Category Archives: All Interviews

ARCHIVED list of my interviews/conversations with people/artists.

Into the Public Domain

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Parliament- Funkadelic legacy guitarist and Rock & Roll Hall of Fame member Michael Hampton‘s Into the Public Domain, a mini-album produced by 9-time Grammy Award winner/Ruffhouse Records co-founder Joe “The Butcher” Nicolo. A founding father of power-funk electric guitar, Hampton edges into new territory on Into the Public Domain, a meld of rock & world music with jazz & western overtones, hallmarked by Michael’s trademark sizzling leads. This EP inaugurates a series of 2 mini albums and a full length release from Michael to be released from December 2025 -> Spring of 2026, all on Nicolo’s personal imprint, Sound Mind Records. Into the Public Domain was co-produced by Joe Nicolo, Michael Hampton, Philip Samuel Smith & John Schreffler, the latter three of whom wrote and played on all songs on the EP. Some Into the Public Domain sessions were held at the famed Sunset Sound in Los Angeles, California, a favorite studio of Led Zeppelin, The Doors, The Beach Boys, Van Halen, Michael Jackson, Prince, Elton John, Fleetwood Mac, & Tom Petty. Grammy-winner Shooter Jennings, a musician & producer known for blending outlaw country with rock & experimental styles, guested on keys and co-production at Michael’s Sunset Sound sessions. After receiving his first guitar at age 10, a determined Michael became self-taught with the help of his bedroom radio, spending days on end playing along with Jimi Hendrix, Wes Montgomery & B.B. King records. After studying jazz guitar in high school, an impromptu backstage audition for George Clinton in 1974 earned 17-year-old Michael a seat on the Parliament mothership alongside the immortal Eddie Hazel, under the name “Kidd Funkadelic”. He has spent the past half-century playing nearly 400 shows with the band, in 25 countries across 6 continents. Highlights include multiple appearances at world-renowned festivals like Montreux Jazz, Glastonbury, Reading, Woodstock ’99, Coachella, Bonnaroo, Roskilde, Lollapalooza, Fuji Rock, and Isle of Wight, and venues like the Apollo Theater, The Fillmore, Royal Albert Hall, Madison Square Garden, The Troubadour, Red Rocks, The Beacon, and Sydney Opera House. Among hiss Funkadelic writing credits are group staples like “Who Says a Funk Band Can’t Play Rock?!” & “Funk Gets Stronger”, both released during the group’s late-’70s/early-’80s hit run. His lead guitar is also embedded in the DNA of 90s hip-hop’s G-Funk movement—Dr. Dre’s “Let Me Ride” samples Parliament’s “Mothership Connection”, Ice Cube’s “Bop Gun” borrows elements of Funkadelic’s “One Nation Under a Groove”, while De La Soul’s “Me Myself and I”, Digital Underground’s “Kiss You Back”, and Snoop Dogg’s “What’s My Name?” all draw from Funkadelic’s “(Not Just) Knee Deep”. Michael’s colleagues include George Clinton, Bootsy Collins, Bernie Worrell, Maceo Parker, Charlie Wilson, Dewayne “Blackbyrd” McKnight, Fred Wesley & The JB’s, Chuck Treece, Dean Ween, Primal Scream, Digital Underground, Too $hort, and Deee-Lite. Michael’s contributions to the Parliament Funkadelic catalog have also influenced famed artists like Prince, Red Hot Chili Peppers, Outkast, D’Angelo and Janelle Monáe, among many others. As of 2025, Michael has appeared on over 30 separate major label releases.

Ghost-Note Convo With Sput

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Headed by Snarky Puppy’s multi-Grammy–winning percussion duo of Robert “Sput” Searight & Nate Werth, Ghost-Note is a complete explosion of sound. With an expansive roster of next-level musicians—representing members of Prince, Snoop Dogg, Erykah Badu, Herbie Hancock, Kendrick Lamar, Marcus Miller, Toto, Justin Timberlake, and more—the band is pushing funk music into the future, building on the uplifting, pioneering foundations laid out by the likes of James Brown and Sly & The Family Stone and infusing their fresh take with tastes of afrobeat, hip-hop, psychedelia, world folklore, and more. After forming in 2015, Ghost-Note has already begun to take the world by storm. The group’s two studio albums—2018’s Swagism and 2015’s Fortified—have earned critical acclaim and popular success around the globe, with both albums hitting the #1 spot on the iTunes Jazz Charts. The most recent album Mustard n’onions (2024) via Artistry Music/Mack Avenue Music Group is a complete banger from start to end. Continuing to tour the world after the release of this highly acclaimed album, Ghost-Note is a tour de force of funk with dazzling solos and air-tight arrangements that will have any crowd dancing.

I had the opportunity to get some time with ‘Sput’ ahead of the December 11th event here in Madison at High Noon Saloon. We paint the picture of what a Ghost Note vibe will be like, including a run down of each member of the group. It was no surprise to hear, but still a treat to get to hear ‘Sput’ talk about his mentorship to new artists throughout his career, the several connections to Prince and other innovative people in the funk (and beyond) scenes and some of the differences between this group and being a part of Snarky Puppy. We dive ear first into Ghost Notes latest release, Mustard n’onions, and how it went from concept to release. It was fun to talk about and hear about a couple of the special guests that appear on the album and how this record fits into the times of the day. I could not let him go without getting to ask just some of those artists that he listens to to give him some healing and we hear about some of the OGs….but the imagery he paints about the band and sharing playlists, felt like a smiling rising.

A Peek Inside Miguel Zenón

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Grammy Winner, Doris Duke Artist & Guggenheim and MacArthur Fellow Miguel Zenón represents a select group of musicians who have masterfully balanced & blended the often-contradictory poles of innovation & tradition. Widely considered one of the most groundbreaking & influential saxophonists/composers of his generation, he has also developed a unique voice as a conceptualist, concentrating his efforts on perfecting a fine mix between jazz and his many musical influences. Born and raised in San Juan, Puerto Rico, Zenón has released 18 recordings as a leader, including his latest, Vanguardia Subterránea: Live at The Village Vanguard (2025), the Grammy-nominated Golden City (2024), & the Grammy-winning album El Arte Del Bolero Vol. 2 (2023). He has worked with luminaries such as The SFJAZZ Collective, Charlie Haden, Fred Hersch, Kenny Werner, David Sánchez, Danilo Perez, The Village Vanguard Orchestra, Kurt Elling, Joey Calderazzo, Steve Coleman, Ray Barreto, Andy Montañez, The Mingus Big Band & Bobby Hutcherson. In April 2008 he received a fellowship from the prestigious John Simon Guggenheim Foundation. Later that year he was one of 25 distinguished individuals chosen to receive the coveted MacArthur Fellowship, also known as the “Genius Grant.” In 2011 he founded Caravana Cultural, a program which presents free-of-charge Jazz concerts in rural areas of Puerto Rico. In 2022 he received an Honorary Doctorate from La Universidad del Sagrado Corazón in San Juan, Puerto Rico, the highest honor bestowed by the institution. In 2024 he received a Doris Duke Artist Award from the Doris Duke Foundation. Zenón has been featured in publications such as The New York Times, The Wall Street Journal, The Los Angeles Times, The Boston Globe & The Chicago Tribune. In addition, he topped both the Jazz Artist of the Year & Alto Saxophonist of the Year categories in the 2014 JazzTimes Critics Poll and was selected as Alto Saxophonist of the Year by the Jazz Journalists Association in 2015, 2018, 2019 & 2020 (when he was also recognized as Arranger of the Year). In 2023 he was recognized by the same organization as the Composer of the Year. As a composer he has been commissioned by SFJAZZ, NYO Jazz, The New York State Council on the Arts, Chamber Music America, Logan Center for The Arts, The Hyde Park Jazz Festival, The John Simon Guggenheim Foundation, MIT, Spektral Quartet, Miller Theater, The Hewlett Foundation, Peak Performances, PRISM Quartet, Kinetic Ensemble and many of his peers. Zenón has given hundreds of lectures and master classes at institutions all over the world and is an Associate Professor in the Music & Theater Arts Department at MIT.

I had the honor to get some time catching up with Miguel ahead of the December 5th event in Madison at Arts Literature Laboratory with the great pianist, Mr. Luis Perdomo. We get into what people can expect this time around with their ‘El Arte Del Bolero’ concert that evening. We talk about what a new person to this scene might expect. Miguel also shares about them workshopping in some new music into these sets. That leads to a conversation around improv, live recordings versus studio work and we end up finding out what he has been listening to these days. The dive into making of his latest record and sharing the moments that have been captured in time and getting it to the point of wanting it to be documented and shared was such a highlight for me to wrap my mind around. Considering the people he has worked with and been inspired by, it was very insightful when we get talking about him being an instrument for someone else’s project.

Dessa Come Back

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Spanning genres & disciplines, Dessa’s style is defined by wit, tenderness, rigor, & candor. As a musician, she’s co-composed for large choirs; crowd-surfed at rock clubs; recorded a live album with the Grammy-winning Minnesota Orchestra; and contributed a track to the #1 album The Hamilton Mixtape. As a speaker, Dessa regularly presents on art, science, and entrepreneurship at colleges and universities across the US. Her TED Talk, which recounts her science experiment on how to fall out of love, has notched more than 4 million views. As an author, she’s written for The New York Times and National Geographic Traveler; been broadcast by the BBC; and published several literary collections including the memoir-in-essays My Own Devices (Penguin Random House). She’s currently serving as Artist in Residence at Georgetown University’s Music Sustainability Initiative. Dessa lives in Minneapolis & Manhattan, still tours in a rented van, and is probably eavesdropping on the neighboring table, listening for a word to add to the collection. You can listen to her music, read her writing, and find her on Instagram as Dessa, and on Facebook & Bluesky as dessadarling. You can check out my past convo with Dessa here.

I had the opportunity to enjoy some time with friend of the proGram, Dessa ahead of the December 13th event on Atwood Music Hall in Madison. We got into what someone who heads out to the event is most likely in store for, including who will be traveling in the van here with her. We also spend some time with her allowing me to walk in her shoes for a bit and dive into her recent live work with the Minnesota Orchestra. When we spoke last year, it was obvious to me just how deep of a trip this is for her, so we discuss the ‘Feels’ and music surrounding this adventure. While all this is a great couple of stories to get into, for me talking about the Georgetown Artist in Residence 2025-2026 was a major highlight of this conversation. Dessa allows us to get into a real time thought bubble and hearing her talk about this, made me beam (and also feel some knots in my belly. Exciting and cool stuff for a person my inner voices seem to resonate with.

photo by: Athel Rogers

Jano Talks Wood Brothers & RIX

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Between the poetic observations of family to the proGram, Oliver and his brother, bassist & vocalist Chris Wood — with percussionist & multi-instrumentalist Jano Rix completing the trio — Puff of Smoke is an 11-song collection brimming with joy in the face of challenges, delivering lyrical wisdom with the winking subtlety of John Prine and the musical hive mind of a seasoned group with two decades of shared experiences. Fans who have hopped aboard at waypoints along the journey that began with their now classic 2006 debut Ways Not to Lose already know to expect a new drop from The Wood Brothers will bring inventive songwriting, a grounded lyrical wit, and an adventurous sweep of sonic avenues. Unpredictability is part of the listening experience. Jano and the brothers Wood will be bringing the tour supporting the latest release to Madison on November 14th at the Memorial Union‘s Shannon Hall. Also, a big event in Jano’s world is another new release, just dropped yesterday, with his father, veteran drummer Luther Rix, whose career includes work with Bob Dylan’s Rolling Thunder Revue, Leonard Cohen, and Bette Midler among numerous others, have joined forces on record for the first time. Simply calling themselves RIX, today the father/son duo have released their debut album, Legacy, Vol. 1, a collaboration more than 12 years in the making, via RPF Records/Royal Potato Family. Between them, Jano and Luther bring decades of musical experience. Luther’s career has taken him from work with rock ‘n’ roll legends such as Dylan, Cohen and Midler to symphonies, Broadway pits, and Schoolhouse Rock! sessions. Jano’s multi-instrumental work has been central to The Wood Brothers’ acclaimed Americana sound, while he has produced records for artists such as Seth Walker, Steve Poltz, Oliver Wood, Upstate, and Chris Kasper. Yet Legacy, Vol. 1 is their most personal statement, made not to chase trends or charts but to capture their shared love of music, document a unique family bond, and embrace the spirit of their shared groove.

I had the chance to get some time with Jano (like he has any extra to give) to talk about the upcoming event with The Wood Brothers from his perspective. He gets into the ins and outs of the shows, how he became the third member of the trio and the evolution of the Shuitar. Then we slide right into this new album with his father. The stories, the memories and the way it all went down over span of time that seemed long, but it might have been just right. This album does its thing with you as you listen in and it sure was interesting to hear Jano dive into it. It was certainly not just a chat about all the work he has been doing, we take time to hear with track of each of these new albums (Puff Of Smoke & Legacy Vol. 1) he would choose to build a set around and then he fills it in just like you’d come to expect here on the program. Magic will happen.

Bizhiki Brings PowWow New Breath

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Bizhiki is almost wholly a made-in-Wisconsin project, a collaboration between Dylan ‘Bizhikiins’ Jennings, Joe Rainey and the multi-instrumentalist Sean Carey (S. Carey). Bezhikiins Jennings grew up singing within the powwow tradition, around the Lac Du Flambeau & Lac Courte Oreilles reservations in Central Wisconsin. He now makes his home in Northern Wisconsin, on the Bad River reservation on the shores of Lake Superior. He’s joined on the album by his adopted brother, Rainey, a Red Lake Ojibwe powwow singer from Minneapolis who now makes his home within his wife’s Oneida Nation on the shores of Lake Michigan. Bizhiki’s first album, Unbound, is a confluence of sounds bringing traditional and powwow music into an expanded musical palette. In 2015, Jennings got a call from Justin Vernon, the front man of the indie folk band Bon Iver. Vernon invited Jennings to participate in Eaux Claires, a music & arts festival he was launching that summer and they took him up on that offer. They are heading to Madison to be a part of a couple of noteworthy events. On Sunday, November 9, 7:30pm, Arts + Literature Laboratory welcomes Bizhiki, part of the programming associated with the Native Art Market, which takes place the day before, Saturday, November 8, from 10:00am to 6:00pm. Also, to celebrate Native November 2025, the six-piece band will be joined by Native dancers alongside classic Ojibwe storytelling, leaving audiences feeling intellectually, spiritually, and culturally nourished. The performance will be followed by a moderated question and answer with Jennings & Rainey. Special thanks to members of the Indigenous Student Center Coalition for making this month’s programming possible. More information here: An Evening With Bizhiki: A Musical Performance followed by Q&A Tuesday, November 18, 2025 at UW Madison’s Union Theater Shannon Hall.

I had the chance to catch up with Dylan Jennings ahead of these two special events. Dylan and I got into what each performance could shape up to be, the timeline of the group, just how they were able to find the time to get some creative work done in the studio to create the album ‘Unbound’ and get this show out on the road.

Photo by: Graham Tolbert

Caroline Davis’ Portals

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Alive with nurturing visions of simple sonic offerings to morph our present situation, Caroline Davis’ main reason for playing music is to connect with others. Her musical journey began in Singapore, in a humid climate, hearing sounds underwater that she would recreate by singing to her German shepherd dogs. Her family moved to Atlanta, Georgia, around age 6, where she encountered R&B & gospel music rife with horns that called her to choose the saxophone 6 years later. Today Caroline’s music covers a wide range of styles, owed to this shifting environment. As a leader, she has released 8 albums. Her active projects include jazz-leaning Portals, experimental R&B My Tree, & protest band Alula. She has won Downbeat’s Critic’s Poll Rising Star Alto-Saxophonist (2018) and has been included in numerous Reader & Critics Polls. Her work has garnered much praise from NPR, The New York Times, The Wall Street Journal, The Wire, DownBeat, and many international publications. She is active as both a side-person and a leader in a diverse set of expressions. She has shared the stage with Lee Konitz, Rajna Swaminathan, Michelle Boulé, Angelica Sanchez, John Zorn, Bari Kim, Wendy Eisenberg, The Femme Jam, Matt Mitchell, Terry Riley, Miles Okazaki, & Billy Kaye. Outside of these performance relationships, she has been involved with the following mentorship communities: IAJE’s Sisters in Jazz, the Kennedy Center’s Betty Carter Jazz Ahead Program, and Mutual Mentorship for Musicians. Grants & residencies supporting a grateful Caroline include: Foundation for Contemporary Arts, Chamber Music America, New York Foundation for the Arts, Jerome Hill, Civitella Residency, BringAbout Residency, Avaloch Farm Music Institute Residency, The Jazz Gallery Fellowship, and MacDowell. Some of her compositional practice integrates music with cognitive science, influenced by her Ph.D in Music Cognition. Caroline’s awards & recognitions are plentiful. She has been involved with various mentorship communities: IAJE’s Sisters in Jazz (2006), the Kennedy Center’s Betty Carter Jazz Ahead Program (2011), and Jen Shyu/Sara Serpa’s Mutual Mentorship Program (2020). Davis was the recipient of CMA’s Performance Plus Grant (2021), NYFA’s City Artist Corps Grant (2021), Jerome Hill Artist Fellowship (2019-2020); and she was a fellow-in-residence at The Jazz Gallery (2022) and composer-in-residence at MacDowell (2019), Avaloch Farm Music Institute (2023-24), and Civitella (2025). Some of her compositional practice integrates music with cognitive science influenced by her Ph.D in Music Cognition. As a teaching artist, Caroline brings her unique knowledge of music and psychology to her teaching. She offers a yearly Jazz & Gender course at The New School, co-taught with Sarah Elizabeth Charles, and private lessons at Manhattan School of Music, and has been invited to institutions of all levels as a guest educator. Caroline is an advocate for social justice in the realms of gender (This Is a Movement) and in the movement for carceral justice (Justice for Keith Lamar). She is organizing community events as “Community Conversations on Art & Justice for Incarcerated People”, showcasing the intersectionality between liberation and art of all forms.

I had a chance to catch up with Caroline ahead of the Portals November 5th show in Madison at Art Literature Laboratory. We talk about this event being an immersive sound experience, drawing upon the idea of mourning & ancestral communications as textural entities. The music has been mindfully written to offer connections to Caroline’s ancestors, biological and chosen, who have transitioned, and the elements they liked to explore through the life-cycle portal. Through this music, the ensemble engages in the connective tissue between dual & non-dual realms of existence. We get into how show got the right pieces in place for this group, the latest album Vol. 2: Returning & the poetry that inspired so much of these moments. We make sure to find time to talk about just what she is doing within the prison abolitionism movement. As always, it is not only the artists and their art. it is the people.

Photo By: Michael Jackson

Asking For Trouble

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Get ready for an evening of sidesplitting laughter as the dynamic duo Colin Mochrie & Brad Sherwood from TV’s “Whose Line is it Anyway?,” take the stage in a one-night-only uproarious live show, ASKING FOR TROUBLE. Armed with their lightning-fast wits, Mochrie & Sherwood transform the audience’s suggestions into an unpredictable evening of non-stop comedy gold. No script? No problem! “Asking For Trouble” is a wild rollercoaster ride of hilarity, where 2 improv legends prove they are still the best in the business. Known by TV audiences for their work on Whose Line is it Anyway? Colin & Brad improvise new material every night from audience suggestions & participation. “Interactive” in every sense of the word, Colin & Brad will take the audience on a comedic high-wire act, just like a live version of Whose Line! Their amusing, PG-rated family show includes variations on many of the games showcased on Whose Line Is It Anyway?, including “Sound FX” & “One Word Expert.” As Mochrie & Sherwood take caution to point out at the beginning of each show, the scenes that make up the act are entirely unscripted. Throughout the evening, the show becomes truly interactive as audience members are called to the stage to participate in the fun. Mochrie & Sherwood both rose to prominence on the improv TV series as frequent players in its original incarnation on Britain’s Channel 4 and then as star performers on the American version of the TV show from 1998-2006.

I had the chance to catch up with Colin Mochrie once aGain before the October 23rd show in Wausau at the Grand Theater and October 24th, right here in Madison at the Overture Center. Colin and I discuss the live show, exactly like what is stated above plus he shares a little extra info about one thing they definitely do from city to city. We talk about his work in the movie, Magnetosphere and if I were to bump into him somewhere out in the world, where might that be. A little regular guy Colin kinda talk. We end by talking about the greatest backstage gift he has ever received and just who was the giver of such a thing.

Polyrhythmics In Madison

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Seattle-based Polyrhythmics are celebrating 15 years of sonic exploration with the release of their highly anticipated new album, Life from Below. Since forming in 2010, this seven-piece powerhouse has redefined instrumental music with a sound that blends funk, soul, psychedelic rock, R&B, & Afrobeat into a kaleidoscope of rhythm & groove. Known for their dynamic live performances & innovative compositions, the band has earned a reputation as one of the most captivating acts on the contemporary music scene. Polyrhythmics emerged from the rich creative soil of Seattle’s eclectic music community, releasing their self-titled debut album in 2011. Since then, their discography has grown to include fan-favorite albums such as Octagon (2015), Caldera (2017), & Man from the Future (2020). Each release showcases their fearless exploration of genre boundaries and their commitment to crafting vibrant, deeply textured soundscapes. This year’s Life from Below marks an exciting new chapter for Polyrhythmics, delivering a fresh collection of grooves infused with the bold creativity and signature tight-knit musicianship that fans have come to expect. As they celebrate their 15th anniversary, the band reflects on a decade and a half of musical evolution, countless miles on the road, and a loyal community of listeners that continues to grow. Over the years, Polyrhythmics have graced stages at major festivals and renowned venues across the United States and internationally, sharing bills with legendary artists while carving out a distinct space in the global funk and soul scene. Their music—equal parts danceable, thoughtful, and immersive—offers a rich listening experience that draws from the roots of American funk and soul while incorporating global influences. With Life from Below, Polyrhythmics look forward to the next chapter of their journey—pushing boundaries, creating new grooves, and bringing their celebrated live energy to audiences around the world.

I had the chance to catch up with guitarist of Polyrhythmics, Ben Bloom. We got into the upcoming live event in Madison at Atwood Music Hall on October 23rd. Ben gives us a low down ahead of the get don of the dynamic live scene they are known for. We go head first into the new album, and discet one song in particular that makes all parts of my self groove. It would not have felt right to let Ben go without having him let us know just which song (s) off the new album he’d spin if replacing me in the studio, and just what he may add to it to fill up a set.

James Carter Organ Trio Bringing It

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James Carter was born in Detroit, Michigan, and learned to play under the tutelage of Donald Washington, becoming a member of his youth jazz ensemble Bird-Trane-Sco-NOW!! As a young man, he attended Blue Lake Fine Arts Camp, becoming the youngest faculty member at the camp. He first toured Scandinavia with the International Jazz Band in 1985 at the age of 16. On May 31, 1988, at the Detroit Institute of Arts (DIA), Carter was a last-minute addition for guest artist Lester Bowie, which turned into an invitation to play with his new quintet (forerunner of his New York Organ Ensemble) in New York City that following November at the now defunct Carlos 1 jazz club. This was pivotal in his career, putting him in musical contact with the world, and he moved to New York 2 years later. He has been prominent as a performer & recording artist on the jazz scene since the late 1980s, focusing on saxophones, flute & clarinets. In 1996, he took part in Robert Altman’s film Kansas City, where he played Ben Webster alongside several other contemporary jazz musicians playing the roles of players from the 1930s, including Joshua Redman as Lester Young, Craig Handy as Coleman Hawkins & Geri Allen as Mary Lou Williams. “Seldom Seen” ‘s fictional “Hey Hey Club” set the stage for several jam sessions caught on film in real time and included on a soundtrack produced by Hal Willner & trumpeter Steven Bernstein. Mr. Carter embraces all elements of jazz history, from Dixieland to fusion to free jazz, and was one of the few prominent players of his generation to do so, participating in a number of projects in all these styles, and incorporating these different influences in the compositions and soloing on his own albums. On his album Chasin’ the Gypsy (2000), he recorded with his cousin Regina Carter. He has won DownBeat magazine’s Critics & Readers Choice award for baritone saxophone several years in a row. He has performed, toured & played on albums with Lester Bowie, Julius Hemphill, Frank Lowe & the Saxemble, Kathleen Battle, the World Saxophone Quartet, Cyrus Chestnut, Wynton Marsalis, Dee Dee Bridgewater and the Mingus Big Band. His sound blends the soul of Billie Holiday, the swing of Count Basie, and the edge of Hendrix, all delivered with jaw-dropping technical command. Whether tearing through Coltrane tempos or whispering ballads, Carter’s mastery of saxophones, flute, and clarinet is unparallel.

S I had a chance to catch up with Mr. James Carter before he heads to Madison to play two sets at Cafe Coda on October 25. This saxophone powerhouse will be bringing the fire, finesse, and fearless improvisation we have grown to love here. We talk about what this event will feel like and who else is with him making this groove come alive. We listen in as he discusses how much of this music will be made up on the spot and how much is the natural flow of songs they know. We get into how he found his groove, from growing up in a musical family that got him itching from the sting o the music bug to growing that feeling with the array of artists he has worked with. For someone who dancing often in that moment of the music, we chat about how that translates when trying to lay something down on a record which dovetailed nicely into a mention of a new project or two that are in the works.

KAIA String Quartet Plays Melharmony 2025

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Celebrating 25 years of Melharmony featuring Maestro Chitravina N Ravikiran, the creator of Melharmony with Artists from the Midwest including the KAIA Quartet. From the tango of the Rio de la Plata to the string quartets of Silvestre Revueltas, the KAIA String Quartet is an ensemble devoted to promoting the rich & colorful music of Latin America. Active performers in both the US & abroad, highlights of the most recent season include a collaboration with Jazz singer Paul Marinaro and performances at Chicago area venues including the Studebaker Theatre, the Epiphany Center for the Arts, the Morton Arboretum, the Mozart Immersive Experience, and the Kenilworth Assembly Hall. The quartet’s most recent tour of Uruguay & Argentina included a performance at Teatro Colón in Buenos Aires. The Quartet plays an active role in Chicago’s music scene and has performed at the Chicago Latino Music Festival, the Ear Taxi Festival, & Chamber Music on the Fox. Celebrated by Downbeat magazine for its ability to “beautifully blur the lines between jazz, classical, Latin & world music” KAIA’s album collaboration with friend of the proGram Fareed Haque was chosen by Chicago Tribune’s Howard Reich as one of the top 10 classical recordings of 2018. Their album, Sureño, explores the music and relationship of Argentinian composers Astor Piazzolla & José Bragato. The latest recording project released in 2020 includes a collaboration with jazz pianist Ryan Cohan in his work Originations. KAIA together with Cohan and his chamber ensemble were featured performing this piece at 2019 Chicago’s Jazz Fest main stage. KAIA is deeply devoted to music education. They are teaching artists for Ravinia’s Reach*Teach*Play program and for Classical Music Chicago’s Young Peoples’ Concerts program. KAIA founded DePaul University’s Community Music Division chamber program where they inspire the next generation of performers. During the 2023-24 season, the KAIA String Quartet was invited to teach and perform at Michigan State University & Carthage College as artists-in-residence. In the summer of 2023, KAIA was on the New England Music Camp’s Chamber Music Intensive faculty as the resident quartet and returned in the summer of 2024.

I had the chance to catch up with Victoria Moreira, founding member & 1st violin of KAIA ahead of next week’s festivities. We got into just what will be going down as they support Maestro Ravikiran’s vision and direction (check out my conversation with Maestro Ravikiran ahead of last year’s Melharmony Festival), including working as a quartet with a local Madison bassist for this collaboration. They will be doing a set as themselves (including one substitute we learn about from the normal quartet) they will feature some recognizable artists to many ears that may feel not as trained in the classical scene. I could easily hear the excitement in Victoria’s voice when we spoke about this concert. We get a little into the fact that KAIA is (usually) an all women group and how today this idea is more celebrated as we still do wish this was not something that always has to be brought up. I also was curious about music or artists she’d listen to if we were just hanging out toGether and without surprise, we easily found a common ground and that we agreed on the fact that ‘A good song, is a good song’.

Clone Row With Ches Smith

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Arts & Literature Laboratory‘s Auricle New Music Series welcomes percussionist & composer Ches Smith in support of his new album Clone Rowon Tuesday, October 7, 2025 at 7:00pm. Smith leads an adventurous new quartet featuring guitarists Mary Halvorson & Liberty Ellman & bassist Nick Dunston. Mr. Smith finds endless possibilities in this seemingly limited instrumentation, weaving together varied threads from his divergent earlier projects in ways that sound not quite like any of them. “This definitely ain’t your father’s guitar band,” writes no less an expert on six-string subversion than recent guest at ALL, Marc Ribot, who penned the album’s liner notes. 4 renowned composer-improvisers tangle with Ches’ newest compositions. 2 highly individualistic guitarists swirl, echo & double-take, squaring off with a bass & drums team that anchors and unhinges through doubling sounds — drum machines & acoustic drums, low-end analog synth & acoustic bass, digital samples and repeated fragments performed in real time. In a dance of coherence and chaos, the four musicians plunge headlong into the feedback loop of composition and improvisation armed with chemistry created by their mutual appreciation and enduring friendships.

I had a chance to catch up with Ches Smith ahead of this event in Madison. We got into how this group of improvisors will create the skin and organs onto the skeleton of the compositions. When they will now that the landmarks they know will be reached and how they go back to where they feel they need to be. I am a big admirer of the work of Mary Halvorson so it was fun to understand just how important she is in Ches’ world. They seem to find each other at the right times and anytime they create or find their spots toGether live, that will be the right time for all involved. We talk about how this latest release they are touring on went from an idea and conversation wo a place where they will be one week in on playing it out live when they get here. We dissect the title track a bit as both he & I seem to be on the same page that this is one of the centerpieces of the album. How working with the sounds will continue to grow as each night’s show will be a new take-off and landing spot. By the end, I ask Ches to choose one off the new record and a few other artists/songs to build a set with. Dive on in.

Mutual Mentorship for Musicians Festival

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Mutual Mentorship for Musicians (M³), the groundbreaking initiative dedicated to advancing professional and artistic growth for women and gender-expansive musicians, presents the 4th annual M³ Festival 2025 on Saturday, October 4 at Roulette Intermedium, 509 Atlantic Avenue, Brooklyn, NY. The event begins at 7 pm and diGital tixx are available. The marathon-style event features Grammy-nominated singer-songwriter Becca Stevens, NEA Jazz Master & pianist Kenny Barron, acclaimed saxophonist/ composer Immanuel Wilkins, and pioneering M³ musicians and their projects including Siren Xypher (Melanie Dyer, Mara Rosenbloom, Kyoto Kitamura), Shoko Nagai and Satoshi Takeishi’s Vortex, Vertical Sounds (Kess Southpaw, Mnisibass, Melanie Dyer), Maia & Zamonda, and Devon Gates’ Ghost Stories (Gates, Victoria Awkward, Matt Greenwood), and Gili Lopes. Audience members at prior M³ festivals described the event as “innovative, nourishing, forward-thinking… shocking, heart-opening, magical… dynamic, creative and vibrant… collaborative… a beautiful collective of people really supporting each other through their creative process and learning from each other…you can see that give and take through the music that they’ve created.” The Festival will also launch the inaugural issue of M³ Magazine featuring writing from most of the artists performing at the Festival. It also includes an interview with 2025 M³ Luminary Awardee Maia who has earned renown as a longtime active member of the AACM and is giving a rare NYC performance at the Festival. The magazine springs from M³’s Anthologies of Writings which were formerly published in book format. Now celebrating its 5th anniversary, M³ was founded during the COVID pandemic in 2020 by Jen Shyu & Sara Serpa as a platform for creative risk-taking, exchange through musical commissions, peer-led mentorship, publication of anthologies, performances, festivals, and awards. In just 5 years, M3 has commissioned & supported 92 artists creating 46 new co-compositions and transforming the creative music industry around the world. Serpa & Shyu conceived of M³ through conversations about elevating women and non-binary musicians, particularly those of color, in their global music community. Having both experienced inequities in professional opportunities and financial remuneration, limited recognition and media visibility, and isolation in their own careers, they recognized firsthand the need for greater opportunity, community and support, as well as the need for women & non-binary mentors in the music industry.

I had the pleasure of catching up with the amazingly cool, Jen Shyu to get a peek behind the curtain when it comes to all that Mutual Mentorship for Musicians is about. We start by getting into each of the artists that will be making the maGic happen this year as part of the 2025 festival. We get a little flip the baseball card over and get a taste of each and this line-up is so sweet. We spend a bunch of time discussion the who & what of the why Mutual Mentorship for Musicians was born and nurtured. How many artist have been involved and just how the bridge to each other keeps on making global connections. We go through the process and rewards, the ins and outs and mostly the community that is constantly growing. Equality is something that has a definition but seems to be constantly overlooked in many scenes and environments and I am proud to be spreading the love of this festival and the important work that Jen & Sara are constantly finding time to keep the momentum moving forward. This conversation is detailed from start to finish and hopefully it wakens a bit of the ‘how can I help’ energy within others. I am so excited to get that streaming link and watch the soul changing event work its way through me. You can find out more about tixx here.

Keep The Line Open

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Bassist/producer Mocean Worker (aka Adam Dorn) & pianist/composer Joe Alterman have released Keep The Line Open, a funky, feel-good tribute to the late soul jazz legend Les McCann. The 9-track collection taps into the genre-blurring spirit that defined McCann’s music, as well as his influence on Adam & Joe, who knew him as a mentor, collaborator & close friend. With credits ranging from Eddie Harris & Ramsey Lewis to Hal Willner, Marcus Miller & Brian Eno, Dorn & Alterman fuse their distinct artistry into an electrifying set that celebrates McCann’s essence while standing on its own as a joyous, party-starter. They created the album by melding live instrumentation with sampling to pay homage to an era when the groove reigned supreme and the vibe was decidedly danceable. Sonically designed to evoke a live album, it invites the listener to imagine themselves at a late-night jazz club in the ’60s. They also draw on years of conversations recorded for posterity, saved voicemails and other aural documents of McCann, weaving his voice, laughter, and ever-present sense of humor throughout the album, which threads in and out of the tracks. Adam’s relationship with Les McCann began through his father, the legendary Atlantic Records’ staff producer Joel Dorn, who worked closely with McCann on several albums, including rare-groove classics like Layers, Invitation to Openness, and the multi-platinum Swiss Movement, which also featured electric saxophone pioneer Eddie Harris. As a kid, the younger Dorn would often overhear long conversations between his father and McCann who shared a deep friendship. As he grew older, he himself began a relationship with McCann via extended phone conversations. It led McCann to hire Dorn, an accomplished bassist in his own right, to be part of his rhythm section on live dates. Meanwhile, Joe started out as a devoted fan of McCann who received the rare opportunity to open for one of his heroes at The Blue Note. The 2 connected instantly, forging a friendship that lasted for years, primarily through near daily, hour-plus phone conversations. Although plans to record & tour together never materialized due to McCann’s health issues, they did co-write the song “Don’t Forget To Love Yourself.” Alterman would later release Joe Alterman Plays Les McCann: Big Mo & Little Joe, a heartfelt tribute to his mentor and friend. It was ultimately McCann’s passing that brought Dorn and Alterman together. They had both become aware of each other through their independent friendships with McCann who would mention each of the artists in his conversations with the other. Following his death, they’d finally meet and organically the idea of making a record of original material inspired by McCann was hatched. Adam began writing sections of music, creating beats & rhythmic ideas that he’d send to Joe over which he’d improvise. Adam would then take those parts and shape them into songs. The result is an album that is immensely funky with nods to Latin grooves, and always heavy on the backbeat. There are times on Keep The Line Open where the listener will feel as though they are being taken to church and at other times being taken on a trip to Haight-Asbury in the ’60s, and yet simultaneously the music to feel modern and of the moment. There is a Les McCann cover tune (“Burnin’ Coal”), there is a moment for Joe to thrill with his considerable stride piano skills, and throughout there is Les, commenting on the proceedings with his inimitable wit, humor, & loving nature, making it all seem like it is being played just as he’d imagined. And while Les McCann is the driving force, the entire spirit of his era, from Ramsey Lewis to Horace Silver, Eddie Harris to Cannonball Adderley, lives in the music. It’s this inspiration that guides Mocean Worker & Joe Alterman through each of the nine tracks. Keep The Line Open is a musical celebration that, like Les McCann himself, makes you feel alive and happy and ready to have fun.

I had the pleasure of hanGing out with friend of the program, Adam Dorn (Mocean Worker) & Joe Alterman shortly before the new album dropped. We got way deep into the ins and outs of the creation of the album. How the relationships with Les McCann and the love of the feeling of the 60’s soul acid jazz groove combined with a step into the now and future make this collection of form and rhythm so damn exciting. You can feel the love Joe had for Les and how his energy was woven into his daily life and Adam has the memories of longer ago and both speak so highly of the desire to find the fun within the music. There are personal stories shared that are both cool AND special, we dissect a track or two and we all feel the versatility of this new music. Joe & Adam both kinda let us in on how they believe Les would feel about this tribute to, the honoring of the music that he helped de and (re)define. While I can tell you how this music, these tunes, make me feel…it seems like the best way to really under and over-stand is to get some for yourself. This is sound that should find it’s way out to ears from under the needle, vinyl is not only available but most likely highly desired. I don’t often say things like this, but I feel like this could be an album of the year type release oif any one in the scene really is paying attention.


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HIROMI’s SONICWONDER

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HIROMI has been began playing the piano since age six and studied composition at the Yamaha Music School. At age 17, she performed with Chick Corea. In 1999, she enrolled at Berklee College of Music in Boston. While a student, she signed with the prestigious jazz label Telarc and made her international debut in 2003 with the album “Another Mind.” In 2008, she released the album “Duet” with Chick Corea. In 2011, she won the “Best Contemporary Jazz Album” award at the 53rd Grammy Awards for her collaboration with Stanley Clarke, “The Stanley Clarke Band Featuring Hiromi Uehara.” In 2013, to coincide with the US release of her album “MOVE,” she appeared on the cover of the April issue of Downbeat, America’s most prestigious jazz magazine. In April 2016, Hiromi released her 4th album, “SPARK,” as the Trio Project FT. Anthony Jackson & Simon Phillips, which reached number 1 on the US Billboard Jazz Chart. In 2017, she performed at the BBC Proms, released the album “Live in Montreal” with Colombian harpist Edmar Castaneda, and became the only Japanese artist to perform at New York’s Blue Note for 13 consecutive years. In 2019, she released her 1st solo piano album in 10 years, “SPECTRUM.” Since the COVID-19 pandemic hit in 2020, she has launched the “SAVE LIVE MUSIC” series at Blue Note Tokyo to support the struggling live music industry. Despite various restrictions, she has performed over 100 times. In July 2021, she performed at the Tokyo 2020 Olympic Opening Ceremony. In September, Hiromi Uehara The Piano Quintet, a new project born from SAVE LIVE MUSIC, released the album SILVER LINING SUITE worldwide. She served as music director for the film BLUE GIANT, which was released in theaters in February 2023, and won the Best Original Score Award at the 47th Japan Academy Awards. In September, she released the album Sonicwonderland as part of her new project, Hiromi’s Sonicwonder. She also made a splash by appearing on the popular program Tiny Desk Concerts, organized by the American broadcasting station NPR. Hiromi’s Sonicwonder‘s latest album, OUT THERE, was released in April 2025. In Japan, he has received the 57th Minister of Education, Culture, Sports, Science and Technology’s Art Encouragement Prize in the Popular Entertainment category in 2007, the Japan Record Award for Best Album in 2008 and 2017, and the Agency for Cultural Affairs Commissioner’s Award in 2023.

I had the honor of spending a little time chatting with HIROMI ahead of the October 2nd show with SONICWONDER in Madison at the Union Theater’s Shannon Hall. We got into the pieces of the group that will be creating all this wonder when they hit Madison. Each artist brings that something she was looking for. I had caught their set t the Detroit Jazz Festival this year and we chatted about that experience and the specialness of an audience that is ready for everything. We dive into the creation of the latest release OUT THERE from SONICWONDER and the power of improvised music. When discussing her participation in the Tokyo Olympics opening ceremony, it was refreshing to hear that this show in Madison will be just as important to her as that one. No surprise that when I asked her to chose a song off OUT THERE to build a setlist around, she went with Balloon Pop – we take a walk through that track together, and she would pair it with something(s) from Mr. Chick Corea. This show is going to be one that people who are there will pull up from the memory banks when a good time reminder is needed.

Neal Casal: No One Above You

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Today, a new Neal Casal archival album No One Above You (The Early Years 1991–1998) is released, presenting 13 previously unavailable demos & studio recordings from the outset of the late songwriter & guitarist’s career. Brother Neal was a consummate collaborator, a celebrated roots guitarist who could be found playing alongside Willie Nelson, Shooter Jennings, The Jayhawks, & Phil Lesh. More than a sideman, he was a revered bandmate, and an integral part of the Chris Robinson Brotherhood, GospelbeacH, Ryan Adams & The Cardinals, The Skiffle Players, & Circles Around The Sun. His passing in 2019 left a hole in the hearts of fans & friends alike, leaving many looking for a few more moments from the prolific songwriter. No One Above You (The Early Years 1991–1998) helps close that gap, providing a few last documents of his perennial prowess. Primarily recorded between 1991 & 1995, in the years before the debut album ‘Fade Away Diamond Time’, the songs collected here embody his creative process leading up to that introduction. Casal archivists & producers Gary Waldman, Jim Scott, & Jon Graboff have compiled and remixed the tapes, adding subtle additions to these original takes, with performances by John Ginty, Dan Fadel, Angie McKenna, Jeff Hill, Graboff, and more. The album includes unheard compositions alongside covers of Tom T. Hall, The Incredible String Band, & Floyd “Red Crow” Westerman. Among the originals, the hallmarks of Neal’s songwriting remain evident, even in these early days. The release is also prefaced by a personal recollection from Waldman, Casal’s longtime manager & friend, recalling the events that led him to pursue a solo career and his evolution from these nascent studio days into a respected songwriter and guitarist. Its release is accompanied by a companion photo memoir, No One Above You (Christy Coleman + Neal Casal – A Love Story In Photographs), compiled by Neal’s former wife Christy Coleman. It provide an additional vital document of this era. Coleman shares images of the couple’s courtship and companionship, culled from pictures captured by herself, Casal, and a few friends along the way. It’s an unvarnished vision of backstage solitude, after hours revelry, and the counterbalance of a home away from the crowds. Available from the Neal Casal Music Foundation, the album—on limited edition 180-gram green vinyl, 180-gram black vinyl, CD and digital formats —and 304-page book are accompanied by two limited edition tees designed by Nashville-based imogene + willie—one in vintage white, the other in faded black—each featuring an original SX-70 Polaroid from the book.

I had the chance to get some time with Gary Waldman just before the release of this wonderful collection of Neal (and Christie). We dive heart first into how the entire project came about, the songs, the photography & the many memories. It was an honor to get a look back in time with Gary, almost like living some of the moments with him. I had Neal on the proGram every time CRB or Circles Around The Sun would come to town – always a real conversation about the feels, the road and the times he captured both the scenery in images and the way that inspired his writing and playing. I miss those times. This new music and the accompanying book have been a nice way to reconnect and here a few whispers of new tales from the past.

House Of Waters Flow

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“In today’s world, there are no musical boundaries,” says Max ZT of House of Waters, a trio that makes those words come alive as they incorporate elements of West-African, jazz, psychedelic, indie rock, classical and world music into their astonishingly unique sound. The “Jimi Hendrix of the Hammered Dulcimer” (NPR), Max ZT is an innovator of an instrument rarely heard in contemporary music. With roots in Irish folk music, Max has studied in Senegal, where he trained with the Cissoko Griot family, and India, where he studied under the santoor master Pandit Shivkumar Sharma. His unorthodox playing style has been a pioneering force in revolutionizing dulcimer techniques. Moto Fukushima is a recognized master of the six-string bass. With a background in jazz improvisation, Western classical music and the music of South America, Moto’s playing is a combination of finesse, subtlety, and power that leaves audiences “slack-jawed in awe.” (Jazz Wise) Nominated for the Best Contemporary Instrumental album at the 2024 GRAMMY awards, House of Waters is at the forefront of jazz innovation. With their new GroundUp Music recording, On Becoming, Max ZT and Moto Fukushima are joined by first-call accompanists: drummer Antonio Sanchez joins them throughout the album, and guitarist Mike Stern and vocalist Priya Darshini join the innovative group as special guests. “The concept for our new album, On Becoming was tuning the collaboration, focusing on the moment, openness, presentness, composition as a connective tool, composition as an isolating tool,” Max ZT states. “And the fluidity between the two. ”According to House of Waters’ bassist, Moto Fukushima, they strive for openness married to accessibility. “I want to keep the freedom, but if we keep everything free — like certain kinds of abstract music… it can often be a little too far to communicate between us and the audience. We want to have a certain structure and balance.” House of Waters has scored an Emmy-winning documentary (ESPN), and recently re-scored three 100+ year-old French Dadaist-Era silent films in partnership with GroundUP Music and Alamo Drafthouse Cinemas. They have received the South Arts Jazz Road Grant and have an extensive touring history around the world. Having shared the stage with influential musicians including Pandit Ravi Shankar, Victor Wooten, Tinariwen, Snarky Puppy, Karsh Kale, and more.

I had another chance to catch up with friend of the proGram, Max ZT ahead of the September 27th House Of Waters event at the Stoughton Opera House. We got into the who & what of that event (including the connective tissue that unites performer and audience member), the creations and being in the moments of their last two albums. Including this one that recieved a Grammy Nod.This conversation was rich in enlightenment and reminded me just how and why I can get my whole being into this music. We talk a bit about how working and touring with his with Priya Darshini on the album before the Imrpov Sessions album brought him back to the ways they first met. We even find out what he has been listening to recently and how even Andre 3000’s newer flute album shows the ‘in this moment’ we speak of throughout this conversation.

Todd Jorge & MEDESKI

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Todd Clouser is a dynamic guitarist, composer, songwriter, & performer whose genre-defying music blends rock, jazz, blues, spoken word, & improvisation. Originally from Minneapolis, Todd has made Mexico his home, immersing himself in its vibrant creative scene while forging a global presence through relentless touring & prolific output. Hailed by NPR as “a fascinating musician” who “doesn’t belong to any scene & doesn’t want to,” his work is marked by its adventurous spirit & cross-cultural collaboration. As the leader of A Love Electric, a critically acclaimed power trio with bassist Aaron Cruz & drummer Hernan Hecht (later Jorge Servín), Clouser has released 7 albums across labels in the U.S., Mexico, & Europe. The band’s explosive sound—described as “power psych, punk jazz, post-genre, freak rock” (Vive Latino)—has fueled over 1,000 performances across 4 continents, from rock festivals to jazz clubs, alongside luminaries like Medeski, Cyro Baptista, & Billy Martin. Their albums, including *Psychmonde* & *Son of a Hero*, showcase Todd’s ability to channel 1970s rock heroics, avant-garde flourishes, & introspective songcraft into a singular, high-energy experience. His virtuosity as a guitarist extended to his role with Klezmerson, a Yiddish-Mexican klezmer-rock ensemble. Performing compositions by John Zorn, he recorded for Tzadik Records on albums like *Book of Angels: Amon* & *The Book of Beriah*. His work with Klezmerson brought him to prestigious stages, including **The Village Vanguard** in New York City & **Masada Marathons** in Sarajevo & Vienna, where he shared the stage with avant-garde giants like Marc Ribot & Bill Frisell. These experiences, were transformative, deepening his approach to music and collaboration. He has become a cultural ambassador, bridging musical communities through his leadership of Ropeadope Sur, a Mexico City-based imprint of Ropeadope Records. Founded with Hernan Hecht, Ropeadope Sur amplifies independent Latin American artists, with releases like Los Cardencheros de Sapioriz’s a cappella recordings & La Pingo’s Orquesta’s *Midwest/Bajio*. His vision for the label reflects his commitment to fostering creative & economic viability for artists in Mexico and beyond. He also co-edited *Musicians in Mexico City Vol. 1 and 2*, a book project documenting the city’s thriving music scene, further cementing his role as a chronicler of its cultural pulse. Through his nonprofit Music Mission, he channels his passion for community outreach, donating instruments, education materials, workshops, & support to underserved communities in Mexico (Oaxaca, Chiapas, Mexico City, Durango) & Nicaragua. This initiative, alongside his organization of events like the Lakeside Guitar Festival in Minnesota, underscores his belief in music’s power to connect & uplift across borders. Clouser’s extensive discography includes solo projects like Man With No Country & The Mexico City Experiment, a vibrant tribute to his adopted city featuring collaborators like Germán Bringas & Erik Deutsch. His tireless work ethic, shaped by his recovery from addiction, has fueled collaborations with artists from Flea to Keb’ Mo and performances at venues from Japan to Patagonia. Whether shredding fuzzed-out riffs, penning poetic narratives, or advocating for independent artists, Todd Clouser remains a restless innovator, weaving stories & sounds that transcend genre and geography.

Equally comfortable behind a Steinway grand piano, Hammond organ or any number of vintage keyboards, John Medeski is a highly sought after improviser and band leader whose projects range from work with John Zorn, The Word (Robert Randolph, North Mississippi Allstars, Phil Lesh, Don Was, John Scofield, Coheed & Cambria, Susana Baca, Sean Lennon, Marc Ribot, Irma Thomas, Blind Boys of Alabama, Dirty Dozen Brass Band and many more. Classically trained, Medeski grew up in Ft.Lauderdale, FL where as a teenager he played with Jaco Pastorius before heading north to attend the New England Conservatory. He released his first solo piano record, A Different Time, on Sony’s Okeh Records in 2013, and current projects include a new album in the works with his band MadSkillet (Terrence Higgins, Kirk Joseph, Will Bernard), and HUDSON (a collaboration with Jack DeJohnette, John Scofield & Larry Grenadier), plus a documentary on Medeski Martin & Wood.

Jorge Servin is an explosive young drummer from Mexico City, Jorge Servin fuses jazz, rock, and Latin rhythms with fearless precision. A rising voice in international creative music, he’s collaborated with artists across genres & continents. He has been playing in many projects with Todd over the years, but I imagine this one is something he’ll mark down on the wall.

I had the chance to check in with family to the proGram, Todd Clouser ahead of the September 14th event at the North Street Cabaret with his drummer from A Love Electric, Jorge Servin and Keyboard maestro, John Medeski. We get into how he prepares for working with MEDESKI and just when he knows how to add or subtract from the moment as they create in real time. We both are very excited for Jorge as he gets to look over and see MEDESKI as he does his rhythms and grooves. I had to make sure to revisit the recent Lakeside Guitar Festival and find out what were some of the highlights, this always sounds like a great time to be had. Of course I could not let my long running joke with Todd about forming a trio with Him and Medeski and well, Me. I, of course would be playing power tools. I can remember the first time Todd told me he was getting a chance to play with one of his musical heroes and that feeling keeps riding the waves of height to establish more moments of musical outreach. Hope to see you at North Street Cabaret for this one.

TARBABY Will ALL You

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The three members of Tarbaby – pianist & friend of the proGram, Orrin Evans, bassist Eric Revis, & drummer Nasheet Waits – share a long history together, dating back to well before the formation of the trio. They share core beliefs about acknowledging the over-arching tradition of the music while being true to one’s own story; they’re an ensemble of serious intentions and riotous humor, fervid spirit and fierce intellect, passion and purpose. All of that melds and collides in their provocative and risk-welcoming sound. The New York Times has hailed the trio as, “a strong postbop collective with plenty of moves at its command: advanced rhythmic calculus, sly harmonic implication, [and] cohesive elasticity.” Lucid Culture described Tarbaby as, “Intense, enigmatic, often very funny… Darkly melodic, fearlessly spontaneous and bristling with combustible energy.” 2024 saw a bold new release from the eclectic power trio. For the first time in a career marked by collaborations, You Think This Is America marks the first time that Tarbaby has recorded an entire album strictly in piano trio format. Recorded live at New York’s Hunter College for photographer/engineer Jimmy Katz’s Giant Step Arts imprint, the confrontational date mixes originals with wide-ranging covers by Ornette Coleman, David Murray, Andrew Hill, Sunny Murray, & The Stylistics. Tarbaby didn’t set out to become a band. It arose from a conversation, one that in many ways had been going on for decades and continues to this day. That dialogue centers on the respect, or lack thereof, with which “jazz” (in these discussions, that word is often voiced tenuously if at all) is regarded by those who claim to uphold its traditions. The music’s origins are a key factor, especially as they are so intimately tied to uncomfortable facts that many, even those who reap its benefits, would prefer to ignore.

I had a chance to catch up with legendary bassist, Eric Revis ahead of the September 10th TARBABY event at Arts + Literature Laboratory. Mr. Branford Marsalis states, “Eric’s sound is the sound of doom; big, thick, percussive.” Scores of musicians across various disciplines agree. Revis has performed and recorded with Betty Carter, Peter Brötzmann, Jeff “Tain” Watts, Jason Moran, Kurt Rosenwinkel, Steve Coleman, Ralph Peterson, Lionel Hampton, McCoy Tyner, Andrew Cyrille, & Tarbaby, the experimental trio he tri-leads with Orrin Evans & Nasheet Waits, as well as with Options, also with Waits, and the legendary Bennie Maupin. In addition to manning the bass chair in Branford Marsalis’ revered quartet since 1997 (scoring a Grammy in the process), Revis has also recorded eight brilliant and wildly diverse albums as a leader, teaming him with visionary artists like Jason Moran, Ken Vandermark, Kris Davis & Andrew Cyrille, and appeared on the soundtracks to the Netflix features Ma Rainey’s Black Bottom & Rustin. Mr. Revis and I talk about what one could likely plan for at a TARBABY live event, we dive deep into the name of the band and how the conversations around that sound in 2025 and we dissect some of the music on the latest record. We find out when the album featuring Ursula Rucker might be dropping and if in fact, Mr. Marsalis does noodle. This is a conversation about friends making music with a purpose of what has been missing, keying in on those feelings and continuing to write the history books with a new language based of the old ways. This is music that makes me stand taller and try harder and is sure to provide many expressions and how to find yourself best suited in the places you’re in.

Still & Bright With Amythyst Kiah

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Produced by Butch Walker (Taylor Swift, Green Day, Weezer) and recorded at his Nashville studio, Amythyst Kiah’s latest album Still + Bright explores the vast expanse of her inner world: her deep-rooted affinity for Eastern philosophies & spiritual traditions, a near-mystical connection with the natural world, the life lessons learned in her formative years as a self-described “anime-nerd mall goth.” In dreaming up the backdrop to her revelatory storytelling, Amythyst & Walker arrived at a darkly cinematic & exhilarating twist on the rootsy alt-rock of her 2021 breakthrough album Wary + Strange, an LP that landed on Rolling Stone’s list of the 25 Best Country & Americana Albums of 2021 and drew acclaim from major outlets like Pitchfork. With its sonic palette encompassing everything from fuzzed-out guitars & industrial-leaning beats to gilded pedal steel and Kiah’s exquisitely graceful banjo work, Still + Bright fully affirms her as an artist of both daring originality & uncompromising depth. On Wary + Strange, Kiah offered up a collection of spellbinding songs detailing her experience with grief & trauma & alienation, each illuminating the extraordinary impact of her songwriting. An electrifying showcase for her singular musicality and soul-stirring voice, Kiah’s Rounder Records debut soon found many leading critics hailing her as a formidable new talent, adding to a list of accolades that includes earning a Grammy nomination for her powerhouse anthem “Black Myself.” But when it came time to create her follow-up, the Tennessee-born singer/songwriter felt compelled toward a profound shift in her artistry. Although Kiah’s third full-length marks a departure from the anguished emotionality of its predecessor (an album informed by losing her mother to suicide at age 17), Kiah imparts all of Still + Bright with a hypnotic intensity born from boldly stating her convictions. All throughout Still + Bright, she reveals her rare ability to spin her fascinations into songs uncovering essential truths about human nature. The making of Still + Bright involved a careful transformation of the songwriting process she adopted after composing her first song on a Fender acoustic at age 13. The latest turn in a dynamic career that’s included joining Our Native Daughters (an all-women-of-color supergroup also featuring Rhiannon Giddens, Leyla McCalla, & friend of the program, Allison Russell), the album marks her 1st time opening up her approach and working with co-writers, including punk legend Tim Armstrong, Sadler Vaden (a guitarist/vocalist for Jason Isbell’s 400 Unit), former Pentatonix member Avi Kaplan, and Sean McConnell (a singer/songwriter who’s also written with Brittney Spencer & Bethany Cosentino). While Still + Bright undoubtedly finds Kiah pushing into new emotional and musical terrain, the album also makes for a vital new addition to a body of work largely dedicated to exploring the struggle and joy of true self-discovery.

I had the pleasure of chatting with Amythyst before she makes her way to the Madison area performing a solo event at the Mineral Point Opera House on September 5th. We start of talking about what the solo thang looks/sounds like. It seems like a great opportunity to really get to know the person and the art. We get into the creating of and change in writing approach while working with partners for the making of ‘Still + Bright, and dissect two songs, one of which, ‘Empire Of Love’ is a song I am so excited to see/feel live. How did she get to work with Moby you wonder? Answered here and when I stop and put myself in her shoes I get that goosebumpy feeling. Before wrapping up our conversation, I was curious as to where she found herself gaining a personal inspiration or feeling on contentment while putting the songs on “Still + Bright” toGether and we end up finding something we definitely both have in common…Mother Nature for the win.