Podcast appearances and mentions of Steve Reich

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

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

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

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.

01. Hollan Holmes - Constant Velocity 02. Perila - Window Frame Lisergin 03. Estoc - The Poison of the Centre 04. SVLBRD - Fernweh 05. Brendan Perry - Wintersun 06. Harpacticoida / Akira Sakata - Strange Island 07. Harold Budd - Little Heart 08. Валерий Леонтьев - Охрани меня 09. Hammock - Drugs and Religion 10. Steve Reich and Musicians - Music for 18 Musicians_ Section IIIB 11. Лена Зосимова - Забудь 12. Дельфин - СНОВА 13. Glåsbird - Lednik Ostrova 14. Светлана Владимирская - Одна 15. Maxime Denuc - Infinite End 16. Дельфин - ВНИЗ 17. Harold Budd - Arabesque 1 18. Hako Yamasaki - Windmill_かざぐるま [Kazaguruma] 19. Moondog - Westward Ho! 20. Deepchord - Lagonda 21. Валерий Леонтьев - Деньги 22. Cappella - Move On Baby (Radio Mix) 23. Борис Ельцин (Believe In Future Progressive Edit) - 3 in a House 24. Демо - 2 часа до Москвы 25. Ногу Свело! - Сибирская любовь 26. Moondog - Suite Equestria (Trail Versus Road And Trail) 27. Boards of Canada - Introit / Prophecy At 1420 MHz 28. Красная Плесень - Мы индейцы 29. Светлана Владимирская - Пусть длится ночь

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.

Dans le livre Penser comme un champion, Donald Trump – ou l'un de ses ghost writers – écrit : « Je me suis intéressé à Steve Reich, le compositeur a l'origine de la technique musicale appelée déphasage (phasing), comparable au mouvement des essuie-glaces – synchronisé un moment, et plus ensuite. Apparemment, il était coincé dans un embouteillage … Continuer la lecture de « Metaclassique #377 – Déphaser »

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

We beginnen deze Kalm met Klassiek-kwartetweek met een bijzonder ensemble van twee marimba's en twee vibrafoons. Steve Reich schreef het tedere, bedachtzame Slow. Wil je meer Kalm met Klassiek? Ga naar npoklassiek.nl/kalmmetklassiek (https://www.npoklassiek.nl/kalmmetklassiek). Alle muziek uit de podcast vind je terug in de bijbehorende speellijst (https://open.spotify.com/playlist/6YgSfm1Sux7CroiJvzeUdx?si=f0f254ee8f4048e7). 

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.

This episode features original music by Or Rimer, a Tel Aviv-based musician and composer born in 1986 . Rimer is active in several local bands and projects, collaborating with a wide range of artists—including filmmakers, choreographers, and visual and performance artists—creating unique scores and soundscapes. Beyond his music, he also coaches football. Or Rimer opposes the genocide in Gaza. Music: Ghedalia Tazartes,,Corsican Women's Polyphonies,Laurie Anderson,Yuli Novak,fire,Steve Reich,Joseph Kudrica,Fire,Lungfish,Or Rimer.

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.

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...

THIS IS A PREVIEW. IF YOU WANT TO LISTEN TO THE FULL EPISODE, CHECK OUT FRUITLESS ON PATREON HERE: https://www.patreon.com/user?u=11922141EPISODE ON PATREON: https://www.patreon.com/posts/even-my-escapism-144196927Welcome to the Fruitless Sports Corner (FSC): a semi-reoccurring series where Josiah, Nathan Thiessen, Chris Barker, and Jake the Lawyer talk about sports. On today's episode we talk about white boys going woo, the World Series, how hard it is to be a Texas/Iowa college football fan, the martyrdom of Carson Wentz, playing while injured, generational wealth, Rooney Mara, World Cup qualifiers, Manchester United being good now, and the MLS schedule change. Also Jake tries to get Josiah sued by Robert Kraft. Music by Viagra Boys, Steve Reich, and SHADE08 ★ Support this podcast on Patreon ★

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

Send us a textDescriptionThe Pulse Redefined: Rhythmic Complexity in 20th-Century Music in 60 Seconds. Take a minute to get the scoop!Fun FactWhen The Rite of Spring premiered in Paris, 1913, its jarring rhythms helped cause a near riot. Audience members shouted, booed, and even fought. A century later, the same rhythms are considered masterpieces of modernity—proof that innovation often sounds like chaos before it becomes art.About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.You can FOLLOW ME on Instagram.

PAUL BIELATOWICZ is a composer and master guitarist from England. For the last 20 or so years he has been the featured guitarist in all of drummer CARL PALMER'S projects, with Paul miraculously nailing all of KEITH EMERSON'S keyboard parts on midi-guitar. Paul and I are about to head out on tour performing his NOSFERATU LIVE soundtrack to the original 1921 silent film.We talk about that project, Paul's long history with Mr. Palmer, and so much more, on The ProgCast.PROGCAST PATRONS get bonus episodes  / theprogcast  Study Drums/Composition/Music with Gregg: https://www.bendianmusic.com GREGG BENDIAN is a percussionist/composer/producer/educator/podcaster from Teaneck, New Jersey. During his wide-ranging career he has toured internationally and recorded with Todd Rundgren, Jan Hammer, The Mahavishnu Project, Keneally-Bendian-Lunn, The Musical Box, John Zorn, Derek Bailey, Nels Cline, Cecil Taylor, Pat Metheny, Ornette Coleman and Zoot Horn Rollo. On the academic front, Gregg develops and teaches courses in studio production aesthetics, music history, and composing/arranging at William Paterson University of New Jersey. For the Yale Oral History of American Music, he has contributed over 100 expansive interviews with major figures including Wayne Shorter, Sonny Rollins, Quincy Jones, Carla Bley and Steve Reich. Bendian is archivist/producer for the Bottom LIne Archive of historic concerts. Recorded over 30 years at the Greenwich Village venue, the series features discs by Jack Bruce with Billy Cobham, The Brecker Bros, Lou Reed/Kris Kristofferson, Pete Seeger/Roger McGuinn, and Doc Watson. An accomplished percussionist and a composer of over 200 works, he has created a body of innovative music for jazz, rock, percussion (solo and ensemble) and mixed chamber groups, which include his Interzone and Trio Pianissimo bands. Gregg's music is published by Iamuziks (ASCAP). Begun in August of 2020, The ProgCast explores the creative process and musical history of a diverse assortment of cutting edge artists. You can also find us on:SPOTIFY: https://open.spotify.com/show/0x9bzb0...APPLE PODCASTS: https://podcasts.apple.com/us/podcast...https://www.bendianmusic.comhttps://open.spotify.com/artist/0HBmV...https://www.bottomlinearchive.comhttps://guides.library.yale.edu/oham/...https://www.mahavishnuproject.comhttps://www.wpunj.edu/coac/department...

On this episode of The Bandwich Tapes, I sit down with Todd Meehan, Professor of Percussion and Associate Dean of Graduate Studies at Baylor University. Todd is a dynamic performer, educator, and advocate for contemporary percussion, whose career blends artistry, scholarship, and leadership.We talk about his journey as a percussionist, including what first drew him to the instrument, his time as a student and performer, and the ways he continues to push the boundaries of what percussion can be. Todd also shares insights into his role as an educator, mentoring the next generation of percussionists at Baylor, and how he balances the dual roles of professor and associate dean.Along the way, we dig into topics such as innovation in percussion repertoire, the importance of cultivating curiosity in students, and how higher education is evolving for young musicians. Todd's perspective offers a unique look at how percussion performance, teaching, and leadership intersect.This conversation is both inspiring and practical, perfect for musicians, educators, and anyone fascinated by the craft of percussion and the pathways it can open.To learn more about Todd and the Baylor University percussion studio, visit Todd's website or the Baylor percussion studio website. Music from the Episode:Gardens (Excerpt) (Ivan Trevino - Baylor University Percussion Ensemble) Gardens (2024) was commissioned by the Baylor Percussion Group in celebration of Todd Meehan's 20th year of teaching at Baylor University. The piece is scored for six percussionists who perform on piano, two vibraphones, one 5.0 octave marimba, and glockenspiel.Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.The theme song, Playcation, was written by Mark Mundy. 

PER NILSSON is an incredible guitarist and producer from Sweden, whom I've had the pleasure of hearing on several occasions with Meshuggah, when he covered during Fredrik Thordendal's hiatus from the band. Per a founding member of Scar Symmetry and the guitarist for prog rock band Kaipa, and power metal band Nocturnal Rites. PROGCAST PATRONS get bonus episodes / theprogcast Study Drums/Composition/Music with Gregg: https://www.bendianmusic.com GREGG BENDIAN is a percussionist/composer/producer/educator/podcaster from Teaneck, New Jersey. During his wide-ranging career he has toured internationally and recorded with Todd Rundgren, Jan Hammer, The Mahavishnu Project, Keneally-Bendian-Lunn, The Musical Box, John Zorn, Derek Bailey, Nels Cline, Cecil Taylor, Pat Metheny, Ornette Coleman and Zoot Horn Rollo. On the academic front, Gregg develops and teaches courses in studio production aesthetics, music history, and composing/arranging at William Paterson University of New Jersey. For the Yale Oral History of American Music, he has contributed over 100 expansive interviews with major figures including Wayne Shorter, Sonny Rollins, Quincy Jones, Carla Bley and Steve Reich. Bendian is archivist/producer for the Bottom LIne Archive of historic concerts. Recorded over 30 years at the Greenwich Village venue, the series features discs by Jack Bruce with Billy Cobham, The Brecker Bros, Lou Reed/Kris Kristofferson, Pete Seeger/Roger McGuinn, and Doc Watson. An accomplished percussionist and a composer of over 200 works, he has created a body of innovative music for jazz, rock, percussion (solo and ensemble) and mixed chamber groups, which include his Interzone and Trio Pianissimo bands. Gregg's music is published by Iamuziks (ASCAP). Begun in August of 2020, The ProgCast explores the creative process and musical history of a diverse assortment of cutting edge artists. You can also find us on:SPOTIFY: https://open.spotify.com/show/0x9bzb0...APPLE PODCASTS: https://podcasts.apple.com/us/podcast...https://www.bendianmusic.comhttps://open.spotify.com/artist/0HBmV...https://www.bottomlinearchive.comhttps://guides.library.yale.edu/oham/...https://www.mahavishnuproject.comhttps://www.wpunj.edu/coac/department..

    I've been listening to the ECM record label since the 1970s. You can always count on ECM to put out interesting and sometimes great records. My favorite ECM release is Steve Reich's "Music for 18 Musicians." It's not only my favorite ECM album, it's one of my top albums of all-time. A real desert island record for me. A few of my other favorite regular ECM artists are Steve Tibbetts, Eberhard Weber & Pat Metheny.  We had a discussion about our favorite ECM recordings over on Mixcloud. You can read or join in the thread here - https://www.mixcloud.com/lowlight/posts/favorite-ecm-albums/ I decided it wouyld be cool to make a mix of my top ten favorite ECM albums. I put it together in chronological order, starting with Ralph Towner & a fantastic version of Icarus. And ending with a 2017 album from Björn Meyer. Please leave a comment with some of your favorites in the comments and enjoy this little journey through ECM. Cheers!   T R A C K L I S T : 00:00   Ralph Towner - Icarus (Diary 1974) 06:08   Pat Metheny - Sirabhorn (Bright Size Life 1976) 11:28   Eberhard Weber - Moana I (The Following Morning 1976) 19:54   Steve Reich - Pulses (Music For 18 Musicians 1978) 25:08   Pat Metheny & Lyle Mays - As Falls Wichita, So Falls Wichita Falls (As Falls Wichita, So Falls Wichita Falls 1980) 32:45   Steve Tibbetts - Ur (Yr 1988) 40:15   Jan Gabarek - Parce Mihi Domine(de Morales) (Officium 1993) 45:40   Arvo Pärt - Spiegel Im Spiegel (Alina 2000) 54:30   Jon Hassell - Blue Period (Last Night The Moon Came Dropping Its Clothes In The Street 2009) 61:20   Björn Meyer - Pulse (Provenance 2017) 64:05   end

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

Steve Reich, the great American contemporary composer, provided this program note about his work Different Trains: “The idea for the piece came from my childhood. When I was one year old my parents separated. My singer, song-writer mother moved to Los Angeles and my attorney father stayed in New York. Since they arranged divided custody, I travelled back and forth by train frequently between New York and Los Angeles from 1939 to 1942 accompanied by my governess. While the trips were exciting and romantic at the time I now look back and think that, if I had been in Europe during this period, as a Jew I would have had to ride very different trains. With this in mind I wanted to make a piece that would accurately reflect the whole situation.” Reich went about this piece in a completely innovative way: he recorded voices and then created the musical material for the piece out of the voices themselves, something that had never been done before. Therefore, the text and music material were integrated in a groundbreaking way, and the results are at times unbearably moving. This is a piece that has captured listeners attention in a way that is relatively rare for contemporary music, and it is a piece of immense power and depth. I have always been fascinated by this piece and have wanted to perform an orchestral version of it, but I never have been able to cover it on the show. That is, until AJ contributed enough to my fundraiser last year before the election to sponsor a piece, and he chose Reich's Different Trains. Today we'll talk a bit about Steve Reich generally for those of you unfamiliar with him, and then we'll tackle this remarkable and unique piece in all of its creativity and profound communication. Join us!

Order The Memory Palace book now, dear listener. On Bookshop.org, on Amazon.com, on Barnes & Noble, or directly from Random House. Or order the audiobook at places like Libro.fm.The Memory Palace is a proud member of Radiotopia from PRX. Radiotopia is a collective of independently owned and operated podcasts that's a part of PRX, a not-for-profit public media company. If you'd like to directly support this show, you can make a donation at Radiotopia.fm/donate. I have recently launched a newsletter. You can subscribe to it at thememorypalacepodcast.substack.com. Order Eliza McGraw's wonderful new book, Astride: Women, Horses and a Partnership that Changed America. This episode originally aired in February of 2021. Music Unsayable by Brambles. Kola - Lighthouse Version by amiina A Nearer Sun by the Westerlies Duet, a Steve Reich composition, performed by Daniel Hope. Reading a Wave by Arp April by Kanazu Tomoyuki Latent Sonata by Brian McBride NotesThe oral history mentioned in this episode is available through the Smithsonian Instittion''s archives.   Learn about your ad choices: dovetail.prx.org/ad-choices