine Arts Kathy Armstrong stops by to talk about her job, teaching West African drumming and dance, Baobab, and traveling and learning in Ghana for many years (03:30), her recent Canadian Percussion Network Conference presentation and the importance of Global Percussion Studies in standard Western Percussion tradition (21:45), growing up in the Scarborough area of Toronto, her early musical influences (including Soul and Funk music), her wonderful public school music background, the idea of “rhythmic tapestry”, and her experiences in the Girl Guides of Canada (36:10), attending the University of Toronto, studying with members of NEXUS, her post-undergrad experience and branching out into an entrepreneurship mindset (57:15), and finishing with the Random Ass Questions, including segments working in world percussion, the importance of maintaining physical and mental health, baking, sports, and great movies and poetry (01:18:00).Finishing with a Rave on the 2026 FIFA World Cup (01:45:05).Kathy Armstrong links: Kathy Armstrong's websiteKathy Armstrong's Carleton University pagePrevious Podcast Guests Mentioned:Daniel Noonan in 2026Chrissie Souza in 2024Sarah Hasekamp in 2024Fabrice Marandola in 2026Kristie Ibrahim in 2024Other Links:NEXUS PercussionStevie WonderBreakfast in America - SupertrampEarth, Wind, and FireTower of PowerLed ZeppelinNina SimoneEarth, Wind & Fire documentarySummer of Soul trailerPeter Gabriel live in 1986The Specials“Come Talk to Me” - Peter Gabriel“English Folk Song Suite” - Ralph Vaughan WilliamsStingPaul SimonLadysmith Black MambazoMichelle ColtonBeverley JohnstonTimothy RiceJames KippenBig Night trailerHamnet trailerMamma Mia! trailerFall On Your Knees - Ann-Marie MacDonaldOutlander - Diana GabaldonK.C. and the Sunshine Band“Shake It Off” - Taylor SwiftKirk Franklin“Le Freak” - CHICNorthern Super LeagueThe Professional Women's Hockey LeagueRumiMary OliverRaves:The 2026 FIFA World Cup

Performance and Works used with permission from the artist and venue. Jamey Haddad holds a singular position in the world of jazz and contemporary music. His musical voice transcends styles and trends, and the universal quality of his playing has attracted many international collaborations with artists including Yo-Yo Ma, Paul Simon, and Sting. Fresh off of a tour with Paul Simon, Jamey returned to Cleveland for a sold out two-night stand that features Peter Slavov on Bass, Northeast Ohio mainstay Chris Coles on Saxophones, Jamey on Percussion and Pittsburgh Guitarist John Shannon. From June 1st, 2025 it's Jamey Haddad...Live at the Bop Stop.

Episode 503 - Daniel Noonan Pete's Percussion Podcast Recent Mizzou Masters of Music degree graduate in Percussion Performance Daniel Noonan stops by to talk about his degree recital and his interest in avant-garde music (04:00), his assistantship with the New Music Ensemble, working with new composers, and international travel (18:30), his experiences playing in various ensembles, the Odyssey Chamber Music Series in Columbia, and some of the other Mizzou Graduate Percussionists Daniel worked with (34:25), growing up in Morganton (NC), the issues of access to quality instruction in rural areas, his marching band experiences, and English class and his favorite books from the time (48:45), attending Western Carolina University for undergrad, Cullowee (NC), and studying under Dr. Adam Groh (01:02:00), getting to Mizzou and studying with Dr. Megan Arns (01:18:15), and settles in for the Random Ass Questions, including segments on early percussion education, cooking gumbo, The Hitchhiker's Guide book series, Ireland, and the great foods of North Carolina (01:28:10).Finishing with a Rave on the 2026 film Disclosure Day (01:55:30).Daniel Noonan Link:Daniel Noonan's InstagramPrevious Podcast Guests mentioned:Julia Gaines-Montag in 2016Megan Arns in 2026Matthew Hinkle in 2026Adam Groh in 2022Luke Haymon in 2025Mark Ford in 2023Julie Davila in 2019Nathan Daughtrey in 2021Cara Wildman in 2021Other Links:“Song for Low Tree” - Matthew Burtner“Toccata” - Anna Ignatowicz“She Who Sleeps with a Small Blanket” - Kevin Volans“Rebonds B” - Iannis XenakisSo Percussion Summer Institute“Millenium Canticles” - Missy Mazzoli“Ionisation” - Edgard VareseEighth BlackbirdBang on a CanMachu PicchuOdyssey Chamber Music SeriesThe Pieces that Fall to Earth - Christopher Cerrone“White Pines” - Michael Burritt“Pillar 1” - Andy AkihoLes Misérables - Victor Hugo“XY” - Michael GordonDubliners - James JoyceMatt HenleyDiana Loomer“Third Construction” - John Cage“Canticle No. 3” - Lou Harrison“to wALk Or ruN in wEst harlem” - Andy Akiho“meditation for metal pipes” - Emma O'HalloranFantastic Mr. Fox trailerMadame Web trailerAvatar: Fire and Ash trailerThe Hitchhiker's Guide to the Galaxy - Douglas AdamsDiscworld - Terry PratchettMonty Python's Flying Circus opening creditsRobert HonsteinKing Gizzard and the Lizard WizardJD's SmokehouseCook OutBojanglesRaves:Disclosure Day trailer

In 2018, Mariana Ramirez walked into the pit at Once On This Island as a sub and made history. She became the first female Mexican percussionist to ever perform on a Broadway show.Nobody handed her that moment. She built it.I first published this conversation in March of 2022, and it remains one of my favorites. Most of you weren't subscribed back then, so I'm bringing it back — the story is too good to leave in the archive.Who is Mariana Ramirez?Mariana is an NYC-based freelance percussionist who began her music studies at the National Conservatory of Mexico in Mexico City before earning her Bachelor of Music in Percussion at Rutgers University.That first Broadway sub gig at Once On This Island opened doors. She went on to sub Head Over Heels and Ain't Too Proud: The Life and Times of the Temptations, then hit the road holding the drums/percussion chair on the Once On This Island national tour. Off-Broadway, her credits include Merrily We Roll Along and Fiddler on the Roof in Yiddish, among many others. Today, she is one of just two female Mexican drummer/percussionists performing on Broadway.But her career stretches far beyond the pit.She has performed across Europe, Asia, and Mexico with Mexican traditional music bands, symphonic ensembles, chamber orchestras, and pop bands. You may have caught her on The Late Show with Stephen Colbert, in the series Mozart in the Jungle, or at the NBC Universal Upfronts at Radio City Music Hall.She also founded Percussion Quartet Excelsis, which Jonathan Haas, head of the NYU Percussion Department, praised as one of the most innovative and exciting percussion ensembles of this era of chamber music. Excelsis has performed twice on NPR's From the Top, at the Percussive Arts Society New York Weekend of Percussion, Brooklyn Bound with Sō Percussion, Zeltsman Marimba Festival, and Tippet Rise Music Festival in Montana. The group is endorsed by Sabian Cymbals.As a symphonic percussionist, she has performed with the National Symphony of Mexico, Orquesta de Minería, the first all-women orchestra of Mexico, Dartmouth Symphony, South Florida Symphony, New England Ensemble, Fairfield Orchestra, and most recently with The Dessoff Choir, premiering works for choir and orchestra at Alice Tully Hall.Traditional Mexican music. Broadway pits. Symphony halls. Chamber ensembles. Television. That range is not an accident — it's the career.In this conversation, we talk about:* The Santana concert in Mexico City that made an 11-year-old girl decide, on the spot, what she wanted to do with her life* Her path from the National Conservatory of Mexico to Rutgers to New York* What it took to break into Broadway subbing — and what it meant to be the first* How versatility across genres and settings keeps a freelance career aliveAnd when you're done with this one, keep an eye on your inbox. Up next on the podcast: Spencer Inch. You won't want to miss that conversation.For the complete roadmap to building a career in theater, grab Broadway Bound and Beyond at broadwayboundbook.com.Broadway Bound and Beyond isn't theory. It's twenty-six years on Broadway broken down into what actually works: how auditions really get decided, how reputation gets built or destroyed, how money works in this business, why versatility keeps you employed, and what it takes to last decades instead of one season. If you want the full career picture, the hardcover is at broadwayboundbook.com.If subbing is specifically your way in, the book gets you the mindset and the etiquette, but the Broadway Sub Playbook goes further. It's the actual system: the four-week prep formula, the show-day routine, how to take notes that stick, how to handle a pit you've never sat in before. It's built for one job — getting you ready for that call when it comes — and it's the resource a lot of working subs wish they'd had before their first one.Grab both at signaturebrandworks.com.Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career.His Broadway credits include Memphis, Lady Day at Emerson's Bar and Grill, Ain't Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

A member of the world-famous Wrecking Crew studio band, drummer Hal Blaine was thought to be among the most recorded studio drummers in the music industry, claiming over 35,000 sessions, 6,000 singles,and 150 US top 10 hits - 40 of which went to number one! This week's guest, drummer Bob Bert (Sonic Youth, Pussy Galore, Lydia Lunch Retrovirus), brings us Hal's bonkers 1967 release, 'Psychedelic Percussion'. Dig it! Songs discussed in this episode: Be My Baby - The Ronettes; A Little Less Conversation - Elvis Presley; Mr Tambourine Man - The Byrds; Good Vibrations - The Beach Boys; Let The Sunshine In - The 5th Dimension; Beach Bongo Bloodbath - Bob Bert; This Diamond Ring - Gary Lewis & The Playboys; Monday Monday - The Mamas & The Papas; Mrs Robinson - Simon & Garfunkel; Love Will Keep Us Together - Captain & Tennille; A Paper Suit - Knoxville Girls; Goo Goo Muck - The Cramps; Love In (December) - Hal Blaine; By Your Grace - Beaver & Krause; Highway 61 Revisited - Bob Dylan; Mississippi Queen - Bob Bert; Flashes (February), Kaleidoscope (March) - Hal Blaine; Cavern - Liquid Liquid; The Good, The Bad and the Ugly (Main Theme) - Ennio Morricone; Flower Society (May), Trippin' Out (June) - Hal Blaine; Superstition - Stevie Wonder; Soulful (September), Inner Space (October) - Hal Blaine; Dish It Out - James Chance and the Contortions; Wiggy (November) - Hal Blaine; Attractive People - Genre Is Death; Foggy Notion (Velvet Underground cover) - Bob Bert

Percussion Junction EP. 8 With Guest Mix By This Is Fun Show: Percussion Junction Artist: Ace Vedo Guest: This Is Fun Air Date: 10 July 2026 Genre: House / Jungle / Tech House / Deep House Welcome to Episode 8 with central Florida's hottest couple DJ duo This Is Fun. They are no stranger to the growing house community in Florida with their own record label "Humble House" They are full of feel good grooves and together turn this months episode heat all the way up. Thank you so much for listening! Tracklist: ACE VEDO TRACKLIST 1. Cloonee- Sun Goes Down (Extended Mix) 2. Roland Clark, HoneyLuv- This Is My Life (Extended Mix) 3. Fatboy Slim ft Topic & Marco Generani-Right Here Right Now (Extended Rework) 4. Maesic, Marshall Jefferson & Salomee Das- Life Is Simple (Move Your Body) (Main) 5. Lizwi, Aaron Sevilla, Brøder, SENATVS- Pump Up The Jam (Original Mix) (Clean) 6. Enur & Nastaja, Jesus Fernandez- Fuin Calabria (Ace Vedo Edit) 7. Panjabi MC-Mundian To Bach Ke (Dario Nunez & Juany Bravo Extended Remix) 8. Daniel Matheus-Pa Tra (Extended Mix 9. Nolek- Tambores (Original Mix) THIS IS FUN TRACKLIST 1. THIS IS FUN - MMM 2. Dirty Vegas - Days Go By 3. Live In Lover - Nothing At All (Makobo Remix) 4. Salvature AM - Warmy 5. Tecca - African Heart 6. Jerome Advento - Get Naughty 7. Goldtrix, Andrea Brown - It's Love (Trippin') (Funkerman Remix) Originally broadcast on Data Transmission Radio. Listen live and explore the archive: https://radio.datatransmission.co

Episode 502 - Greg Herron Pete's Percussion Podcast Maryland-based freelance percussionist and educator Greg Herron stops by to talk about his new job as McDonogh School Upper School Band Director and Music Technology teacher, along with his private percussion teaching practice (02:25), his start to freelancing, and his career and life in Boston, Mexico, studying in Cuba, and heading back to Baltimore (11:50), growing up in many locations in the U.S., his active musical background, studying at the University of Miami (FL) and Boston Conservatory (MA), the many teachers who influenced him, and the importance of networking for freelancing gigs (41:50), and finishing with the Random Ass Questions, including segments on instrument rentals, working with administration, and taking care of his physical and mental health (01:24:05).Finishing with a Rave on the 2018 book Atomic Habits (01:38:25).Greg Herron links:Greg Herron's webpagePrevious Podcast Guests mentioned:Jenna Duranko in 2026Neil Grover in 2023Keith Aleo in 2020Rebecca Kite in 2018Other Links:Roy HaynesRalph HardimonThom HannumTom AungstPat HollenbeckScott EisenbergFoghorn LeghornThe Karate Kid trailerCaleb HerronI'm Possible - Richard WhiteDontae WinslowD.J. Sparr“Eruption” - Van HalenLion Performance HallJohn LockeGrant MenafeeNate MortonMatt HalpernSteve RuckerSteve BagbyAdvanced Techniques for the Modern Drummer - Jim ChapinScott DealSeth WexlerJohn TafoyaLou AbbottSvet StoyanovPhil FainiFritz ReinerMax RoachElvin JonesJoe HendersonJohn H. BeckVic FirthEvelyn GlennieColin CurrieEdna HuangBuddy RichGustav KlimtRaves:Atomic Habits - James Clear

After regrouping, the survivors move to investigate the distant lights. Story by K.A. Statz & Travis Vengroff (Co Game Masters)Produced, Edited, with Sound Design by Travis Vengroff Co-Sound Design, Co-Editing, Mixing and Mastering by Finnur NielsenExecutive Producers: Dennis Greenhill, Carol Vengroff, AJ Punk'n, & Maico VillegasDialogue Editing (first round) by Kasch WilderTranscriptions by K.A. Statz & Travis Vengroff Cast:Narrator / Game Master – K.A. Statz Narrator / Game Master – Travis Vengroff Yuehai – Sam YeowAgé Ogun – Jasper William Cartwright Vind Greyview – Eric Nelsen Vivianna Bloodchamber – LilyPichu Jare Driftwood – Florian Seidler Gamma Jija – Bee Apidae Orir – Dayn Russell Leonardson Oror – Alexandria McCauley Old Renny – Richard K. Weber Halfling Children – Hildur Aagaard & Atlas Aagaard Music:Music Director / Arranged by - Travis VengroffMusic Engineer (Musiversal) - Gergő Láposi "Theme of the Realmweaver" "On Shores of Silver" "Gaelhold" "Eternal War" Written & orchestrated by Steven Melin, Copyists Peter Jones & Steven Melin, Hurdy-Gurdy & Dulcimer by Enzo Puzzovio, Budapest Strings & Choir by Musiversal "The Storm and The Sailor" Written with Lyrics and Vocals by Sam Yeow, Music Arranged by with Accordion & Percussion by Travis Vengroff, Ukulele by Studio Pros "Last Light" written by David Wise & Steven Melin, orchestrated by Christopher Siu & Catherine Nguyen (Copyist), lyrics by Travis Vengroff, Woodwinds by Kristin Naigus, Budapest Strings & Choir by Musiversal Cover art by Colin Lorimer with lettering by K.A. Statz Special Thanks to:You, our Patreon supporters! | Our Fool & Scholar Discord Lampreys! | Carol Vengroff This is a Fool and Scholar Production. We are a two person creative team and we can only create this show because of your support. Thank you for making this show possible! Check out our Merch: www.DarkDice.comFree Transcripts are also available: https://www.patreon.com/posts/84864738 Content Warnings: Death, Eating Sounds (a single slurp from Jare - otherwise it's technically just "references to eating sounds"), Gaslighting Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 501 - Michael Jones Pete's Percussion Podcast New York-based Percussionist, Recording Artist, Researcher and Educator Michael Jones stops by to talk about his current teaching job at Bard College (NY) and his work throughout the school (04:40), how his graduate studies at UC-San Diego influenced his solo CD projects (17:30), his philosophical research on ontology and percussion instrument ideology and modernity, and questions about what “total percussion” means today (30:30), growing up in Connecticut, his progressive metal music background, high school band, and his involvement in the Live Action Role-Playing community (58:25), his undergrad years at the Hartt School of Music (CT) and studying under Ben Toth and many of the other faculty there (01:12:45), more about his graduate work at UCSD, studying under Steven Schick, and many of his UCSD student colleagues (01:25:35), and settles in for the Random Ass Questions, including segments on the impact of YouTube on young musicians, discussions of mental health, metal music, great books, and the San Diego Superbloom (01:39:40).Finishing with a Rave on the 2026 documentary Earth, Wind & Fire (02:08:20).Michael Jones Links:Michael Jones' websiteMichael Jones' Bard College pageMichael Jones' DiscographyPrevious Podcast Guests mentioned:Steven Schick from 2025Rebecca Lloyd-Jones from 2022Nicholas Papador from 2024Other Links:Eric Cha-BeachJason TreutingNicholas DeyoePluto BellScott WollschlegerSun RaThurman Barker“Psappha” - Iannis XenakisThe Percussionist's Art - Steven SchickAmy CiminiUnsound Supplies - Fanny Gribenski (editor)Anthropocene PeriodWriting the Implosion - Joseph DumitBetween the Buried and MeProtest the HeroScale the SummitPeripheryFred HingerBen TothJoe GaleotaJohn AmiraShane ShanahanTed PiltzeckerRogerio BoccatoFrom Me Flows What You Call Time - Toru TakemitsuPercussion Group CincinnatiHerbert BrünBill Solomon“Thirteen Ways of Looking at a Blackbird” - Lukas FossWilliam Winant“Bone Alphabet” - Brian Ferneyhough“Persephassa” - Iannis XenakisZen and the Art of Archery - Eugene HerrigelFiona DigneyPrincess Mononoke trailerStar Wars: The Last Jedi trailerRakesfall - Vajra ChandrasekeraSwann's Way - Marcel Proust (Lydia Davis translation)MeshuggahSan Diego SuperbloomNardelli'sZetsu No. 8 - Nishida JunRaves:Earth, Wind & Fire documentary trailer

Your All-Access Pass to the Marching Arts.Color guard, winter guard, and marching band news are moving fast as DCI 2026 gets rolling and WGI 2027 starts coming into view. Nicole Younger hosts Stephen McCarrick and Jeremy Svoboda for a Water Break Weekly episode covering Walnut Hills High School marching band rehearsal access, the Blue Devils travel incident, DCI Houston's move to Katy ISD's Legacy Stadium, and the newly released WGI 2027 Color Guard, Percussion, and Winds regional calendars.In this episode:Walnut Hills marching band practice-time concerns and why rehearsal access mattersBlue Devils members and staff reported safe after a tire-related bus fireDCI Houston moving to Katy ISD's Legacy Stadium for the 2026 tourWGI 2027 regional calendars for color guard, percussion, and winds60 Second Tech Block: Stephen on training technique through muscle awarenessWater We Doing?!: late DCI show announcements, rehearsal leaks, copyright realities, and respecting admin teamsNicole highlights the African American Legacy Corps and its 2027 DCI plansGush & Go: Eastern University, Phantom Regiment, Colts percussion, Eagles Drumline, and FIFA performance lifeRelated Episodes: S4EP23: Summer Color Guard Training, WGI Rule Changes & DCI Houston Relocation | Color Guard & Marching Band Design Analysis | Pro Tip BestiesThis week's panel: Nicole Younger @o2binpjs • Stephen McCarrick @stephenmccarrick • Jeremy Svoboda / Drum Corps Today @drumcorpstodaySponsored by: Guard Closet.Find On A Water Break: Website | Listen Everywhere | YouTube | Instagram/TikTok/Facebook: @onawaterbreak | Be a guest: onawaterbreakpodcast@gmail.com

The hosts of The Aged Out Podcast, Michael Fantini and Evan Worrell, sit down with Pulse Percussion Front Ensemble Arranger, Ian Grom to walk through their 2026 program, 'The Ones' as well as to educate them on the front ensemble world.

Au sommaire du grand débrief de Radio foot internationale sur RFI | YouTube & Facebook Live à 23h10 (21h10 TU) : retour sur États-Unis – Australie, les Lions de l'Atlas face à l'Écosse, le Brésil attendu contre Haïti avec Elcio Ramalho à Philadelphie, puis l'Espagne et l'Allemagne au révélateur. États-Unis – Australie : le débrief Retour sur l'affiche : rythme, intensité, maîtrise, occasions… Quel enseignement majeur retenir de cette rencontre ? Écosse – Maroc : les Lions de l'Atlas au pied du mur La sélection marocaine connaît sa mission : prendre les points et rester dans la course ! Brésil – Haïti : convaincre sans numéro 9 ? Avant le coup d'envoi, direction Philadelphie avec Elcio Ramalho. La Seleção est attendue, mais son animation offensive interroge. Le Brésil peut-il faire mal sans véritable avant-centre de référence ? Espagne : Yamal, facteur X ? Lamine Yamal concentre les regards. Percussion, audace, imprévisibilité : il peut faire basculer un match. La Roja dépend-elle déjà trop de son jeune phénomène ? Allemagne : redevenir un ogre ? La Mannschaft veut retrouver son autorité, son poids, cette capacité à imposer la peur avant même le coup d'envoi. L'Allemagne peut-elle redevenir une référence mondiale ? Autour d'Annie Gasnier, nos consultants du jour : Marc Libbra, David Lortholary et Manu Terradillos. Éditorial : David Fintzel — Technique/Réalisation : Laurent Salerno. ► Le calendrier Coupe du monde ► Notre dossier spécial.

Au sommaire du grand débrief de Radio foot internationale sur RFI | YouTube & Facebook Live à 23h10 (21h10 TU) : retour sur États-Unis – Australie, les Lions de l'Atlas face à l'Écosse, le Brésil attendu contre Haïti avec Elcio Ramalho à Philadelphie, puis l'Espagne et l'Allemagne au révélateur. États-Unis – Australie : le débrief Retour sur l'affiche : rythme, intensité, maîtrise, occasions… Quel enseignement majeur retenir de cette rencontre ? Écosse – Maroc : les Lions de l'Atlas au pied du mur La sélection marocaine connaît sa mission : prendre les points et rester dans la course ! Brésil – Haïti : convaincre sans numéro 9 ? Avant le coup d'envoi, direction Philadelphie avec Elcio Ramalho. La Seleção est attendue, mais son animation offensive interroge. Le Brésil peut-il faire mal sans véritable avant-centre de référence ? Espagne : Yamal, facteur X ? Lamine Yamal concentre les regards. Percussion, audace, imprévisibilité : il peut faire basculer un match. La Roja dépend-elle déjà trop de son jeune phénomène ? Allemagne : redevenir un ogre ? La Mannschaft veut retrouver son autorité, son poids, cette capacité à imposer la peur avant même le coup d'envoi. L'Allemagne peut-elle redevenir une référence mondiale ? Autour d'Annie Gasnier, nos consultants du jour : Marc Libbra, David Lortholary et Manu Terradillos. Éditorial : David Fintzel — Technique/Réalisation : Laurent Salerno. ► Le calendrier Coupe du monde ► Notre dossier spécial.

Episode 500 - Megan Arns (2026) Pete's Percussion Podcast It's Episode 500, and the 10-year Anniversary of Pete's Percussion Podcast! After Pete talks about the early days of the show (01:45), he welcomes back his Mizzou colleague, member of the Percussive Arts Society Board of Directors, Percussionist, Educator and Administrator Megan Arns back to the show for the first time in 8 years! Megan talks about her early years in percussion and her experiences and jobs prior to taking the Percussion Director Position at Mizzou in 2014 (12:00), her 12 years so far at Mizzou, what's she's learned, her administrative role, the job market and the challenges for future percussion teachers (17:30), working with grad students these days and her own experiences as a grad student (36:30), why she's involved in PAS Leadership now, having a family and the challenges and opportunities of continuing to keep a professional career (44:00), her work with the Switch~ Ensemble (01:03:30), when her mentor Michael Burritt came to visit Mizzou in the spring (01:11:00), and a brief Random Ass Questions segment including managing her own physical and mental health, her knowledge of children's media, new and upcoming travels, her father the college professor, “full send”, and some kudos to Pete for the podcast (01:21:35).Finishing with the Raves, including some FAQs about the podcast and Pete's heartfelt thanks to the guests and the fans of the show (01:38:00).Megan Arns Links:Megan Arns' websiteMegan Arns' Mizzou pageSwitch~ Ensemble websiteBill KalinkosPrevious Megan Arns's podcast appearances:Megan in 2016Megan in 2017Megan in 2018Previous Podcast Guests mentioned in this episode:John Parks IV in 2018Troy Hall in 2020Clif Walker in 2021Mark Ford in 2023William Moersch in 2019Joshua Simonds in 2022Other Links:Lewis & Clark Fife and Drum CorpsColts Drum & Bugle CorpsMichael BumpMichael BurrittRoyal Hartigan“Kakamora” from MoanaExperimental Media and Performing Arts TheaterKPop Demon Hunters trailerMoana trailerFrozen trailerWicked trailer“Takedown” from KPop Demon Hunters

Au sommaire :Le BHV met fin à son partenariat avec l'enseigne de fast fashion Shein, qui quittera ses rayons d'ici la fin de l'année, dans le cadre d'un repositionnement stratégique du grand magasin parisien.La Banque de France revoit à la baisse ses prévisions de croissance économique pour 2026, désormais estimée à seulement 0,5%, et relève ses perspectives d'inflation à 2,5% pour l'année.Le gouvernement demande aux distributeurs de carburant de répercuter rapidement la baisse des prix du pétrole, le baril de Brent ayant perdu 15 dollars depuis l'annonce d'un accord de paix entre les États-Unis et l'Iran.Selon le baromètre Eurostat, la France se classe 24e sur 27 pays européens concernant le taux d'emploi des jeunes diplômés, le Conseil d'analyse économique proposant des solutions pour stimuler l'emploi des jeunes.Renault annonce un nouveau partenariat avec Thales pour produire à grande échelle un système de munitions téléopérées, dans le cadre du salon Eurosatory.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

KEXP presents Metropolis Ensemble, Erik Hall & Sandbox Percussion performing live in the KEXP studio. Recorded April 10, 2026. Simeon ten Holt: Canto Ostinato (Sections 1-84) Erik Hall - PianoIan Rosenbaum - MarimbaTerry Sweeney - MarimbaJonny Allen - VibraphoneVictor Caccese - VibraphoneKristin Lee - ViolinDavid Leon - Woodwinds Host: Alex RuderAudio Engineer: Kevin Suggs & Jon RobertsAudio Mixer: Kevin SuggsMastering Engineer: Matt Ogaz https://erikhall.bandcamp.com/album/canto-ostinato-2http://kexp.org Join this channel to get access to perks:https://www.youtube.com/channel/UC3I2GFN_F8WudD_2jUZbojA/join Photo by Carlos CruzSupport the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

Jared Shaw didn't build his career on one big break.He built it on being ready.National tours of Beautiful: The Carole King Musical and The Book of Mormon. Broadway sub credits on Tommy, Boop! The Musical, Beaches, and more. Four years as the drummer for Billy Mira & The Hitmen on the Howard Stern Show. Percussion guest with the National Symphony of Ghana. First drum chair of the NYU Broadway Orchestra under Ted Sperling. Over 40 theatrical productions in New York City.That's not a resume. That's a body of work built one gig at a time.He also came up the right way — NYU Steinhardt, Percussion Performance, University Honors, with minors in Business of Entertainment and Producing. In this episode, we get into what it actually took. How he approached learning difficult books. How he thinks about subbing. What touring taught him about professionalism. How electronic drumming and programming became part of his toolkit — not as a novelty, but as a necessity.We also talk about his studies with James Saporito, Shawn Pelton, and Valerie Naranjo. Three teachers who shaped how he hears music and approaches the instrument.This is a conversation about longevity. About what it actually takes to last in this business. About being the kind of drummer people call — and call back.If you're serious about how to get into subbing on Broadway, or getting a tour, this one's worth your time.For more: https://www.jared-shaw.comClayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career.His Broadway credits include Memphis, Lady Day at Emerson's Bar and Grill, Ain't Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Episode 499 - Matthew Hinkle Pete's Percussion Podcast No File Recent Master of Music in Percussion Performance graduate from the University of Missouri Matthew Hinkle stops by to talk about his Master's degree recital program (03:35), his graduate assistantship duties in percussion and recording services (11:10), his interactions with the Mizzou faculty, his enjoyment of the grad cohort there, and his future in percussion (29:00), growing up in the St. Louis area, getting into percussion, and his years in DCI and WGI (44:40), his time attending community college while prepping for DCI auditions as well as getting starting working with high school drumlines (01:00:45), his undergrad years at Lindenwood University (MO) (01:07:15), his path to getting to Mizzou and more about his time as a percussion student (01:16:10), and finishes with the Random Ass Questions, including segments on WGI and DCI and how they supplement the undergrad percussion student, the bad movie Anaconda, cooking, great books, classic video games, and the music of Richard Strauss (01:27:20).Finishing with a Rave on the 2026 film I Love Boosters (01:54:40).Previous Podcast Guests mentioned: Megan Arns in 2016Julia Gaines-Montag in 2016Troy Hall in 2020Clif Walker in 2021Connor Stevens in 2021Other Links:Great Plains International Marimba Competition“Caleidoscopio” - Gene Kosinski“Canaries” - Elliot Carter“The Anvil Chorus” - David Lang“Khan Variations” - Alejandro Viñao“White Pines” - Michael BurrittThe Missouri SymphonyBlue Devils DCIFreedom Percussion WGI2019 Blue Devils showSebastian BuhtsDavid ArnsInterstellar trailerAnaconda trailerThe Percussionist's Art - Steven SchickMeditations - Marcus AureliusGone With the Wind - Margaret MitchellMusashi's DokkodoDOOM trailerDiablo IV trailerImo's PizzaEin Heidenleben - Richard StraussRaves:I Love Boosters trailer

PERCUSSION JUNCTION EP. 7 Show: Percussion Junction Artist: Ace Vedo Guest: MNX Air Date: 12 June 2026 Genre: House / Tech House / Progressive House / Jungle / Deep House Welcome to Percussion Junction Ep. 7 featuring Tampa, Florida's rising star dj/producers MNX. MikolAngelo and Xplicid formed MNX in 2020 and has been non stop ever since. These 2 together create a high energy force sure to rock any dance floor. Be sure to follow MNX on their journey @mnxmusic. Also Ace Vedo premieres her remix to Madonna's new track "Free" Thank you for listening! Tracklist: ACE VEDO TRACKLIST 1. LENNON (US)- Doing This (Extended) 2. RAFFA GUIDO, Stankisswell- Kitto (Extended) 3. Jesus Fernandez, Karl8 & Andrea Monta - Music Is The Answer (Dancin' And Prancin') (Extended) 4. Madonna- Free (Ace Vedo Remix) 5. REBRN - For Your Head (Original Mix) 6. Doc Du Funk - Get On (Extended) 7. MNX- Sem Parar (Extended) 8. Loz Seka - Venta (Original Mix) MNX TRACKLIST 1. MNX - Flavor (Extended) *unreleased* 2. Zero Point (ITA) - Shake That (Extended) 3. RSquared - Bring That Heat (Extended) 4. MNX - I Can Be A Freak (Extended) *unreleased* 5. TeeDee - i been goin' crazy (Extended) 6. Reuben Hurter - All these wires (Extended) 7. Gianni Firmaio - Rock N Roll (Extended) 8. MNX - Ol Skool Freek (Extended) *unreleased* 9. Masters At Work - Work (DASIC REMIX) Originally broadcast on Data Transmission Radio. Listen live and explore the archive: https://radio.datatransmission.co

On this episode of The Bandwich Tapes, I sit down with legendary percussionist Luis Conte for a conversation that goes far beyond music, into life, freedom, faith, and the deep roots of rhythm.  Luis has played with just about everyone, from James Taylor to Pat Metheny, and has been a defining voice in modern percussion for decades. But what struck me most in this conversation is not just what he's played, it's how he thinks about music and where it comes from.We begin with where he is today, working out of his home studio and navigating the modern recording world. Luis strikes a balance between convenience and connection, the trade-off between recording alone and the magic that happens when musicians are in the same room together.  From there, we get into one of my favorite parts of the conversation: the relationship between drummer and percussionist. Luis has such a simple and powerful philosophy: don't overthink it. Listen. Let the music tell you what to play. It's a reminder that great musicianship is often about awareness, not complexity.Luis then shares his incredible personal story, growing up in Cuba, being immersed in music from an early age, and eventually leaving the country as a teenager. What follows is a story of sacrifice, resilience, and ultimately freedom. His reflections on that experience are deeply moving and provide valuable context for the way he approaches music and life.We also talk about his journey into the Los Angeles music scene, the importance of relationships, and what it really takes to build a career: not just playing well, but being someone people want to be around. Along the way, he shares stories about working with some of the greats, including the late Carlos Vega, whose impact on musicians runs deep.  Toward the end, we get into his work with Pat Metheny and the idea of trusting great musicians to bring their own voice to the music. It's a theme that runs throughout the entire conversation. Music isn't something you force; it's something you respond to.This is a conversation about feel, about listening, and about the life experiences that shape the way we play.Key TakeawaysLuis Conte explains why listening, not thinking, is the foundation of great percussion playing.He shares the nuanced role of a percussionist alongside a drummer and how to complement the music.Luis reflects on his journey leaving Cuba and the profound meaning of freedom in his life and career.We discuss how early musical exposure shaped his instincts long before formal training.Luis emphasizes that relationships, attitude, and reliability are just as important as musicianship.He shares stories about Carlos Vega and what made him such a special musician.Luis talks about working with Pat Metheny and the importance of trusting artists to bring their own voice.Music from the EpisodeSantiaguero - Ropa Vieja ft. Luis Conte & San MiguelLa Aguita - Ropa Vieja ft. Luis Conte & San MiguelAmerica Undefined - Pat MethenyAbout the PodcastThe Bandwich Tapes is my chance to sit down with musicians, composers, songwriters, and creative artists I admire for honest conversations about craft, collaboration, career, and the deeper musical ideas that shape their work. It's a show about process, perspective, and the stories behind a life in music.Connect with the ShowEmail: contact@thebandwichtapes.com

"Mvura (Shona for "water") was inspired by a field recording captured in the Jardin Majorelle in Marrakesh, Morocco. A space filled with birdsong, flowing water, passing voices, and a calm energy of nature."The composition began with sampling the sound of flowing water from the recording and building an Afro House journey around it. I wanted to fuse the organic atmosphere of the garden with the warmth, rhythm, and uplifting energy of Afro House. Percussion became a central element, reflecting both African and Arab musical textures and the shared sense of movement and celebration found across these cultures."The track progresses slowly and intentionally, allowing elements to unfold naturally ( like water itself). MVURA is meant to feel immersive: a balance between nature and dance, calm and motion, creating a joyful space where listeners can drift and move at the same time."Jardin Majorelle, Marrakesh reimagined by NdiniBeatz.

Episode 498 - Sam Quinones Pete's Percussion Podcast Following Pete's thoughts about his experiences at the Canadian Percussion Network's “The Space Between V” conference, Author and journalist Sam Quinones (The Perfect Tuba) stops by to talk about Sam's career in journalism, growing up in California, crime reporting, and writing about tuba players and band directors (06:05), his relationship with music, his love of various genres and styles, and his background in punk rock (16:20), his first jobs in writing and building his writing skill set, talking to interesting people, and some of his favorite writers (25:00), his early research on the book, Tuba Fats, and Robert Caro (36:05), the connections between addiction and fulfillment through hard work in music, along with the needs of bands directors to become advocates for their work (41:50), and finishes with the Random Ass Questions, with segments on the challenges for young journalists today, The Godfather films, and great music from The Rolling Stones, Sun Ra, and Emmylou Harris (01:05:45).Finishing with a Rave on the Sam Quinones book The Perfect Tuba: Forging Fulfillment from the Bass Horn, Band, and Hard Work (01:20:10).Sam Quinones Links:Sam Quinones' websiteThe Perfect Tuba - Sam QuinonesOther Links:The Stockton RecordThe Los Angeles TimesJune 17, 1994 trailer (The OJ Simpson chase)Folk Music Center“Carol” - The Rolling Stones“Mama Tried” - Merle Haggard“Stand By Your Man” - Tammy Wynette“Jambalaya” - Clifton Chenier“La Puerta Negra” - Los Tigres Del Norte“Sweet Emotion” - Aerosmith“What's Your Name” - Lynyrd Skynyrd“Chain Saw” - The Ramones“Clampdown” - The Clash“California Uber Alles” - Dead KennedysKillings - Calvin TrillinRobert CaroThe Corpse Had a Familiar Face - Edna BuchananOn Writing Well - William ZinsserNever Let Me Go - Kazuo IshiguroThe Godfather trailerThe Godfather Part II trailerGoodfellas trailer“Me and Billy the Kid” - Joe Ely“Space is The Place” - Sun RaQuarter Moon in a Ten Cent Town - Emmylou HarrisRaves:The Perfect Tuba - Sam Quinones

Drei Jahre nach ihrem Debüt präsentiert Marlène Colle mit "Heilige Scheiße" ein Werk, das private Bestandsaufnahme mit politischem Anspruch verknüpft. Zwischen Darkpop und Indie markiert das Album markiert eine thematische Weiterentwicklung von der “Feier der Kaputtheit” hin zu expliziten gesellschaftlichen Analysen. Ihr Debütalbum "Schade kaputt" thematisiert das menschliche Scheitern und den Umgang mit Unvollkommenheit. Und auch auf ihrem neuen Album erforscht sie diese Bilder weiter – taucht aber tiefer ein in das Systemische dahinter. So setzt sich Colle mit Vermögensverteilung ("Kein Arschloch") und zeitgenössischen Schönheitsidealen (“4&fck40") auseinander oder referenziert aktuelle feministische Literatur ("Bald") und entwirft das Szenario einer bevorstehenden gesellschaftlichen Revolution. Zudem findet sich in den neuen Liedern von PAULA PAULA auch immer wieder die Erkenntnis, dass dem Menschsein der konstante Verlust innewohnt. Entstanden ist "Heilige Scheiße" gemeinsam mit Kristina Koropecki (Cello, Backing Vocals und Produktion), Daniel Freitag (Synths, Produktion), Moritz Bossmann (E-Gitarre), Joda Foerster (Drums, Percussion) und Gisbert zu Knyphausen (Bass) im Studio. Die insgesamt zehn Lieder bewegen sich zwischen Chanson-haften Melodien und düsterem Art-Pop – und nach dem freudigen Debüt vor zwei Jahren, folgt mit "Heilige Scheiße" nun der würdige Nachfolger von Marlène Colle, mit dem sie dann im Herbst auf Tour geht.

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

Episode 497 - Candice Hill Pete's Percussion Podcast Kansas City-based freelancing percussionist, educator, Steel Pan artist, composer and arranger Candice Hill stops by to talk about her career in KC and getting started there, along with her time performing with the Kansas City Chiefs drumline (03:45), teaching and performing in town, arranging and composing, and her work “Red City Calypso” (21:30), growing up in Columbia (MO) and her family musical background (34:45), her undergrad years at Missouri State University, marching band and lessons, getting into steel pan performance, and Music Education vs. Music Performance degrees (44:55), attending Northern Illinois University for her master's in Steel Pan Performance, studying with Liam Teague and Cliff Alexis, dealing with performance anxiety, and keeping up with her non-steel band percussion skills (01:04:15), and settles in for the Random Ass Questions, including segments on being a woman in the field of percussion, Pete getting to work with Candice and Emily Lemmermann for the Missouri Mass Steel Band performance last month, Dirty Dancing, Crafts and Baking, experiencing Panorama in Trinidad and Tobago, bad cleaning jobs, and the excellence of Steel Band all over the world (01:27:20).Finishing with a Rave on the 2026 film Michael (01:54:30).Candice Hill Links:Candice Hill's website“Red City Calypso” - Candice HillPrevious Podcast Guests mentioned:Emily Lemmermann in 2019Julia Gaines-Montag in 2016Scott Cameron in 2016Liam Teague in 2025Rich Holly in 2020Raychel Taylor in 2020Amanda Duncan in 2023Elizabeth DeLamater in 2019Other Links:Matt Arnet“Tornado” - Mitch MarkovichJohn PattersonBlast!Al O'ConnorCliff Alexis“Because” - The Beatles“Island in the Sun” - Len “Boogsie” SharpeYuko AsadaMia Gormandy-BenjaminRobert ChappellScott McConnellDirty Dancing trailerUnheard Voices - Myrna NurseCricut crafts“Pan by Storm” - Skiffle BunchBen YanceyRaves:Michael trailer

Performance and Works used with permission from the artist and venue. Founded in Chicago and Led by Bassist Kevin Robert Martinez, Reclamation Band is modern jazz with an open rural backdrop. Its unique combination of composed and improvised elements evokes an array of moods and styles such as Americana, Avante-Garde and Blues. A number of things make this group's sound unique. The first is the equal division between a guitar and two saxophone leads versus a rhythm section that includes Bass and Bass Clarinet along with drums. I'm a sucker for the Bass Clarinet sound and Kevin really understands how to leverage that sound in a way few other composers do. The second is that the group functions more as a versatile collective than as a fixed unit. Some configurations exchange a saxophone for a trumpet while others exclude guitar. Kevin took eight months off from the band before regrouping for a tour in support of their recent release These Roads and the new material shines as a result. Featuring Kevin Martinez on Bass, Anthony Tadeo on Percussion, Dan Bruce on Guitar, Tony Spicer on Bass Clarinet, Chris Coles on Alto Saxophone and Tim McDonald on Tenor Saxophone, and from a July 19th, 2025 performance it's the Reclamation Band…Live at the Bop Stop. You're listening to Reclamation Band. Live at the Bop Stop.

"I steered safely around the lions only featuring a loop of a growl buried towards the end of the piece. I was more intrigued by the sound of insects and cracking undergrowth, moving noises. These were sampled and re pitched. I added kalimba played through a granular effects pedal and it skittered around the mix. Percussion shakes were found sounds of beads brushed on a contact mic. "Finally I added a free form melody via the tocante phashi. This is a solar powered touch synth that has a very esoteric playing style ( live circuit bending) and strange tuning structure. It added a haunting feel as modular synth emulated insect noises and something prowled just out of sight."Serengeti soundscape reimagined by Andy Billington.

Episode 496 - Terry Sweeney Pete's Percussion Podcast Sandbox Percussion Member and Educator Terry Sweeney stops by to talk about his work with Sandbox, their teaching at the University of Missouri-Kansas City and Mannes (NY), and the Bob Van Sice influence (03:50), the beginnings of Sandbox Percussion, Terry's challenges of performing in Sandbox and finishing his master's degree at the same time, the Brooklyn studio, and the challenges and workings of scheduling (19:40), growing up in Michigan, his drumset and drumline background, and connecting with Gwen Dease through Interlochen (57:00), attending Peabody Conservatory (MD) for undergrad and studying with Bob Van Sice, and heading to Yale University (CT) for grad school, continuing with Van Sice, and some of the other folks he worked with during his time there (01:11:00), and finishes with the Random Ass Questions, including segments on working with Andy Akiho, training for triathlons, his fandom for popcorn, and the work Canto Ostinato (01:18:15).Finishing with a Rave on the band Sound Society (01:51:20).Terry Sweeney links:Sandbox PercussionTerry at SandboxPrevious Podcast Guests Mentioned:Victor Caccese in 2019Ian Rosenbaum in 2025Jonny Allen in 2026Gwen Dease in 2017Garrett Arney in 2019Amy Smith in 2018Julie Hill in 2019Julie Davila in 2019David Skidmore in 2025Sean Connors in 2025Peter Martin in 2025Robert Dillon in 2025Other Links:Robert Van Sice“Extremes” - Jason Treuting“Mallet Quartet” - Steve Reich“Drumming” - Steve ReichSo PercussionEighth BlackbirdPat Metheny GroupAntonio SanchezInterlochen“Porgy and Bess” xylophone excerptModern School for Xylophone, Marimba, and Vibraphone - Morris GoldenbergYale Percussion Group“Mirage” - Yasuo SueyoshiPaul Berry“Time for Marimba” - Minoru MikiAftersun trailerA Rainy Day in New York trailerMy Struggle - Karl One KnausgardCanto Ostinato - Simeon ten HoltRaves:Sound Society

On this episode of The Bandwich Tapes, I sit down with percussionist, composer, and educator Michael Burritt for a wide-ranging conversation about teaching, performing, composing, and the responsibility that comes with shaping generations of musicians. Michael reflects on his years at Eastman, the path that brought him there, and the deep sense of purpose he feels in helping students grow not just as players, but as people.We spend a lot of time talking about mentorship and what it means to build a studio culture rooted in excellence, curiosity, humility, and trust. Michael shares thoughtful reflections on former students like Brett Dietz, Jake Nissly, and Peter Martin, and what makes it so meaningful to watch students go on to become artists, educators, and leaders in their own right. What comes through clearly is that for him, teaching has never been about producing one type of player. It has always been about helping each student become more fully themselves.We also dig into the evolution of percussion pedagogy and marimba playing over the last few decades. Michael talks about the opportunities and distractions that come with instant access to recordings, the increasing technical level of incoming students, and the importance of still building a strong pedagogical foundation. He speaks candidly about sound, time, phrasing, touch, and the long arc of helping a student develop an ear that demands more of their own playing.Along the way, we get into composition, repertoire, and how marimba literature has expanded over the course of his career. Michael shares how he approaches writing for the instrument, what happens when non-percussionist composers write for marimba, and why the best music still puts musical meaning ahead of technical display. By the end of the conversation, what lingers most is Michael's humility. For someone who has had such an enormous impact on percussion, he keeps coming back to gratitude, relationships, and the privilege of being part of an art form that is still growing.Key TakeawaysMichael sees teaching as both a musical and human responsibility, with equal emphasis on artistry, character, confidence, and humility.He takes great pride in building a studio culture where students are challenged, supported, and encouraged to develop their own distinct musical identities.Today's percussion students often arrive with higher technical ability and more exposure to recordings, but not always with the same step-by-step pedagogical grounding.For Michael, great playing starts with the ear: students have to hear the sound they want deeply enough that their hands learn how to produce it.He believes percussion pedagogy still needs more repertoire that bridges the gap between intermediate literature and major large-scale works.As a composer, he moves between the instrument and the keyboard, always trying to balance intuitive writing with musical structure and instrumental understanding.When he reflects on legacy, he returns less to accolades and more to relationships, student growth, and the chance to remain part of his students' lives long after they leave school.Music from the EpisodeMichael Burritt - Sweet Dreams and Time MachinesMichael Burritt - Burritt VariationsMichael Burritt - Into the AirMichael Burritt - White PinesAbout the PodcastThe Bandwich Tapes is a podcast where I sit down with musicians, composers, educators, and creative artists for thoughtful conversations about craft, collaboration, career, and the deeper stories behind a life in music. It's a space for honest dialogue, musical curiosity, and the kinds of conversations that go beyond the surface.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with composer Adam Schoenberg for a thoughtful and deeply human conversation about artistic identity, creative conviction, and the long arc of a life in music. Adam reflects on the early success of Finding Rothko, the orchestral work that helped put him on the map, and what it means to look back on a piece written in his twenties with both gratitude and perspective.We talk about the tension between writing to please others and writing from a place of honesty. Adam shares a formative story from his student years about reshaping a piece to fit institutional expectations, only to realize later that the version that truly sounded like him was the one that opened doors. It leads us into a wider conversation about tonality, contemporary classical music, and why he believes today's musical landscape is more open to different kinds of expression than it once was.Adam also opens up about mentorship, education, and the very different kinds of teachers who shaped him along the way. We discuss studying with John Corigliano, the emotional difficulty of feeling artistically out of place as a young composer, and how those experiences ultimately influenced the kind of teacher he wanted to become for his own students.One of the most moving parts of our conversation centers on Adam's recent health crisis and the way it has changed his relationship to composing, ambition, and time. He speaks candidly about depression, survival, recovery, and the vulnerability of returning to the page after a long silence. We also talk about his percussion concerto Losing Earth, his collaborative relationship with percussionist Jake Nissly, and a powerful new work on the horizon: a Concerto for Body that explores illness, healing, and the orchestra as a living system.Key TakeawaysAdam Schoenberg's breakout orchestral work, Finding Rothko, launched his career and continues to resonate with audiences nearly 20 years later.He learned early on that shaping music to satisfy gatekeepers can come at the expense of artistic truth.Studying with mentors like Robert Beaser and John Corigliano helped him refine both his craft and his confidence as a composer.Adam sees today's classical music world as more stylistically open, with greater room for composers to write in an authentic voice.His percussion concerto Losing Earth, written for Jake Nissly and the San Francisco Symphony, grew out of a highly collaborative process and a desire to create an immersive musical experience.A serious medical crisis took Adam away from composing for nearly two years and forced him to rethink identity, ambition, and what kind of work still matters to him.His upcoming Concerto for Body reflects a new creative chapter shaped by illness, survival, and the experience of coming back.Music from the EpisodeAdam Schoenberg - American Symphony - I. Fanfare - Kansas City Symphony (Michael Stern, Conductor)Adam Schoenberg - Finding Rothko - III. Red - Kansas City Symphony (Michael Stern, Conductor)Adam Schoenberg - Losing Earth: Concerto for Percussion & Wind Ensemble - The University of Texas Wind Ensemble (Jerry Junkin, conductor) - Jake Nissly - percussionAbout the PodcastThe Bandwich Tapes is a podcast where I sit down with musicians, composers, songwriters, and creative artists for honest conversations about craft, collaboration, career paths, and the deeper stories behind the work. It's a space for thoughtful musical dialogue, with a focus on process, perspective, and the lived experience of making art.Connect with the ShowEmail: contact@thebandwichtapes.com

California-based Percussionist, Educator, and Adjudicator Genevieve Hilburn returns for Part 2 of our conversation! She's here to discuss getting into the Master's Program at East Texas A&M University, studying with Brian Zator and his community of percussion experts, and the focus on developing young percussionists there (04:20), Genevieve's experiences with the drumline at the school, her post-master's degree plans, getting her jobs at CSU-Bakersfield and Bakersfield College, and her thoughts on the job considerations and preparations for graduate students (27:05), and she settles in for the Random Ass Questions, including segments on counting rests, being a woman in the percussion world, “programmatic intent”, vintage clothing and furniture, Wes Anderson Movies, great books, Australia, the Blue Coats, and so much more (48:50).Finishing with a Rave on the books that supported Pete's teaching of his Music and the Movies course at Mizzou (01:35:40).Genevieve Hilburn Links:Part 1 with Genevieve HilburnGenevieve Hilburn's Bakersfield College pagePrevious Podcast Guests Mentioned:Britton-René Collins in 2023Brian Zator in 2017Lauren Teel in 2017The Vesna Duo in 2022Louis Raymond-Kolker in 2024Mark Ford in 2023Julie Davila in 2019Kathryn Irwin in 2024Alexis C. Lamb in 2021Gwen Dease in 2017Casey Cangelosi in 2017Kevin Bobo in 2017Victoria Sparks in 2018Other Links:Sean ClarkCavaliers 1995 DCI Show - “The Planets”Chad FloydPius CheungJeff AusdemoreSandi RennickGreg PowerMatthew HowardKenneth McGrathNancy ZeltsmanJi Hye JungGunne Sax clothesMoonrise Kingdom trailerThe Grand Budapest Hotel trailerThe Royal Tenenbaums trailerFantastic Mr. Fox trailerStar Wars, Episode 1: The Phantom Menace trailerTo Kill a Mockingbird - Harper LeeBraiding Sweetgrass - Robin Wall KimmererDashner Design and RestorationThe Crocodile HunterH-E-B Tres Leches CakeTIERRAS South Texas Percussion Competition2019 Blue Coats WarmupRaves:Audio-Vision: Sound on Screen - Michel ChionReel Music: Exploring 100 Years of Film Music - Roger Hickman

On this episode of The Bandwich Tapes, I sit down with composer, performer, and educator Casey Cangelosi for a conversation that moves comfortably between teaching, podcasting, composing, and the realities of building a life in the percussion world. Casey teaches at James Madison University, where he directs a busy percussion studio and constantly balances artistic ambition with the practical challenges of giving students meaningful performance opportunities.We talk about how he approaches programming percussion ensemble, often leaning toward smaller-group repertoire that allows more students to develop chamber instincts and real musical ownership. That naturally leads into a larger discussion about education, specifically the gap that can exist between strong performance skills and deep knowledge of repertoire. Casey makes a compelling case for listening, score study, and curiosity as essential parts of becoming a complete musician.A big part of Casey's recent creative life has been the Percussion Podcast, where he hosted more than 300 episodes of conversations with percussionists and composers. He reflects honestly on what that project gave him, as a communicator, teacher, and community builder, as well as the real workload of producing that many episodes and the challenge of keeping conversations fresh over time.We also spend time inside Casey's composing process. He talks about the difference between writing for hands versus writing for humans, and how limitations, instrumentation, skill level, or context can actually unlock more interesting musical ideas. Increasingly, he's thinking about accessibility in repertoire: writing music that still feels compelling but can reach more performers instead of only fitting one ideal player.Toward the end, Casey shares some of the unexpected places his music has recently appeared, including projects connected to theater, dance, and visual art, from a performance context in Mannheim, to an installation tied to Ligeti's 100 Metronomes, to a circus production in Italy using his piece Bad Touch. It's a reminder that percussion music continues to travel in surprising directions.Key TakeawaysTeaching requires balancing artistry and logistics — ensemble programming often means finding ways for more students to perform meaningfully.Listening and score study deepen musicianship — strong playing should be paired with a deep knowledge of repertoire.Podcasting builds community but demands consistency — producing hundreds of episodes requires serious time and energy.Constraints can unlock creativity — limitations often lead to stronger compositional ideas.Writing for performers matters — accessible repertoire can reach more musicians without sacrificing musical depth.Percussion music is expanding beyond traditional venues — Casey's work now appears in theater, visual art, and interdisciplinary projects.Curiosity fuels long careers — staying open to new contexts keeps creative work evolving.Music from the EpisodeScry - Casey CangelosiBlink - Casey CangelosiThe Big Audition - Casey CangelosiLigeti: Symphonic Poem for 100 Metronomes - Casey CangelosiAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

KEXP presents Home Front performing live in the KEXP studio. Recorded March 25, 2026. Light Sleeper Watch It Die Between The Waves Eulogy The Vanishing Clint Frazier - Synths, Keys, Drums, Percussion, Drum Machines & Programming Graeme MacKinnon - Guitar, Bass, Vocals Brandi Strauss - BassIan Rowley - Guitar, Vocals Warren Oostlander - Drums, Percussion Host: West Keller Audio Mastering & Engineer: Kevin Suggs https://www.homefrontband.comhttp://kexp.org Join this channel to get access to perks:https://www.youtube.com/channel/UC3I2GFN_F8WudD_2jUZbojA/join Photo by Carlos CruzSupport the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

California State University – Bakersfield and Bakersfield College Percussion Professor Genevieve Hilburn stops by to talk about her teaching at both schools (04:20), the influence of DCI and WGI on teaching in California schools and the challenges of teaching in the performing arts (15:00), getting into the WGI judging circuit, her work with the Percussive Arts Society and her freelancing career (29:45), growing up in Southern California, her early years in music, and her time in the Girl Scouts (49:40), and her time in undergrad at the CSU – Northridge (01:01:50).Finishing with a Rave on a recent performance with the Missouri Symphony on their “Best of Broadway” concert (01:08:00).Genevieve Hilburn links:Genevieve Hilburn's Bakersfield College pagePrevious Podcast Guests mentioned:Britton-René Collins in 2023Brian Zator in 2017Lauren Teel in 2017The Vesna Duo in 2022Louis Raymond-Kolker in 2024Other Links:James Logan Band and Color GuardSandi RennickJeff AusdemoreDavid WalkerJohn Luther AdamsKai StrobelJohn MagnussenAaron SmithRaves:The Missouri Symphony Orchestra

KEXP presents Cochemea performing live in the KEXP studio. Recorded March 11, 2026. 1. Otros Mundos2. Ancestros Futuros3. Omeyocan4. Pyramid Of The Sun5. The Land Swallowed Them Whole Cochemea Gastelum - Sax, ShakersElizabeth Pupo Walker - Congas, Bongos, African Tom, PercussionElenna Canlas - Keys, Percussion, VocalsGeoffrey Mann - Drums, Percussion, ShekeneJustin Kimmel - Bass, Percussion, Vox Host: Kevin SurAudio Engineer: Kevin SuggsMastering Engineer: Matt Ogaz https://www.cochemea.comhttp://kexp.org Join this channel to get access to perks:https://www.youtube.com/channel/UC3I2GFN_F8WudD_2jUZbojA/join Photo by Carlos CruzSupport the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

Rhonesha Byng has a mantra: No one ever slows her agenda. It's motivated her for the last 18 years of building her award-winning digital media company, and provided its name - Her Agenda - with the goal of providing resources and inspiration for professional women as they ascend in their careers. Core to this mission is autonomy - as a critical element underlying the success of her audience, and for Rhonesha herself. In her two decades building Her Agenda, Rhonesha has retained 100% ownership and control, which has served her as she's navigated the shifting, roiling media landscape with the agility required to adapt. In this episode of The Breadwinners, host Rachael Lowell talks to Rhonesha about why it's crucial for women to prioritize their own power, why community is her secret weapon, and what it takes to build something that lasts. SHOW NOTES Rhonesha Byng Her Agenda Social: Rhonesha Byng IG Rhonesha Byng Linkedin Her Agenda IG Her Agenda Linkedin Croutons: ⁠Her Agenda Podcast Her Agenda Live⁠ Her Agenda Breakthrough Grant Her Agenda Groundbreakers *** "The Breadwinners" Season 7 is a joint production between Reworking Leadership and The Smart Friends Network, generously supported by Ruth Ann Harnisch. "The Breadwinners" was founded by Rachael Lowell and Jennifer Owens in 2019.Host: Rachael LowellExecutive Producers: Rachael Lowell, Rachel SklarAudio Engineer: Ron PassaroOriginal Music: "Perfect" by Hannah BakkeRick Snell: GuitarCesar Moreno: BanjoNyssa Grant: FiddleErik Alvar: BassJustin D. Cook: Keyboard, Percussion, and OrchestrationVocals: Hannah Bakke, Cassidy StonerHannah Bakke: Music and Lyrics To stay up to date with The Breadwinners, please follow us on Instagram: https://www.instagram.com/thebreadwinnerspodcast Find Rachael Lowell at https://reworkingleadership.com & take the SHIFT assessment here: https://leadtheshift.ai If you enjoyed this episode, please subscribe, rate, review & share! Thank you for listening. Still we rise! Learn more about your ad choices. Visit megaphone.fm/adchoices

Maryland-based Freelancing Percussionist, Recording Artist, Composer, Author and Admissions Counselor Jenna Duranko stops by to talk about her career, her seminary studies, playing in senior-living spaces, and her recent album Mosaic (04:20), growing up in Frederick (MD), her early musical background in choir, piano and French horn, and her time in the girl scouts (24:00), attending Radford University (VA) for undergrad, recent podcast guest Meridythe Witt, becoming a percussion major and starting from scratch, and majoring in Music Business (34:20), her 7 years working in radio, creating a career through solo marimba performance, how the pandemic changed her career and called her towards ministry, and her current composition project (53:40), and settles in for the Random Ass Questions, including segments on why musicians always need to be paid, Tervis Tumblers, the band B*Witched, The Pittsburgh Steelers, library work, Macado's Restaurant, and the Artemis II (01:12:40).Finishing with a Rave on Pete's experiences with the 2026 Missouri Day of Percussion and co-leading the Mass Steel Band (01:38:15).Jenna Duranko links:Jenna Duranko's Facebook pageJenna Duranko's Instagram pageMosaic - Jenna DurankoPrevious Podcast Guests Mentioned:Meridythe Witt in 2026Jeff Calissi in 2017Megan Arns in 2017Emily Lemmermann in 2019Brian Zator in 2017Connor Viets in 2024Other Links:Robert SanderlLancaster Theological SeminaryPreaching and Music - Catherine Williams“Michi” - Keiko Abe“Wind in the Bamboo Grove” - Keiko AbeTaubmann Museum of ArtNational Ovarian Cancer CoalitionRizpahB*WitchedTervis TumblersThe Legend of Bagger Vance trailerGone with the Wind trailerThe Giver - Lois LowryBen Roethlisberger highlightsAaron Rodgers highlightsMike TomlinMacado'sHighlander PizzaRaves:2026 Missouri Day of Percussion