The Bandwich Tapes

Episode 100 of The Bandwich Tapes marks a meaningful milestone, not just in numbers, but in intention.What began as a simple idea, having thoughtful conversations with musicians I admire, has grown into a space for deep listening, reflection, and curiosity. Reaching one hundred episodes felt like a moment to pause, look back, and express gratitude to everyone who has chosen to spend time with this show.For this milestone episode, I’m honored to share a conversation with Dame Evelyn Glennie.Dame Evelyn Glennie is one of the most influential and inspiring musicians of our time. A world-renowned percussionist, composer, and advocate for listening, her work has reshaped how many of us understand sound, awareness, and musical perception. Her artistry extends far beyond performance; it invites us to reconsider what it truly means to listen.In this conversation, we explore Evelyn’s approach to listening as a full-body experience, the philosophy that guides her musical life, and the curiosity that continues to drive her work. It’s a discussion about sound, silence, intention, and the responsibility that comes with being deeply attentive to music, to others, and to the world around us.Sharing this interview as episode one hundred is a privilege, and one I’ll carry with me for a long time.Thank you for listening, for supporting the show, and for being part of this journey.Episode 100 drops January 19, 2026.

In this episode, I sit down with drummer, educator, speaker, and author Rich Redmond, and this conversation goes far beyond the drum set. From the moment we start talking, it’s clear that Rich approaches music and life with an uncommon level of purpose, energy, and presence. We talk about why he plays every song like it might be the last one he ever gets to play, how longevity changes your perspective on time, and why being fully present matters just as much offstage as it does behind the kit. Rich reflects on nearly five decades of holding the sticks, what it means to love the work truly, and why every gig still feels like the best day of his life.We dig into Rich’s background growing up in Connecticut and Texas, how Texas marching band culture shaped his musical foundation, and why music education in that state continues to produce world-class players. He shares stories from his early training, the classic method books that shaped his hands and mind, and how transcription became a survival skill when he moved to Nashville. Rich breaks down how charting, reading, and preparation quickly opened doors, why the Nashville number system is such a powerful tool, and how learning to create efficient charts can save gigs and careers.A significant focus of the conversation is Rich’s belief in using all of your gifts. We talk about his work as an educator, public speaker, author, and podcast host, and how teaching reinforces your own understanding of music, communication, and purpose. Rich explains his CRASH philosophy, commitment, relationships, attitude, skill, and hunger, and how that framework shaped his life, his speaking career, and his approach to helping others succeed, whether they are musicians, students, or corporate audiences. He shares how blending drumming with storytelling keeps audiences engaged, why attention spans are shorter than ever, and how performance can make ideas stick in ways slides never will.We spend time unpacking his long-running work with Jason Aldean, including how studio and live drumming require different mindsets, how records are made efficiently at a high level, and why consistency, trust, and preparation matter more than flash. Rich explains how live drumming is about execution, confidence, and making everyone onstage feel safe, while still delivering energy to the back row. We talk about signature fills, macro rhythms, playing in food groups, and why honoring the record while amplifying the live experience is part of the job.Rich also walks through his teaching philosophy, from Drumtensives and masterclasses to clinics and one-on-one coaching. He explains why reading, time, left-foot independence, stylistic awareness, and charting are non-negotiables, and how meeting students where they are can unlock confidence and growth. We also dive into the soft skills of being a working musician, why being prepared, likable, and open to direction often matters more than chops, and how trust keeps you working long term.We close by talking about health, longevity, curiosity, and why Rich continues to challenge himself creatively through writing, speaking, podcasting, and new musical ideas. It’s an inspiring, practical, and honest conversation about building a meaningful career, staying hungry, and using music as a vehicle to lift others along the way.Music from the Episode:Amarillo Sky (Jason Aldean)My Kinda Party (Jason Aldean)The Truth (Jason Aldean)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 bassist and vocalist Keith Horne, and it feels like reconnecting with a player I’ve admired for decades. I talk about the first time I experienced Keith live in 1996, when I was a freshman at Belmont University, and he was on the road with Peter Frampton. I still remember the impact of his touch, time, and musical confidence. From there, Keith and I dig into how his musical life started as a kid playing bluegrass with his dad, how flatpicking shaped his speed and articulation, and why being a multi-instrumentalist gave him an unusually complete view of the bandstand. We talk about his left-handed approach to playing guitar, how he learned guitar upside down, how he originally played drums left-handed, and why he eventually switched to a right-handed kit to survive the reality of shared backlines and sit-ins.Keith tells some incredible stories about chasing complex instruments, including the moment he finally found a left-handed pedal steel, how watching great steel players for years taught him the mechanics before he ever owned one, and how quickly he was able to apply that knowledge once the instrument was in front of him. We also trace the exact moment bass became his leading voice, when a bassist in his dad’s band left his instrument at the house, and Keith quietly learned it without telling anyone, then shocked his dad by switching instruments mid-gig at age twelve and never looking back. That leads to a bigger conversation about why starting on drums is a superpower for a bassist, how it teaches you the unspoken communication between rhythm section players, and why Keith’s time feel became one of his calling cards, including a compliment from Dennis Chambers that still stands out as one of the biggest of his life.Keith and I go deep on the singing bassist problem, how to keep vocals expressive while staying locked on bass, and how harmony singing often becomes the secret weapon that gets you the gig. He shares how his range and high harmony work opened doors, how constant performing strengthened his voice over time, and how he learned to shift between full voice and falsetto through heavy gigging and demanding material. We talk about the artists and songs that shaped his bass worldview, from Earth, Wind & Fire and Verdine White to Bernard Edwards, Stanley Clarke, Marcus Miller, Chuck Rainey, and Jaco. Keith tells the story of hearing Stanley Clarke for the first time and having his entire concept of the instrument explode overnight.A significant highlight is Keith’s time in the Virginia fusion band Secrets, a band he calls the best musical situation he’s ever been in. He tells the story of sitting in on Jeff Lorber’s Tune 88, getting a standing ovation for a bass solo, and then immediately being offered the gig. We talk about how quickly great players elevate your musicianship, how his first night in the band was also Carter Beauford’s first night, and the feeling of instant chemistry that made it seem like they’d been playing together forever. Keith also shares stories of opening for the Yellowjackets, becoming friends with Jimmy Haslip, and the surreal mirror-image moment when the band watching their soundcheck saw an upside-down bassist and an open-handed drummer and realized they were looking at a parallel-universe version of themselves.From there, we follow Keith’s move to Nashville, living with the Wooten Brothers early on, playing jam nights seven nights a week, and building a reputation fast because he could authentically cover multiple genres on demand. He breaks down how his first major Nashville gig came through the Stockyard, leading to Tanya Tucker, and how the road unfolded from there with Waylon Jennings, Peter Frampton, and Trisha Yearwood, including singing Walkaway Joe with Trisha and what it’s like to work with singers so accurate they can survive monitor failures in arenas without losing pitch. We also spend time on Hot Apple Pie, the magic of that record, why it still sounds fresh, and the frustration of how label shifts and industry timing kept the band from reaching the level the music deserved.We wrap with what Keith is doing now in Florida at the Orange Blossom Opry, what makes the venue unique, how the band tailors its opening set to match each headliner, and why the schedule can be intense during the season but still sustainable because the owners take care of the musicians in a rare way. It’s a wide-ranging conversation about musicianship, time feel, harmony, career longevity, and the kind of stories you only get from someone who has genuinely lived on bandstands for decades.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 drummer Paul Stewart for a conversation that starts with how music can connect people across oceans and turns into a deep dive on taste, touch, craft, and the long arc of a career. Paul and I talk about how I first discovered his band The Feeling years ago from a CD a friend handed me after a gig, and how that one listen turned into a long-term appreciation for the songs, the playing, and the production. Paul shares why so many musicians connected with that sound, and how their work pulled from both the 70s world of Supertramp, 10CC, Elton John, and Fleetwood Mac, and the deeper 60s roots that fed that era, like The Beatles, The Stones, The Kinks, and The Zombies. We get into drum sound, why that thuddy, dead 70s tone fits their music so well, and how those choices shaped the identity of the recordings.Paul walks me through his origin story, from being hooked on drum sound as a kid, to getting his first kit at 12, to saying yes to every playing opportunity he could find. He tells an incredible story about a middle school teacher who stayed late after school so Paul could get extra time in the drum room, and we zoom out on how mentors, parents, and supportive educators change the course of a life. From there, we talk about preparation, professionalism, and the responsibility you carry in an ensemble, including how the anxiety of being underprepared can be its own lesson in why doing the work matters. Paul also shares a regret he has about not keeping his reading chops sharper, and why playing along with records became his true north as a drummer.We dig into influences from both sides of Paul’s musical world, from rock and early Chili Peppers and Rage Against the Machine, to the cassette tapes an uncle sent that opened the door to jazz, funk, fusion, and players like Vinnie Colaiuta, Dave Weckl, and the Tower of Power world. Paul explains how the UK acid jazz scene became a significant pull, and how an acid jazz band at music college eventually evolved into The Feeling. We also talk about what it’s like working with major artists outside the band, including how touring logistics can lead to local musicians being hired, and how surreal it can be to play iconic songs with legendary voices while still remembering they’re just musicians on stage doing the same job.A meaningful part of our conversation is about performance anxiety, stage fright, and the emotional extremes musicians ride before, during, and after gigs. We talk honestly about confidence, coping, and what it means to choose a healthier path, and we acknowledge that even global superstars can struggle with fear right before walking on stage. Paul and I also reflect on the approaching anniversary of The Feeling’s first album, how those songs were originally recorded as a weekend friends project without any expectation of success, and how playing them now carries twenty years of growth, finesse, and perspective while still honoring the original parts that make the songs work. We close with what Paul has been up to recently, including work with Anastacia, Paul Young, The Voice UK, and the broader creative world around the band, and why music remains a powerful source of joy, balance, and hope for people everywhere.Music from the Episode:Never Be Lonely (The Feeling)Everyday and All of the Night (The Feeling)Sun Won't Shine (The Feeling)I Want You Now (The Feeling)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 Kreptics, and a deep early education in groove, feel, and listening. We dig into the teachers who shaped Doug’s path, especially Jack DiIanni, and why fundamentals, sound, and real-life performing situations became such a foundation for everything that came next.Doug shares how his background in drum set and bass informs the way he plays and teaches, especially when it comes to music like Steve Reich, where micro-groove, ensemble feel, and knowing your role inside the bigger texture are everything. We also talk about how students learn now, how algorithm-driven listening can shrink context, and why so many young musicians feel pressure to avoid mistakes when everything can feel like a permanent record. Doug explains how he actively teaches context, lineage, and listening, and why basic production skills matter more than ever, including signal flow, microphones, sound reinforcement, and the simple confidence that comes from knowing how to set up a PA or wrap a cable correctly.From there, Doug takes us into his world at the University of Michigan, where he helps lead a large percussion studio with a faculty team that spans orchestral playing, contemporary music, improvisation, and drum set. We talk about the balance between performing and teaching, and how parenting an 18-year-old college student has changed the way he supports first-year undergrads. Doug also tells the story of his long relationship with composer John Luther Adams, including how a formative early experience with Strange and Sacred Noise eventually led to performances in the Alaskan tundra, floating stages in Central Park, and outdoor concerts where the audience hikes in and the environment becomes part of the piece. We wrap up with what’s ahead for Doug, including significant projects, collaborations, performances, and the ongoing joy of bringing students into real work that proves their “crazy ideas” can matter in the world.Music from the Episode:Nagoya Marimbas (Steve Reich, composer - Todd Meehan & Doug Perkins, marimbas)XY (Michael Gordon, composer - Doug Perkins, percussion)Strange and Sacred Noise (John Luther Adams, composer - Morris Palter, Rob Esler, Steven Schick, & Doug Perkins - percussion)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I sit down with bassist Jeff Picker to talk about the winding road from jazz to roots music, and how his time with Ricky Skaggs became a real-world education in feel, note choice, and serving the song. Jeff shares how he went from New York to Nashville, how that Skaggs connection opened doors at the Opry, and why bluegrass bass is simple in concept but not easy in execution.We also dig into electric country bass and the influence of players like Joe Osborn, including what it means to think about voice leading, “flop” bass, and why subtle choices can be the difference between good and great. Jeff explains how he approaches being a hired gun, adapting to different bands, and why your individuality comes through without forcing it.Finally, Jeff walks me through his solo records, what pushed him to start writing, how the first project gained traction on SiriusXM, and what it was like working with Victor Krauss as a co-producer. We wrap by talking about sessions, life as a working musician in Nashville, the Opry staff band, and the reality of raising a puppy while keeping your calendar full.To learn more about Jeff, visit his website.Music from the Episode:The Winds of Spring (Jeff Picker)Ricky's Run (Jeff Picker)Night Terrors (Jeff Picker)The Unfinished Path (Jeff Picker)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode of The Bandwich Tapes, I reconnect with conductor and educator Aaron Kula, who shaped my summers in the Chautauqua Youth Orchestra at the Chautauqua Institution in New York in 1994 and 1995. We talk about what it means to trust young musicians with major repertoire, including the time we took on Stravinsky’s The Rite of Spring, and what that experience taught me about preparation, accountability, and confidence. Aaron shares his philosophy for building ensemble culture: learning every student’s name, holding individuals responsible while serving the collective, and making the rehearsal process both rigorous and engaging. We dig into how his multi-genre musical life, from classical training to folk and ethnic traditions, and his deep connection to Jewish music, shaped the way he hears rhythm, style, and culture inside the orchestra. Aaron also explains how conducting changes when moving from the concert stage to ballet, how tempo becomes a real-time collaboration with dancers, and why a conductor has to know when to lead, when to release, and when to stay out of the players’ way. This conversation is equal parts music, mentorship, and reflection, and a reminder that the seeds teachers plant can continue to grow for decades. I’m grateful for the chance to say thank you, and for the lessons from those summers that still guide how I work with students and teams today.To learn more about Aaron, visit his website. 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 talk with legendary timpanist, educator, and musical pioneer Jonathan Haas. Jonathan’s journey weaves together St. Louis, Chicago, New York, Juilliard, Frank Zappa, Emerson Lake & Palmer, Philip Glass, and a powerful new project responding to the world we live in today.Jonathan tells the story of how a newspaper clipping from his mom led him to Washington University, where he studied with Rich O’Donnell, John Kasica, Tom Stubbs, and Rick Holmes—often taking four private lessons a week while subbing with the St. Louis Symphony.From there, he describes:Heading to Juilliard to study with Saul GoodmanSubbing with the New York PhilharmonicAuditioning for and touring with Emerson, Lake & Palmer (including opening Bolero in front of 50,000 people at Soldier Field!)A 20-year relationship and collaboration with Frank Zappa, sparked by a handwritten letterThe long road to commissioning the Philip Glass Double Timpani Concerto and why it had to become a double concertoHis work at NYU, including powerful new pieces by Lenny White and Tim Adams, connected to Black Lives Matter and the murder of George FloydJonathan is a phenomenal storyteller, and the combination of history, humor, honesty, and perspective makes this one of the most compelling conversations I’ve had.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 bassist, producer, educator, and longtime Bacon Brothers collaborator Paul Guzzone. Paul and I first met backstage in Atlanta years ago when my band opened for the Bacon Brothers, and we bonded instantly over Aguilar rigs and the first U-Bass I had ever played.What starts as a fun reconnection becomes a deep exploration of Paul’s multifaceted life in music. We talk about his early years with Tom Rush, his decades-long collaboration with Kevin and Michael Bacon, his extensive composing and jingle work, and his long career teaching Rock and Contemporary Culture at Pace University.Paul’s warmth, humor, and decades of perspective make this a truly special conversation.To learn more about Paul, visit his website. Music from the Episode:Dance While I Can (Paul Guzzone)South of the Coconut Line (Paul Guzzone)All I Ever Wanted to Do (Paul Guzzone)Extra Innings (Paul Guzzone)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

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

In this episode, I sit down with drummer Jordan Perlson for a deep dive into collaboration, sound, and how we listen to music in 2025. I’ve admired Jordan’s playing for a long time, especially with Becca Stevens, and it was a joy to finally talk with him about his journey and how he thinks about music.We start with how he first connected with Becca Stevens and her band in New York, and what it means to show up as a collaborator while still protecting your own musical “mission statement.” Jordan talks about the tension between being a supportive hired gun and staying true to his instincts – and how, as he gets older, it’s harder to ignore that inner compass.Jordan shares some of the drummers who have shaped his ears over the years, from John Bonham and Will Calhoun to Bill Stewart and Jay Bellerose – and why the “magic” of certain players only grows with time. We get into Bellerose’s multi-percussionist approach to the drum set, compensating for supposed “weaknesses,” and how those limitations can actually lead to a more unique sound.From there, we talk about Jordan’s move from New York to Nashville in 2016:  what he was (and wasn’t) seeing in 10-year-old versions of himself on the New York scene, and why he decided to build a life in a place where quality of life and long-term sustainability felt more achievable. I loved hearing how his “wide net” hustle in New York evolved into a more focused, intentional approach in Nashville, where his priority list was: Jeff Coffin, Victor Krauss, Adrian Belew – and then figuring out how to be musically meaningful to them.Jordan also shares beautiful stories from touring with Adrian Belew, including Adrian’s fearlessness as a guitarist, singer, and composer, and what it’s like to sit inside that kind of energy every night.We spend a good chunk of time talking about how we listen to music now versus how we listened when we grew up. Jordan reflects on the difference between buying a record or cassette for one song and then slowly falling in love with the deep cuts, versus today’s playlist culture, where it’s easy to skip anything that doesn’t hit instantly. We compare notes on hearing albums at 14 versus revisiting them in our late 40s, and how our relationship with certain songs completely changes over time.Later in the episode, we get into:Growing up outside Philadelphia, going to Berklee, and why classical percussion never really clicked for Jordan, beyond a love of snare drum and books like Portraits in RhythmHis experience teaching – from a stint at MTSU to working with already-professional drummers looking to refine specific skills – and why an intermittent, online-friendly lesson model actually fits his students best.His work with Guthrie Trapp’s trio (and their weekly gig at the Underdog in Nashville), the expanded Guitar Party project with Guthrie, Tom Bukovac, Jed Hughes, Tim Marks, and Jimmy WallaceThe trio with Jeff Coffin and Victor Krauss, their first record together, and the almost-finished follow-up featuring guests like Mike Stern, Jerry Douglas, Béla Fleck, and Sam BushPlaying on Jessica Simpson’s recent JD McPherson-produced projects and how surprising (in the best way) that music isThe realities of remote recording from his home studio: the freedom, the creativity, the weird waiting-game around revisions, and why some magic can only happen when a band is in the room togetherJordan is thoughtful, honest, and funny, and this conversation felt like hanging out with a friend who happens to be one of the most musical drummers on the planet. I had a great time talking with him, and I think you’ll really enjoy hearing how he sees the instrument, the industry, and the future of making records.To learn more about Jordan, please visit his website.Music from the Episode:e (The Adrian Belew Power Trio)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

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

In this episode, I sit down with singer Bo Bice for a real conversation about life in music, overnight fame, and what it means to grow up and grow wiser without losing your love for the art. Bo walks me through his American Idol journey, from sleeping on the convention center floor at auditions to waking up one day and realizing he could not walk down the street without being recognized. We talk about the grit it takes to survive beyond the television spotlight, the reality of the music business, and all the unglamorous moments that shape you as a working musician.Bo shares stories from his early days playing around Alabama and Muscle Shoals, loading his own PA, sleeping in the back of his vehicle after gigs, and learning from the characters he met along the way. We get into the music that shaped him, from Skynyrd and the Allman Brothers to Prince, the Eagles, and John Prine. We also talk about how digital tools and artificial intelligence have changed the landscape, and why live music still feels like the heartbeat of it all.Later in the conversation, Bo opens up about faith, family, and purpose. He talks about putting God first, the peace he has found in his walk with Christ, and how learning to forgive himself has changed how he experiences his life and career. He also shares his passion for serving veterans through music and through new approaches to healing things like pain, anxiety, and PTSD, and he mentions a new project focused on herbal and cannabinoid therapy launching in 2026. We even touch on his recent appearance on the game show The Floor with Rob Lowe.I also share a bit of my own story, including my time on Star Search as a teenager and my first year of sobriety. We compare notes on growing up in the South, getting older, and trying to keep our side of the street clean while still chasing the things we love. This one is honest, warm, and full of the kind of perspective that only comes from a lot of miles and a lot of music.Music from the Episode:Keep On Rollin' (Bo Bice)Remember Me (Bo Bice)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode of The Bandwich Tapes, I sit down with one of my musical heroes, David Garibaldi. We talk about what he’s been up to since stepping away from Tower of Power, playing with Roger Smith’s group, staying active with new projects, and continuing to practice every day. David describes the drums as an endless landscape, and hearing him talk about still learning and exploring after all these years is truly inspiring.David reflects on how imagination and curiosity remain at the center of great playing, even in a world overflowing with online content. The core never changes: you still have to follow what lights you up, spend time alone working through the “suck zone,” and develop your own voice.One of the most meaningful parts of our conversation is David’s look back at his legendary partnership with Rocco Prestia. He talks about their immediate chemistry, their deep listening, and the intuitive way Rocco responded to the drum articulation and phrasing. His stories about Rocco’s unorthodox technique and unmistakable feel are as insightful as they are moving.We also dive into the culture of Tower of Power, the constant rehearsing, the tight arrangements, the expectation that everyone listens, contributes, and functions as a team. David explains how “Tower 101” shaped new members musically and personally, and why the band sounded the way it did.David shares memories of his time in the Air Force Band, how concert percussion study helped shape his ear, and how returning to the Bay Area after his enlistment led him directly into the musical world that would define his career. He also talks about his current work as a teacher and his upcoming “living book” project with Hudson Music, which he’ll continue adding to over time.This conversation was an absolute honor for me. David has influenced generations of drummers, myself included, and getting to hear his perspective firsthand was something I won’t forget. I hope you enjoy our conversation as much as I did.Music from the Episode:What is Hip? (Tower of Power)Squib Cakes (Tower of Power)Oakland Stroke (Tower of Power)Soul Vaccination (Tower of Power)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode of The Bandwich Tapes, I sit down with percussionist Chris DeChiara, whose musical journey spans from teenage rock bands to drum corps, classical training, and ultimately, more than two decades with the U.S. Navy Band in Washington, D.C. I first discovered Chris after hearing him on a Classical Breakdown episode, and I was blown away by his playing, his sound, and the way he talked about percussion. I reached out immediately, and I’m so glad he agreed to come on the show.Chris and I discuss how he found his way into classical music later than most, and how that discovery completely altered the direction of his life. We explore how drum corps shaped his sense of time and listening, as well as the pressure of performing high-level percussion parts night after night. He recounts the story of joining the Navy Band just before 9/11, and we discuss the weight and responsibility of performing military funerals and ceremonial duties at Arlington.We also delve into his book on Stravinsky’s Rite of Spring, which originated from a graduate school paper and evolved into a comprehensive research project during the pandemic. Hearing how he approached the timpani part, the historical context, and the self-publishing process was fascinating. From there, we discuss what it truly takes to balance drum set and orchestral percussion, the challenge of leading time within a large ensemble, and the mindset shift required to blend, anticipate, and adapt depending on one’s position on stage.Chris and I share a love of the Beatles, so of course, we dive into why those songs are so deceptively complex. Chris also fills me in on what his life looks like now: performing with the Alexandria Symphony, gigging with his long-running band Dr. Fu, playing in tribute acts (including an Iron Maiden tribute), teaching at Catholic University, and tackling a Britney Spears musical mainly played on a sample pad.This is a rich and wide-ranging conversation filled with great stories, thoughtful musical insight, and an inside look at a fascinating career in percussion. I had a great time talking with Chris, and I think you’re going to enjoy this one.Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.Theme music: "Playcation" by Mark Mundy

In this episode of The Bandwich Tapes, I sit down with Jake Banfield, a singer, songwriter, and performer with deep Oklahoma roots who turned a career-ending basketball injury and the stillness of quarantine into a brand-new life in music. Jake and I discuss his new album, Open Bars, how growing up in small towns influenced his writing voice, and why moving to Nashville after writing stints in LA sharpened both his craft and his confidence.We delve into co-writing versus writing for himself, channeling mental health into honest songs, and how his genre stew, encompassing country, pop, hip-hop, and classic rock, manifests across the record. We also get into the wild growth on social media, the rush of hearing crowds sing his songs back, and the surreal moment of hitting #1 on country radio in Australia, with tours abroad now on the calendar.To learn more about Jake, visit his website.Music from the Episode:Open Bars (Jake Banfield)Lasso (Jake Banfield)Still Feels the Same (Jake Banfield)Thought of You (Jake Banfield)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode of The Bandwich Tapes, I sit down with drummer, singer, and songwriter Alwyn Robinson, whose story travels from East Texas to Boulder, Colorado, and now to Brooklyn, New York.You may know Alwyn from his work with Leftover Salmon or his performances with Billy Strings, but now he’s stepping forward with a new solo album called Marshall, out Friday, November 14. The record is a beautiful reflection of what Americana means to him, rooted, soulful, and full of texture.We discuss the importance of process, navigating grief and self-care, learning to be still, and how these inner lessons have shaped his growth as both a musician and a person. We also get into the making of Marshall, his collaboration with Bridget Carney (Lake Street Dive) and Andrew Ibanez, and how he’s learning to find his own voice as a frontman.Music from the Episode:Carrying On (Alwyn Robinson)Nose on the Grindstone (Alwyn Robinson)Gentle on My Mind (Alwyn Robinson)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.Theme music: "Playcation" by Mark Mundy

In this episode, I’m joined by John Mailander, a fearless and lyrical fiddler/violinist whose work bridges bluegrass, jazz, ambient improvisation, and songcraft. We trace his path from San Diego to Berklee (where he studied American Roots with mentor Darol Anger) to Nashville, where he found a close-knit community that’s as experimental as it is supportive. John discusses the city’s “weirdo music” scene, ambient nights, free improvisation, and oddball collaborations, and how that energy coexists alongside the touring calendar. We dig into his life-changing chair with Bruce Hornsby: the no-setlist ethos, learning the “top 80” deep-cut originals, living on the edge together, and the night Bruce rearranged the stage so John could stand next to John Scofield, then kept tossing them intertwined solos all evening. John shares recent runs with Sam Grisman (with hero Peter Rowan onboard), producing and recording more from Nashville, and the origin of his own band Forecast, a genre-porous collective inspired by Bill Frisell, Brian Blade Fellowship, Pat Metheny/Brad Mehldau, and Joni Mitchell. We talk through the new record Let the World In: how residency nights at Dee’s in Madison shaped the tunes, why the drums sound so alive, and why he welcomes rotating lineups to hear the same music through new lenses. Teaching and mentorship thread through the conversation: passing on what was given to him (formally and backstage between songs), honoring influences like Matt Mundy (ARU/Bruce Hampton), and why the point isn’t “pushing boundaries” as a goal but playing honestly enough that the music pushes itself. It’s a generous, grounded conversation about trust, curiosity, and letting the music lead.To learn more about John, visit his website. Music from the Episode:Let the World In (John Mailander's Forecast)Road (John Mailander's Forecast)Gardener (John Mailander's Forecast)Reprise (John Mailander's Forecast)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

I’m excited to announce that for the six weeks, I’ll be releasing two episodes every week, one on Monday and another on Thursday. That means twice the music, twice the stories, and twice the fun.If you haven’t already, make sure to follow or subscribe wherever you get your podcasts, so you don’t miss any of the upcoming episodes. And if you’re enjoying the show, please share it with a friend. That’s the best way to help it grow.Thanks again for listening and for being part of The Bandwich Tapes community.

In this episode of The Bandwich Tapes, I sit down with legendary session drummer Paul Leim, whose six-decade career quietly powers a staggering piece of the soundtrack to our lives. Paul has played on more than 12,000 songs across over 2,000 releases, with 1,400+ silver/gold/platinum certifications, and global sales topping 540 million units. His discography encompasses over 150 combined GRAMMY nominations and wins, as well as 40+ major film/TV awards, and credits on more than 150 films and 100 television specials and series. If you’ve heard Lionel Richie, Shania Twain, Lyle Lovett, Kenny Chesney, Whitney Houston—or cues from Dirty Dancing, Smokey and the Bandit II, The River, or even Return of the Jedi, you’ve likely heard Paul.We trace the arc from East Texas clubs and Dallas jingle mills to late-’70s Los Angeles, where a “typical” week meant two complete drum rigs leapfrogging between Lionel Richie sessions, network TV soundstages, film dates, and award shows. Paul talks mentors and “angels” (band director Neil Grant, Robin Hood Brians, Doc Severinsen), lifelong friendships with the TCB family (Ron Tutt, Jerry Scheff), and lessons that still anchor his playing—especially dynamic control and “letting the mics work.” We get inside the high-wire reality of studio life. Paul calls it “95% boredom and 5% sheer terror”, including how to read conductors, when to lead the time, and when to ride it, and what it’s like to move from live kit to orchestral percussion with John Williams.There are great shop-floor stories: cutting Lionel’s “Truly” and counseling Lionel at the fork-in-the-road moment of leaving the Commodores; discovering that Lyle Lovett’s “The Blues Walk” was gloriously vocal-free; and a deep dive into the precision world of Mutt Lange and Shania, ending bass notes just before the snare for mix “air,” the chrome-over-brass “important” snare, and the on-the-fly invention of tom “Mutt flaps” for short, open fills. Paul also shares a personal fork he chose differently: turning down a James Taylor tour to be home with his young family, only to hand JT the final serial-numbered Leim signature snare decades later at the White House.Today, Paul is still very much in motion: bandleading the TCB Band in Europe, steering The Tennessee Four with Thomas Gabriel to carry the Cash legacy, and jumping into Million Dollar Quartet shows—proof that the hang, the humility, and the groove endure. It’s a conversation about craft, friendship, stewardship of a gift, and the choices that shape both a career and a life.Music from the Episode:Pick it Apart (Mark O'Connor)Truly (Lionel Richie)The Blues Walk (Lyle Lovett)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.Theme music: "Playcation" by Mark Mundy