Podcast appearances and mentions of Steve Reich

Charlamagne Palestine is an enigma to say the least. Born in 1947 in Brooklyn, New York, he cut his teeth as a sacred singer of Jewish music, a bell ringer for the Episcopal Church, and accompanist to figures as disparate Kenneth Anger, Tiny Tim, and Allen Ginsberg. He is considered to be a founding member of the New York School of Minimalism alongside La Monte Young, Steve Reich, and others; he always found a way to eschew the more conventional means of composition of his contemporaries. His longform—often multimedia and ritual-like—performances utilize repetitive patterns, stuffed animals, cognac, chants, and bright colors. Equal parts visual artist, musician, and performance artist, his playful and deeply emotional performances are something to behold.Music: Strumming Music composed and performed by Charlemagne Palestine (Felmay); Three Perfect Fifths, A Major Second Apart, Reinforced Twice composed and performed by Charlemagne Palestine (Staalpallt Records); Fifths In The Rhythm Three Against Two For Bösendorfer Piano: Part 2 composed and performed by Charlemagne Palestine (Staalpallt Records); STTTTHOMASSS ‘'''''‘''DINGGGDONGGGDINGGGzzzzzzz ferrrr TONYYY'''''''' composed and performed by Charlemagne Palestine (Blank Forms Editions); The Lower Depths composed and performed by Charlemagne Palestine (Barooni)Follow Charlemagne on Instagram.Follow us on Instagram and Facebook.otherminds.orgContact us at otherminds@otherminds.org.This episode of the Other Minds Podcast was hosted and edited by Liam Herb and produced by Joseph Bohigian. Outro music is “Kings: Atahualpa” by Brian Baumbusch (Other Minds Records).

Percussionist Claire Edwardes has spent her career expanding the possibilities of her instrument and championing the music of our time. In this conversation, Claire reflects on her unlikely path from piano to percussion, the technical and physical demands of instruments such as marimba and vibraphone, and the sense of freedom she discovered in playing music without centuries of performance tradition behind it.Claire also traces the evolution of Ensemble Offspring, from a group of Conservatorium students playing “wacky new music” to one of Australia's leading contemporary music ensembles. She discusses the art of commissioning new works, her desire to push the art form forward, and why introducing audiences to unfamiliar sounds is as much about curiosity and connection as it is about the music itself. She also reflects on Ensemble Offspring's decade-long commitment to working with First Nations composers and how those collaborations have reshaped her thinking about creativity and the process of making music.We also hear about the enduring appeal of Steve Reich ahead of Ensemble Offspring's upcoming concert, as well as Claire's newest musical venture, Quartet X, an ensemble bringing together marimba, harp, guitar and violin for some unabashed musical guilty pleasures. Along the way, Claire reflects on turning 50, the pleasures and frustrations of a life spent surrounded by percussion instruments, and why she feels she is playing better, and is happier, than ever.Ensemble Offspring's Reich: Rejoice: Repeat! is on at ACO on the Pier for two concerts on Saturday 12 September, and at The Street in Canberra on Sunday 13 September.

Whatever type of music you love, Rick Rubin has probably left his mark on it. Rubin, a founder of Def Jam Recordings and a former co-chairman of Columbia Records, might be the most influential music producer alive. A very partial roll call of the artists he's worked with: Johnny Cash, Jay-Z, Run-DMC, Eminem, Beastie Boys, Slayer, The Red Hot Chili Peppers, Kanye West, Neil Diamond, Brandi Carlile and Adele. We recorded this in 2023, after Rubin released a fascinating, unusual book, “The Creative Act: A Way of Being.” I'd expected stories of late-night sessions with famous musicians, but instead it read like a spiritual tract. Rubin was offering a guide to how to cultivate the mind states that lead to real creativity. And that's what this conversation was about, too: how to open yourself up more to the world, and learn to trust your own taste. Rubin's advice feels more relevant with each passing year, as technology gets ever better at hacking our attention and the world fills with A.I. slop. So I wanted to share this episode again. Mentioned: The Tao Te-Ching by Lao Tzu, translated by Stephen Mitchell “American Recordings” by Johnny Cash “Pulses” by Steve Reich and Erik Hall “Music for Wobbling. Music Versus Gravity.” by F.S. Blumm and Nils Frahm Album recommendations: “Forever Changes” by Love “The Beatles” by The Beatles “Ramones” by Ramones Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find transcripts (posted midday) and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast, and you can find Ezra on X @ezraklein. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs. This episode of “The Ezra Klein Show” is produced by Annie Galvin. Fact-checking by Michelle Harris. Our senior engineer is Jeff Geld. Our recording engineer is Aman Sahota. Cinematography by Marina King. Our executive producer is Claire Gordon. The show's production team also includes Marie Cascione, Rollin Hu, Kristin Lin, Emma Kehlbeck, Jack McCordick and Jan Kobal. Original music by Pat McCusker. Audience strategy by Shannon Busta. The director of New York Times Opinion Shows is Annie-Rose Strasser. Special thanks to Jon Caramanica, Dan Charnas, Jack Hamilton, Felix Grimm, Carole Sabouraud and Kristina Samulewski. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Sunday hears the latest from China, on the region devastated by flooding, the attempts to get aid to remote areas and the religious landscape of this region, which features in Hindu scripture and is dotted with sacred lakes and sites of pilgrimageUS theology scholar L. Patrick Burrows on Dolly Parton and the influence her theme park, Dollywood had on him as a young gay Christian. A BBC investigation reveals religious hate crime is rising faster than any other recognised form of hate crime in England and Wales -The rate of anti-Semitic hate crime rose by almost three fifths, while anti-Muslim hate crime increased by over a quarter.Against the backdrop of hundreds of church closures in Scotland, we have some good news. Brechin Cathedral, a 800 year old building has been taken over by the community after closing down 5 years ago. As the BBC Proms gets ready to celebrate the 90th birthday of composer Steve Reich, we talk to him about the inspiration he draws from his Jewish heritagePresenter: Emily Buchanan Producers: Catherine Murray & Rebecca Kelly Studio Managers: Scott Henderson & Sharon Hughes Editor: Tim Pemberton

On this episode of The Bandwich Tapes, I sit down with multi-instrumentalist and recording artist Erik Hall to talk about his evolving relationship with minimalist music. We begin with his large-ensemble interpretation of Simeon ten Holt's Canto Ostinato, created in collaboration with Metropolis Ensemble and Sandbox Percussion following a performance at the Brooklyn Botanic Garden.Erik takes me inside the challenges of moving from a solitary, multitracked recording process to an ensemble filled with individual players, instincts, and senses of time. We talk about tempo, repetition, concentration, and how a piece changes when musicians must listen, respond, and move through it together.We also trace Erik's path from childhood classical piano lessons through jazz drumming, rock bands, touring, and record-making. That wide musical background eventually brought him back to the piano and to solo interpretations of works by Steve Reich, Simeon ten Holt, Glenn Branca, Charlemagne Palestine, and Laurie Spiegel.  Along the way, Erik explains how microphone placement and instrumentation helped him build the sonic world of Music for 18 Musicians. He also reflects on the balance between honoring a score and giving himself enough freedom to discover something personal inside it.We close with Erik's return to original composition, the creative discipline of working every day, and the surprising power of writing music that can stand on its own in a single performance. We also talk about his recent time playing drums with Natalie Bergman—and why, behind the kit, feel matters far more than complexity.Key TakeawaysErik's large-ensemble version of Canto Ostinato grew from his 2023 solo recording and an invitation from Andrew Cyr of Metropolis Ensemble.The project began with a 52-musician performance at the Brooklyn Botanic Garden before being refined into a studio recording with Metropolis Ensemble and Sandbox Percussion.Playing repetitive music with an ensemble requires a different kind of attention than building it alone through overdubs, especially when navigating cues, repeats, tempo, and transitions.Erik's background in classical piano, percussion, jazz drumming, guitar, touring, and studio recording all informs the way he approaches minimalist music.While recording Music for 18 Musicians, Erik used instrumentation and microphone placement to preserve the behavior of Steve Reich's arrangement while creating a distinct sonic identity.Years of working on Canto Ostinato have transformed Erik's piano playing and reconnected him with the patient, incremental process of learning music.Erik is now developing original material, including music conceived for solo piano or Fender Rhodes, while also working on a film score and considering future interpretive recordings.Music from the EpisodeMusic for 18 Musicians (Pulses) - Erik HallCanto Ostinato - Erik HallStrumming Music - Erik HallMusic for a Large Ensemble - Erik HallThe Temple of Venus - Erik HallAbout the PodcastThe Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape their creative lives. Hosted by musician Brad Williams, each episode offers an honest, thoughtful conversation with artists, producers, engineers, and other members of the musical community.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with Italian guitarist, composer, producer, and sound engineer Emanuele Naima. Our conversation begins with Steve Reich's music and expands into a thoughtful exploration of sound, collaboration, and the freedom to pursue more than one creative path.Emanuele tells me how his interest in minimalist music and academic research led him to reimagine all three movements of Reich's Electric Counterpoint. By combining classical and electric guitars with synthesizers, handclaps, and snare drum, he honored the composition while creating a distinct atmosphere for each movement: memory, stillness, and conflict.We also trace Emanuele's musical life from beginning classical guitar at eight to completing 12 years of conservatory study. He shares the wonderfully varied music that filled his childhood home, including Pink Floyd, Aretha Franklin, Elton John, jazz, psychedelic music, and Michael Jackson. That open listening continues to shape a career that moves naturally among classical guitar, R&B, funk, ambient music, sound design, production, and live performance.Emanuele also reflects on his work with Puka Shells Bling, the influence of playing funk and dub with other musicians, and the way collaboration changes everything from touch and tone to harmony and time. We close by discussing his ambient compositions, work with dance and choreography, improvised techno, and his willingness to keep experimenting without forcing every musical interest into a single identity.Key TakeawaysEmanuele's reinterpretation of Electric Counterpoint began as part of a potential PhD proposal and later developed into a complete recording project.He combined classical guitar, electric guitar, synthesizers, handclaps, and snare drum while preserving the dynamics and structure of Steve Reich's composition.Each movement became a different image for Emanuele: a memory, a peaceful refuge, and a scene of conflict.Twelve years of conservatory study gave him a classical foundation, while funk, dub, R&B, ambient music, and production expanded his sense of rhythm and sound.His childhood listening moved freely among Pink Floyd, Aretha Franklin, Elton John, jazz, psychedelic music, Metallica, Madonna, Lady Gaga, and Michael Jackson.Playing with other musicians taught Emanuele how touch, energy, harmony, tone, and placement within the beat become part of a musician's identity.Rather than committing to a single narrow path, Emanuele is embracing experimentation across ambient music, dance, live performance, synthesizers, and improvised techno.Music from the EpisodeElectric Counterpoint - I. Fast - Emanuele NaimaElectric Counterpoint - III. Fast - Emanuele NaimaEquilibri - Emanuele NaimaAbout the PodcastThe Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape a creative life. I sit down with musicians, songwriters, producers, and other artists for thoughtful conversations about craft, collaboration, careers, and the moments that happen both on and off the bandstand.Connect with the ShowQuestions, comments, and guest suggestions:contact@thebandwichtapes.com

It's our 150th episode! It's out sixth anniversary and as we head into our seventh year, we thank all of our amazing artists for such great chats, and stunning insights into their musical universes. We also send love to all of our listeners, patrons, and supporters for making this one of the longest-running podcasts in music. Much more to come, so stay tuned!PROGCAST PATRONS get bonus episodes patreon.com/theprogcast Study Drums/Composition/Music with Gregg: https://www.bendianmusic.com GREGG BENDIAN is a percussionist/composer/producer/educator/podcaster from Teaneck, New Jersey. During his wide-ranging career he has toured internationally and recorded with Todd Rundgren, Jan Hammer, The Mahavishnu Project, Keneally-Bendian-Lunn, The Musical Box, John Zorn, Derek Bailey, Nels Cline, Cecil Taylor, Pat Metheny, Ornette Coleman and Zoot Horn Rollo. On the academic front, Gregg develops and teaches courses in studio production aesthetics, music history, and composing/arranging at William Paterson University of New Jersey. For the Yale Oral History of American Music, he has contributed over 100 expansive interviews with major figures including Wayne Shorter, Sonny Rollins, Quincy Jones, Carla Bley and Steve Reich. Bendian is archivist/producer for the Bottom LIne Archive of historic concerts. Recorded over 30 years at the Greenwich Village venue, the series features discs by Jack Bruce with Billy Cobham, The Brecker Bros, Lou Reed/Kris Kristofferson, Pete Seeger/Roger McGuinn, and Doc Watson. An accomplished percussionist and a composer of over 200 works, he has created a body of innovative music for jazz, rock, percussion (solo and ensemble) and mixed chamber groups, which include his Interzone and Trio Pianissimo bands. Gregg's music is published by Iamuziks (ASCAP). Begun in August of 2020, The ProgCast explores the creative process and musical history of a diverse assortment of cutting edge artists. You can also find us on:SPOTIFY: https://open.spotify.com/show/0x9bzb0...APPLE PODCASTS: https://podcasts.apple.com/us/podcast...https://www.bendianmusic.comhttps://open.spotify.com/artist/0HBmV...https://www.bottomlinearchive.comhttps://guides.library.yale.edu/oham/...https://www.mahavishnuproject.comhttps://www.wpunj.edu/coac/department...

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

Waħda mill-aktar mużiċisti u pjanisti ċelebri f'Malta u fix-xena internazzjonali, Gabi Sultana, se tingħaqad mal-Ensemble Offspring f'kunċert li jiċċelebra għeluq id-90 sena tal-kompożitur, Steve Reich nhar is-Sibt 12 ta' Settembru f'Sydney u nhar il-Ħadd 13 ta' Settembru, f'Canberra.

Barring a bin-shaped asteroid strike on the Essex Coast, Nigel Farage will win the Clacton by-election – but his problems won't be over. What will Reform's slippery leader face in the months to come? And can, should, would his party strike a deal with either Restore or the Conservatives? Plus our special guest, journalist Rachel Wearmouth, has the date of the next General Election, for real! And we answer a wealth of YOUR questions in a But Your Emails special.  • Get up to £350 off the Eight Sleep Pod 5 here with the code OGWN.  • Don't miss the Clacton By-Election Emergencycast on Friday 14 August.  • Order the unofficial Count Binface comic here • Questions for But Your Emails? Thoughts? Comments? Email us at ogwn@podmasters.co.uk.  ESCAPE ROUTES • Rachel has been watching the Disney+ crime thriller Furious   • Seth has been re-watching classic psychedelic '60s spy show The Prisoner.  • Jason played Steve Reich's Music For 18 Musicians with Paraorchestra and Charles Hazlewood and you can hear it on BBC Sounds   • Andrew has been listening to the Richard Norris remixes collection Re-Make: Re-Model www.patreon.com/ohgodwhatnow  Presented by Andrew Harrison with Seth Thévoz and Jason Hazeley. Audio Production by Tom Taylor. Art direction: James Parrett. Theme tune by Tom Taylor and Simon Williams. Managing Editor: Jacob Jarvis. Group Editor: Andrew Harrison. OH GOD, WHAT NOW? is a Podmasters production. www.podmasters.co.uk  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Most motion designers add sound design at the very end of a project. But Joe Basile, aka The Chicken, says it should start at the very beginning. And once you hear why, the sequencing is hard to unsee.In this episode of the Styleframe Saturdays podcast, we sit down with award-winning sound designer and composer Joe Basile to explore what happens when audio and motion design collide from the very beginning of a project. Joe breaks down and reveals the sonic philosophy behind his Favorite Mix, including a technique borrowed directly from The Shawshank Redemption to transition music from non-diegetic to diegetic sound.From finding rhythm hidden inside an animation before a single note is played, to knowing exactly when to bring a sound designer into the room, this conversation will shift how you hear your own work.TIMESTAMPS:0:00 – Intro0:37 – Meet Joe Basile: The Chicken16:25 – Original Music vs. Sound Design vs. Sonic Branding21:52 – The Favorite Mix: Crack by Johan Eriksson23:55 – The Shawshank Technique: Diegetic vs. Non-diegetic Music28:53 – How the Attention Economy is Changing Audio Storytelling37:50 – When Should You Bring Sound Design into a Project?40:14 – The "Demo Love" Trap Explained43:23 – Pareidolia: Finding Rhythm Inside Animation53:54 – The Noise Experiment That Won a Motion Award57:03 – Challenges & Rewards58:43 – Favorite Mix Because…CONNECT & FOLLOW:Spotify → https://spoti.fi/3K8UDd7Apple Podcasts → https://podcasts.apple.com/us/podcast/styleframe-saturdays/id1607658120Amazon Music → https://amzn.in/d/0cziMYRNGUEST LINKS/RESOURCES:Joe Basile's Website: https://www.thechicken.net/Cool Edit Pro: https://en.wikipedia.org/wiki/Adobe_AuditionWestern Carolina University: https://www.wcu.edu/Antfood: https://www.antfood.com/Source Connect: https://www.source-elements.com/products/source-connect/Johan Eriksson: https://johaneriksson.co/?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQPOTM2NjE5NzQzMzkyNDU5AAGnZzqyQomWzFCGInTeGkPJXMyxvK1dW26vWkVEuKsbTS4TNliMfUxpr1jxcvE_aem_FABFZpaZ4jop-TJJ4FmaiA“Crack” by Johan Eriksson: https://johaneriksson.co/?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQPOTM2NjE5NzQzMzkyNDU5AAGnZzqyQomWzFCGInTeGkPJXMyxvK1dW26vWkVEuKsbTS4TNliMfUxpr1jxcvE_aem_FABFZpaZ4jop-TJJ4FmaiAThe Shawshank Redemption: https://johaneriksson.co/?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQPOTM2NjE5NzQzMzkyNDU5AAGnZzqyQomWzFCGInTeGkPJXMyxvK1dW26vWkVEuKsbTS4TNliMfUxpr1jxcvE_aem_FABFZpaZ4jop-TJJ4FmaiASteve Reich: https://stevereich.com/“It's Gonna Rain” (1965) by Steve Reich: https://stevereich.com/composition/its-gonna-rain/Hannah Churn: https://www.hannahchurn.com/Todd Churn: https://toddchurn.com/“Night Lights” by Hannah & Todd Churn: https://nightlights.tv/“The Breakout” by Mantas GR: https://mantasgr.com/the-breakoutAdobe Photoshop: https://photoshop.adobe.com/?promoid=HHJ4XB3V&mv=other&mv2=ahome&lang=enAdobe After Effects: https://www.adobe.com/products/aftereffects.html*Riverside: https://riverside.fm/?utm_campaign=campaign_1&utm_medium=affiliate&utm_source=rewardful&via=styleframesatLofi Cassette by Harrison Amer (theme music licensed by Premiumbeat.com, https://www.premiumbeat.com/home)Permissions granted by the artist(s).Our podcast celebrates Motion Ideation — the raw brainstorming, early-stage thinking and lightbulb moments that shape everything before a single design or keyframe exists. Because we believe great motion design starts with one Favorite Frame™ and the fresh ideas behind it.Styleframe Saturdays is a Formerle-branded podcast, and part of the Formerle brand family.*By making a purchase through one of our affiliate links we will get a small commission at no additional cost to you. Rest assured that we would recommend these products regardless of their commission-based opportunities.

The Mikes go deep on the music of Steve Reich. Can they stay aligned or will they phase!?

Doug Aitken's new installation Lightscape has just landed at the Shed in New York. It is many things at once: a seven-screen film, an immersive environment, and a stage for live performances. But at its heart is music. The work unfolds across multiple screens, following different characters as they move through desert scenes, freeways, and other landscapes in flux. What binds those worlds and narratives together is sound.  Aitken built Lightscape around an original song cycle he wrote. The soundtrack also incorporates compositions by Minimalist pioneers like Philip Glass, Steve Reich, and Meredith Monk, performed by the Los Angeles Philharmonic. Last week, the work opened with a live performance by Los Angeles Master Chorale—but they won't be the only musicians activating the installation. Upcoming performances will feature William Basinski, Suzanne Ciani, and the Sun Ra Arkestra. In that sense, Lightscape picks up on a thread that has long run through Aitken's practice.  One of his earliest works, Diamond Sea, was set against an ambient soundtrack featuring Aphex Twin and Nine Inch Nails, among other musicians. His 2012 project SONG 1, a moving-image work projected onto the facade of the Hirshhorn Museum, was built around the song “I Only Have Eyes for You.” And in 2013, for Station to Station, he staged a series of art happenings by transporting artists and musicians by train across America. In an art world that often prefers tidy categories and boundaries, Aitken has built a career out of collapsing them. His works have moved between film, sculpture, performance, and sound, asking viewers to not just look, but to listen, move, and gather. So the ambitious Lightscape felt like the perfect opportunity to speak with Aitken. In his conversation with culture editor, Min Chen, he opened up about working across disciplines, the communal power of live performance, and the role music has played in his life and practice. This episode contains musical excerpts for Lightscape

Doug Aitken's new installation Lightscape has just landed at the Shed in New York. It is many things at once: a seven-screen film, an immersive environment, and a stage for live performances. But at its heart is music. The work unfolds across multiple screens, following different characters as they move through desert scenes, freeways, and other landscapes in flux. What binds those worlds and narratives together is sound.  Aitken built Lightscape around an original song cycle he wrote. The soundtrack also incorporates compositions by Minimalist pioneers like Philip Glass, Steve Reich, and Meredith Monk, performed by the Los Angeles Philharmonic. Last week, the work opened with a live performance by Los Angeles Master Chorale—but they won't be the only musicians activating the installation. Upcoming performances will feature William Basinski, Suzanne Ciani, and the Sun Ra Arkestra. In that sense, Lightscape picks up on a thread that has long run through Aitken's practice.  One of his earliest works, Diamond Sea, was set against an ambient soundtrack featuring Aphex Twin and Nine Inch Nails, among other musicians. His 2012 project SONG 1, a moving-image work projected onto the facade of the Hirshhorn Museum, was built around the song “I Only Have Eyes for You.” And in 2013, for Station to Station, he staged a series of art happenings by transporting artists and musicians by train across America. In an art world that often prefers tidy categories and boundaries, Aitken has built a career out of collapsing them. His works have moved between film, sculpture, performance, and sound, asking viewers to not just look, but to listen, move, and gather. So the ambitious Lightscape felt like the perfect opportunity to speak with Aitken. In his conversation with culture editor, Min Chen, he opened up about working across disciplines, the communal power of live performance, and the role music has played in his life and practice. This episode contains musical excerpts for Lightscape

KERRY MINNEAR of GENTLE GIANT joins me and Adam Minkoff (Graham Nash Band) to celebrate GG;s 1976 masterpiece, INTERVIEW. We actually had the pleasure of listening to the entire album with Kerry and then discussing piece by piece. Lots of cool revelations about Giant making this classic album, only on The ProgCast!PROGCAST PATRONS get bonus episodeshttps://www.patreon.com/theprogcastStudy Drums/Composition/Music with Gregg: https://www.bendianmusic.com GREGG BENDIAN is a percussionist/composer/producer/educator/podcaster from Teaneck, New Jersey. During his wide-ranging career he has toured internationally and recorded with Todd Rundgren, Jan Hammer, The Mahavishnu Project, Keneally-Bendian-Lunn, The Musical Box, John Zorn, Derek Bailey, Nels Cline, Cecil Taylor, Pat Metheny, Ornette Coleman and Zoot Horn Rollo. On the academic front, Gregg develops and teaches courses in studio production aesthetics, music history, and composing/arranging at William Paterson University of New Jersey. For the Yale Oral History of American Music, he has contributed over 100 expansive interviews with major figures including Wayne Shorter, Sonny Rollins, Quincy Jones, Carla Bley and Steve Reich. Bendian is archivist/producer for the Bottom LIne Archive of historic concerts. Recorded over 30 years at the Greenwich Village venue, the series features discs by Jack Bruce with Billy Cobham, The Brecker Bros, Lou Reed/Kris Kristofferson, Pete Seeger/Roger McGuinn, and Doc Watson. An accomplished percussionist and a composer of over 200 works, he has created a body of innovative music for jazz, rock, percussion (solo and ensemble) and mixed chamber groups, which include his Interzone and Trio Pianissimo bands. Gregg's music is published by Iamuziks (ASCAP). Begun in August of 2020, The ProgCast explores the creative process and musical history of a diverse assortment of cutting edge artists. You can also find us on:SPOTIFY: https://open.spotify.com/show/0x9bzb0...APPLE PODCASTS: https://podcasts.apple.com/us/podcast...https://www.bendianmusic.comhttps://open.spotify.com/artist/0HBmV...https://www.bottomlinearchive.comhttps://guides.library.yale.edu/oham/...https://www.mahavishnuproject.comhttps://www.wpunj.edu/coac/department...

durée : 02:28:34 - par : Gabrielle Oliveira Guyon - Au programme ce samedi : Edvard Grieg, Steve Reich, le pianiste Nicholas Angelich, Philip Glass, ou encore Fernandel... - réalisation : Emmanuel Benito, Geneviève Cras Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

In this episode, Dave and Andrew explore Steve Reich's Double Sextet, but can't help but talk about his earlier work. How does this later piece stack up to classics like Music for 18 Musicians? Could we also view this as a lifetime achievement award for a composer whose music would not have been considered for the Pulitzer Prize in the 1970s?      If you'd like more information about Steve Reich, we recommend: Steve Reich, Writings on Music, 1968 - 2000 (Oxford University Press) Steve Reich, Conservations (Hanover) Keith Potter, Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass (Cambridge University Press)

durée : 00:44:22 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Different Trains de Steve Reich et Pulsing de Bryce Dessner partagent une esthétique minimaliste fondée sur une pulsation rythmique continue et une gravité thématique liée à la mémoire. Les deux œuvres pour quatuor à cordes sont réunies au disque par le Quatuor Zaïde. - réalisation : Lionel Quantin, Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:13:02 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Le Quatuor Zaïde met en regard deux oeuvres de Steve Reich et Bryce Dessner, entre minimalisme et énergie rock, entre deux univers où tradition et modernité se fondent dans l'épure, l Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

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

Today, we're putting The Tonearm's needle on George Grella, one of the sharpest music critics working today.George is the music editor of The Brooklyn Rail and has written for The Wire, the New York Times, and, luckily for us, The Tonearm.George just published Minimalist Music, part of Bloomsbury's 33⅓ Genre series. His central argument is that minimalism isn't defined by sparse materials or specific harmonies; it's defined by how it uses time. Understanding that distinction impacts how we approach and hear the music, and what happens to this music when its originators are gone.We talk about that thesis, the line between minimalism and post-minimalism, and what it takes to build a life in music writing. We also take a detour into John Zorn's visual art.The musical excerpts heard in the interview are Terry Riley - “In C” (performed by Bang on a Can All-Stars on the album In C ), Philip Glass - "Music in Twelve Parts: Part 1" (performed by The Philip Glass Ensemble on the album Music in Twelve Parts), and Steve Reich - “Drumming: Pt III” (performed by Steve Reich and Musicians on the album Drumming).—Dig DeeperGuest and BookVisit George Grella Jr. at The Brooklyn Rail where he serves as music editor, and on The Tonearm, where he is a contributorSubscribe to his Substack newsletter, Kill Yr Idols,, and follow him on BlueskyPurchase Minimalist Music (Bloomsbury Academic, 2026) from Bloomsbury, Bookshop.org, Powell's Books, Barnes & Noble, Amazon, or your other retailer of choiceRead Grella's Substack post "Minimalism at the End" — the piece discussed in this episodeGeorge Grella Jr.'s previous book: Miles Davis' Bitches Brew (Bloomsbury, 2015) — part of the 33⅓ seriesKey ComposersSteve Reich — official websitePhilip Glass — official websiteMeredith Monk — official websiteMorton Feldman — WikipediaLa Monte Young — WikipediaArvo Pärt — official websiteLouis Andriessen — WikipediaJohn Zorn — Tzadik websiteKey Works DiscussedMusic for 18 Musicians — Steve ReichElectric Counterpoint — Steve ReichDrumming — Steve ReichDifferent Trains — Steve ReichEinstein on the Beach — Ictus, Suzanne Vega, Collegium Vocale Gent (VLEK, 2025) — the recording discussed in this episodeGlassworks — Philip GlassPanthalassa: The Music of Miles Davis 1969–1974 — reconstructed and mixed by Bill Laswell (Sony, 1998)Kind of Blue — Miles DavisEnsembles and OrganizationsBang on a Can — including the Bang on a Can All-Stars and the annual Long Play FestivalSō Percussion — Grammy-winning percussion quartetIctus Ensemble — Brussels-based contemporary music ensembleReferenced BooksOn Minimalism: Documenting a Musical Movement — Kerry O'Brien and William Robin (University of California Press, 2023)Kerry O'Brien and William Robin on The Tonearm PodcastThe Rest Is Noise: Listening to the Twentieth Century — Alex Ross (Farrar, Straus and Giroux, 2007)ExhibitionJohn Zorn: Hermetic Cartography — The Drawing Center, New York (February 7–May 11, 2025). The exhibition featured drawings, graphic scores, and visual works spanning seven decades of Zorn's practice.—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, we're putting The Tonearm's needle on George Grella, one of the sharpest music critics working today.George is the music editor of The Brooklyn Rail and has written for The Wire, the New York Times, and, luckily for us, The Tonearm.George just published Minimalist Music, part of Bloomsbury's 33⅓ Genre series. His central argument is that minimalism isn't defined by sparse materials or specific harmonies; it's defined by how it uses time. Understanding that distinction impacts how we approach and hear the music, and what happens to this music when its originators are gone.We talk about that thesis, the line between minimalism and post-minimalism, and what it takes to build a life in music writing. We also take a detour into John Zorn's visual art.The musical excerpts heard in the interview are Terry Riley - “In C” (performed by Bang on a Can All-Stars on the album In C ), Philip Glass - "Music in Twelve Parts: Part 1" (performed by The Philip Glass Ensemble on the album Music in Twelve Parts), and Steve Reich - “Drumming: Pt III” (performed by Steve Reich and Musicians on the album Drumming).—Dig DeeperGuest and BookVisit George Grella Jr. at The Brooklyn Rail where he serves as music editor, and on The Tonearm, where he is a contributorSubscribe to his Substack newsletter, Kill Yr Idols,, and follow him on BlueskyPurchase Minimalist Music (Bloomsbury Academic, 2026) from Bloomsbury, Bookshop.org, Powell's Books, Barnes & Noble, Amazon, or your other retailer of choiceRead Grella's Substack post "Minimalism at the End" — the piece discussed in this episodeGeorge Grella Jr.'s previous book: Miles Davis' Bitches Brew (Bloomsbury, 2015) — part of the 33⅓ seriesKey ComposersSteve Reich — official websitePhilip Glass — official websiteMeredith Monk — official websiteMorton Feldman — WikipediaLa Monte Young — WikipediaArvo Pärt — official websiteLouis Andriessen — WikipediaJohn Zorn — Tzadik websiteKey Works DiscussedMusic for 18 Musicians — Steve ReichElectric Counterpoint — Steve ReichDrumming — Steve ReichDifferent Trains — Steve ReichEinstein on the Beach — Ictus, Suzanne Vega, Collegium Vocale Gent (VLEK, 2025) — the recording discussed in this episodeGlassworks — Philip GlassPanthalassa: The Music of Miles Davis 1969–1974 — reconstructed and mixed by Bill Laswell (Sony, 1998)Kind of Blue — Miles DavisEnsembles and OrganizationsBang on a Can — including the Bang on a Can All-Stars and the annual Long Play FestivalSō Percussion — Grammy-winning percussion quartetIctus Ensemble — Brussels-based contemporary music ensembleReferenced BooksOn Minimalism: Documenting a Musical Movement — Kerry O'Brien and William Robin (University of California Press, 2023)Kerry O'Brien and William Robin on The Tonearm PodcastThe Rest Is Noise: Listening to the Twentieth Century — Alex Ross (Farrar, Straus and Giroux, 2007)ExhibitionJohn Zorn: Hermetic Cartography — The Drawing Center, New York (February 7–May 11, 2025). The exhibition featured drawings, graphic scores, and visual works spanning seven decades of Zorn's practice.—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Minimalist music is not about minimal materials. It's about time. It's a process that puts the experience of time into sound. In discussing Minimalist Music, his new book for 33 1/3's GENRE series, musician and critic George Grella, Jr. (Miles Davis' Bitches Brew) looks at the classical music history that pushed composers like Philip Glass, Steve Reich, Meredith Monk, and Arvo Pärt to pursue a musical approach that shunned early 20th Century academic trends and brought classical music back to the public. He also talks about the ways this music interacts with pop culture, through film scores and soundtracks and appearances on TV shows like The Simpsons and Ted Lasso. Hosted and produced by Justin Remer. Recorded remotely via Zencastr. If you like podcasts, maybe you would enjoy audiobooks too. Please out the Skylight Books Podcast playlist of audiobooks featured in our recent Skylit author interviews, on Libro.fm. Opening music: "Optimism (Instrumental)" by Duck the Piano Wire. Closing music: "Rule of 3s (Solemnity Child)" by Elastic No-No Band.

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

This is an excerpt from a patrons-only episode. To hear the full thing, plus dozens more like it, visit Patreon.com/LoveMessagePod.We're back on the tail of Arthur Russell this week, paying close attention to his piece Instrumentals. A large ensemble composition comprised of multiple musical cells and first premiered at The Kitchen while he was music director, this work expresses Arthur's proximity to NYC's post minimalist scene. Jeremy and Tim discuss the works of several of the more prominent composers of that world, including Steve Reich, La Monte Young and Philip Glass, discussing the merits and failures of minimalism and how Arthur's music aligned and diverged. Elsewhere they spend time on Arthur's close friend and collaborator Peter Gordon, spend a moment unpacking Postmodernism, attempt to give a very potted account of just and equal temperaments, and give the stage to Memphis rockers Big Star.www.loveisthemessagepod.co.ukPatreon.com/LoveMessagePodProduced by Matt Huxley.Tracklist:Arthur Russell - Hey! How Does Everybody Know Captain Beefheart - Dachau Blues Arthur Russell - Instrumentals (Live at the Kitchen)La Monte Young - The Well-Tuned Piano Steve Reich - Music for 18 MusiciansHenry Flynt & Nova'Billy — Amphetamine Rhapsody

This week's news stories charge out onto the pitch but which are heading for promotion? In the running at the final whistle … … “a ghoulish, soulless cash-grab”: the multiple disasters in the making of the Michael biopic … how spectacle is replacing music … which do we prefer, the truth or the myth? … did Steve Reich re-invent music? … when the Dalai Lama appeared at Glastonbury … how does it feel to perform to a sea of non-clapping motionless mobile phone users? … the remodelling of Coachella … “producers are in the business of creating of high-profile communal rights” … Vilma Jaa: “like Sandy Denny making music with Massive Attack” … how festivals are all about special guests and social media … the 1974 Diana magazine quiz: “how tall is Alvin Lee?” … 20 year-old Word in Your Ear podcast unearthed! ... plus Luciano Berio, Slow Club and “the bawdy harridan and her jive muse”.Help us to keep The Longest Continuous Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

This week's news stories charge out onto the pitch but which are heading for promotion? In the running at the final whistle … … “a ghoulish, soulless cash-grab”: the multiple disasters in the making of the Michael biopic … how spectacle is replacing music … which do we prefer, the truth or the myth? … did Steve Reich re-invent music? … when the Dalai Lama appeared at Glastonbury … how does it feel to perform to a sea of non-clapping motionless mobile phone users? … the remodelling of Coachella … “producers are in the business of creating of high-profile communal rights” … Vilma Jaa: “like Sandy Denny making music with Massive Attack” … how festivals are all about special guests and social media … the 1974 Diana magazine quiz: “how tall is Alvin Lee?” … 20 year-old Word in Your Ear podcast unearthed! ... plus Luciano Berio, Slow Club and “the bawdy harridan and her jive muse”.Help us to keep The Longest Continuous Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

This week's news stories charge out onto the pitch but which are heading for promotion? In the running at the final whistle … … “a ghoulish, soulless cash-grab”: the multiple disasters in the making of the Michael biopic … how spectacle is replacing music … which do we prefer, the truth or the myth? … did Steve Reich re-invent music? … when the Dalai Lama appeared at Glastonbury … how does it feel to perform to a sea of non-clapping motionless mobile phone users? … the remodelling of Coachella … “producers are in the business of creating of high-profile communal rights” … Vilma Jaa: “like Sandy Denny making music with Massive Attack” … how festivals are all about special guests and social media … the 1974 Diana magazine quiz: “how tall is Alvin Lee?” … 20 year-old Word in Your Ear podcast unearthed! ... plus Luciano Berio, Slow Club and “the bawdy harridan and her jive muse”.Help us to keep The Longest Continuous Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

We examine what our forecast model predicts so far—and consider what might change its confident prediction for one house of Congress and toss-up call for the other. Our correspondent sits down with Steve Reich, a pioneering classical composer who is nearing his 90th birthday. And the surprising reason why firstborns tend to have more-successful lives.Additional music courtesy of Steve Reich (Nonesuch Records), Erik Hall (Western Vinyl)Guests and host:Dan Rosenheck, data editorJon Fasman, senior culture correspondentAinslie Johnstone, data journalistJason Palmer, co-host of “The Intelligence”Topics covered: American elections, Congress, polling, gerrymanderingSteve Reich, contemporary classical musicbirth order, statisticsGet a world of insights by subscribing to Economist Podcasts+. For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

We examine what our forecast model predicts so far—and consider what might change its confident prediction for one house of Congress and toss-up call for the other. Our correspondent sits down with Steve Reich, a pioneering classical composer who is nearing his 90th birthday. And the surprising reason why firstborns tend to have more-successful lives.Additional music courtesy of Steve Reich (Nonesuch Records), Erik Hall (Western Vinyl)Guests and host:Dan Rosenheck, data editorJon Fasman, senior culture correspondentAinslie Johnstone, data journalistJason Palmer, co-host of “The Intelligence”Topics covered: American elections, Congress, polling, gerrymanderingSteve Reich, contemporary classical musicbirth order, statisticsGet a world of insights by subscribing to Economist Podcasts+. For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

Upload for Music class, a quick overview of Steve Reich and his musical career

The one and only! Tune in as we talk to Colin about his newest album release: Steve Reich Sextets (available April 11, 2026). A true pleasure to talk with someone at the top of our field on Steve Reich, chamber music, pedagogy, concertizing, and, briefly, puzzle tables!

durée : 02:28:45 - par : Gabrielle Oliveira Guyon - Au programme ce samedi : Mozart, Paganini, Strauss, Steve Reich, le baryton Gabriel Bacquier dans "Mangez du chou-fleur", le trio Amestoy ou encore le pianiste Bruce Liu. - réalisation : Emmanuel Benito, Geneviève Cras Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

“It's not until you're leading an ensemble that you really figure out how to make the music happen and how to motivate the people around you. It's humbling in a lot of ways, and it's so gratifying. As a conductor, you're providing the framework for musicians to do their best work. Both in the way that you structure rehearsal and the gestures that you are showing the music through, you're creating a scaffolding, inviting people in, and collaborating together. Ideally, you're creating a situation where everybody has ownership of the musical process and the musical result as well.”Grant Gershon currently celebrates his 25th season as the Kiki and David Gindler Artistic Director of the Los Angeles Master Chorale, which he has turned into the "best-by-far major chorus in America” (Los Angeles Times). Earlier in 2026, Grant and the Chorale were honored to receive their second Grammy™ Award for Best Choral Performance, and they have been nominated 3 times in the last 5 years in this category. In 2025 the Chorale was featured on the Academy Awards ceremony, broadcast to over 19 million viewers around the world.A champion of new music, Grant led the world premiere of John Adams' Girls of the Golden West at the San Francisco Opera. He also conducted its European premier at the Dutch National Opera. As Resident Conductor of LA Opera, Grant conducted the West Coast premiere of Philip Glass's Satyagraha, and he led the world premiere of Daniel Catán's Il Postino, subsequently released on Sony Classical Records.Among the highpoints of his tenure with the LA Master Chorale, he twice opened the famed Salzburg Festival—with Orlando di Lasso's Lagrime di San Pietro in 2019 and Heinrich Schütz' Music to Accompany a Departure in 2023. He and the Chorale also performed these works to enormous acclaim in London, Paris, Montreal, Toronto, Chicago and New Zealand.Grant's discography with the Chorale includes recordings of music by Billy Childs, Nico Muhly, Henrik Gorecki, David Lang, and Steve Reich. He has also led the Chorale in performances for motion picture soundtracks, including, at the request of John Williams, Star Wars: The Last Jedi and The Rise of Skywalker.In New York, Grant has appeared at Carnegie Hall, Alice Tully Hall and Trinity Wall Street. Other major appearances include performances at the Ravinia, Aspen, Edinburgh, Helsinki, Salzburg, and Vienna festivals; Teatro Colon in Buenos Aries, the Barbican in London and the Paris Philharmonie. He has worked closely with numerous legendary conductors, including Claudio Abbado, Pierre Boulez, Gustavo Dudamel, Zubin Mehta, Simon Rattle, and his mentor, Esa-Pekka Salonen.To get in touch with Grant, you can email him at ggershon@lamasterchorale.org or find him on Instagram (@the_gershmeister).Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

Principal Percussionist with the San Francisco Symphony and Director of Percussion Studies at the San Francisco Conservatory of Music Jake Nissly stops by to talk about both of his positions, the orchestral auditions process, his mentors, being versatile in many genres of percussion, and his experiences with the Detroit and Cleveland Symphonies (03:30), specifics about the Principal Percussion Duties and the excellence of Davies Symphony Hall (28:30), his teaching position and his recent commissioning projects (35:15), growing up in Iowa, having family in the arts, being a highly motivated young person, making early connections to Northwestern (IL) and percussion versatility (45:50), his undergrad years at Northwestern and studying with Michael Burritt (01:04:10), going to Juilliard (NYC), freelancing in New York, and eventually earning a spot in the New World Symphony (01:14:00), and finishing with the Random Ass Questions, including segments on working with young composers, his personal commitment to physical and mental health and long-distance running all over the world, lots of great books, memorable Chicago Cubs moments in his life, coaching his son's baseball team, and the excellence of Steve Reich (01:20:15).Finishing with a Rave on the 2026 Oscar Nominated Animated Short Films (01:58:40).Jake Nissly links:Jake's SFSO pageJake's SFCM pageJake's Vic Firth pageJake's Aspen Music Festival pageLosing Earth - Adam SchoenbergPrevious Podcast Guests Mentioned:Will James in 2017Steven Schick in 2025Patti Niemi in 2018Matthew Coley in 2021Eric Hollenbeck in 2025David Skidmore in 2025Sean Connors in 2025Peter Martin in 2025Robert Dillon in 2025Other Links:Percussion Concerto - Andy AkihoKatherine SiochiRene OrthPEAUX from Pleades - Iannis XenakisDoug PerkinsMichael Tilson Thomas“Suire for Violin and American Gamelan” - Lou HarrisonSan Francisco Symphony MusiciansMichael BurrittPaul WerticoJames RossGregory ZuberDaniel DruckmanRoland KohloffJoseph PetrasekRobert KliegerEric RenickMichael IsraelievitchSergio CarrenoRichard WeinerMarc DamoulakisCalifornia Percussion & Backline RentalsHow to Write for Percussion - Sam SolomonDavies Symphony HallJack van GeemHaruka FujiTito MuñozClair Omar MusserColts Drum & Bugle CorpsWoody SmithMichael Pfaff (“Tortilla Man”)Bill StewartDave Weckl“If I Wanted To” - Melissa Etheridge“Kiss from a Rose” - Seal“Third Construction” - John CageKris KeetonAnnie Stevens“Michi” - Keiko AbeEric GarciaBrett Dietz“Kin” - Pat MethenyThe Usual Suspects trailerGhostbusters trailerGroundhog Dog trailerThe Matrix trailerBarbie trailer1984 - George OrwellOn the Road - Jack KerouacKafka on the Shore - Haruki MarukamiAbsolutely on Music: Conversations on Seiji Ozawa - Haruki MarukamiMusic Has a Right to Children - Boards of CanadaCubs win the World SeriesThe Bartman IncidentB-Bop'sMusic for 18 Musicians - Steve ReichMallet Quartet - Steve ReichDrumming: Part 1 - Steve ReichMusic for Pieces of Wood - Steve ReichClapping Music - Steve ReichRaves:The 2026 Oscars Animated Film Shorts Nominees

On this episode of The Bandwich Tapes, I sit down with drummer and composer Beth Goodfellow, a musician whose touch, curiosity, and musical sensitivity have made her a sought-after collaborator across genres.We begin with her long musical relationship with Iron & Wine, and how working with Sam Beam has shaped the way she thinks about rhythm and ensemble playing. Beth shares how Sam's drummer-minded approach to guitar creates a uniquely interactive musical space, and why that dynamic has been such a natural fit for her instincts as a drummer.We also talk about Beth's recent move from Los Angeles to Tucson, Arizona, a shift that has reinvigorated her creative life. After spending nearly 350 of 500 days on the road, she made the intentional decision to lower her overhead, slow down, and build space for new creative work. Tucson's vibrant music community—connected to artists like Calexico and Giant Sand—has quickly become a new source of inspiration.One of the most fascinating parts of our conversation is Beth's marimba looping project. What began as a pandemic experiment—exploring Steve Reich–inspired patterns she could sing over—has grown into a fully realized live performance concept. She explains her intentionally simple setup (two SM57s and a Boss looper) and how she's now expanding the music into a band context.Along the way, we explore her journey through trad jazz gigs in Northern California, classical percussion studies at San Jose State, touring with the Air Force National Guard Band, restaurant gigs that taught her the art of playing softly, and recording live with pianist Matt Rollings at Valentine Studios. It's a conversation about nuance, groove, mentorship, loss, and the importance of carving out time and space to build something of your own.Key TakeawaysWhy Beth Goodfellow's musical chemistry with Iron & Wine works so naturallyHow moving from Los Angeles to Tucson reshaped her creative lifeThe story behind her marimba looping project and minimalist gear setupLessons learned from early trad jazz gigs and restaurant performancesRecording live in the room with Matt Rollings at Valentine StudiosWhat it means to step fully into your own artistic lane after years as a collaboratorPeople MentionedBeth GoodfellowSam Beam (Iron & Wine)Matt RollingsSteve ReichArtists connected to CalexicoArtists connected to Giant SandMusic from the Episode:Reconnecting the Disconnect (Beth Goodfellow)Shut Up Moon (Part 2) (Beth Goodfellow)Travellers Prayer (Beth Goodfellow)San Joaquin (Beth Goodfellow)Groove with a View (Matt Rollings)About the PodcastThe Bandwich Tapes explores the craft of music through thoughtful conversations with the artists who make it. Each episode dives into creative process, collaboration, touring life, and the stories behind the music.Connect with the ShowIf you have questions, feedback, or ideas for future guests, feel free to reach out:

Today we're putting The Tonearm's needle on musician and composer Erik Hall.Based in Michigan, Erik Hall has spent the last five years doing something that sounds simple but definitely is not: recording landmark works of contemporary classical music entirely on his own.Erik's 2020 solo reconstruction of Steve Reich's Music for 18 Musicians won the Libera Award for Best Classical Record. Reich wrote to tell him he'd reinvented the piece. A 2023 interpretation of Simeon ten Holt's Canto Ostinato followed, and now Hall has completed the trilogy. Solo Three came out in January on Western Vinyl, and it takes on works by Glenn Branca, Charlemagne Palestine, Laurie Spiegel, and Reich again—every note performed and recorded by Hall himself, no loops, no sequencers.Erik is here to walk us through the project and the thinking behind it. Enjoy.(The musical excerpts heard in the interview are from Erik Hall's Solo Three) ---Dig DeeperArtist and AlbumsVisit Erik Hall at erikhall.net and follow him on Instagram, Bluesky, and Facebook.Purchase Erik Hall's album Solo Three from Western Vinyl, Bandcamp , or Qobuz, and listen on your streaming platform of choiceListen to and purchase Music for 18 Musicians (Steve Reich) — Erik Hall's first volume — on BandcampListen to and purchase Canto Ostinato (Simeon ten Holt) — Erik Hall's second volume — on BandcampErik Hall's catalog at Western VinylComposers Featured on Solo ThreeSteve Reich — composer of Music for a Large Ensemble and Music for 18 MusiciansSteve Reich — "Music for a Large Ensemble"Steve Reich — Octet / Music for a Large Ensemble / Violin Phase Glenn Branca — composer of "The Temple of Venus Pt. 1"Charlemagne Palestine — composer of "Strumming Music"Strumming Music (original 1974 Shandar recording)Laurie Spiegel — composer of "A Folk Study"The Expanding Universe on Bandcamp — the album containing "A Folk Study"Bandcamp Daily — Laurie Spiegel feature — background on Spiegel's influence, relevant to Hall's treatment of her workEarlier Composer in the TrilogySimeon ten Holt — Dutch composer of Canto Ostinato, subject of Hall's second volumeThe Minimalist Composer Who Keeps Getting Left Out — article on Simeon ten Holt, minimalism, and Erik Hall's solo recording Steve Reich — Referenced WorksSteve Reich — "Come Out" (1966) — early tape piece Hall encountered in his university musicology courseSteve Reich — Music for 18 Musicians — the composition that set Hall's courseCollaboratorsAaron Lowell Denton — designer of all three trilogy album covers; follow on InstagramNatalie Bergman — artist with whom Hall toured as drummer around the time of Solo Three's completionBrian Deck — producer and engineer at Narwhal Studio, Chicago; mixed Music for 18 Musicians with HallWarren Defever — mastering engineer at Third Man Mastering, Detroit; mastered all three volumes---Dig into this episode's complete show notes at podcast.thetonearm.com(https://www.podcast.thetonearm.com) ---• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.comfor bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today we're putting The Tonearm's needle on musician and composer Erik Hall.Based in Michigan, Erik Hall has spent the last five years doing something that sounds simple but definitely is not: recording landmark works of contemporary classical music entirely on his own.Erik's 2020 solo reconstruction of Steve Reich's Music for 18 Musicians won the Libera Award for Best Classical Record. Reich wrote to tell him he'd reinvented the piece. A 2023 interpretation of Simeon ten Holt's Canto Ostinato followed, and now Hall has completed the trilogy. Solo Three came out in January on Western Vinyl, and it takes on works by Glenn Branca, Charlemagne Palestine, Laurie Spiegel, and Reich again—every note performed and recorded by Hall himself, no loops, no sequencers.Erik is here to walk us through the project and the thinking behind it. Enjoy.(The musical excerpts heard in the interview are from Erik Hall's Solo Three) ---Dig DeeperArtist and AlbumsVisit Erik Hall at erikhall.net and follow him on Instagram, Bluesky, and Facebook.Purchase Erik Hall's album Solo Three from Western Vinyl, Bandcamp , or Qobuz, and listen on your streaming platform of choiceListen to and purchase Music for 18 Musicians (Steve Reich) — Erik Hall's first volume — on BandcampListen to and purchase Canto Ostinato (Simeon ten Holt) — Erik Hall's second volume — on BandcampErik Hall's catalog at Western VinylComposers Featured on Solo ThreeSteve Reich — composer of Music for a Large Ensemble and Music for 18 MusiciansSteve Reich — "Music for a Large Ensemble"Steve Reich — Octet / Music for a Large Ensemble / Violin Phase Glenn Branca — composer of "The Temple of Venus Pt. 1"Charlemagne Palestine — composer of "Strumming Music"Strumming Music (original 1974 Shandar recording)Laurie Spiegel — composer of "A Folk Study"The Expanding Universe on Bandcamp — the album containing "A Folk Study"Bandcamp Daily — Laurie Spiegel feature — background on Spiegel's influence, relevant to Hall's treatment of her workEarlier Composer in the TrilogySimeon ten Holt — Dutch composer of Canto Ostinato, subject of Hall's second volumeThe Minimalist Composer Who Keeps Getting Left Out — article on Simeon ten Holt, minimalism, and Erik Hall's solo recording Steve Reich — Referenced WorksSteve Reich — "Come Out" (1966) — early tape piece Hall encountered in his university musicology courseSteve Reich — Music for 18 Musicians — the composition that set Hall's courseCollaboratorsAaron Lowell Denton — designer of all three trilogy album covers; follow on InstagramNatalie Bergman — artist with whom Hall toured as drummer around the time of Solo Three's completionBrian Deck — producer and engineer at Narwhal Studio, Chicago; mixed Music for 18 Musicians with HallWarren Defever — mastering engineer at Third Man Mastering, Detroit; mastered all three volumes---Dig into this episode's complete show notes at podcast.thetonearm.com(https://www.podcast.thetonearm.com) ---• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.comfor bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

This piece began with the field recording: Bom war song and dance from Cameroon. I decided that rather than treating this recording as an objective document of place or cultural practice, I approached it as a temporal fracture in time, the past reanimated. I looked at the recording as a rhythm already severed from the moment that produced it, yet able to reengaged and affect the listener in 2026. This recording felt both ancient and current, both in the same moment, yet a sonic event which felt distant. Being an ever changing and varying rhythmic loop with vocal elements, it felt that this piece became the next stage in the loop's recurrence.I was drawn to the idea that recorded rhythm, like recorded voice, folds time back on itself. Each repetition becomes a reinterpretation, producing a new perception with every cycle. The entire composition is derived from this single recording. The source material contained a strong rhythmic pattern which subtly shifted over time, revealing internal variations rather than static repetition. I was inspired by Steve Reich's phasing work, particularly It's Gonna Rain, as a mechanism through which to explore the differences which emerges. Sampling and beat-chopping techniques were used to fragment the recording into a number of loops, which were then layered against themselves at slightly altered timings to give both the phasing effect of Reich but also a polyrhythmic feel which comes in and out of sync.Ableton Live's follow actions were used to introduce a generative dimension, allowing loops to trigger variations of themselves. This created a piece which is only partially controlled, where rhythmic relationships and patterns evolve autonomously over time. I then divided the piece up into layers and registers, forming a structure comparable to SATB four-voice writing. The piece was the composed through live performance, with layers faded in and out in real time. I feel that the source recording persists, but only in fragmented, phased form. What is heard is not preservation, but sonic recurrence without a sense of closure.Bom war song and dance reimagined by Neil Spencer Bruce.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

Damon gets to talk to Garry about Woodstock Chimes, Nexus, Black Earth Percussion, Steve Reich, festivals, and so much more! There's also other segments like gig alerts, educational spotlights, and music news. 

durée : 00:24:58 - David Harrington, violoniste, membre fondateur du Kronos Quartet (3/5) - par : Laurent Vilarem - Dans ce troisième épisode, David Harrington évoque ses rencontres avec Morton Feldman, Astor Piazzolla et Witold Lutosławski. Il revient sur les projets audacieux des années 1980, comme Pieces of Africa, et la création révolutionnaire de Different Trains de Steve Reich. - réalisé par : Pierre Willer Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:25:12 - David Harrington, violoniste, membre fondateur du Kronos Quartet (4/5) - par : Laurent Vilarem - Dans ce quatrième épisode, David Harrington revient sur un drame intime et sa résilience grâce à la musique. Il évoque les explorations du Kronos Quartet avec Nuevo et Caravan, et les retrouvailles avec Steve Reich pour l'émouvant WTC 9/11. - réalisé par : Pierre Willer Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

In this episode, I sit down with percussionist Colin Currie for a wide-ranging conversation about curiosity, originality, live performance, and the lifelong pursuit of musical meaning. Colin is one of the most influential percussionists of our time, known for his deep commitment to contemporary music, his close collaboration with composers, and his transformative interpretations of Steve Reich's work. This conversation explores how curiosity, patience, and listening have shaped his career and his approach to music-making.We begin by talking about technology, access to recordings, and the changing landscape of music education. Colin reflects on growing up in a time when discovering music required effort, intention, and physical presence in libraries and record shops. He shares concerns about students learning pieces by copying online performances rather than developing their own ideas, and he speaks passionately about the importance of solitude, curiosity, and learning music on one's own terms.Colin traces his musical beginnings back to early childhood, from piano lessons at age five to his first drum lesson at six, describing the joy, excitement, and physical energy that initially drew him to percussion. He talks about how that sense of wonder has never left him and why live performance remains a magical, irreplaceable experience. We explore why percussion continues to evolve so rapidly, how technique has advanced across the field, and why musical intent always matters more than virtuosity alone.A significant portion of the conversation focuses on Colin's connection to contemporary music and the composers who shaped his artistic identity. He describes hearing The Rite of Spring as a teenager, discovering post-war modernist composers through library scores, and developing an instinctive attraction to music that felt strange, challenging, and unfamiliar. Colin shares how his love for new music was never about understanding it intellectually, but about responding to it emotionally and instinctively.We also dive deeply into Colin's relationship with Steve Reich, including their first meeting, their long-standing collaboration, and the formation of the Colin Currie Group. Colin reflects on recording Music for 18 Musicians at Abbey Road Studios, explaining how the goal was to capture the intensity and emotional risk of live performance rather than create a polished studio artifact. He talks about groove, sonority, emotional depth, and why Reich's music demands both precision and expressive freedom.Colin discusses his growing role as a conductor and how stepping onto the podium has changed the way he listens, leads, and collaborates with ensembles. He shares stories from recent performances, lessons learned from orchestral musicians, and how listening remains the central skill, whether playing or conducting. We also talk about his record label, Colin Currie Records, crowdfunding new projects, and the upcoming release of a Steve Reich album featuring Sextet, Double Sextet, Six Marimbas, and Dance Patterns.As we look ahead, Colin reflects on 2026 as a landmark year, including Steve Reich's 90th birthday, dozens of performances of Reich's music worldwide, and the premiere of Colin's 40th percussion concerto. This is a thoughtful, inspiring conversation about curiosity, commitment, and the lifelong responsibility of serving music.Music from the Episode:Mallet Quartet (Steve Reich - Colin Currie Group)Music for 18 Musicians - Section VI (Steve Reich - Colin Currie Group)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Mika Godbole returns to talk about attending Rowan University (NJ) for her master's, studying orchestral music and taking auditions, and moving her focus to chamber music (03:25), attending Rutgers University (NJ) for her doctorate, her research on Steve Reich's Music for 18 Musicians, timpani talk, teaching at York College (PA) and her early freelancing, and how the pandemic allowed her to recalibrate her life (14:45), and settles in for the Random Ass Questions, including segments on marimba performance, our favorite pop music, marching and indoor percussion, percussion conferences, Indian food, great movies, and so much more (35:00).Finishing with a Rave on the 2025 film No Other Choice (01:09:00).Mika Godbole Links:Part 1 with Mika GodboleWilliam Paterson University Percussion FacultyMantra Percussion pageNJ PAS Facebook pagePrevious Podcast Guests mentioned:Megan Arns in 2017Julia Gaines-Montag in 2016Clif Walker in 2021She-e Wu in 2025Evan Chapman in 2019Other Links:Dean WittenAlan AbelMarkus RhotenSo Percussion Summer InstituteJoseph TompkinsChris DevineyMusic for 18 Musicians - Steve ReichNEXUSMarc MellitsDoug Perkins“Thank You (____)” - Jason Treuting“Englishman in New York” - Sting“Big Time” - Peter Gabriel“They Won't Go When I Go” - Stevie Wonder“Black Dog” - Led Zeppelin“Forty Six & 2” - TOOL“Killing in the Name” - Rage Against the Machine “The Scythe” - The Last Dinner Party“Classical” - Vampire Weekend“oceania” - BjörkThe Sandlot trailer…Say Anything trailerBatman & Robin trailerThe Love Guru trailerThe Lord of the Rings 25th Anniversary trailerAll Quiet on the Western Front - Erich Maria Remarque“Kinder than Man” - Althea DavisRaves:No Other Choice trailer

In this episode, I sit down with percussionist, composer, and author Russell Hartenberger for a deep and reflective conversation about sound, mentorship, history, and the long arc of a musical life. Russell's influence on percussion performance, composition, and pedagogy is immeasurable, and this conversation traces the remarkable path that led him from a childhood in Oklahoma to the center of some of the most important musical movements of the twentieth and twenty-first centuries.We begin with Russell's early years studying percussion with Alan Abel in Oklahoma City and how that formative mentorship shaped his relationship to sound, mechanics, and musical discipline. Russell shares stories about studying at the Curtis Institute of Music with Fred Hinger, including the now legendary focus on sound production and timpani tone that defined his approach to every percussion instrument. We talk about why timpani study is foundational for all percussionists and how concepts of weight, touch, and resonance translate across the entire percussion family.Russell reflects on graduating from Curtis during the height of the Vietnam War and on the sudden pivot in his life when an orchestral job offer was withdrawn because of the draft. He recounts his years performing with the United States Air Force Band in Washington, D.C., describing how military band life mirrored many aspects of orchestral performance while also providing structure during a turbulent moment in American history. We discuss the impact of performing military funerals at Arlington National Cemetery, the discipline of daily rehearsals, and how that period ultimately created space for further academic and artistic exploration.A pivotal chapter of the conversation centers on Russell's graduate studies at Wesleyan University and his introduction to ethnomusicology and non-Western musical traditions. Russell describes his early studies in African Drumming, tabla, and gamelan, and how these experiences fundamentally reshaped his musical worldview. This path led directly to his introduction to Steve Reich in 1971, where Russell became involved in the creation and early performances of Drumming. He offers a rare, firsthand account of learning Reich's music by rote, rehearsing as the piece was being written, and discovering the subtle rhythmic feel that would come to define the Reich ensemble's sound.We explore the formation of Nexus and how improvisation, global instrument collections, and collaboration shaped the ensemble's identity. Russell explains how Nexus and Reich's music intersected, how percussionists became central to rhythmic interpretation, and how early Nexus performances helped introduce Reich's music to a broader percussion community. He reflects on how later generations of performers have built upon that foundation, adapting the music to new contexts while maintaining its core integrity.The conversation turns deeply personal as Russell discusses his composition Requiem for Percussion and Voices. He shares the emotional and historical influences behind the work, including military funerals, childhood memories of church bells, and the symbolic role of percussion in mourning rituals. Russell explains how the piece came together organically, how its structure revealed itself through the writing process, and how adding voices expanded the work's emotional resonance.We close by discussing Russell's current life in retirement, his ongoing writing and scholarship, and his continued engagement with the percussion community through residencies, performances, and significant publications. Russell reflects on writing about Steve Reich's performance practice, the evolution of interpretation across generations, and the importance of documenting lived musical experience. This episode is a profound meditation on sound, time, mentorship, and legacy from one of percussion's most thoughtful and influential voices.Music from the Episode:The Desert Music (Steve Reich)One Last Bar, Then Joe Can Sing (Gavin Bryars)Music for Mallet Instruments, Voices, and Organ (Steve Reich)Requiem for Percussion and Voices (Russell Hartenberger)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I sit down with percussionist Doug Perkins for a wide-ranging conversation that starts with a few personal connections and quickly opens up into a bigger discussion about music, teaching, and the kind of “improbable events” that can change a person's life. Doug and I talk about our shared link through LSU and Brett Dietz, and Doug tells the story of how he learned bass guitar in the eighth grade to get into a jazz band, which led to rehearsals at home, a punk band with Brett called The Septic Creptics, and a deep early education in groove, feel, and listening. We dig into the teachers who shaped Doug's path, especially Jack DiIanni, and why fundamentals, sound, and real-life performing situations became such a foundation for everything that came next.Doug shares how his background in drum set and bass informs the way he plays and teaches, especially when it comes to music like Steve Reich, where micro-groove, ensemble feel, and knowing your role inside the bigger texture are everything. We also talk about how students learn now, how algorithm-driven listening can shrink context, and why so many young musicians feel pressure to avoid mistakes when everything can feel like a permanent record. Doug explains how he actively teaches context, lineage, and listening, and why basic production skills matter more than ever, including signal flow, microphones, sound reinforcement, and the simple confidence that comes from knowing how to set up a PA or wrap a cable correctly.From there, Doug takes us into his world at the University of Michigan, where he helps lead a large percussion studio with a faculty team that spans orchestral playing, contemporary music, improvisation, and drum set. We talk about the balance between performing and teaching, and how parenting an 18-year-old college student has changed the way he supports first-year undergrads. Doug also tells the story of his long relationship with composer John Luther Adams, including how a formative early experience with Strange and Sacred Noise eventually led to performances in the Alaskan tundra, floating stages in Central Park, and outdoor concerts where the audience hikes in and the environment becomes part of the piece. We wrap up with what's ahead for Doug, including significant projects, collaborations, performances, and the ongoing joy of bringing students into real work that proves their “crazy ideas” can matter in the world.Music from the Episode:Nagoya Marimbas (Steve Reich, composer - Todd Meehan & Doug Perkins, marimbas)XY (Michael Gordon, composer - Doug Perkins, percussion)Strange and Sacred Noise (John Luther Adams, composer - Morris Palter, Rob Esler, Steven Schick, & Doug Perkins - percussion)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I sit down with vocalist, composer, and guitarist Becca Stevens for a conversation that moved me in ways I honestly wasn't expecting.We start with life right now for Becca: juggling touring, writing, teaching, and “momming” two little ones. She talks about how becoming a parent has completely reshaped her artistry, forcing a new level of efficiency, deepening her sense of purpose, and shifting her focus from serving herself to serving the song (and her kids). There's a beautiful thread here about how parenthood strips away the illusion that we are the most important thing, and how that shows up in her singing and writing.From there, we go back to the North Carolina School of the Arts, where everything really changed for her. Becca shares how she went from being the misunderstood “class clown” to finding her footing in an arts environment, discovering classical guitar almost by accident, and realizing that music alone was more than enough for a lifetime of exploration. We also talk about how jazz became her teenage rebellion, and how a wildly diverse listening palette—Bartók, Steve Reich, Joni Mitchell, Björk, and more still fuels her fearless tendency to never stay in one musical lane for long.Becca also takes us inside the creative process behind several key projects:The string quartet project with Attacca Quartet and the way those arrangements reshaped her own songsThe intimate, live-tracked world of Maple to Paper, where it had to be one guitar, one voice, and total honestyThe studio-crafted layers of Wonder Bloom, built from tiny seeds into full sonic collagesWe dig into her deep love of collaboration and what it's like to work with some truly legendary musicians, including Antonio Sánchez, Jacob Collier, Brad Mehldau, Scott Colley, and more. Becca talks about knowing when to serve someone else's vision and when to step in with her own ideas. Whether that's bringing original material to Antonio, layering vocals for Edward Simon, building a stop-motion fever dream with Jacob Collier for “Bathtub,” or stepping into Brad Mehldau's world as both a fan and a collaborator.One of the most powerful parts of this conversation centers around grief and Maple to Paper. I share how that album helped me process the loss of my dad—how it made me feel seen and validated in a way I hadn't been able to put into words. Becca opens up about losing her mom, the complicated nature of parent–child relationships, and how those songs began not as “an album” but as a survival mechanism. We talk about what it means to write from that place of raw honesty, to resist tying everything up with a pretty bow, and to allow music to carry both grief and gratitude at the same time.We close by talking about David Crosby and Becca's time in the Lighthouse Band with Michael League and Michelle Willis. Becca shares what it was like to work with him so late in his life, to feel both the shock of his passing and the sense that his voice is still very much present in her writing now. As a lifelong Crosby fan, I share my own experience of grieving someone I never met but felt incredibly connected to through his music—and how, watching those performances with the Lighthouse Band, it always looked to me like all the roads in his career led to that chapter.This is a conversation about artistry, parenthood, grief, joy, and the choice to follow authenticity over marketability—even when the “long, slow simmer” is the more challenging road. I'm so grateful Becca was willing to go this deep with me, and I can't wait for you to hear it.To stay in touch with Becca, visit her website.Music from the Episode:Be Still (Becca Stevens)Reminder (Becca Stevens & the Attaca Quartet)Cogs in Cogs, Part II - Song (Becca Stevens & Brad Mehldau)Maple to Paper (Becca Stevens)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I get to sit down with Peter Martin of Third Coast Percussion, an ensemble I have admired for years. Peter and I dive into the inner world of a percussion quartet that tours the globe, creates new music, commissions major composers, collaborates with artists across genres, and somehow still manages to pack an unbelievable amount of gear into checked luggage.Peter had just returned from Paris, where the ensemble performed Philip Glass's August Amazonia Suite alongside a live painter, something they had never done before. From there, we talk about what it truly takes to tour as a percussion group, how they travel with twelve checked bags of instruments, how backlining works, what happens when a vibraphone arrives broken, and why they think about portability and footprint even before a new piece is written.Peter shares his personal journey from military-kid piano lessons to discovering the drum set, jazz vibraphone, and eventually falling in love with the marimba. We talk about his time studying with Michael Burritt at Northwestern, crossing paths with Brett Dietz and William James, and the surreal experience of watching his classmates become lifelong colleagues in orchestras, universities, and ensembles across the world.We also talk about the remarkable story of Third Coast Percussion itself, from its beginnings in the Civic Orchestra of Chicago to becoming a full-time, artist-run organization. Peter explains what it really means to run a chamber group from the ground up, how he unexpectedly became the ensemble's finance director, and why having control of the administrative side gives them total artistic freedom.Then we dig into the ensemble's Grammy win for their Steve Reich album, including the thrill of performing on the telecast and the artistic decisions behind putting their own interpretive stamp on such iconic repertoire. Peter describes what it was like working with producer Jesse Lewis and why that collaboration changed how they approached recording forever.Peter also talks about the emotional experience of recording Murmurs in Time with the legendary Zakir Hussain, who passed away shortly after the sessions. Hearing Peter reflect on Zakir's musicianship, generosity, and spirit is profoundly moving.We wrap with a look at what lies ahead for Third Coast Percussion, from new commissions to international touring to upcoming collaborations, including the premiere of a new work with Jlin. As Peter says, there is never a month when the ensemble is not creating something new, and their passion for pushing percussion forward is unmistakable.It was an honor to talk with Peter and get an inside look at the ensemble's artistry, work ethic, creativity, and humanity. Third Coast Percussion continues to redefine what chamber music can be, and I am grateful to share their story with you.To learn more about Third Coast Percussion, visit their website. Music from the Episode:Philip GlassAguas da Amazonia- Japurá River (Third Coast Percussion feat. Constance Volk)Steve Reich: Sextet- V: Fast (Third Coast Percussion)Zakir Hussain: Murmurs in Time: II: - (Third Coast Percussion with Zakir Hussain)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this edition of 32 Thoughts, Kyle Bukauskas and Elliotte Friedman react to the Florida Panthers defeating the Edmonton Oilers in Game 6 to clinch their second straight Stanley Cup Championship, extending Canada's Cup drought to 32 years.In the news and notes section, Kyle and Elliotte touch on Marco Rossi's future (41:25). They also discuss what lies ahead for Alex Tuch, JJ Peterka, and the Buffalo Sabres (45:47). The duo goes on to consider what might happen with Mika Zibanejad and the New York Rangers (49:25). The Final Thought focuses on the passing of Steve Reich (52:05).Kyle and Elliotte answer your voicemail and email submissions in the Thought Line (56:26).Email the podcast at 32thoughts@sportsnet.ca or call the Thought Line at 1-833-311-3232 and leave us a voicemail.This podcast was produced and mixed by Dominic Sramaty and hosted by Elliotte Friedman & Kyle Bukauskas.The views and opinions expressed in this podcast are those of the hosts and guests and do not necessarily reflect the position of Rogers Sports & Media or any affiliates

On Culture Friday, John Stonestreet answers questions from journalism students about pro-life division, evangelism, and living truthfully; Collin Garbarino reviews Karate Kid: Legends; and Arsenio Orteza describes Steve Reich's minimalism music. Plus, the Friday morning news Support The World and Everything in It today at wng.org/donate.Additional support comes from BibleStock.org. Helping Bible teachers bring the land of the Bible to life through photos and videos. BibleStock.org