We start in the present, where Jeff has recently stepped into a larger leadership role on Jimmy Kimmel Live! following the passing of longtime music director Cleto Escobedo. Jeff reflects on what that responsibility means to him and how leading a band in that environment requires both musical preparation and a deep sense of trust and respect for the musicians around you.

From there we rewind to an important musical turning point. Jeff tells the story of seeing James Taylor live in college, backed by a band that included Don Grolnick, Jimmy Johnson, Mike Landau, and Carlos Vega. For Jeff, that moment crystallized what “grown-up musicianship” could look like—players serving the music with taste, humility, and deep craft.

We also talk about Jeff’s time at the University of Miami’s Frost School of Music and the lifelong community that came out of those years. That theme of musical community carries into his long-running collaboration with Steve Martin and Martin Short, where Jeff has learned firsthand how musical timing and comedic timing often work the same way. Playing for comedians, it turns out, requires the same instincts as great improvisation.

Toward the end of the conversation, we zoom out to bigger questions: legacy, awards, AI, and what actually lasts in a musical life. Jeff shares a perspective I really love: the most meaningful musical moments often aren’t the ones captured online. They’re the warm-up before a taping, the look between bandmates, or the feeling of someone in the audience connecting with the music in real time.

Key Takeaways

• Versatility is a career advantage — Jeff’s work spans television, touring, arranging, and bandleading.
• Leadership grows from trust and preparation — especially in environments like Jimmy Kimmel Live!.
• Seeing great musicians early can shape a path — Jeff’s experience watching James Taylor’s band left a lasting impression.
• Musical communities matter — relationships formed in school and early careers often last decades.
• Comedy and music share timing instincts — playing for comedians requires the same listening and responsiveness as improvisation.
• Humility sustains a career — serving the music and the band keeps the work meaningful.
• The most powerful musical moments are human ones — often unseen and impossible to capture online.

Music from the Episode

• Head Trauma - Mondo Trio (Jeff Babko, Jeff Coffin, & Vinnie Colauita)
• International Client - Jeff Babko
• Franklin - Jeff Babko
• Nostalgia is For Suckas - Jeff Babko

About the Podcast

The Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.

Connect with the Show

Email: contact@thebandwichtapes.com

We spend a lot of time on her new independent album and what it means to release music on her own terms. Tenille shares how the record began in a deeply personal way—just her, a guitar, and a room at home, trying to find the truth in the songs again after stepping away from the major label system. What started as demos turned into the record itself, and in that process she found something bigger than a new batch of songs. She found her voice again.

One of the most powerful parts of this conversation is our discussion of “Enabling,” a song that speaks directly to love, boundaries, self-abandonment, and the complicated emotional patterns we carry through relationships. Tenille talks about writing it after a real-life moment that forced her to look honestly at her own habits—especially the way people-pleasing can blur into losing yourself. It’s one of those songs that says something difficult with incredible clarity.

We also talk about what independence has given her creatively. Tenille describes this season as a return to the fearless spirit she had when she first moved to Nashville—a feeling of having everything to prove, nothing to lose, and joy at the center of the process. That freedom shows up not only in the songs, but in the way she’s choosing to release and share the record now.

Along the way, we get into her early love of music, the voices and records that shaped her, growing up in the wide-open landscape of Grande Prairie, Alberta, the courage it took to send a CD to Bryan Adams and ask him to sing on a song, and the incredible heart behind her long-running Big Hearts for Big Kids fundraiser. This is a conversation about songwriting, healing, home, and having the nerve to leap when something matters.

Key Takeaways

• Authenticity is everything — when Tenille sings, the emotional truth of the song comes through immediately.
• Independence can bring creative freedom — releasing this record on her own terms helped her reconnect with her artistic instincts.
• Sometimes the demo is the record — simple guitar-and-vocal recordings became the emotional core of this project.
• “Enabling” is about more than one relationship — it also reflects patterns of self-abandonment and people-pleasing.
• Home shapes the writing — the open skies and emotional landscape of northern Alberta remain part of her creative fingerprint.
• Taking the shot matters — whether calling a promoter at age 10 or mailing a CD to Bryan Adams, Tenille keeps acting on bold instincts.
• Music can be a force for real change — her Big Hearts for Big Kids work shows how songs and community can directly support people in need.

Music from the Episode

• Ordinary Love Song - Tenille Townes
• Enabling - Tenille Townes
• The Acrobat - Tenille Townes with Lori McKenna
• The Thing That Wrecks You - Tenille Townes & Bryan Adams

About the Podcast

The Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the stories, influences, and experiences that shape a life in music—one conversation at a time.

Connect with the Show

Email: contact@thebandwichtapes.com

From there, we rewind to the beginning—growing up around his dad’s guitar, discovering The Beatles, and the simple invitation that changed everything: “Learn this song and you can sit in with my band.” That moment set Bob firmly on the path toward becoming a guitarist. He traces his journey through early mentors, jazz studies, and eventually to the University of North Texas, where he found a musical community that would change his life—and where Snarky Puppy first came together.

We spend time talking about the musical ecosystem around North Texas as well, especially the gospel and R&B scenes that shaped Bob’s ear in ways the classroom couldn’t. Bob shares how Snarky Puppy actually learns and rehearses music—often through oral tradition, demos, and Logic sessions—and how the band’s three-guitar setup works without stepping on each other’s sonic space. Along the way, he reflects on something younger musicians often overlook: the importance of restraint, listening, and self-balancing within a band.

One of my favorite parts of the conversation centers on Bob’s Nosferatu project, where he composed and performed an original score for the classic silent film during the COVID years. That project opened the door to exploring 20th-century classical textures, string writing, layered guitars, and production techniques. We wrap up by talking about the wide range of influences that shape Bob’s music—from Charlie Christian and Jim Hall to Sonic Youth and Derek Bailey—and what’s ahead in 2026, including GroundUP Festival, touring with Snarky Puppy alongside the Metropole Orchestra, his trio work, and the growing role of producing in his creative life.

Key Takeaways

• Musicians confront physical concerns over time — long careers require resilience and perspective.
• Early invitations can shape a life path — a simple opportunity to sit in with a band set Bob on the guitar journey.
• Community matters — the University of North Texas and the surrounding Dallas scene were foundational for Snarky Puppy.
• Listening and restraint define great band playing — especially in complex ensemble settings like a three-guitar lineup.
• Musical learning often happens by ear — oral tradition and demos play a huge role in how bands develop material.
• Creative side projects expand the palette — Bob’s Nosferatu score opened the door to new textures and production ideas.
• Producing can become another creative outlet — shaping the sound of recordings scratches the same itch as performing.

Music from the Episode

• B - Bob Lanzetti
• Anonymous - Bob Lanzetti
• The Seven Deadly Sins (from Nosferatu) - Bob Lanzetti
• Jenny is a Donkey - Bob Lanzetti

About the Podcast

The Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.

Connect with the Show

Email: contact@thebandwichtapes.com

We begin with a big life moment: Stash recently welcomed a newborn into the world. He reflects on how becoming a parent shifts perspective—not just personally, but creatively. Themes like humility, empathy, patience, and time suddenly carry new weight, and those ideas show up in how he approaches collaboration, teaching, and the creative process itself.

From there, we trace his musical path—from early experiences in heavy metal to discovering bluegrass, jazz, and experimental music. Growing up in New England, studying at Berklee College of Music, and being part of a tight-knit musical community all helped shape his artistic voice. We also talk about the complicated role of labels like “avant-garde”—how they can be useful shorthand while also limiting how audiences hear the music.

We spend real time on influences—Charles Ives, Arnold Schoenberg, Lennie Tristano, and Anthony Braxton—and how ideas from those composers intersect with improvisation, ear training, and creative freedom. And finally, Stash shares details about his upcoming duo record Matty and Debbie with drummer Sean Trischka, a project that pulls together bluegrass, jazz, metal, hymnody, and pure curiosity into one cohesive musical statement.

Key Takeaways

• Parenthood reshapes perspective — becoming a parent can influence creativity, collaboration, and priorities.
• Musical identity can span genres — Stash’s work draws from metal, bluegrass, jazz, and experimental music.
• Labels can both help and hinder — terms like “avant-garde” describe music but can also narrow how people hear it.
• Community shapes artists — New England roots and Berklee connections helped shape Stash’s musical path.
• Learning the process matters more than chasing results — growth comes from patience and curiosity.
• Rhythm and feel take time — some musical skills simply can’t be rushed.
• Creative projects thrive on curiosity — his upcoming duo record with Sean Trischka explores multiple traditions at once.

Music from the Episode

• Acoustic Metal Party - Stash Wyslouch
• Stash's Turkey in the Straw - Stash Wyslouch
• Over in the Gloryland - Stash Wyslouch

About the Podcast

The Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.

Connect with the Show

Email: contact@thebandwichtapes.com

We start by tracing his musical roots in Kentucky, where Travis grew up surrounded by music and developed an early obsession with the pedal steel guitar. Those early years of practice and curiosity laid the foundation for the disciplined approach he still brings to every gig today.

From there, we talk about the realities of the Nashville scene: arriving in town, finding opportunities, and slowly building a reputation that leads to bigger stages and long-term touring gigs. Travis shares stories from his early days in Nashville and reflects on what it meant to spend years touring with Rascal Flatts before stepping into a new chapter with Luke Bryan.

We also dig into his solo instrumental record and why writing original music was important to him. Along the way, Travis talks about how his background as a drummer and his love of fusion music still influence his phrasing and groove on pedal steel. It’s a thoughtful look at touring culture, social media, and the mindset required to stay grounded in a career that lives on the road.

Key Takeaways

• Mastery starts early — Travis’s obsessive practice as a young musician shaped the discipline he brings to every gig.
• Pedal steel continues to evolve — modern players are expanding the instrument beyond traditional roles.
• Reputation matters in Nashville — professionalism and reliability open doors to long-term touring work.
• Touring is a long game — sustaining a career on the road requires balance, perspective, and resilience.
• Musical influences cross genres — Travis’s background as a drummer and fusion fan shapes his approach to steel guitar.
• Writing original music can deepen your voice — his solo record gave him space to explore the instrument in new ways.
• Longevity comes from staying grounded — focusing on the music and the people around it keeps the career moving forward.

Music from the Episode

• Entry Point (Travis Toy)
• JDT (Travis Toy)
• Wingman (Travis Toy)
• Alabama Jubilee (Travis Toy)
• Hot Button (Travis Toy)

About the Podcast

The Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the stories, influences, and experiences that shape a life in music.

Connect with the Show

Email: contact@thebandwichtapes.com

We talk about his current role holding down a full-time Broadway chair with Hadestown, and how that kind of musical stability fits into a career that has largely been built around creative projects and collaboration. Chris shares what it’s like stepping into that world—where consistency, preparation, and reliability are everything—and how it contrasts with the improvisational spaces he often inhabits as a jazz and creative musician.

Along the way, we trace Chris’s musical path—from early choir singing and piano lessons to discovering both electric and upright bass. His story is a great reminder that a meaningful career in music isn’t always about chasing the spotlight. Often it’s about serving the music, supporting the composer’s vision, and learning to leave ego at the door.

We also spend time talking about Chris’s long-standing musical partnership with Becca Stevens. Their collaboration spans many years and projects, and hearing Chris reflect on how that band identity developed—through trust, chemistry, discipline, and shared musical values—is one of the most rewarding parts of this conversation.

Key Takeaways

• A sustainable music career often balances art and stability — work like Broadway can provide a foundation for creative projects.
• Serving the music matters more than serving the ego — great collaborators listen first.
• Versatility is essential — Chris’s path from choir and piano to electric and upright bass shaped a wide-ranging career.
• Preparation and reliability keep musicians working — professionalism is as important as talent.
• Long-term collaborations deepen the music — partnerships like Chris’s work with Becca Stevens grow stronger over time.
• Consistency builds reputation — careers are often built quietly through trust and dependability.
• Listening is the bassist’s superpower — great bass playing starts with supporting the musical moment.

Music from the Episode

• Imperfect Animals (Becca Stevens)
• The Surge (Angelika Niescier)
• Transient Beings (Sebastiane Noelle)
• Attention Flaws (Chris Speed Trio)

About the Podcast

The Bandwich Tapes is a podcast hosted by Brad Williams featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.

Connect with the Show

Email: contact@thebandwichtapes.com

We talk about what has been a particularly full year for Mark: touring internationally, playing iconic rooms like the Blue Note, and balancing the demands of the road with the rare gift of time at home. For Mark, staying active isn’t just part of the job—it’s a creative engine. The more he plays, the more ideas emerge.

One of my favorite parts of our conversation centers on restraint—the idea that what you don’t play can matter just as much as what you do. Mark reflects on the records he grew up listening to, where the entire band worked together to shape a moment, and how those lessons show up when he’s on stage or in the studio with world-class musicians.

We also get into the nuts and bolts of being a working musician today: communication in the studio, professionalism on the gig, showing up prepared, and reading the room. Along the way, Mark shares stories about his early career in advertising and PR, a surprising David Crosby connection that introduced him to open tunings straight from the source, and what’s ahead—including a fascinating upcoming project with sitarist Purbhayan Chatterjee, new baritone-driven material, and the continuing musical adventures that connect his solo work, Snarky Puppy, and Fearless Flyers.

Key Takeaways

• Restraint is musical power — sometimes the most impactful choice is knowing when not to play.
• Groove starts with listening — the pocket comes from how musicians respond to one another in real time.
• Professionalism matters — showing up early, prepared, and ready to collaborate keeps you in demand.
• Baritone guitar as a voice — Mark has helped expand the instrument’s role beyond heavy music into funk and groove-based contexts.
• Creative momentum comes from staying active — touring, writing, and performing feed the creative cycle.
• Musical identity evolves — Mark’s journey reflects influences from rock, funk, jazz, and beyond.
• Collaboration drives discovery — projects like his upcoming work with sitarist Purbhayan Chatterjee push his sound into new territory.

Music from the Episode

• Magnetar (Mark Lettieri - feat. Adam Deitch & Shaun Martin)
• Gigantactis (Mark Lettieri Group with the WDR Big Band)
• Voyager One (Mark Lettieri - feat. Nate Smith & Bobby Sparks II)
• Blue Straggler (Mark Lettieri - feat. Travis Toy) 

About the Podcast

The Bandwich Tapes is a podcast hosted by Brad Williams featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the stories, influences, and moments that shape a life in music—one conversation at a time.

Connect with the Show

Email: contact@thebandwichtapes.com

Grace shares what it’s been like arriving at Belmont University as a spring admit, stepping into music school life for the first time and suddenly being surrounded by people who truly understand the creative path she’s on. For the first time, she’s in an environment where songwriting, performing, and artistic ambition feel normal—and that shift has been energizing.

We also trace her musical origin story. Grace has been singing since childhood, gradually teaching herself piano and guitar while learning how to shape songs with intention. Along the way, we talk honestly about the profound impact of losing her brother Liam, and how that experience reshaped her worldview, her faith, and ultimately the emotional center of her songwriting.

There have also been some remarkable moments along the way. At just 16 years old, Grace recorded at Abbey Road Studios, an experience that helped solidify her commitment to pursuing music seriously. Since then, she’s spent time searching for the right creative collaborators and has now begun recording new material at Soundstage Studios in Nashville alongside top-tier session musicians.

We also talk about the craft of songwriting itself—learning to balance authenticity with the realities of the modern music industry. Grace reflects on how her faith influences her work without forcing it into a single genre category, and why she’s focused on staying grounded in the music even as the industry continues to evolve. By the end of our conversation, it’s clear she’s an artist with both talent and a strong sense of identity about the path she wants to follow.

Key Takeaways

• What it’s like entering Belmont University as a spring admit and finding a creative community.
• Grace Humphries’s early musical beginnings—teaching herself piano and guitar while learning to write songs.
• How the loss of her brother Liam shaped her perspective, faith, and songwriting voice.
• The surreal experience of recording at Abbey Road Studios at age 16.
• Finding the right producer and beginning new recordings at Soundstage Studios in Nashville.
• How Grace balances authentic songwriting with commercial awareness.
• Why she remains focused on the work despite the rapidly shifting music industry.

Music from the Episode

• Why’d You Give Up — Grace Humphries
• For Years — Grace Humphries

About the Podcast

The Bandwich Tapes is a long-form conversation podcast where host Brad Williams sits down with some of the most thoughtful musicians, composers, and artists working today. The show explores the stories behind the music—creative process, collaboration, career paths, and the human experiences that shape the sounds we love.

Connect with the Show

Email: contact@thebandwichtapes.com

We start by talking about some of the projects currently on his plate. From a new recording with his organ trio featuring Peter Bernstein and Bill Stewart, to an unexpected and joyful children’s album with tap-dance legend Melinda Sullivan, Larry’s creative world is constantly expanding. Whether it’s instrumental jazz, singer collaborations, or more experimental projects, his curiosity keeps pushing him into new musical spaces.

A major part of the conversation centers on his long-running role in James Taylor’s band. Larry shares how he first connected with James in the early 2000s and what it takes to serve those songs night after night at the highest level. Playing alongside musicians like Steve Gadd, he reflects on what he’s learned about feel, restraint, and the kind of deep musical trust that makes a rhythm section truly work.

From there we head down the rabbit hole into Scary Goldings and Scary Pockets, the groove-driven projects that have introduced Larry to a whole new generation of listeners online. He talks about how those sessions began, why the format encourages spontaneity, and how collaboration and curiosity remain the driving forces behind the music.

For the gearheads and music nerds—myself included—we also revisit a memorable moment from the Michael Brecker “Time Is of the Essence” sessions. Larry recalls the experience of playing alongside Elvin Jones, navigating the nerves of the session, and the unforgettable moment when the music suddenly locked into place.

Along the way, we also get into the craft of organ playing itself—especially Larry’s approach to left-hand bass, and why bass players have influenced his musical language just as much as other organists. At the end of the day, everything comes back to the same principle: serve the feel, serve the song.

Key Takeaways

• Larry Goldings’s current creative projects, including a new organ trio record with Peter Bernstein and Bill Stewart.
• The unexpected collaboration with tap-dance legend Melinda Sullivan on a children’s album.
• How Larry joined James Taylor’s band and what he’s learned from years on that stage.
• The musical philosophy of rhythm sections built on feel, restraint, and trust, especially alongside Steve Gadd.
• The origins of Scary Goldings and Scary Pockets and how those sessions reached a global audience online.
• A behind-the-scenes story from the Michael Brecker “Time Is of the Essence” recording sessions with Elvin Jones.
• Why Larry’s organ language is shaped as much by bass players as by other keyboardists.

Music from the Episode

• The Shakes — Scary Pockets
• Timeline — Michael Brecker
• Solid Jack — The Larry Goldings Trio
• Disco Pills — Scary Pockets
• Arc of the Pendulum — Michael Brecker

About the Podcast

The Bandwich Tapes is a long-form conversation podcast where host Brad Williams sits down with some of the most thoughtful musicians, composers, and artists working today. The show explores the stories behind the music—creative process, collaboration, career paths, and the human experiences that shape the sounds we love.

Connect with the Show

Email: contact@thebandwichtapes.com

We start in the middle of a Nashville winter storm in early 2026, when power outages and unexpected downtime forced them to slow down—and unexpectedly reignited their songwriting spark. From there, we rewind to how the two of them first met through Jake’s dad’s music school, and the wide range of artists that shaped their musical instincts along the way, including Taylor Swift, Carrie Underwood, Lizzy McAlpine, John Mayer, Stevie Ray Vaughan, The Cars, and Madison Cunningham.

One of my favorite parts of the conversation is hearing how their duet sound developed naturally rather than by design. They didn’t study classic duos or try to replicate an established formula. Instead, their voices gradually found each other. Jake talks about how he essentially learned harmony from Shelby, and how their blend now feels like one shared musical voice—two distinct tones moving with the same phrasing and instinct.

We also talk about some of the surreal early moments in their career, including the sudden attention that came when Michael Bublé and Kim Kardashian shared their music, amplifying their audience almost overnight. That early exposure opened doors, but it also led them to the next stage of their work: moving beyond the stripped-down Just Us era and into a fully produced debut album recorded across Nashville and Los Angeles.

Along the way, they share how songs typically come together—often starting with a guitar idea, building melody, and shaping lyrics in shared phone notes. Collaboration, for them, means letting the song win when disagreements come up. By the end of the conversation, it’s clear they’ve already built a massive catalog—nearly 100 finished songs—and they’re still very much at the beginning of their story.

Key Takeaways

• How Jake & Shelby’s musical partnership began through Jake’s dad’s music school.
• The wide range of influences shaping their sound, from Taylor Swift and Lizzy McAlpine to Stevie Ray Vaughan and The Cars.
• Why their vocal harmony developed organically rather than by modeling classic duos.
• The surprising early boost when Michael Bublé and Kim Kardashian shared their music online.
• The shift from their stripped-down Just Us era into a full-band debut album.
• How songs often start with guitar ideas, shared phone notes, and collaborative lyric writing.
• Why their rule during disagreements is simple: let the song win.

Music from the Episode

• Loophole — Jake & Shelby
• You Don’t Know — Jake & Shelby
• Shut Up and Kiss Me — Jake & Shelby
• Falling Out of Love — Jake & Shelby
• Morning Light — Jake & Shelby

About the Podcast

The Bandwich Tapes is a long-form conversation podcast where host Brad Williams sits down with some of the most thoughtful musicians, composers, and artists working today. The show explores the stories behind the music—creative process, collaboration, career paths, and the human experiences that shape the sounds we love.

Connect with the Show

Email: contact@thebandwichtapes.com

A big part of our conversation centers on feel and energy in recordings. Trey and I dig into why so many of the records we love breathe and move in ways that feel alive—often recorded without a click track—and why some of that electricity can disappear when studio perfection becomes the goal. It’s a thoughtful discussion about spontaneity, musical trust, and the value of leaving room for human feel.

We also talk about his upcoming album Can’t Outrun the Blues, releasing March 6. The record leans heavily into an acoustic-forward sound, with most of the performances captured live in the room and minimal overdubs. Trey shares how the project came together, the importance of strong songs at the center of it all, and the collaborators who helped bring the music to life.

Then we look ahead to another exciting chapter: a new electric, country-leaning project with guitarist Brian Sutton. Trey talks about what it feels like to plug in again after years of acoustic focus, the mix of intimidation and inspiration that comes from playing alongside someone like Brian, and how his time on electric guitar has quietly shaped the way he approaches the acoustic instrument.

Along the way, we also get into the realities of modern musicianship—social media and the pressure to produce “content,” stage sound challenges like wedges versus in-ears, bluegrass timing tendencies, and the ongoing challenge of simply hearing yourself onstage. It’s a conversation about music, but also about identity, growth, and trusting your instincts as an artist.

Key Takeaways

• What it’s like for Trey Hensley to return to a solo role after a decade performing in a duo.
• Why many of the most beloved recordings breathe without a click track.
• The philosophy behind recording Can’t Outrun the Blues mostly live in the room.
• How focusing on songs first shaped the direction of the new record.
• The creative spark—and challenge—of working with Brian Sutton on a more electric project.
• How playing electric guitar has influenced Trey’s acoustic phrasing and tone.
• Real-world musician topics: social media pressure, stage monitoring (wedges vs. in-ears), and bluegrass timing tendencies.

Music from the Episode

• Can’t Outrun the Blues — Trey Hensley
• One White Line at a Time — Trey Hensley
• Tucson — Trey Hensley

About the Podcast

The Bandwich Tapes is a long-form conversation podcast where host Brad Williams sits down with some of the most thoughtful musicians, composers, and artists working today. The show explores the stories behind the music—creative process, collaboration, career paths, and the human experiences that shape the sounds we love.

Connect with the Show

Email: contact@thebandwichtapes.com

We start with what’s immediately ahead for her: a trip to Hamburg to premiere a newly expanded big band version of a trio piece with the NDR Big Band. Kris shares the very real “composer panic” that comes with catching an engraving mistake right before rehearsal—one of those behind-the-scenes realities of composing that every musician can relate to.

From there, we talk about festivals—especially Big Ears, which feels like its own musical universe—and dive into two major pillars of her work: prepared piano and large-form composition. Kris reflects on studying with pianist Benoît Delbecq, whose approach to prepared piano emphasized rhythm, individuality, and finding a personal sonic vocabulary.

One of the highlights of our conversation is a deep look at her remarkable Solastalgia Suite, written for the Lutosławski Quartet after a commission through Poland’s Jazz to Pad Festival. Kris talks about learning how to write for strings in real time and how the concept of **solastalgia—the grief you feel for your home while you’re still living in it—**became the emotional core of the piece.

We also zoom out into the bigger picture of her work: her leadership role alongside Terri Lyne Carrington at Berklee’s Institute of Jazz and Gender Justice, and her decade-long journey building Pyroclastic Records, a label dedicated to supporting adventurous music and the artists creating it. At its heart, this conversation is about craft, community, curiosity, and the importance of taking creative risks on purpose.

Key Takeaways

• The behind-the-scenes realities of composing for large ensembles—including last-minute engraving panic before a premiere.
• Why festivals like Big Ears create a unique ecosystem for creative music.
• How studying with Benoît Delbecq shaped Kris Davis’s approach to prepared piano.
• The creative challenge of writing for string quartet for the first time.
• The emotional meaning of solastalgia and how it shaped the Solastalgia Suite.
• Kris’s work at Berklee’s Institute of Jazz and Gender Justice alongside Terri Lyne Carrington.
• How Pyroclastic Records has grown into an important platform for adventurous and forward-thinking music.

Music from the Episode

• Diatom Ribbons — Kris Davis
• Interlude (from the Solastalgia Suite) — Kris Davis
• Life on Venus (from the Solastalgia Suite) — Kris Davis
• Run the Gauntlet — Kris Davis

About the Podcast

The Bandwich Tapes is a long-form conversation podcast where host Brad Williams sits down with some of the most thoughtful musicians, composers, and artists working today. The show explores the stories behind the music—creative process, collaboration, career paths, and the human experiences that shape the sounds we love.

Connect with the Show

Email: contact@thebandwichtapes.com

Sarah shares how I’m With Her, her trio with Aoife O’Donovan and Sara Watkins, became a creative counterbalance to the pressures of solo work. What stands out is how naturally the collaboration works: three distinct musical voices, no ego battles, and an instinctive approach to arranging harmonies and deciding who carries each musical moment. It’s a reminder of how powerful true musical trust can be.

We also explore how her perspective on collaboration has evolved over the years. Early in her career, Sarah felt a strong need to protect her artistic voice. But as she gained experience, she realized that once you truly understand what you bring to the table, collaboration becomes less risky and far more rewarding.

One of my favorite parts of the conversation is a deep dive into the next generation of acoustic musicians, artists with deep bluegrass roots who aren’t confined by genre boundaries. Sarah traces that lineage through musicians like Chris Thile, Punch Brothers, David Grisman, Mike Marshall, Béla Fleck, and Edgar Meyer, framing today’s scene not as a sudden movement but as a continuation of a long and evolving acoustic tradition.

We also nerd out about her time at the New England Conservatory, why she chose it over Berklee, and how her early Kodály training gave her a powerful foundation in ear training and musical intuition. We wrap by talking about what’s next: an upcoming I’m With Her live album, summer touring, and a rare pause in her solo career as she finds herself between record contracts for the first time. In a music industry constantly shifting, from streaming economics to AI, the grounded takeaway is simple: the real thing still matters, and people continue to show up for honest music played by real humans.

Key Takeaways

• What it actually feels like to win Grammys after years of nominations.
• Why Sarah Jarosz still feels deeply connected to her hometown of Wimberley, Texas.
• How I’m With Her works creatively—three voices collaborating without ego.
• Why collaboration becomes easier once artists understand their own musical identity.
• The lineage of modern acoustic music through artists like Chris Thile, David Grisman, Béla Fleck, Edgar Meyer, and Mike Marshall.
• How Kodály training and ear development shaped Sarah’s musicianship early on.
• Why the “real thing”—human voices and acoustic instruments—still resonates in a rapidly changing music industry.

Music from the Episode

• Jealous Moon — Sarah Jarosz
• When the Lights Go Out — Sarah Jarosz
• Runaway Train — Sarah Jarosz

About the Podcast

The Bandwich Tapes is a long-form conversation podcast where host Brad Williams sits down with some of the most thoughtful musicians, composers, and artists working today. The show explores the stories behind the music—creative process, collaboration, career paths, and the human experiences that shape the sounds we love.

Connect with the Show

Email: contact@thebandwichtapes.com

We begin with her long musical relationship with Iron & Wine, and how working with Sam Beam has shaped the way she thinks about rhythm and ensemble playing. Beth shares how Sam’s drummer-minded approach to guitar creates a uniquely interactive musical space, and why that dynamic has been such a natural fit for her instincts as a drummer.

We also talk about Beth’s recent move from Los Angeles to Tucson, Arizona, a shift that has reinvigorated her creative life. After spending nearly 350 of 500 days on the road, she made the intentional decision to lower her overhead, slow down, and build space for new creative work. Tucson’s vibrant music community—connected to artists like Calexico and Giant Sand—has quickly become a new source of inspiration.

One of the most fascinating parts of our conversation is Beth’s marimba looping project. What began as a pandemic experiment—exploring Steve Reich–inspired patterns she could sing over—has grown into a fully realized live performance concept. She explains her intentionally simple setup (two SM57s and a Boss looper) and how she’s now expanding the music into a band context.

Along the way, we explore her journey through trad jazz gigs in Northern California, classical percussion studies at San Jose State, touring with the Air Force National Guard Band, restaurant gigs that taught her the art of playing softly, and recording live with pianist Matt Rollings at Valentine Studios. It’s a conversation about nuance, groove, mentorship, loss, and the importance of carving out time and space to build something of your own.

Key Takeaways

• Why Beth Goodfellow’s musical chemistry with Iron & Wine works so naturally
• How moving from Los Angeles to Tucson reshaped her creative life
• The story behind her marimba looping project and minimalist gear setup
• Lessons learned from early trad jazz gigs and restaurant performances
• Recording live in the room with Matt Rollings at Valentine Studios
• What it means to step fully into your own artistic lane after years as a collaborator

People Mentioned

• Beth Goodfellow
• Sam Beam (Iron & Wine)
• Matt Rollings
• Steve Reich
• Artists connected to Calexico
• Artists connected to Giant Sand

Music from the Episode:

• Reconnecting the Disconnect (Beth Goodfellow)
• Shut Up Moon (Part 2) (Beth Goodfellow)
• Travellers Prayer (Beth Goodfellow)
• San Joaquin (Beth Goodfellow)
• Groove with a View (Matt Rollings)

About the Podcast

The Bandwich Tapes explores the craft of music through thoughtful conversations with the artists who make it. Each episode dives into creative process, collaboration, touring life, and the stories behind the music.

Connect with the Show

If you have questions, feedback, or ideas for future guests, feel free to reach out:

📧 brad@thebandwichtapes.com

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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 Marimba
Paul Smadbeck - Rhythm Song
Béla Bartók - Sonata for Two Pianos and Percussion
John Corigliano - Conjurer: Concerto for Percussionist and String Orchestra

Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

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.

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.

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.

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.

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.

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.

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 Goodman
• Subbing with the New York Philharmonic
• Auditioning 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 letter
• The long road to commissioning the Philip Glass Double Timpani Concerto and why it had to become a double concerto
• His work at NYU, including powerful new pieces by Lenny White and Tim Adams, connected to Black Lives Matter and the murder of George Floyd

Jonathan 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.

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.

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 songs
• The intimate, live-tracked world of Maple to Paper, where it had to be one guitar, one voice, and total honesty
• The studio-crafted layers of Wonder Bloom, built from tiny seeds into full sonic collages

We 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.

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 Rhythm
• His 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 Wallace
• The 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 Bush
• Playing on Jessica Simpson’s recent JD McPherson-produced projects and how surprising (in the best way) that music is
• The 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 together

Jordan 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.

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.

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.

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.

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

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.

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

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.

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

To learn more about Trish, visit her website.

Music from the Episode:
Think of What You've Done (Trish Imbrogno)

Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

We trade stories from the North Carolina Triangle scene to Atlanta’s deep pool of drummers, reflecting on what makes a rhythm section feel great: listening, placement, and serving the song. Wayne describes his approach to subbing as studying a band’s center of gravity while giving them the feel they expect. He also shares what he learned playing percussion alongside Atlanta stalwarts such as Joe Lee, Scott Meeder, and Jon Chalden. He contrasts the football-team edge of earlier drum corps with today’s more dance-oriented productions. He explains why he writes parts that are musical, supportive, and grooving, using as much as needed but no more, instead of cramming in notes for flash.

These days, Wayne splits his time among theater and tribute productions, including A1A, the long-running Jimmy Buffett show he loves for its surprising stylistic range, occasional ABBA productions with original bassist Mike Watson, and writing and teaching for high school programs. Throughout our conversation, we keep coming back to process over product, rehearsing well, building reliable systems, and teaching skills that outlast any single show. It is a deep dive into musicianship, adaptability, and being the kind of player and hang people want to call again.

To learn more about Wayne, visit his website.

Music from the Episode:
Who's Been Talking (Shannon Wickline, Wayne Viar, & Brad Williams)

Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

Dylan walks me through the Servants’ arc: his partnership with mandolinist Jesse Cobb (a founding member of The Infamous Stringdusters), the jolt of energy when fiddle phenom Quinn Etheridge-Peddon joined, and the final puzzle piece in bassist Mark Johnson. We discuss the chemistry that's palpable onstage and how trust enables them to push beyond genre boundaries while always prioritizing the song.

Their new album, Fallen Angel (out October 17), captures that identity. The band converted Quinn’s basement into a studio. It brought in producer Adrian Dolan to keep it honest and alive, arrangements evolving in real time, performances that breathe, and the raw cohesion of a working band. We also explore their next steps: incorporating listening-led improvisation into writing (akin to jazz school rather than “endless solo”) and planning U.S. runs in 2026 from the Pacific Northwest down the coast and inland.

The title track “Fallen Angel” is out now on all platforms.

Band lineup

• Dylan Stone — vocals, guitar, songwriting
• Jesse Cobb — mandolin, instrumental writing, vocals
• Quinn Etheridge-Peddon — fiddle, vocals
• Mark Johnson — bass, vocals

To learn more about The Unfaithful Servants, visit their website.

Music from the Episode:
Fallen Angel (The Unfaithful Servants)
Real to Touch (The Unfaithful Servants)

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

We trace her path from a fiercely musical Italian family outside Boston—classical piano with her mom, jazz studies at The New School in New York—to early studio reps as a jingle singer, where she learned mic technique, speed, and how to “translate” creative direction. A move to Los Angeles opened new collaborative circles and ultimately led to the creation of this album, co-produced with Lawrence Rothman and Spencer Zahn (whose bass work is a standout). Most core tracks were cut together, with Niia revisiting vocals after living with the songs; mixer John Castello kept the feel alive rather than over-processed. Her version of “Angel Eyes,” distilled to voice and piano, anchors the record and nods to the tradition she loves.

We also discuss the human side of performing—stage fright, perfectionism, and the transition from singing with eyes closed to fully engaging with an audience. For Niia, connection beats ego: the goal is to help people feel something, not to sand every edge. As the new album rolls out (release date: October 10), she’s launching a 10-date European tour starting in Germany and Copenhagen, with hopes of bringing the show to Asia and the U.S. next. Long term, she dreams of a lush standards album—but, as she puts it, not just yet.

Pre-save and listen to Niia's upcoming album, V, on all streaming services (https://niiamusic.lnk.to/niiavPR).

To learn more about Niia, visit her website.

Music from the Episode:
throw my head out the window (Niia)
pianos and great danes (Niia)
f*cking happy (Niia)
angel eyes (Niia)

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

We talk about the unique pressures musicians face, how addiction weaves into the culture of performance, and the courage it takes to rebuild a life and career on new terms. I also share some of my own journey of sobriety — nearing one year — and Arnold offers wisdom on moving past shame, reclaiming creativity, and finding freedom through community.

This is a conversation about music, resilience, and hope — one that every artist (and human) will find something in.

Music from the Episode:
Witness (Arnold McCuller)
Chances Are (Arnold McCuller)
Hard Times (Arnold McCuller)
You'll Never Leave Harlan Alive (Arnold McCuller)
Above the Rain (Arnold McCuller)

To learn more about Arnold and his incredible work, please visit his website. 

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy. 

We talk about his journey as a percussionist, including what first drew him to the instrument, his time as a student and performer, and the ways he continues to push the boundaries of what percussion can be. Todd also shares insights into his role as an educator, mentoring the next generation of percussionists at Baylor, and how he balances the dual roles of professor and associate dean.

Along the way, we dig into topics such as innovation in percussion repertoire, the importance of cultivating curiosity in students, and how higher education is evolving for young musicians. Todd’s perspective offers a unique look at how percussion performance, teaching, and leadership intersect.

This conversation is both inspiring and practical, perfect for musicians, educators, and anyone fascinated by the craft of percussion and the pathways it can open.

To learn more about Todd and the Baylor University percussion studio, visit Todd's website or the Baylor percussion studio website.

Music from the Episode:
Gardens (Excerpt) (Ivan Trevino - Baylor University Percussion Ensemble)
Gardens (2024) was commissioned by the Baylor Percussion Group in celebration of Todd Meehan's 20th year of teaching at Baylor University. The piece is scored for six percussionists who perform on piano, two vibraphones, one 5.0 octave marimba, and glockenspiel.

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy. 

Ray and I start by digging into his family’s club, Handlebar J, which has been a Scottsdale institution for 50 years. We talk about the balance of being both a musician and a restaurant owner, and what it means to carry on the legacy of a place that has hosted countless nights of music.

From there, our conversation winds through his other passions, like competitive poker, and the surprising similarities he finds between playing cards and improvising on the guitar. Ray also reflects on his lifelong love of learning, including his in-depth exploration of Barry Harris’s concepts, his admiration for Pat Martino, and what he learned from lessons with greats like Joe Pass and Ted Greene.

We spend time swapping stories about the incredible steel guitar community, remembering players like Buck Reid, Paul Franklin, Gary Morse, Bruce Bouton, Joe Rogers, and Johnny Cox. And of course, we trace Ray’s path from nights at Mr. Lucky’s with J. David Sloan and the Rogues, to that fateful Luxembourg trip where his band first connected with Lyle Lovett, and how those relationships eventually led to McBride & The Ride.

Ray also discusses finding his own voice as a singer and songwriter, including the enduring impact of “Me and You,” a song that has remained a staple in weddings and playlists worldwide. We close by talking about what it’s like to reunite with McBride & The Ride these days and how the music has only gotten better, the pressure is gone, and the laughter comes easy, as well as his recent work with Don McLean’s band.

It was such a joy to hear Ray reflect on the twists and turns of his career, the people who shaped it, and the music that continues to inspire him.

Music from the Episode:
Amarillo Sky (McBride & the Ride)
Lovin' Her Was Easier (Ray Herndon)
Me and You (Ray Herndon)

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy. 

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy. 

We talk about the early sparks: how a chance pairing at Belmont led to instant musical chemistry, their first gig at the Bluebird Café, and how harmonies, slide guitar, and raw energy shaped their sound.

They share stories from their European tours, traveling light with only two acoustic guitars, and the magic of making a full band’s worth of sound as a duo. We also delve into the impact of having nine original songs placed on ABC’s hit show Nashville, a career-launching moment that opened doors to the Grand Ole Opry, the UK, and even collaborations with T-Bone Burnett and the late, great Michael Rhodes.

We reflect on the craft of songwriting: from following Nashville’s “rules” early on to breaking them with honesty and authenticity. Sarah and Justin discuss chasing their best song yet, recording and producing on their own terms, and creating studio records that capture the energy of their live shows.

There’s nostalgia too, remembering jam sessions with the Rosson family, watching musical heroes like Tommy Emmanuel, and feeling the support of mentors who helped shape their artistry. And, of course, we share plenty of laughs about gear disasters, sushi metaphors, and why less is often more when it comes to making music.

Whether you know them from Nashville, their stirring live performances, or their new releases, this is a deep, heartfelt conversation about growth, partnership, and what it means to create music that connects.

To learn more about the duo, visit their website.

Music from the Episode:
Six-String Baby (Striking Matches)
Insincerely (Striking Matches)

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy. 

We talk about Matt’s unique musical journey, from starting violin lessons at age five through the Suzuki method to eventually discovering his lifelong calling behind the drum kit. Matt shares how his early orchestral training shaped his listening skills, ensemble awareness, and approach to sound, lessons that continue to inform his playing today.

Our conversation explores the real-world practicalities of drumming, teaching, and recording. Matt reflects on the vision behind his YouTube channel, where he offers transparent, practical insights for working drummers navigating everything from gigging and recording to building a career in today’s music world.

Matt also discusses his experiences touring internationally with Sarah McLachlan, including the upcoming Canadian tour and U.S. dates, as well as the freedom and trust she gives her band on stage. We explore the balance between leading and supporting in musical settings, the concept of playing to the song, and the importance of knowing when to “drive the bus” versus when to defer.

Listeners will also hear stories of Matt’s studies with legendary drumming figures Joe Morello, Jim Chapin, and Bernard “Pretty” Purdie, the lasting influence of the Moller technique on his sound and stamina, and how those lessons continue to shape his teaching and performance today.

Whether you’re a drummer or love hearing about the craft of making music, this conversation is packed with insight, humility, and inspiration.

To learn more about Matt, visit his website.

Music from the Episode:
Wait (Sarah McLachlan)
Cold Heavy (Sabine and the Red Lotus)
Throw My Head Out the Window (Niia)
Voices Carry (Kate Hudson)

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy. 

Jeremy shares stories from his early days at Belmont, discovering artists like Béla Fleck and Brooks Williams, and crossing paths with classmates like Brad Paisley, while reflecting on how those formative years in Nashville shaped his career as a songwriter and performer. We talk about the folk scene of the early ’90s, the influence of Phil Keaggy (who has since become a close friend and collaborator), and the ways great music can inspire new creativity rather than imitation.

Our conversation also dives deep into the balance of being both a musician and a family man, and how perspective shifts as you approach 50. Jeremy opens up about what it means to leave a legacy through music, including his upcoming Christmas project, and how producing other artists has become an equally rewarding part of his creative journey.

Along the way, we touch on coffee rituals, songwriting discipline, the craft of production, and the inspiration of producers like Daniel Lanois. This is a rich, heartfelt conversation with a friend who embodies both authenticity and artistry.

Music from the Episode:
Autumn in Kingston Springs (Jeremy Casella)
Beauty Leads the Way (Jeremy Casella)
Love That Will Not Let Me Go (Jeremy Casella featuring The Blind Boys of Alabama)
On the Evening Train (Jeremy Casella)

To learn more about Jeremy, visit his website.

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy. 

We start with Brock’s roots in small-town Thomasville, Georgia, a place with an unexpectedly rich arts scene, and trace his journey from a 10-year-old piano student to becoming a versatile musician and educator. He shares about his musical family, the influential teachers who shaped him, and how early church gigs prepared him for a lifetime of accompanying, leading, and creating music.

Brock talks about his love of teaching, the decision to move from performance into music education, and his current work at Stillwell School of the Arts in Atlanta, where he teaches AP Music Theory and piano. We get into the challenges and changes in music education over the last two decades, the role (and limits) of technology in the classroom, and how he keeps evolving his teaching methods to meet students where they are today.

Of course, we reminisce about our time collaborating on musicals, choir projects, and the legendary “Sing-Off” events, including unforgettable Beatles and Billy Joel performances that brought students and faculty to their feet. Along the way, we swap thoughts on musical influences, Billy Joel, Keith Jarrett, Oscar Peterson, and the importance of process over product in mastering any craft.

This conversation is part reunion, part masterclass, and part trip down memory lane. Brock’s passion for music and dedication to his students are contagious, and I left this talk reminded of why making and teaching music matter so much.

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy. 

A Studio Pro with a Killer Resume. As a sought-after session musician, Steve’s guitar work has shaped hundreds of albums, TV and radio commercials, and movie soundtracks. His credits include Coca-Cola, Ford, Chevrolet, MLB, NFL, IBM, Cartoon Network, PBS, Microsoft, CNN, NASCAR, and even a recording session with the London Symphony Orchestra.

One of Atlanta’s most in-demand guitarists, Steve brings his signature sound to 150+ performances a year, effortlessly weaving through jazz, R&B, rock, funk, gospel, country, blues, pop, and western-swing in various venues around the globe.

To learn more about Steve, visit his website.

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy. 

We dive into her songwriting process, the role of the banjo in her music, and the joy (and challenge) of recording and releasing new work. Rita shares some behind-the-scenes stories from recent singles and what it’s like to bring those songs to life in the studio. There’s also a lot of warmth in how she talks about live performances, that real-time connection with an audience that keeps the music breathing and evolving.

Originally from New York, Rita has carved out a unique voice in the Americana world with a sound that’s both grounded in tradition and deeply personal. Her thoughtful lyrics, intricate banjo work, and easygoing presence make her a compelling artist to watch. Toward the end of our conversation, we talk about what’s next, from upcoming shows to future releases, and it’s clear that Rita Bliss is just getting started.

To learn more about Rita, please visit her website.

Music from the episode:
Peaches & Apple Pie (Rita Bliss)
Drive You to Kentucky (Rita Bliss)
Best Bar in Texas (Rita Bliss)
We Will Sing (Rita Bliss)

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy. 

Maeve and I talk about her journey as an artist—from her early exposure to traditional Scottish and Irish music to her boundary-pushing projects in the worlds of contemporary classical, jazz, and film scoring. She shares how motherhood has deepened her relationship to her craft, and how she continues to evolve her voice while remaining rooted in tradition.

We explore her role as Artistic Director of the Rockport Celtic Festival, and dig into her album The Harp Weaver, a deeply personal work inspired by poetry and memory. Maeve reflects on the creative process, the power of collaboration, and the delicate balance between honoring tradition and forging new musical paths.

This is a rich and thoughtful conversation with one of today’s most original voices on the harp.

To learn more about Maeve, please visit her website.

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy. 

Eddie opens up about the formative moments and mentors that helped shape his musical identity, the joy (and chaos) of memorable gigs, and the quiet victories of the classroom. We dig into what it means to teach music today, how collaboration fuels creativity, and why the communities we build through music might be the most essential part of the journey.

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy. 

We discuss Brett's journey from studying under Michael Burritt at Northwestern to his unexpected opportunity at LSU in 2003, where he has been teaching for over two decades. He reflects on the evolution of the percussion studio, the effects of the 2008 recession and the COVID-19 pandemic on student development, and how the landscape of music education has shifted over the years.

We delve into teaching philosophies and how Brett identifies the most minor technical issues that unlock major improvements, and why teaching is ultimately about remembering what it's like to struggle. We also cover the deceptively complex art of triangle and tambourine playing, and how Brett balances classical rigor with kindness and adaptability.

And then there's Brett the composer. He shares the backstory behind his works, such as Sharpened Stick and Headcase, and how his early days in a high school garage band with Doug Perkins (yes, that Doug Perkins) led to a lifelong love of composing. He discusses studying under legends like Stanley Leonard, David Stock, and J. Allen Yim, and how those mentors shaped his artistic voice.

Whether you're a percussionist, a teacher, or just someone who loves stories about finding your path and making an impact, this episode is packed with insight, warmth, and some great laughs.

To learn more about Brett, visit his website. 

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy. 

Chad shares stories from his early days performing with his dad and brother, forming the band Raney Nickel, and eventually making his way to Nashville. After double-majoring in music business and marketing at Belmont, he landed an internship with Reba McEntire’s company, which gave him a behind-the-scenes education in the industry. From there, his career took off, touring with The Wilkinsons, signing with RCA as part of Pinmonkey, and later joining Carrie Underwood’s band.

We discuss his experiences performing everywhere from Vegas residencies to overseas military tours, and the lessons he has learned along the way about professionalism, collaboration, and being someone others want to work with. Chad also shares how his creative energy has led him into real estate, where he now helps clients with the same focus and passion he brings to the stage.

He even tells us about a new online course he has developed to help entrepreneurs prepare for client meetings, drawing unexpected yet powerful parallels between stage presence and business success.

To learn more about Chat, visit his website at chadjeffers.com.

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy. 

Rachael shares her journey from growing up in the South to becoming a trusted name in Nashville’s production scene. We discuss her beginnings as a session engineer, the lessons she learned from top producers, and how she built a career by combining technical precision with a deep understanding of artists’ needs. She talks about her work on TV and film projects, including George & Tammy, Nashville, The Old Man, and the indie film Downtown Owl.

What stood out to me in our conversation was Rachael’s clear commitment to collaboration and service. She sees music production as a people-first business and takes pride in delivering on an artist’s vision, sometimes in unconventional ways, but always with heart. From navigating the pandemic to shaping organic sounds across genres like country, Americana, indie, and rock, Rachael’s story is a testament to adaptability, creativity, and love for the craft.

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy. 

We dig into the evolving expectations placed on orchestral players, the challenges of recording and venue acoustics, and how creativity, flexibility, and technology are reshaping the field. We also reflect on the importance of great teachers, the value of building a strong repertoire, and the ongoing role education plays in both our lives.

Will’s passion for percussion extends far beyond performance—he’s a dedicated educator, chamber musician, and author. His contributions to the percussion community have had a lasting impact, and I was grateful for the opportunity to delve deeper into his story.

About William James:
William James is the Principal Percussionist of the Saint Louis Symphony Orchestra. He won the position at just 25, following studies at Northwestern University and the New England Conservatory. A versatile performer and educator, Will has played with top orchestras across the country, given solo recitals, taught masterclasses nationwide, and authored The Modern Concert Snare Drum Roll.

You can learn more about William at: williamjamespercussion.com

Music from the Episode:
Scirocco (Michael Burritt)

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy. 

This episode is especially meaningful because Matt played on my album when I was just 11 years old. Reconnecting and talking music with him all these years later was a full-circle moment I’ll never forget.

We delve into some of his most memorable collaborations, the evolution of his work as a producer and educator, and the joy he derives from mentoring the next generation of musicians. Throughout our chat, we discuss the art of musical collaboration, the emotional interplay between players, and how listening—really listening—is at the heart of great music-making.

We also share our reflections and journeys through sobriety, vulnerability's role in life and art, and why curiosity and flexibility have remained core to his creative process. I'm excited to share this inspiring, thoughtful, and profoundly musical conversation with you.

Learn more about Matt at: mattrollings.com.

Music from the Episode:
Groove With a View (Matt Rollings)
I'm Little But I'm Loud (Brad Williams)
El Padre de Papagallos (Matt Rollings)
North Dakota (Lyle Lovett)
Nobody Knows Me (Lyle Lovett)

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy. 

We discuss his years with the Jeff Sipe Trio as well as his time playing with The Jerry Douglas Band.

He also shares his personal life, including his incredibly talented wife, and the joys and challenges of life as a touring musician. We talk about what it’s like to transition from sideman to bandleader, the importance of staying authentic as an artist, and the excitement surrounding his upcoming solo album.

This conversation highlights the deep relationships and growth that happen through music, and I came away inspired by Mike’s humility, insight, and passion for the craft. I’m thrilled to share this one with you.

You can learn more about Mike at mikesealmusic.com.

Music from the Episode:
Trumpets (Jeff Sipe Trio)
Naima (Jeff Sipe Trio)
While My Guitar Gently Weeps (Jerry Douglas Band)

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy. 

In this follow-up, Tim shares what life’s been like recently, including the highs and challenges of a packed summer gig schedule. We dig into the evolution of country music, especially the return of more traditional sounds in the '90s, and Tim reflects on how crucial it is for a musician to have a signature sound.

We also talk about his time playing in the house band at Cowboys in Kennesaw, Georgia—some great stories there—along with the memorable artists he worked with and the curveballs that come with live shows. From starstruck moments to behind-the-scenes stories about the camaraderie among musicians, Tim brings warmth, wisdom, and a lot of heart.

We also reflect on the lessons we’ve learned from seasoned players, the changes in the Nashville scene, and just how much community and connection shape our lives in music.

I hope you enjoy listening as much as I enjoyed catching up with Tim. This one’s packed with stories, insights, and plenty of laughs.

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at brad@thebandwichtapes.com.

The theme song, Playcation, was written by Mark Mundy. 

Dylan and I reflect on the evolving country music scene, the challenges and rewards of life on the road, and how our influences have guided us through it all. Dylan shares his work as a session musician, including his time touring with Scotty McCreery, and shares what he's learned about collaboration, harmony, and production.

Whether we’re trading stories or diving deep into the creative process, this episode is filled with humor, nostalgia, and insight. It’s a celebration of friendship, growth, and the music that keeps us moving forward.

Thank you for listening! If you have any feedback or questions, or just want to say hi, reach out at info@thebandwichtapes.com — and please help spread the word about the show!

Theme music: "Playcation" by Mark Mundy

Michael shares vivid stories from his time on the road with the Platters, including unforgettable performances at iconic venues like Niagara Falls and Laughlin, Nevada. He talks about the difficulty of performing while sick, how a small local gig blossomed into a beloved community event, and the constant learning and adapting required to grow as a performer.

We also reflect on the deep joy of live performance and the camaraderie that develops among musicians. Michael recounts hilarious onstage mishaps, the importance of shifting musical styles on the fly, and what it's like to play alongside iconic artists. The conversation highlights the shared bond that makes playing music live a rewarding experience.

Later, we explore the nuances of vocal technique, natural ability, and the physical demands of performing. We also discuss the dynamics of working in agency bands, the pressures of constant gigging, and how musicians make decisions to protect their health as they age. This is a rich, honest look at the realities of life in music and what keeps us coming back to it.

Thank you for listening! If you have any feedback, questions, or want to say hi, contact info@thebandwichtapes.com. Please help spread the word about the show!

Theme music: "Playcation" by Mark Mundy

Big Love Car Wash blends funk, rock, soul, and jazz into a groove-driven experience that’s equal parts throwback and fresh. Known for their tight rhythm section, soulful vocals, and a live show that gets crowds moving, the band brings a sense of joy and spontaneity to everything they do. Whether they’re jamming onstage or laying down tracks in the studio, their music is rooted in friendship, freedom, and big-hearted expression.

This episode is a must-listen for anyone who loves bands that break the mold and serve up serious musicianship with a sense of fun.

Music from the Episode:
Janna - Big Love Car Wash

Learn more about Big Love Car Wash at biglovecarwash.com

Thank you for listening! If you have any feedback or questions, or just want to say hi, reach out at info@thebandwichtapes.com — and please help spread the word about the show!

Theme music: "Playcation" by Mark Mundy

Viktor Krauss is one of contemporary music's most versatile and respected bassists. He’s played with an astonishing array of artists, including Lyle Lovett, Bill Frisell, Robert Plant, and Alison Krauss. Equally at home in jazz, folk, rock, and beyond, Viktor brings a deep sense of melody, texture, and feel to everything he touches. In addition to his work as a sideman, he’s also released his solo projects, blending cinematic soundscapes with expressive songwriting.

This episode is a must-listen for fans of genre-defying musicianship, creative collaboration, and the subtle art of supporting a song from the low end.

Music from the Episode:
For A Good Time (Viktor Krauss)
Pipe Down (Bill Frisell)
Big Shoe (Bill Frisell)
Penguins (Lyle Lovett)
Grit Lap (Viktor Krauss)
Big Log (Viktor Krauss)
Pinky Ring (Viktor Krauss)
Shine On You Crazy Diamond (Viktor Krauss)
Trouble With My Lover (Robert Plant & Alison Krauss)

Learn more about Viktor and his work at viktorkrauss.com.

Thank you for listening! If you have any feedback or questions, or just want to say hi, reach out at info@thebandwichtapes.com — and please help spread the word about the show!

Theme music: "Playcation" by Mark Mundy

Born in the UK and raised in Canada, David’s voice has left its mark across genres. He’s perhaps best known for his work with the Pat Metheny Group, where his signature harmonies and unmistakable tone helped shape the sound of albums like Still Life (Talking) and We Live Here. But his career spans far beyond that, including an extensive resume as a session singer, live performer, and solo artist.

Whether you're curious about the world of studio vocals, the dynamics of life on the road, or the creative spark that brings voices together in harmony, this episode offers a fascinating glimpse into the art and craft of a world-class musician.

Music from the Episode:
Minuano (Six-Eight) (Pat Metheny Group)
Last Train Home (Pat Metheny Group)
Across the Sky (Pat Metheny Group)
Follow Me (Pat Metheny Group)
Something to Remind You (Pat Metheny Group)
Deep is the Midnight Sea (David Blamires Group)
This Time (David Blamires)
With Every Passing Day (David Blamires)

Learn more about David and his work at davidblamires.com.

Thank you for listening! If you have any feedback or questions, or just want to say hi, reach out at info@thebandwichtapes.com — and please help spread the word about the show!

Theme music: "Playcation" by Mark Mundy

Tom Brechtlein is best known for his powerful, precise drumming and dynamic performances across jazz, rock, and fusion. He’s toured and recorded with incredible musicians, including Chick Corea, Wayne Shorter, Robben Ford, Jean-Luc Ponty, and Kenny Loggins. Whether driving a high-energy fusion groove or delivering subtle textures in a ballad, Tom’s approach to drumming is thoughtful, expressive, and always musical.

This episode is a must-listen for music fans and aspiring drummers alike — Tom shares stories from the road, insights on developing your voice as a player, and reflections on what it means to keep growing as a musician over the decades.