The Bandwich Tapes

In this episode, I sit down with Taylor Eigsti, and this conversation goes everywhere I hoped it would. We talk about preparation versus spontaneity, writing music that leaves room for the present moment, and why the best ensembles feel more like carefully cast films than perfectly rehearsed machines.Taylor shares what it’s been like working recently with Michael League, Ben Wendel, Kendrick Scott, Antonio Sánchez, and others, and we get deep into his compositional mindset—why quantity matters, why “bad ideas” are necessary, and how composition is a muscle that has to be exercised. We also talk about his Grammy-winning albums Tree Falls and Plot Armor, the long studio hours behind them, and why recognition doesn’t always translate the way people expect.Along the way, we hit on collaboration, identity, touring life, teaching, football fandom, and what it really means to show up prepared and fully present for the moment that actually matters—the short window onstage when everything finally comes alive.Music from the Episode:Let You Bee (Taylor Eigsti)Bucket of F's (Taylor Eigsti)Look Around You (Taylor Eigsti)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

I sat down with Janie Barnett, a singer, songwriter, arranger, and educator whose career reflects a steady commitment to saying yes to what fits and no to what does not.We begin with her roots in the Greater Washington area, where summers at the Smithsonian Folklife Festival and early exposure to roots music shaped her ear. Moving to New York was a shock. The city carried a gritty, post-Patti Smith energy and felt like a long search for a new urban Americana sound. Janie found her footing through community, especially friendships with Robin Batteau and Kenny White. Session work, including jingles, gave her financial stability and the freedom to keep her songwriting honest rather than chasing a paycheck through her own music.We talk about life behind the scenes and what it taught her about leadership. Janie shares stories from sessions with Linda Ronstadt and a career highlight singing background vocals on Saturday Night Live with Rickie Lee Jones, one of her musical heroes. Being on the team shaped how she leads her own bands, creating rooms where musicians feel respected and invited to contribute.She also reflects on how becoming a parent changed her artistry. Her songs deepened, her priorities clarified, and the work stopped feeling precious in the face of real life.We spend time on her project Under My Skin, a reimagining of Cole Porter through an acoustic Americana lens. What began as a guitar idea for I’ve Got You Under My Skin grew into a pandemic-era collaboration with an extraordinary group of musicians, including Carmela Ramsey and Jerry Douglas, many of whom recorded from home studios. The album proves Porter’s writing is timeless, and Janie’s voice brings it all together.We close with her work at Berklee, where she mentors singer-songwriters and leads ensembles. She speaks candidly about the pressures of constant content and social media, and the importance of building real community and a live musical life. Looking ahead, she is planning a vinyl release of the Cole Porter project, aiming for a show around Porter’s birthday in June, and working toward a new record of original songs with a clearer strategy for getting it into the world.Music from the Episode:LIfe Is Long and Then It's Not (Janie Barnett)Delaware Bridge (Janie Barnett)If You Were Here (Janie Barnett)I've Got You Under My Skin (Janie Barnett)Night and Day  (Janie Barnett with Keith Sewell)You're the Top (Janie Barnett with Catherine Russell)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

This episode is a special one for me: Steve Gadd.Steve is not just a great drummer. He is one of those rare musicians whose feel and sound are instantly recognizable. A few seconds in, and you know it's him. He has been a first-call presence on recordings and tours for decades, and somehow, he makes the most complex things feel relaxed and human. Spending time with him for this conversation was a real honor.We begin in the present. In 2026, Steve is still moving forward with curiosity and purpose. He talks about starting the year with the Love Rocks benefit in New York, touring Europe with Michael Blicher and Dan Hemmer, rehearsing and touring with Paul Simon, and heading out again with James Taylor. Later in the year, he is back with Simon Oslender and Will Lee, a project that clearly brings him joy. You can hear how much he values character, maturity, and the spirit of the bandstand.We trace the roots of his musicianship through his time in the Army Field Band during the Vietnam era. Daily chart reading sharpened his time, discipline, and mindset. It was not always fun, but it was formative. He also reflects on mentorship, from Stanley Street to John Beck, and how those teachers shaped not just his hands but his confidence and identity.Steve speaks candidly about insecurity and imposter syndrome, about how reading is a skill that fades without use, and how repetition is the real secret. No shortcuts. We also dive into sound, volume, and dynamics. He shares his thoughts on live versus studio playing, the challenges of modern stage volume, and why the best shows begin at a real level and let the music breathe.What stays with me most is his philosophy. It is not about ego. It is about service, supporting the song, making the artist comfortable, and being a good teammate. This conversation captures a legend who is still learning, still listening, and still chasing feel and sound in the purest way.Music from the Episode:I Gotta Try (Michael McDonald)On a Roll (Live) (Simon Oslender)September Grass (James Taylor)My Rival (Steely Dan)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’m joined by Simon Oslender, and I’m not exaggerating when I say his playing lit me up the first time I heard it: pure joy, but with real depth underneath. We talk about growing up in a deeply musical home, starting on drums, and the exact “big bang” moment when a John Mayall live DVD (and Tom Canning on Hammond B3) made Simon lock in on the organ for life.We get into Simon’s early recording experiments, how he writes (often away from the instrument, grabbing voice memos before ideas disappear), and his relationship with theory—especially his favorite framing: theory shouldn’t tell you what to do, it should explain what you’re hearing. And then we go deep on the dream-team reality of All That Matters: recording with Steve Gadd and Will Lee and how that session turned into a tour, and what it takes to keep your head straight when your heroes show up fully prepared to play your music.Music from the Episode:On a Roll (Simon Oslender)In Good Hands (Simon Oslender)Cruisin' (Simon Oslender)Quite Logical (Simon Oslender)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

I got to sit down with Alison Prestwood, an A-list bassist, singer, and bandleader whose playing has been anchoring records and stages for decades, and it felt like catching up with someone I should’ve known for years.We talked about her leap from Atlanta to Nashville in the early ’90s, what it’s like leaving steady work to chase the next chapter, and how those five-to-six-nights-a-week club years built the kind of chops and confidence that translate anywhere. Alison shares the winding path that led her into Nashville’s session world (including a wild early moment overdubbing on a Ronnie Milsap master), and how hearing players like Glenn Worf and Michael Rhodes up close pushed her into that “forever climbing” mindset that great musicians live in.She also goes deep on her musical north stars: Paul McCartney, James Jamerson, Willie Weeks, Lee Sklar, and especially Carol Kaye, including an incredible story about spending a full weekend at Carol’s house working on pick technique and soaking up stories and wisdom.From there, we get into the nuts and bolts: how Alison thinks about the difference between R&B feel vs. country feel, note length, subdivisions, and the “rules” you learn in Nashville, plus when to break them. She’s also launching a brand-new Merle Haggard tribute band called We Are the Merle.We also talk about her time touring with Peter Frampton, how that gig came together, what it’s like playing major stages (including the Rock & Roll Hall of Fame experience), and the weight and gratitude of watching a legend keep doing the work.And because Alison is also a fellow podcaster, we dig into her show “Hey, Good For You”, a funny, honest, and sharp look at life as a working bassist (and the absurd things people say to women musicians).It’s part career map, part hang, part deep musicianship chat, and by the end, we basically agree this needs to be part one.Music from the Episode:Nadine (Is It You) (George Benson)Turning Waylon Down (Alison Prestwood)Austin (Blake Shelton)Beautiful Man (Alison Prestwood & Rodney Crowell)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-songwriter CJ Hooper to talk about building songs—and confidence—as an independent artist without rushing the process. We dig into how moving from Texas to Washington shaped his musical perspective, and why honest, story-driven country music seems to resonate no matter where you live.CJ and I talk about releasing Over Yonder, his second album just a year after his debut, and the surprisingly self-confronting experience of hearing your own voice back in the studio. We also get into early cassette-tape influences, playing in a band with musicians decades older than him, cutting his teeth at open mics, and slowly figuring out how his original songs want to live in the world. It’s a conversation about patience, craft, and letting the work grow naturally—one song at a time.Music from the Episode:Burn it Down (CJ Hooper)Lookie Over Yonder (CJ Hooper)Rain Song (CJ Hooper)Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.The theme song, "Playcation", was written by Mark Mundy.

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.

In this episode, I sit down with drummer Kim Trammell for an honest, wide-ranging conversation about groove, identity, longevity, and finding your way back to joy in music. Kim is an intensely musical player whose feel, touch, and sound are unmistakable, and this conversation traces her path from early classical training to decades of professional drumming in Memphis and beyond. We talk about how her background in piano and orchestral percussion shaped her approach to the drum set, why timpani was such a formative instrument for her, and how classical technique translated naturally into tone, touch, and control on the kit.Kim shares her early musical story, starting with Suzuki piano at a young age, followed by rudimental snare drum training and a strong classical percussion education at the University of Memphis. She explains how she never took formal drum set lessons, instead transferring everything she learned in orchestral percussion into real-world playing situations. We talk about the importance of sound production, the influence of Fred Hinger’s timpani approach, and why understanding how to pull sound from an instrument matters more than simply hitting it.A significant chapter of the conversation centers on Kim’s years playing professionally in Memphis, including formative experiences on Beale Street and a pivotal five-year house gig at a casino in Tunica, Mississippi. Kim describes playing eight hours a day across constantly changing genres, learning how to truly listen, and developing pocket by following seasoned musicians who demanded restraint, patience, and deep time feel. She reflects on how those experiences reshaped her sense of groove, taught her how to place notes behind the beat, and forever changed how she hears music.We also dive into Kim’s decision to step away from full-time performing and pursue a second career as a massage therapist. She speaks candidly about burnout, the physical toll of decades of drumming, and the emotional cost of turning music into a constant source of income. Kim explains how studying body mechanics and healing work transformed her relationship to her own body and helped her rediscover music as a source of joy rather than obligation. We talk about posture, self-care, and why musicians so often neglect their bodies until something breaks.The conversation turns deeply personal as Kim and I discuss sobriety, presence, and self-forgiveness. Kim shares her long journey of choosing sobriety, recognizing unhealthy patterns, and reclaiming clarity, health, and emotional honesty. We talk about how the music industry can normalize destructive habits, why change is frightening but necessary, and how being fully present is one of the greatest gifts musicians can give themselves and others.We also explore Kim’s perspective on social media, identity, and self-worth. She reflects on joining Instagram later in life, why she shares music without chasing validation, and the dangers of tying personal value to views, likes, and algorithms. Kim speaks powerfully about separating self-worth from musical ability, encouraging younger musicians to protect their mental health and remember that music is something they do, not who they are.We close by talking about groove, pocket, bass, and drum relationships, favorite drummers, Memphis’s rich musical legacy, and the importance of honoring the song above all else. This is a thoughtful, vulnerable, and profoundly human conversation about music, healing, and staying connected to what matters most.Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.The theme song, "Playcation", was written by Mark Mundy.

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 mandolinist, composer, and bandleader Jacob Jolliff for a wide-ranging conversation about curiosity, discipline, and building a musical life that resists easy categorization. Jacob is one of those rare musicians who move fluently between bluegrass, jazz, classical, and experimental music without losing his voice in any of them. We begin by talking about his love of variety, why collaboration continues to drive his schedule, and how he follows genuine musical curiosity rather than a rigid career plan. Jacob reflects on touring, playing weekend runs versus more extended tours, and why he’s motivated to say yes to projects while the travel still feels energizing.A significant focus of the conversation is Jacob’s upcoming classical recording, a mandolin concerto explicitly written for him by composer Jesse Jones. Jacob walks through how the project came together, from a lifelong friendship that began when he was a child to a reunion nearly two decades later, after Jesse had become one of the most respected contemporary classical composers in the country. We talk about performing the concerto with an orchestra, recording the work, memorizing a demanding five-movement piece, and learning the nuanced skills required to follow a conductor while still maintaining musical agency. Jacob explains how the music successfully bridges contemporary classical language with bluegrass sensibilities without feeling like a caricature of either tradition.We also dive deep into Jacob’s years at Berklee College of Music and the fertile Boston roots scene that shaped a generation of genre-bending acoustic musicians. Jacob reflects on studying with John McGann, the early days of what would later become Berklee’s American Roots program, and coming up alongside players like Alex Hargreaves, Dominick Leslie, Sierra Hull, Julian Lage, Brittany Haas, and others. We talk about why conservatories embracing acoustic and roots instruments have changed the musical landscape and why this moment feels uniquely exciting for mandolin, fiddle, and banjo players.Jacob shares the origin story of his band, including how his time with Yonder Mountain String Band prepared him to lead a project of his own. We talk about the balance between being a sideman and a bandleader, why the best leaders often have deep experience in both roles, and how empathy grows when you’ve carried responsibility from both sides of the bandstand. Jacob walks through how his lineup evolved, why consistency eventually mattered more than flexibility, and how his current band came together organically around shared priorities and musical trust.We spend time talking about Jacob’s jazz projects, including his standards recordings and the unusual instrumentation of mandolin, bass clarinet, snare drum, and bass. Jacob explains why learning jazz still feels like learning a second language, how making records can be part of the learning process rather than a final statement, and why exploring multiple genres keeps his playing honest. We also talk about his admiration for musicians who dedicate their lives to a single tradition, even as he continues to thrive as a musical generalist.We close with a thoughtful discussion about Jacob’s practice routine, discipline, and mindset. He explains why he practices nearly every day, how consistency prevents stagnation, and why regularly confronting technical and musical walls is part of long-term growth. Jacob speaks candidly about the psychological challenges of being a driven musician, the tension between ambition and perspective, and why staying curious ultimately matters more than perfection. It’s an honest, inspiring conversation about craft, patience, and the lifelong pursuit of musical depth.To learn more about Jacob, visit his website. Music from the Episode:Large Garbage Barge (Jacob Jolliff)Moose the Mooch (Jacob Jolliff)Sheerson Crosses the Rocky Mountains (Jacob Jolliff)The Good, The Bad, and the Home-Schooled (Jacob Jolliff)Stumbling Distance (The 376 Years) (Jacob Jolliff)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 David Northrup for a deep and wide-ranging conversation about groove, longevity, and serving the song. David has built an incredible career by doing precisely that, whether he’s playing traditional country, blues, soul, or roots-based music. We start by talking about his current work with Joe Nichols, why it’s such a musical and personal fit, and what it means to work for an artist who values authenticity, consistency, and real country music. David shares stories from the road and explains why being a good human is just as important as being a great drummer.We spend time digging into David’s early musical influences growing up in central New York, where constant exposure to Motown, singer-songwriter records, pop radio, and classic albums shaped his musical instincts. David talks about learning by listening, studying album credits, and developing a deep appreciation for feel and style long before social media or online tutorials existed. He reflects on how that environment taught him to truly listen, absorb, and respect the music rather than chase trends.David walks through his path to becoming a professional drummer, from starting in school band programs to a pivotal moment when he saw Chuck Mangione perform while in college. That experience helped him realize music was the path he needed to take seriously. We talk about the importance of mentors, including teachers who challenged him when he wasn’t ready and supported him when he was, and how discipline, fundamentals, and humility played a massive role in his development.We dive deep into David’s years in Nashville, including his first five years building connections, studio work, and eventually landing his long-running gig with Travis Tritt. David explains how Nashville truly is a five-year town, why patience matters, and how preparation and professionalism keep you working once you get the call. We also talk about his deep admiration for drummers like Carlos Vega, Jeff Porcaro, Steve Jordan, Russ Kunkel, and others, and why groove, taste, and feel will always matter more than flash.A significant highlight of the conversation is David’s time touring with Boz Scaggs. He shares what it was like to step into such an iconic musical legacy, learn to play with conviction at very low volumes, and work alongside world-class musicians night after night. We talk about why playing the room matters, how restraint can be more complicated than power, and why those lessons apply to every drummer at every level.We also spend time talking about David’s solo record Shapes, including how it came together over many years, the musicians involved, and why recording live, organic performances was central to the album’s sound. David explains his philosophy of making music that’s groove-focused, accessible, and enjoyable for listeners beyond just musicians. We close by discussing teaching, clinics, the importance of shuffle feel, regional time concepts, and the soft skills that help musicians not just get gigs but keep them. It’s an honest, thoughtful conversation packed with wisdom for musicians and music lovers alike.To learn more about David, visit his website. Music from the Episode:All Blues (David Northrup)Smooth (David Northrup)Bayou Chicken (David Northrup)Salty Crackers (David Northrup)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, songwriter, bassist, and musical innovator Scott Mulvahill for a wide-ranging conversation about curiosity, collaboration, and building creative worlds. We start by talking about Scott’s recent trip to Lafayette, Louisiana, where he performed Paul Simon’s Graceland in a profoundly meaningful way, including sharing the stage with original Zydeco musicians who appeared on the album. Scott explains why Graceland was such a formative record for him as a teenager, how it shaped his love of songwriting, groove, and global musical connections, and why revisiting that music continues to teach him something new every time he performs it.We talk about Scott’s busy life as a touring musician and collaborator, from solo performances to regional shows, symphonic work with Cody Fry, and juggling multiple projects at once. Scott reflects on saying yes to opportunities, spinning multiple creative plates, and why he’s drawn to work that keeps him challenged rather than comfortable. He shares the story behind his band Slap Dragon, how the group came together organically, and why playing in a band scratches a different creative itch than performing solo. We also explore the balance between solitude and community in music, and how collaboration continues to fuel his artistic growth.A significant part of the conversation centers on Scott’s experience as a singing bassist. We dig into the technical and musical challenges of singing while playing bass, especially in groove-heavy music, and how performing complex material like Graceland forces constant growth. Scott explains how difficulty, discipline, and repetition sharpen his musicianship and why pushing himself technically ultimately leads to deeper musical freedom.We also spend time talking about Scott’s years playing with Ricky Skaggs, an experience he describes as musical graduate school. Scott shares what it was like to step into a bluegrass tradition without a drum set, how time feels differently in that genre, and why it took nearly a year to feel comfortable in the band. He reflects on learning directly from masters, developing an intuitive sense of rhythm, and why that experience shaped him as a musician in lasting ways.Finally, we dive deep into one of Scott’s most ambitious projects, the Database. Scott explains the origin and evolution of this custom-built upright bass with integrated MIDI triggers and sampling, how it works technically, and why it allows him to expand his sonic world without sacrificing creativity or authenticity. We talk about technology as a tool rather than a gimmick, the balance between production and performance, and how the Database has reshaped his approach to songwriting, arrangement, and live shows. It’s a thoughtful, inspiring conversation about experimentation, craftsmanship, and following curiosity wherever it leads.To learn more about Scott, visit his website.Music from the Episode:Begin Againers (Scott Mulvahill)Fighting for the Wrong Side (Scott Mulvahill)Survive (Scott Mulvahill)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 Dame Evelyn Glennie to talk about what listening really means and why it matters far beyond music. We start with the origins of the Evelyn Glennie Foundation and how her work evolved organically from teaching, performing, and asking people better questions so they can hear themselves more clearly. Evelyn shares how her own experiences shaped a broader philosophy of listening that encompasses sound, the written word, and the ways we communicate through email, texts, and social media. We also dig into how technology has changed our patience and attention, and why listening belongs at the center of education, wellbeing, empathy, and community.From there, we move into the performer’s mindset and Evelyn’s lifelong curiosity about sound. She explains why she starts new repertoire from the inside out, how the body becomes an essential listening partner over time, and why recordings are only frozen snapshots rather than definitive answers. I ask her about formative training, the balance of learning by ear and reading music, and how her early environments built a deep listening culture that still guides her today. Evelyn offers a powerful reminder that every performance is a world premiere for someone, and that familiar instruments can become brand new when we hear them in a different context.We also go down memory lane through landmark repertoire and collaborations. Evelyn talks about discovering and recording Paul Smadbeck’s Rhythm Song, revisiting it years later, and even developing a creative version for marimba and strings. She reflects on the Bartók Sonata for Two Pianos and Percussion, including the intensity of working at a young age with Sir Georg Solti and the lessons that stayed with her. We then explore her long pursuit of John Corigliano’s Conjurer, how the concerto’s concept came together, and what it takes to tour a major work night after night, adapting to different instruments and acoustics. Finally, we discuss her experience performing Philip Glass’s Double Timpani Concerto with Jonathan Haas, the logistics behind that project, and why she loves the energy of shared soloist roles.To close, Evelyn shares what she is creating right now, including writing for television and film, new books, wide-ranging collaborations, duo projects, and continued foundation work that invites people to slow down, listen deeply, and rethink what connection feels like. This conversation is a masterclass in curiosity, artistry, and attention, and I’m grateful to share it with you.To learn more about Evelyn and the Evelyn Glennie Foundation, visit her website. Music from the Episode:Joseph Schwantner - Velocities for Solo MarimbaPaul Smadbeck - Rhythm SongBéla Bartók - Sonata for Two Pianos and PercussionJohn Corigliano - Conjurer: Concerto for Percussionist and String OrchestraThank 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, 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.