Podcasts about percussion

Pure Percussion Sample Pack FANTASTiC | 22 April 2026 | 761 MB Hot Grooves are excited to present ‘Pure Percussion Sample Pack', a powerful sample library for Latin Tech House, […]

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.

Ivan Collendavelloo : En l'absence d'un budget à forte portée sociale, Navin Ramgoolam pourrait faire face à de lourdes répercussions politiques. by TOPFM MAURITIUS

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

Bienvenidos al tejado. Hoy, nos acomodamos para escuchar una obra maestra que definió la sofisticación de una de las artistas mas extraordinarias de Brasil. Nos disponemos a desentrañar Línguas e Amores, conocido internacionalmente como Language and Love, grabado por Joyce Moreno en 1991 y publicado por el prestigioso sello Verve. LISTADO COMPLETO DE TEMAS 1-Caymmis — Joyce 2-Language and Love — Joyce 3-Taxi Driver — Joyce 4-Chansong — Joyce 5-Two Or Three Things (Duas Ou Três Coisas) — Joyce 6-Na Casa Do Campeão (Champion's Place) — Joyce 7-Bailarina — Joyce 8-Desafinada — Joyce, Adnet 9-Chica-Chica-Boom-Chic — Harry Warren 10-Arrebenta (Bursting) — Joyce LISTADO COMPLETO DE MÚSICOS Acoustic Guitar – Joyce (pistas: 1, 2, 3, 5, 6, 9, 10), Voice Accordion – Gil Goldstein (pistas: 2) Acoustic Bass – David Williams (2) (pistas: 4, 7, 8) Acoustic Guitar – Joyce (pistas: 1, 2, 3, 5, 6, 9, 10) Acoustic Guitar [Solo] – Rodrigo Campello (pistas: 5) Arranged By – Mario Adnet (pistas: 7) Backing Vocals – Alana Da Fonseca (pistas: 10), Carlos Münhoz (pistas: 10), David Tygel (pistas: 10), Joyce (pistas: 3, 10), Julie Eigenberg (pistas: 10), Lizzie Bravo (pistas: 3, 10), Marta Strauch (pistas: 10), Maucha Adnet (pistas: 10), Rogerio Costa (pistas: 10), Tony Battaglia (pistas: 3), Tutty Moreno (pistas: 10) Bass Clarinet – Bobby Mintzer* (pistas: 6) Cavaquinho [Electric] – Rodrigo Campello (pistas: 3) Cello – John Reed (3) (pistas: 7) Conductor – Richard Eisenstein (pistas: 7) Drums – Bill Stewart (pistas: 4, 8), Ricky Sebastian (pistas: 5), Tutty Moreno (pistas: 1, 3), Tutty Moreno (pistas: 6, 10) Electric Bass – Paul Socolow (pistas: 1, 2, 3, 5, 6, 10) Electric Guitar – Rodrigo Campello (pistas: 5, 10) Flute – Bobby Mintzer* (pistas: 1) Keyboards – Gil Goldstein (pistas: 1, 3, 4, 5, 6) Lyrics By – Antonio Carlos Jobim (pistas: 4), Joyce (pistas: 2, 3, 5, 6, 8, 10), Mack Gordon (pistas: 9) Lyrics By [Additional] – Jon Hendricks (pistas: 3) Lyrics By [Portuguese] – Claudio Nucci (pistas: 8), Mario Adnet (pistas: 8), Oswaldo Santiago (pistas: 9) Mastered By – James Nichols Music By – Antonio Carlos Jobim (pistas: 4), Harry Warren (pista: 9), Joyce (pistas: 1 to 3, 5 to 7, 10), Mario Adnet (pistas: 8) Percussion – Duduka da Fonseca (pistas: 5), Tutty Moreno (pistas: 1) Percussion [Moringa], Agogô – Tutty Moreno (pistas: 10) Percussion, Ganzá – Joãozinho (pistas: 10) Percussion, Ganzá, Tamborim – Duduka Fonseca* (pistas: 3) Percussion, Surdo – Joãozinho (pistas: 3) Piano – Haroldo Mauro* (pistas: 6, 10), Kenny Werner (pistas: 2, 3, 4, 7, 8) Producer – Joyce, Tony Battaglia Producer [Production Assistant] – Lizzie Bravo Strings – The Hampton String Quartet (pistas: 7) Tenor Saxophone – Bobby Mintzer* (pistas: 4, 5) Translated By [Translation Of Portugese Lyrics] – Joyce, Lizzie Bravo Viola – Richard Maximoff (pistas: 7) Violin [1st Violin] – Regis Iandiorio (pistas: 7) Violin [2nd Violin] – Richard Hendrickson* (pistas: 7) Vocals – Jon Hendricks (pistas: 3), Joyce Whistling – Joyce (pistas: 3)

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.

Gugs Mhlungu speaks to Thabo Smol, Award-winning Producer, Percussionist and artists, about his involvement in the Kids Love Jazz event, his transition from house music to jazz, the artists who have shaped his musical journey, and what audiences can look forward to at the upcoming event. Gugs Mhlungu gets you ready for the weekend each Saturday and Sunday morning on 702. She is your weekend wake-up companion, with all you need to know for your weekend. The topics Gugs covers range from lifestyle, family, health, and fitness to books, motoring, cooking, culture, and what is happening on the weekend in 702land. Thank you for listening to a podcast from 702 Weekend Breakfast with Gugs Mhlungu. Listen live on Primedia+ on Saturdays and Sundays from 06:00 and 10:00 (SA Time) to Weekend Breakfast with Gugs Mhlungu broadcast on 702 https://buff.ly/gk3y0Kj For more from the show go to https://buff.ly/u3Sf7Zy or find all the catch-up podcasts here https://buff.ly/BIXS7AL Subscribe to the 702 daily and weekly newsletters https://buff.ly/v5mfetc Follow us on social media: 702 on Facebook: https://www.facebook.com/TalkRadio702 702 on TikTok: https://www.tiktok.com/@talkradio702 702 on Instagram: https://www.instagram.com/talkradio702/ 702 on X: https://x.com/Radio702 702 on YouTube: https://www.youtube.com/@radio702 See 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

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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

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.

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.

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.

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

Percussion auf Benzinkanistern: Dirigent Santtu-Matias Rouvali zeigt in der Isarphilharmonie, wie groovy das BRSO klingen kann. Im Interview spricht er über sein Debüt mit dem Orchester, seine Liebe zu Sibelius und Saunaabende.

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

durée : 00:28:56 - Les émissions culturelles de France Culture - par : Marie Labory - Ambassadrice enthousiaste de son instrument, le méconnu marimba, Vassilena Serafimova s'apprête à prendre la tête des prestigieuses Percussions de Strasbourg et sort un nouvel album, "Melodies in a bottle" avec le Quatuor Ardeo. - réalisation : Laurence Malonda, Boris Pineau, Aïssatou N'Doye, Jules Barbier, Zohra Vignais, Lise Ripoche, Mathi Adjinsoff - invités : Vassilena Serafimova Marimba Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Welcome to episode 6 of Percussion Junction with Ace Vedo. This months episode features the fashionista DJ/Producer DJ Funshine. She is known for her high energy and feel good beats, not only does she throw down on the dance floor she is a fashion icon located in Munich, Germany. Her style and beats electrify any dance floor, from brands like Louis Vuitton to the flashing lights shining the club floors. DJ Funshine has been djing since 2009 and producing music a little over a year. She premieres her first single “Number 9” in this episode stay tuned and thank you for listening! ⚡️Like the Show? Click the [Repost] ↻ button so more people can hear it!

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.

On this episode of The Bandwich Tapes, I sit down with percussionist Jake Nissly, Principal Percussionist of the San Francisco Symphony, for a conversation about what it actually takes to build and sustain a career at the highest level of orchestral playing. Jake's résumé is remarkable, but what stands out even more is the range of hats he wears: orchestral musician, soloist, educator, department chair at the San Francisco Conservatory of Music, drum set player, former drum corps kid, and even Little League coach.We spend time unpacking the reality of orchestral auditions, the intense preparation, the psychological pressure of playing behind a screen, and the almost figure-skating-level precision required to compete in that world. Jake walks through his own path: winning the Detroit Symphony job at 26, then later the Cleveland Orchestra, and ultimately facing the difficult experience of not receiving tenure. Rather than ending his trajectory, that moment reshaped it and eventually led him to the San Francisco Symphony.One of my favorite parts of this conversation centers on Jake's concept of feel. He credits much of his orchestral success to his background in drum set and drum corps, where groove, flexibility, and listening are everything. That experience, he says, translates directly into orchestral playing, even in repertoire like Mahler or Ravel's Bolero, where there's still a pocket to find if you're listening closely enough.We also talk about teaching and the changing landscape for young musicians. Jake shares thoughtful insights about how YouTube and digital access have transformed preparation, often producing incredibly polished players who sometimes struggle to develop ownership, personality, and soul in their playing. It's an honest conversation about pedagogy, resilience, and the kind of musicianship that lifts everyone in the room.Key TakeawaysOrchestral auditions demand extraordinary precision — success often comes down to microscopic musical details.Career paths are rarely linear — setbacks can become turning points rather than endings.Groove matters in orchestral music — Jake's drum set and drum corps background inform his orchestral feel.Listening is the core skill — great musicians adjust in real time to the ensemble around them.Technical mastery alone isn't enough — personality and ownership bring music to life.Teaching requires adapting to new generations — digital resources have reshaped how students prepare.Leadership in music is collaborative — the best players elevate the entire ensemble.Music from the EpisodeJohn Adams - City Noir: I. The City and its Double - St. Louis Symphony (David Robertson, conductor) - Jake Nissly - drum setAdam 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 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

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

Why “Believability” Is Winning WGI 2026 + Full Results RecapYour All-Access Pass to the Marching Arts.WGI 2026 is officially in the books, and one theme stood out across color guard, percussion, and winds: believability. This week, the On A Water Break panel breaks down championship results, performance quality, judging conversations, and what instructors need to rethink heading into next season.Joey Montes is joined by Jeremy Denzer, Haley Harrington, and guest Aaron Ferris for a full weekly episode covering WGI results, DCI Hall of Fame news, and a 60 Second Tech Block on what “performing” really means.Panel:Joey Montes — @marchingbymontesJeremy Denzer — @jeremydenzerHaley Harrington — @h_harrington14Aaron Ferris — @phunky.afTimestamps:00:00 – Intro + Panel Welcom02:45 – 32 Count Life Story: Aaron Ferris08:04 – News: Buc-ee's Ohio Store Chaos at WGI10:05 – DCI Hall of Fame 2026 Announced11:29 – WGI 2026 Color Guard Results Breakdown14:34 – WGI 2026 Percussion Results Breakdown23:12 – WGI 2026 Winds Results Breakdown28:02 – 60 Second Tech Block: What Is Performance Quality?33:23 – Water We Doing: Judging + Social Media Rants47:50 – Gush & Go54:35 – Closing Thoughts + Where to FollowIn This Episode:WGI 2026 Color Guard, Percussion, and Winds resultsWhy believability is separating top groupsDCI Hall of Fame Class of 2026Judging, social media, and educator responsibility60 Second Tech Block: Performance QualityLinks:WGI Scores Hub: https://www.wgi.org/scores/WGI Color Guard Scores: https://www.wgi.org/scores/color-guard-scores/WGI Winds Scores: https://www.wgi.org/scores/winds-scores/DCI Hall of Fame 2026: https://www.dci.org/news/five-to-be-inducted-into-dci-hall-of-fame-class-of-2026/Listen Everywhere: https://plinkhq.com/i/1653637341?to=pageOAWB Website: https://www.onawaterbreak.comAll Links: https://linktr.ee/onawaterbreakSponsor:Guard Closet — https://www.guardcloset.comInstagram: @guardclosetFollow On A Water Break:Instagram/Facebook/TikTok: @onawaterbreak#OnAWaterBreak #WGI2026 #ColorGuard #IndoorPercussion #Winds #MarchingArts

Indiana Band Program Targeted by Politician Sparks National Debate on Music EducationThis Quick Sip dives into a major developing story involving the Westfield High School Band Program and their indoor percussion group following the WGI season.Band Director Andrew Muth joins On A Water Break to explain what happened after a state politician shared a post criticizing the program—bringing unexpected national attention to their students and their work.Rather than reacting negatively, the program used the moment to advocate for music education and support their students.⏱️ Episode Chapters:00:00 – Intro00:21 – Guest Introduction01:03 – 32 Count Life Story02:23 – The Controversy Explained03:54 – Student Impact05:22 – Supporting Students06:02 – Crisis Response Strategy08:24 – How to Support Westfield09:46 – Closing

New York City-based Freelancing Percussionist, Teacher and Composer Caitlin Cawley stops by to talk about her professional life and her work with the percussion groups Talujon and Mantra Percussion (04:20), growing up on Long Island, her musical beginnings, and her time in the Juilliard pre-college program (22:00), attending Boston University and Manhattan School of Music for her undergrad and grad career, and how the pandemic and a health scare changed the scope of her percussion future (47:40), and settles in for the Random Ass Questions, including discussions of her experiences in the percussion world as a woman, great science-fiction books and series, New York Pizza, the New York Rangers, great visual art, and KPOP Demon Hunters (01:17:20).Finishing with a Rave on the 2025 documentary film Thank You Very Much (01:44:40).Caitlin Cawley Links: Caitlin Cawley's websiteTalujonMantra PercussionPrevious Podcast Guests Mentioned:Mika Godbole in 2026Ian Antonio in 2023Maria Finkelmeier in 2018Pablo Rieppi in 2024Other Links:Bash the TrashGreg JukesThe Spence SchoolBrass QueensDewa AlitLa MamaMichael LipseyDavid CossinChristopher Graham“Get Off of My Cloud” - The Rolling Stones“Honky Tonk Women” - The Rolling Stones“Sonic Meditation 1” - Pauline OliverosHypermobilityJonathan HaasGreg GiannascoliSam SolomonTim GenisMatthew PellegrinoThe Fifth Element trailerWhiplash trailerThe Great Cities - NK JemisinThe Dune Series - Frank HerbertUrsula K. Le GuinThe Daevabad Trilogy - S.A. ChakrabortyThe Adventures of Amina al-Sirafi - S.A. ChakrabortyEmpire AI - Karen HaoR.F. KuangKatie LedeckyNew York Rangers 1994 Stanley CupJoe and Sal's PizzaKPop Demon Hunters trailerRaves:Thank You Very Much trailer

Send us Fan MailBorn From Good Times, Bad Times, & the Blues. Herald-Palladium Readers Choice Award Winners of 2024. Best local entertainment and Blues Rock Band. Rodney Mills on Vocals and Guitar, Frank Rotondo on Bass, Billy Canty on Drums and Percussion. Newest EP out in May 2025 with another EP set for late spring of 2026. Breaking boundaries with crossover songs such as Good, Bad, & the Blues, and One Way Woman the Resurrection Blues Band is making waves on both the Blues Radio and Rock Radio Stations. Broke Down In Clarksville has been a favorite on the United Kingdom Radio Circuit as well as Blame Game and Sugar Daddy, while Happy Days has had a contemporary Rock Success. Any way you look at it, the Resurrection Blues Band is focused on not being pigeonholed into one category.Support the showPodcast edited by Paul Martin.Theme song courtesy of M&R Rush.www.rocknrollchicagopodcast.com

At The NAMM Show 2026, Drum Workshop turned its booth into a walk-through of what a modern drum company looks like when craft, heritage, and engineering share the same floor. Scott Donnell, Director of Brand Management at Drum Workshop, Inc., guided us through a lineup that spans the DW Custom Shop, the revived Slingerland Radio King line, Latin Percussion, Pacific Drums and Percussion, and the brand's new DW Manufacturing series. The DW Custom Shop stand is a visible argument for customization as a sonic decision, not just a cosmetic one. Chrome, gold, satin chrome, and black hardware. Polyester sprays, three durable lacquers, exotic plies, and ply wraps. When a drummer specifies wood species, ply count, and grain orientation, they are designing the drum's voice from the inside out. The Slingerland revival gets the faithful-reproduction treatment. Radio King studio kits on display are solid, steam-bent maple shells with the original three-point throw-off and stick saver hoops, built in California. Scott Donnell speaks about the line the way a curator talks about a restoration: get the details right, honor what drummers remember, and let the sound do the rest. Donnell frames DW's innovation as a stack of deliberate decisions rather than a single breakthrough. DW stamps a note into each shell through a process called timbre matching, which ensures the kit is manufactured as a family. Pair that with grain orientation technology, True Pitch tuning, and resonance-focused tom mounting systems, and drummers never end up with an orphan drum in their kit. Marking the tenth anniversary of True Cast, the new DW Manufacturing four by 14 piccolo features a five millimeter sand-cast shell, cast bronze hoops, and fully machined brass and bronze hardware. Only one hundred are being made globally, each arriving in an Anvil flight case. A recent DW video features Dave Elitch and Abe Laboriel Jr. playing the drum with Paul McCartney. The conversation closes on a Red Hot Chili Peppers tour kit gifted to the DW museum by Chad Smith, which will join Neil Peart's and Terry Bozzio's tour kits on display while DW builds Chad new Sonic flight drums for the band's next tour. Pacific Drums and Percussion, LP's top-tuning congas, Tony Escapa's signature hand percussion series, and DWE round out the booth. Drum Workshop is not hiding how the drums get made. Take the tour, take the pictures, watch the videos, and the innovation speaks for itself. This is a Brand Spotlight. A Brand Spotlight is a ~15 minute conversation designed to explore the guest, their company, and what makes their approach unique. Learn more: https://www.studioc60.com/creation#spotlight GUEST Scott Donnell, Director of Brand Management, Drum Workshop, Inc. (DW Drums) LinkedIn: https://www.linkedin.com/in/scott-donnell-2964a129/ RESOURCES DW Drums: https://www.dwdrums.com Pacific Drums and Percussion: https://www.pacificdrums.com DW Music Foundation: https://www.dwmf.org The NAMM Show: https://www.namm.org Are you interested in telling your story? ▶︎ Full Length Brand Story: https://www.studioc60.com/content-creation#full ▶︎ Brand Spotlight Story: https://www.studioc60.com/content-creation#spotlight ▶︎ Brand Highlight Story: https://www.studioc60.com/content-creation#highlight KEYWORDS Scott Donnell, Drum Workshop, DW Drums, Sean Martin, brand story, brand marketing, marketing podcast, brand spotlight, NAMM Show 2026, NAMM 2026, Slingerland, Radio King, Latin Percussion, LP, Pacific Drums and Percussion, PDP, DW Manufacturing, True Cast, custom drums, drum innovation, timbre matching, grain orientation, Chad Smith, Red Hot Chili Peppers, Josh Freese, Tony Escapa, Abe Laboriel Jr, Dave Elitch Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Current Tampa-based Percussion Freelancer and Educator and Retired Director of Percussion Studies at the University of South Florida Bob McCormick stops by to talk about his current life and how he stays healthy (03:40), growing up in Cleveland and Southern California, his early musical influences and his time in undergrad (10:55), his work with the Army band and getting his master's degree (27:30), his year of playing in Harry Partch's Ensemble (36:15), teaching briefly at Florida State University before heading to USF, building the program there, literature choices in the early years, and the importance of investing in recordings (45:00), and settles in for the Random Ass Questions, including his feelings on current percussion literature, the PASIC New Music/Research Day, the musical landscape during the first half of the 20th century, Tony Cirone's “Symphony Special”, and so much more! (01:19:20)Finishing with a Rave about Pete performing How to Train Your Dragon live in concert with the Missouri Symphony (01:39:05).Bob McCormick Links:McCormick Percussion Group HomepagePrevious Podcast Guests mentioned:Lee Hinkle in 2026Kevin von Kampen in 2024Neil Grover in 2023Jeff Moore in 2023Andrea Venet in 2018Chrissie Souza in 2024Sarah Hasekamp in 2024Other Links:Harry PartchDanlee MitchellTony CironeGene KrupaBuddy RichForrest Clark“Zyklus” - Karlheinz StockhausenTom SiwePaul PriceNancy ZeltsmanLeigh Howard StevensEmil RichardsVic Firth“Canaries” - Elliott CarterEd ThigpenLarry AustinStuart Saunders SmithThad AndersonSvet Stoyanov“Synchronisms No. 5” - Mario Davidovsky“Marimbastuck” - Maki IshiiPayton MacDonaldBaljinder SekhonMichael Colgrass2001: A Space Odyssey trailerThe Sound of Music trailerArtful Noise - Tom SiweThe Rest is Noise - Alex RossPierrot lunaire - Arnold SchoenbergWozzeck - Alban BergRaves:How to Train Your Dragon in Concert

WGI 2026 Percussion World Class performers break down the reality of Finals week, show design, and age-out season.This episode features performers from Rhythm X, RCC (Riverside City College), United Percussion, and George Mason University Indoor Drumline — giving a real look inside the highest level of indoor percussion.In this episode:How World Class shows evolve throughout the seasonWhy top groups constantly rewrite and adjust their productionsThe difference between cleaning and designing at an elite levelFinals week mindset and handling pressureThe emotional experience of aging outPanelists:Ari Chervony — United Percussion (Instagram: @ari_chervony)Eitan Chervony — Rhythm X (Instagram: @eitanchervony)Aud Sherrill — RCC (Instagram: @aud.sherrill)Lily Etzel — GMU (Instagram: @lilliannaetzel)Host: Stephen McCarrick (Instagram: @yeahbass)Guest Host: Anne Turner (Instagram: @anne.saber)Follow the Ensembles:Rhythm X — @rhythmxincRCC Drumline — @rccdrumlineUnited Percussion — @unitedpercussionGMU Drumline — @gmudrumlineListen Everywhere:https://plinkhq.com/i/1653637341Watch More:Weekly Episodes: https://youtube.com/playlist?list=PL600p0k2IuT4vhEIgopl8XDO-pU3YOR77Bonus Episodes: https://youtube.com/playlist?list=PL600p0k2IuT5c48Q_cvR1ATvbaQ1QGcN4Sponsor:Guard Closet — https://www.guardcloset.com

Abby Falik is constantly thinking about what it actually means to prepare for a life - not just a career. She took a year off during undergrad to travel Latin America alone, then convinced her university to give her credit for it. She went to business school not because she cared about business, but because she wanted to learn how to work with power. This was the mindset that led to her founding Global Citizen Year, which encourages graduating high school students to take a gap year, and now The Flight School, which takes that thinking one step further, providing fellowships to graduating students for a “launch year” - and for an education that she says is “higher than higher ed.” Abby's thinking about travel, entrepreneurship, self-discovery and lifelong learning is fascinating, and I loved this conversation. We talked about where self-permission comes from, why the most formative learning often happens outside the classroom, and why real change is *always* an inside job. SHOW NOTES AbbyFalik.com The Flight School Taking Flight on Substack Social: https://www.instagram.com/abbyfalik https://www.instagram.com/launchyear https://www.linkedin.com/in/abbyfalik Croutons: Will we choose love, or fear? "We were born to fly." "How does my inner work intersect with my work in the world?" *** 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 Lowell Executive Producers: Rachael Lowell, Rachel Sklar Audio Engineer: Ron Passaro Original Music: "Perfect" by Hannah Bakke Rick Snell: Guitar Cesar Moreno: Banjo Nyssa Grant: Fiddle Erik Alvar: Bass Justin D. Cook: Keyboard, Percussion, and Orchestration Vocals: Hannah Bakke, Cassidy Stoner Hannah Bakke: Music and Lyrics To stay up to date with The Breadwinners, please follow us on Instagram:  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

Pennsylvania State University Percussion Professor Lee Hinkle stops by to talk about all things Penn State, getting hired during the pandemic, negotiating the job, and entrepreneurship classes (03:35), his predecessor Dan Armstrong, the facilities, recruitment, and Penn State football (18:20), freelancing and his faculty teaching load (32:55), his recent album release Modern American Percussion Concerti (41:00), growing up in central Florida, the folk musicians in his family, marching band, drumset, and martial arts (50:20), attending the University of South Florida for undergrad, focusing on percussion and voice performance, and the importance of vocal pedagogy in musical performance (01:02:35), attending the University of Maryland for his master's and doctorate, then transitioning to a faculty position soon after (01:19:20), and finishes with the Random Ass Questions, including the tearing down the silos of the percussion world, his active physical health regimen, student memes, great books, scuba diving and submersibles, and Beethoven's Ninth Symphony (01:35:05).Finishing with a Rave on a recent live performance by the UK band The Last Dinner Party (01:58:40).Lee Hinkle Links:Lee Hinkle's WebsiteModern American Percussion Concerti - Lee HinkleWilliamsport Symphony OrchestraLee Hinkle's Penn State Page21st Century ConsortPrevious Podcast Guests mentioned:Cameron Leach in 2023Dan Piccolo in 2020Gwen Dease in 2017Jauvon Gilliam in 2019Other Links:Dan ArmstrongGregory DraneTonya Mitchell-SpradlinAltoona Symphony OrchestraPennsylvania Chamber OrchestraNittany Valley SymphonyWashington Master ChoraleSignature TheaterBenjamin RamirezNaomi SeidmanMaurice WrightEvelyn Glennie's Concertos pageAmerican Composers Alliance“Conjurer” - John CoriglianoColin CurrieWilliam HudginsKennedy Space CenterPlayalinda BeachRon Jon Surf ShopCarter Beauford“Tom Sawyer” - Rush“The Wanton Song” - Led Zeppelin“What is Hip?” - Tower of Power311 Tiny Desk Concert“Signed, Sealed, Delivered” - Stevie Wonder“Longview” - Green Day“A Love Supreme” - John Coltrane (Elvin Jones, drums)“Smells Like Teen Spirit” - NirvanaIsshin-ryuAnnetta MonroeThe Harry Partch EnsembleLou HarrisonJohn CageJohn TafoyaJohn Tafoya's Orchestral Repertory BooksTony AmesNancy ZeltsmanTim AdamsRobert MarinoShutter Island trailerSigns trailerRachael RayJack Reacher series - Lee ChildThe Devil in the White City - Erik LarsonA Walk in the Woods - Bill BrysonGuns, Germs, and Steel - Jared DiamondCollapse - Jared DiamondPacific Crest TrailStanley SubmarinesNinth Symphony - L.V. BeethovenRaves:The Last Dinner Party's website