Category Archives: All Interviews

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

Introducing Derya Yıldırım & Grup Şimşek

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Born in Hamburg, Germany to Turkish parents, Derya Yıldırım grew up influenced by her family’s Anatolian background and the myriad of cultures in the city. Derya’s musical roots started at home playing folk music with family members. Her father pushed her to learn various instruments, beginning with the bağlama, a seven stringed Turkish lute. Then she picked up the guitar, piano, & saxophone. Although she is a multi-instrumentalist, Derya always felt drawn to the sound of the bağlama, finding a special magic within that sound. With her band Grup Şimşek’s forthcoming album Yarın Yoksa, which translates to ‘If There’s No Tomorrow’, Derya continues her journey revitalizing Anatolian folk music and instrumentation by infusing timeless melodies with a modern psychedelic flair. Ten years ago, while participating in a community theater project, Derya met French musicians Graham Mushnik & Antonin Voyant from Catapulte Records and formed the band Grup Şimşek with Helen Wells, a drummer from Cape Town, South Africa joining in 2021. While the band is truly international, they eschew the term ‘world music’, preferring instead ‘outernational’ which they say suggests a sound that’s more inclusive or “beyond borders.” DY&GS embody what defines Anatolian folk music, finding a groove and melody and then looking for the freedoms within. It’s this ethos that guides the band’s songwriting and the way they take on Anatolian folk standards. Respecting the roots of the music while entertaining their own spins on the music while preserving historic words & melodies…perhaps the soul changes just a little bit. While it’s easy to think of folk music as a music of the past, Derya insists it’s just as valid today since this music is so important as it remains the voice of the people, the minority, and the oppressed. After self-producing multiple albums, they signed with New York’s Big Crown Records in 2024 and teamed up with Grammy-nominated producer Leon Michels (El Michels Affair) for Yarın Yoksa. The new album embodies their balance of preservation and innovation across nine original compositions and three traditional folk songs. It is a record that will enchant any listener regardless of language barrier with Derya’s passion and authenticity front and center and music too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait until you experience them play it live.

I had the pleasure of chatting it up with Derya & Helen of Derya Yıldırım & Grup Şimşek shortly before the new album, Yarın Yoksa drops. This album delves into deeply personal pain and collective resistance with a central thread of loss, longing and hope for change running throughout. Derya also sings in her parents’ native Anatolian with lyrics that are poetic with symbolic language, metaphors & storytelling. Derya & Helen talk a bit about the album’s journey from beGinning to it’s almost peek into the ears of others. Together, Derya Yıldırım & Grup Şimşek have created a memorable and emotional record that challenges genre while having broad appeal and a powerful message. None of this is lost on my ears, body and spirit as I listen and share. I feel the album’s haunts and romances. We talk about getting to work with Big Crown Records and the one and only Mr. Leon Michels. I really get into being educated a bit about the region and corners of the world on the birth certificate of this record, including a geography lesson and some extra insights into the bağlama. I even got to learn a few more bands to look up when Helen & Derya build a setlist around one of the new tracks.

Photo by: Philomena Wolflingseder

Kendra Morris Comes To Madison

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There is something completely out-of-time about Kendra Morris and her latest album ‘I Am What I’m Waiting For’ on Karma Chief Records. It combines powerhouse vocals w/arrangements that betray an extensive record collection & a whimsical instinct for a joyous kinda noise. It’s vibrant & varied and packed w/personality. She & Torbitt Schwartz, AKA Little Shalimar (Run The Jewels) wanted to make it feel like listeners cracked open the ooze in her head. Torbitt was the Co-Writer & Producer on the record. Kendra is also an accomplished visual artist & stop-motion animator, so it’s appropriate that the album takes a collagist approach, recombining all sorts of Rock-n-Roll ingredients, the sass & swagger of Ronnie Spector, The more acid-fried corners of The Nuggets Compilations, post-modern interpolations of mid-century Exotica music, the cracking snares & sugary Urbanity of ESG, all while offering moments of vulnerable insights from a life in pursuit of expression. She was a musically precocious child and, after playing in Florida bar bands, moved to New York to chase the dream. Thus began a 13-year stint bartending at the beloved lower East Side dive The Library, which thrust her directly into the heart of Manhattan’s fertile post-Strokes creative scene. Brian Jonestown Massacre’s Anton Newcombe lived Upstairs, music journalist Marc Spitz was a regular, and touring acts would come through to hang after playing Bowery Ballroom. During those moments, Morris yearned to join those folks on the other side of the bar. All the while, she kept pursuing her music dreams. Her process was pure, 100% DIY. She never took no for an answer. After the dissolution of her first band, She Recorded 8-track demos and performed solo shows backed by cassette recordings of her own vocal harmonies. Through these shows she connected w/longtime producer Jeremy Page. It felt meant to be. She worked with Jeremy for the next 10+ years, they Worked together thru some of the most beautiful & hardest life things she’s ever gone thru. It was a fruitful partnership: she signed to Wax Poetics for the release of her 2012 debut ‘Banshee’ & 2013’S ‘Mockingbird’, self-released her 2016 EP ‘Babble’, & signed to Karma Chief for 2022’S ‘Nine Lives’. She’s hooked up with a great cast of collaborators, including DJ Premier, MF Doom, Ghostface Killah, & David Sitek. Despite her strong professional & personal relationship w/Page, Kendra knew that she needed to change up the energy for her next project. She connected w/Torbitt Schwartz and set about making ‘I Am What I’m Waiting For’. Kendra was eager to break out of old habits: she started playing guitar again live, pulled old songs out and reworked them, less-than-perfect takes were tolerated. To me, it feels like he risk has paid off.

I had the pleasure of catching up with Kendra as she sets out on a brief run with Marc Brousaard which brings her to Madison on March 16th to play the Majestic Theatre. We get into how that gig got put on her calendar and what that set of music will be like, ranging from her past albums into trying out some new music on us. You heard it riGht, NEW music. We also never had time to discuss her most recent release, “I Am What I’m Waiting For” so we go a little seed to flower on that and prompt a little double check on the video for Dominoes. I would have been remiss if this time around I neglected to get into a little conversation on the really cool track, ‘White Noise‘ she worked on with Peter Matson – this tune really collides well with how she makes a little magic every time we hear a new thing and should be heard by everyone at least once. Ready…GO!

The Magic Of Marcia Ball

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50+ years have passed in a flash for pianist/songwriter/vocalist Marcia Ball. The 2018 Texas State Musician Of The Year has won worldwide fame & countless fans for her ability to ignite a full-scale roadhouse party every time she takes the stage. Born in Orange, Texas and raised in Vinton, Louisiana, her deep Acadian heritage and a lifetime of absorbing Gulf Coast rhythm & blues is evident in her original songs and the classics she chooses to cover. This has made her a one-of-a-kind favorite with music lovers all over the world. With each new release, her reputation as a profoundly soulful singer, a boundlessly talented pianist and a courageous, inventive songwriter continues to grow. Her love of the road has led to years of soul-satisfying performances at festivals, concert halls & clubs. Marcia grew up in a family whose female members all played piano and she began taking lessons at age 5, playing old Tin Pan Alley and popular music tunes from her grandmother’s collection. But it wasn’t until she was 13 that Marcia discovered the power of soul music. One day in 1962, she sat amazed as Irma Thomas performed on a show at the Municipal Auditorium in New Orleans and delivered the most spirited & moving performance the young teenager had ever seen. A few years later she attended Louisiana State University and after dropping out to explore the brave new hippie world of the late 1960s, she was invited to try out for a blues-based rock band called Gum. She made the cut and her future was set. In 1970, she left Baton Rouge for San Francisco. Her car broke down in Austin, and while waiting for repairs she fell in love with the city and decided to stay. It wasn’t long before she was performing in local clubs with a band called Freda And The Firedogs, which attracted many musicians & significant media attention to Austin. It was around this time that she discovered Professor Longhair she knew she had found her direction. When Freda And The Firedogs broke up in 1974, Ball launched her solo career and began touring outside of Texas & Louisiana. She signed with Capitol Records in 1977, debuting with the country-rock album Circuit Queen. As she honed her own sound, she released 6 critically acclaimed titles on the Rounder Records label during the 1980s & 1990s. In 1990, Ball, collaborating with Angela Strehli & Lou Ann Barton, recorded the hugely successful Dreams Come True on the Antone’s label. At the end of 1997, Marcia finished work on a similar “three divas of the blues” project for Rounder, this time in the distinguished company of Tracy Nelson and her longtime inspiration, Irma Thomas. The CD, Sing It!, was released in 1998 and was nominated for a Grammy Award. Marcia Ball has appeared many times on national TV over the years, including the PBS special In Performance At The White House with B.B. King & Della Reese, Austin City Limits & HBO’s Treme. She performed in Piano Blues, the film directed by Clint Eastwood included in Martin Scorsese’s The Blues series which aired on PBS television nationwide in 2003. Marcia also appeared on The Late Show With David Letterman w/The New Orleans Social Club, where she helped to benefit victims of Hurricane Katrina. In 2012, she had a role in the independent film Angels Sing starring Harry Connick, Jr. & Lyle Lovett & Willie Nelson. Ball joined Alligator Records in 2001 with the release of the critically acclaimed Presumed Innocent. The CD won the 2002 Blues Music Award for Blues Album Of The Year. Her follow-up, So Many Rivers, was nominated for a Grammy Award, and won the 2004 Blues Music Award for Contemporary Blues Album Of The Year as well as the coveted Contemporary Blues Female Artist Of The Year award. Her next release, Live! Down The Road, released in 2005, also garnered a Grammy nomination, as did 2008’s Peace, Love & BBQ. She holds 11 Blues Music Awards, 10 Living Blues Awards, and 5 Grammy Award nominations. 2010’s Grammy-nominated Roadside Attractions and 2014’s The Tattooed Lady And The Alligator Man successfully grew her fan base even further. She has been inducted into both the Gulf Coast Music Hall Of Fame & the Louisiana Music Hall Of Fame and the Texas State legislature named her the official 2018 Texas State Musician. In 2018, Marcia was inducted into the Austin City Limits Hall of Fame. And she kept on traveling down the road to the next gig…

I had the pleasure of catching up with the legendary pianist/singer/songwriter ahead of her heading back to Madison for a gig at The Bur Oak on March 5th. Marcia and I get into a bit of what that show will be like, with some of that good ol’ rockin’ and rollin’ being at the center. We talk about her love of Madison and how much she enjoys being here, musically and otherwise, including her working with a staple here, The Jimmys (with whom she’ll be hanging and playing with down in Jamacia before heading here). We get into her passion for Irma Thomas, and how much seeing her early on changed her life, and then they worked toGether on a few occasions. How dreamy?! For me, it is always nice to talk about new music and Marcia drooped a little knowledge this way that there in fact, is some of that heading our way. YES!!! While new music is usually a big part of my thanG, so is the give-back. Marcia is doing her part as well with the HOMES initiative, providing financial housing assistance for aging musicians in need. So I would have been remiss not to shine a little light on these fantastic efforts.

New Music From Charles WIGG Walker

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Charles Walker was born in Nashville, Tennessee on 7/12/1940. Charles or “Wigg,” as he is known by his friends (his mother nicknamed him when he was born with a full head of hair), began singing at an early age in church & school. He cut his first record in 1959 for Ted Jarrett’s legendary Champion label. One cut, “Slave To Love,” was credited to Charles Walker and the Daffodils. In fact, there was no such group as the Daffodils. The backup singers on the record were label mates the Kinglets & Larry Birdsong. In 1960, Charles moved to New York City where studios & nightclub work were plentiful. 1962 found Charles recording with Chess Records out of Chicago, and soon he signed on as lead singer with the J.C. Davis Band. This band began touring the country opening for the greats of the era including James Brown, Jackie Wilson, Etta James, Wilson Pickett, Little Willie John, Otis Redding, & Sam Cooke. The J.C. Davis Band recorded some real barnstormers for Chess like “Sweet Sweet Love” & “The Chicken Scratch.” In 1964, Charles formed his own group, Little Charles and the Sidewinders. They became one of the most in demand soul bands in New York City’s nightclub scene, performing at the Apollo Theater, Small’s Paradise and venturing out to Las Vegas & Atlantic City. They subsequently recorded for Chess & Decca labels. The Sidewinders stayed together through the 60’s, and in 1969 he cut some sides for Botanic Records. The Sidewinders reformed in 1973 and worked as a show band in hotels, nightclubs, and casinos without the benefit of a recording contract. Early in the 80’s, he recorded in England and re-issued many of the Sidewinders classic sides. Realizing that there was a market for soul music in the U.K., he formed his own label P.R.G. and released the single “See Me” in Europe. He spent most of the 1980’s in England & Spain and worked steadily but recorded occasionally. In 1993, he moved back to Nashville to do some serious recording, since Nashville’s blues & R&B scene was really booming. His solo releases include “I’m Available,” “Leavin’ This Old Town,” “In the House” (live with Johnny Jones) & “Soul Stirring Thing.” He also released an album on the U.K. label Zane records called “Number By Heart” in 2003. Charles most recently was the featured singer for a band called “The Dynamites featuring Charles Walker”, and 3 records were released since June of 2007 on Outtasight Records. The band toured frequently in the U.S., Canada, Europe, & Australia. Charles is one of the few remaining original soul singers from back in the day when old school R&B/soul was brand new on the music scene. There has recently been a resurgence of this style of music, and it is finding a younger audience while rekindling memories for the old school crowd. Wigg is still delivering this style of music at a very high level, and his experience and maturity in the field of soul music gives him a perspective that is unmatched. Now in 2025, he comes out strong like never before even, with a new album ‘This Love Is Gonna Last’.

I had the chance to catch up quickly with Mr. Charles “Wigg” Walker’s shortly after ‘This Love Is Gonna Last‘, his first album in over a decade, officially dropped. We go seed to flower on the record, including dissecting two of the track a bit. The album is a dedication to his late wife and shifts seamlessly between definitive eras of soul, from Philly and Detroit to Memphis. We go back in time to learn a little about what he learned from James Brown, how he was the opening act for the Jackson 5 and the work he did fronting The Dynamites. I think this album will add to any music fans collection, but certainly, if that old feelin’ soul music is your thang – this has that and it feels fresh and new.

Smif-N-Wessun Got It Going

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Currently celebrating 30 Years Since Their Groundbreaking Debut, Dah Shinin’, Brooklyn, NY-Iconic duo, Smif-N-Wessun is preparing to release their latest album Infinity, February 21st., 2025. Hailing from Bucktown, a borderless place where otherwise warring Brooklyn neighborhoods find peace, Smif-N-Wessun, aka Tek & General Steele, are recognized and respected worldwide for their lyrical control. The pair first appeared on Black Moon’s debut album Enta Da Stage in 1993. Adding relentless rhymes to tracks “U da Man” & “Black Smif N’ Wessun,” the pair paved the way for the Brooklyn Supergroup Boot Camp Clik. Smif-N-Wessun released their classic debut Dah Shinin’ January 10, 1995 on Nervous Records. The album was noted for its hardcore lyrical content & gritty production, handled by Da Beatminerz production crew and was selected as one of The Source’s 100 Best Rap Albums of all time. Always standing on business, the Brooklyn duo has always stayed true to their roots. Never faltering or curving to conformity Infinity is a testament to their staying power and a gift to their loyal fans. The album will be released on Bucktown USA Entertainment/ Duck Down Music. The first single, “Infinity” was released on January 10th, followed by “Elephant In The Room” both produced by Khrysis, February 7th. A third single, “Medina” featuring Pharoahe Monch produced by SND*TRK, to be released simultaneously on February 21st. Fresh from the triumphant return of a successful domestic & international tour, Smif-N-Wessun’s new album is a cumulative reflection of their life experiences. Executive Produced by college professor & world renowned producer, 9th Wonder and the Soul Council, 9th explains the thought process with the album. “I wanted to make sure that it didn’t sound dated. It sounds like them (Smif-N-Wessun) but it’s also new. They are our generation’s version of Thelonious Monk, Charlie Parker, Donald Byrd.” Illustrious MCs featured on the album include, Buckshot, Pharoahe Monch, Conway the Machine, legendary artists Sean Price & Prodigy, multi-platinum RnB legend, Ralph Tresvant along with rising stars, Sweta and Jalisa. Infinity cements Smif-N-Wessun’s status as creators of nothing but classics. This is their eighth album and the 2nd collaboration with 9th Wonder and the Soul Council. Showcasing buttery beats from Council members, 9th Wonder himself, Khrysis, SND*TRK, Kash, Mu’aath & Nottz, the album delivers a sonic smash that will satisfy everyone from the rap purist to new school connoisseurs. This new album has cemented Smif-N-Wessun’s place in Hip-Hop history as stalwart artists and champions of Hip-Hop culture.

I had the honor of chatting with Tek & Steele like we was hanging out on the front stoop together talking music. We got into the 30th anniversary of Das Shinin’ and how that album got it’s story built, and the fellas of course, mention those who came before and helped them through. We also got into the upcoming event at the Union Theater’s Play Circle in Madison on February 13th and what showgoers can think to expect, especially with this new record, ‘Infinity’ set to drop a little over a week later. We gonna get some teasers! That of course got us into the new album and how these joints came to life, and they got me a couple of tunes ahead of time to share with listeners. From the classic to the this moment music, Smif-n-Wessun are always poised to share their stories in a way that are relatable, image in the mind worthy and got a soul of their own riding on beats to move to.

Arts + Literature Laboratory Welcomes Larry & Joe

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Larry & Joe is the duo of Joropo maestro Larry Bellorín (Monagas, Venezuela) & Grammy-nominated bluegrass & oldtime star Joe Troop (Winston-Salem, North Carolina). These two virtuosic multi-instrumentalists fuse their respective Venezuelan and Appalachian folk traditions on the harp, banjo, cuatro, fiddle, upright bass, guitar, and maracas to prove that music has no borders. Their engaging bilingual (esp / eng) program includes storytelling, humor, singalongs & dancing. Larry hails from Monagas, Venezuela and is a legend of Llanera music. Joe is from North Carolina and is a GRAMMY-nominated bluegrass and oldtime musician. Larry was forced into exile and is an asylum seeker in North Carolina. Joe, after a decade in South America, got stranded back in his stomping grounds in the pandemic. Larry worked construction to make ends meet. Joe’s acclaimed “latingrass” band Che Apalache was forced into hiatus, and he shifted into action working with asylum seeking migrants. Then Larry met Joe. Currently based in the Triangle of North Carolina, both men are versatile multi-instrumentalists and singer-songwriters on a mission to show that music has no borders. As a duo they perform a fusion of Venezuelan and Appalachian folk music on harp, banjo, cuatro, fiddle, maracas, guitar, upright bass, and whatever else they decide to throw in the van. The program they offer features a distinct blend of their musical inheritances and traditions as well as storytelling about the ways that music and social movements coalesce.

I had the chance to catch up with Joe Troop ahead of Larry & Joe heading into Madison on February 5th at Arts & Literature Laboratory. Joe and I spend some time defining what a Larry & Joe event will be like, from the history of the music to the even futuristic sounds of this unique duo. Joe and I discuss the creation of their brand new album ‘Manos Panamericanos‘ and how it went from idea to final product, but moreover, we talk about what goes into it and how it will translate into their live events. The very interesting part of this duo besides the sounds they create toGether, is how the two met and began their relationship, as artists but more importantly, as people. Finally, Joe gets a chance to build a setlist around one (or two) of their tunes and we do learn about some of the Wisconsin type experiences, including walleye, Supper clubs and of course, cheese they look forward to partaking in.

Our Friend Ahmed

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I was led to our friend, Ahmed Abuamsha (he also goes by the stage name Ahmed Muin), by a trusted source and family to the proGram (and an important arm to my Burnt Sugar family), Amy. Ahmed is a music teacher at the American School of Gaza and an instructor in guitar playing at Edward Saeed Institute for Music in Gaza. Before the war of 2023 on the Gaza Strip, he used to have a sound recording & producing studio where he used to compose, write lyrics & engineer sound on songs for children, commercials, advertisements for love & popular wedding songs. His studio was designed according to professional specifications and was on the ground floor of his house in the Southern part of Beit Harroun, Northern Gaza. The studio had:
a) Recording room.
b) Control Room.
c) a small salon.
As with any professional studio, it had a lot of valuable equipment. The walls were covered with wavy sponge blaster, double-hard-glass windows, and it had all appropriate and expected jacks, cords & cables, high-quality microphone and iron stands for music notes & headphones. All the things artists anywhere would come to know they need to have in such a facility.

https://www.facebook.com/share/v/azP6aF4Wyy2vNS5N/?mibextid=oFDknk (Ahmed going live in his studio)
https://www.facebook.com/share/p/7DvQj3zKVVYo5RJ8/?mibextid=oFDknk (Ahmed at Edward Saeed Institute)

His story begins when people received messages on their cellphones ordering them to leave immediately or their lives would be in great danger. Frightened and confused he and his family left everything except the clothes they had on. In the middle of the night where there wasn’t any light but the glow of their cellphones, F-16 fighters bombarded the far side of the city of Beit Hanoun. They were pushing people to move to the south part of the city and the drones were surveying the area hovering over their heads with relentless noise. Constant flashing was blazing the dark horizons of the skies and there were deafening explosions. Ahmed and his family kept moving quickly until they reached the Jabalia Refugee Camp. They found shelter in an UNRWA school, where they slept on the ground, on stairs, wherever they could find a spot. He and his family were 51 people. The next day, their shelter was bombarded by an artillery bomb. Again they ran away, people were screaming with fear and panic as they continued to walk on foot until they arrived at Gaza (Gaza city). There was no place to stay or to find any shelter, so they decided to move to Khan Younis since the Army ordered the people to go beyond Wadi Gaza (South of Gaza Valley). They stayed for 51 days at another UNRWA school. Eventually they left Khan-Younis and were off to Rafah. As of now, however many days it has been, they stay in a plastic and wood tent, facing the ever new, strange and dreadful conditions. Remember, he had nothing with him, so he managed to borrow a Spanish guitar from a friend in Rafah and began playing music & singing with kids to change the mood for people. He started to tour the displaced war-refugee centers, creating an atmosphere of fun & happiness even though the kids are still under this major traumatic situation. Recently he applied for the implementation of a new initiative which he is set up with a group of artists, actors & activators to help kids who bear the psychological agony of war by traveling from camps to camps. Here is one example of his work since starting this endeavor. Please do the needful. When he sits with family & friends in the tent, they recall the happy moments and remember how decent life was. His business was flourishing, people leading normal lives, but now the people cannot help the overwhelming feeling of nothingness. But Ahmed still knows there always a tiny light at the far end of the dark tunnel. Hope always comes with the help of good-hearted people. He and his people have plans to survive and start again.

As we hope this cease fire will last, Ahmed had set up a fund to help rebuild his life back when that light at the end of the tunnel gets brighter and end up shining and warming the lives of his people.

To know more about Ahmed wherever you may be:

https://www.tiktok.com/@ahmedmuin?_t=8kCySYfrBPb&_r=1

https://www.facebook.com/ahmed.abuamsha?mibextid=ZbWKwL

https://youtu.be/PamAm4D3QxY?si=-kzR0TpxLiD8FYDc

https://www.facebook.com/share/v/tqGKJsCoMZ3FsJig/?mibextid=pAjZwd

To try to walk in the shoes of my friend, Ahmed I attempted to do an audio diary with him to make an effort to be with him as he goes through this. Ultimately he had a usual difficult time getting the internet to stay working, his time is limited as in order to survive and help people, the days get full trying to get places on foot. And as you’ll hear, that constant sound of the drones overhead is as invasive as I could imagine from where I am. All I feel like I could do is try and spread his honest and sincere world with others. My shoes can’t even come close to finding a way to walk with him from here. Take a listen below to what it sounds like when he could actually get online to share, the first part if from a little over a week ago and the final clip is from the day of the ceasefire.

Help in you can.

JLCO with Wynton Marsalis In Madison

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In 1988 the Orchestra was formed as an outgrowth of its concert series, Classical Jazz, with David Berger conducting. When Wynton Marsalis became artistic director in 1991, he emphasized the history of jazz, particularly Duke Ellington. The first album was Portraits by Ellington (1992), and seven years later the Ellington centennial was honored with the album Live in Swing City: Swingin’ with the Duke (1999). Under the leadership of Marsalis, the band performs at its home The House of Swing, tours throughout the U.S. and abroad, visits schools, appears on television, and performs with symphony orchestras. The Orchestra backed Wynton Marsalis on his album Blood on the Fields, which won the Pulitzer Prize in 1997. Since 2015, the Orchestra’s albums have been issued on its own label, Blue Engine Records. The first release from Blue Engine Records, Live in Cuba, was recorded on a historic 2010 trip to Havana by the JLCO and released in October 2015. The label issued Big Band Holidays in December 2015, The Abyssinian Mass in March 2016, The Music of John Lewis in March 2017, and the JLCO’s Handful of Keys in September 2017. Blue Engine’s United We Swing: Best of the Jazz at Lincoln Center Galas features the Wynton Marsalis Septet and an array of special guests, with all proceeds going toward Jazz at Lincoln Center’s ever important education initiatives. One of Blue Engine’s most recent album releases (2023) include Wynton Marsalis Plays Louis Armstrong’s Hot Fives and Sevens and The Jungle, a recording of Marsalis’ fourth symphony featuring the JLCO and the Melbourne Symphony Orchestra, and they dropped another at the end of 2024, ‘The Shanghai Suite’. Always swinGin’!

Wynton Marsalis is an internationally acclaimed musician, composer, bandleader, educator and a leading advocate of American culture. He is the world’s first jazz artist to perform and compose across the full jazz spectrum from its New Orleans roots to bebop to modern jazz. By creating and performing an expansive range of brilliant new music for quartets to big bands, chamber music ensembles to symphony orchestras, tap dance to ballet, Wynton has expanded the vocabulary for jazz and created a vital body of work that places him among the world’s finest musicians and composers. Here in Madison on January 29th, at the Overture Center, we will get to experience the world’s premier big band, Jazz at Lincoln Center Orchestra directed by Wynton Marsalis. Marsalis, has been hailed as the “Pied Piper” & “Doctor of Swing”. The group performs a vast repertoire of music, from historic and rare compositions, including works by Duke Ellington, Count Basie, Thelonious Monk, Mary Lou Williams & Charles Mingus, to new music from the group’s unrivalled collection of world-renowned composers and arrangers. I had the honor of catching up with Maestro Marsalis ahead of the event in Madison and we get going by talking about what a youngster joining the experience for the first time may want to check out and try to focus on. Us young at heart can follow along with this advice as well. We dive into the latest release on Blue Engine Records, ‘The Shanghai Suite’, and how it grew it’s wings. I was personally interested in a couple of other things. Just how did his time with Art Blakey and the Jazz Messengers show him how to become himself and what is a day off like for Wynton Marsalis, someone who’s list of deeply cool and important accolades is so long and impressive, I just wonder how he chills out. You probably won’t be surprised by his answer. This time with Maestro Marsalis felt good to be a part of, he was welcoming and open….HUMAN…like the music.

A Dream For Cello And Sitar

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For some time now, I have been sampling a few moments of a project that family to the proGram, Janet Schiff had been thinking on and working through. It was a long distance, international dialogue between someone she had never officially met. We spoke on the tapestry that could be. Finally the project got thing wings it deserved and was released into the world. Janet of course, plays the cello. We have had her on the program to discuss some solo work and also with the beloved nineteen thirteen. But this new collaboration was a stretch she had never fully explored before, working with a sitar master in India to create that new bridge of togetherness that formed a healing creation. In our discussion, we learn how she and Ramprapanna Bhattacharya first found each other online and formed a friendship. As music does, that original handshake turned into a ‘hey why don’t we’ and within time a raga was born with sitar being sent over the webs of the internet. The cello parts were created with distinct numbers in mind, adjustments were needed, and what was once a track to be, turned into an EP’s worth of unity, combining the earthly sound of sitar with the looping of many a cello textured to a new mosaic – one that people can easily chill put to, or find their yoga space with or just be deep in or out of the many of this oneness. ‘A Dream For Cello And Sitar’ was born on December 22nd, which is Ramprapanna’s birthday and I for one, am proud to announce it has shown up!

A Dream for Cello and Sitar · Janet Schiff Ft. Ramprapanna Bhattacharya

More From G Love

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G. Love & Special Sauce is an American Hip-Hop Blues band known for its unique fusion of hip-hop, blues, funk, & soul musics. Formed in 1993 in Philadelphia, Pennsylvania, the band originally featured Garrett Dutton, aka G. Love, as the lead vocalist & guitarist, Jeffrey Clemens on drums, & Jim Prescott on bass. The trio quickly gained attention for their laid-back, groovy style and G. Love’s unique vocal delivery, blending rap-like spoken word with bluesy ‘sanging’. Their debut self-titled album, ‘G. Love & Special Sauce’, was released in 1994 on Epic Records and included the hit single “Cold Beverage,” which became popular on alternative radio stations & MTV, solidifying their presence in the music scene. The band’s style has been described as a mix of “slacker blues” & “alternative hip-hop,” as they frequently incorporate elements of 90s hip-hop beats with classic blues rhythms. Over the years, G. Love & Special Sauce has released numerous albums, including Coast to Coast Motel (1995), Yeah, It’s That Easy (1997), The Electric Mile (2001) and the GRAMMY nominated The Juice (2020). Their sound evolved to include more soul, R&B, and rock influences, though they retained their laid-back vibe and clever lyrical play. Their 2014 album Sugar saw a reunion of the original lineup after several years, and they continued to tour and produce music with a loyal fan base. Known for their energetic live performances, G. Love & Special Sauce has played at festivals like Bonnaroo & Lollapalooza. Garrett Dutton also frequently collaborates with other artists, including Jack Johnson, with whom he shares a similar vibe, and has released solo projects that dive deeper into his blues influences. G. Love & Special Sauce remains a beloved name in the music scene, blending genres in a way that feels fresh & authentic.

It is always a good time when I get a chance to catch up with family to the program, G Love. This time he is heading on back to Madison with The Special Sauce to get busy at the High Noon Saloon on January 8th. We get into what someone who doesn’t know might find out if they attend this show. We spend a good amount of time discussing an album that both of us think didn’t hit in the ‘rankings’ as much as it should have, the 2022 release ‘Philadelphia Mississippi‘. This outstanding collection really made me go back in time to my first taste of the special sauce, that combination of both raw blues AND hip hop really sat well with me and this album has that feeling. We specifically call out the working with Mr. R.L. Boyce in particular, and G spills the beans on an upcoming release (due around April 2025) from the overflow of tunes worked on with Mr. Boyce (he since has passed) during this original session. Since it is right around the holidays, we get into his new Christmas music, especially ‘Fishing For Christmas’ and how much he loves to create the holiday tunes, and how a little different this one went down. Which brings me to a couple of times we get into the business of it all, we both find the art more important than the money, but it is amazing who gets to have it all. We talk L.L. Cool J & Taylor Swift as well as what would we be spinning on his console if we got toGether to spin some tunes. Just two G’s once again keepin’ it real for the people who feel.

Not Very Motorcycle by Heather The Jerk

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Well, it is one of my favorite times of the times. Madison’s own Heather The Jerk has new music out to help make the days go by a little easier. The eight songs are quick to the ear, but spend a lot of time in my mind – easily being brought back up due to catchy choral imprints and quick-witted lyrics, I just want to scream them all out into the world. We learn straight-away that even though the title is a little misleading, by definition, this album is VERY motorcycle. You don’t have to take it from me either, since I have known this Jerk for a lifetime, take it from one Mr. Henry Rollins, who not only got this new album, but all the other music Heather the Jerk has put out and he airs it over the world wide web on his radio proGram. Check it here. We dive a little into how these tunes came together, we round off the band’s introductions and talk about a couple of tracks as if they were friends. There was a recent tape release part too here in Madison at Mickey’s Tavern and from the sounds of it, there were many people leased with the new music and the scene. Maybe go here and order the music yourself to see what all the Henry Rollins’s hub bub is all about. He oughta know.

Live at Snug Harbor New Orleans Gregg Stafford & his Jazz Hounds

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Gregory Vaughan Stafford is an American jazz cornetist, trumpeter, and educator based in New Orleans, known for his work in preserving the city’s jazz heritage. He has been a significant figure in the local music scene since the 1980s, particularly as the long-time leader of the Young Tuxedo Brass Band. He was part of the Fairview Baptist Church Marching Band, a group founded by banjoist Danny Barker in 1971. Gregory Vaughan Stafford graduated from Southern University in 1976 and began performing in New Orleans in the mid-1970s. Alongside Dr. Michael White, Stafford worked to preserve New Orleans’ musical traditions, often playing in each other’s bands. He became a music educator in New Orleans public schools in 1985 and took leadership of the Young Tuxedo Brass Band in 1984. He also led the Heritage Hall Jazz Band after Kid Sheik Cola’s passing in 1992 and took over Danny Barker’s Jazz Hounds in 1994, continuing to shape the city’s jazz scene. Gregory Vaughan Stafford has collaborated with musicians such as Wynton Marsalis, Brian Carrick, & Michael White. He co-founded Black Men of Labor, an organization supporting brass bands and second-line culture in New Orleans. From the wonderful Snug Harbor Jazz Bistro.

Presented by Jazz Foundation of America.

Linear Labs: São Paulo & Adrian Younge

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Adrian Younge is a self-taught multi-instrumentalist, composer, & orchestrator who has produced for entertainment greats such as Snoop Dogg, Kendrick Lamar & Wu Tang Clan. In 2007, Younge relinquished his position as a professor of law to find himself at the center of the Black Dynamite phenomenon. He served as the film’s editor/composer. Hailed as a modern blaxploitation masterpiece, the soundtrack was listed in the top 10 best soundtracks of the year by the LA Times. In 2011, Younge created the album, ‘Something About April’, showcasing a dark mix of psychedelic soul & cinematic instrumentals. In 2013, the project was sampled twice by Timbaland for Jay-Z’s Magna Carta… Holy Grail, solidifying Younge as a new sound in hip hop. His work has also been sampled by various artists including No I.D., DJ Premier, Schoolboy Q, and more. Younge owns/operates Linear Labs, a recording studio/label which reflects his dedication to the art of analog recording, utilizing analog tape & live instrumentation exclusively. Under the label, he’s produced projects for artists such as Ghostface Killah, Souls of Mischief, & The Delfonics. In 2017, Younge & Ali Shaheed Muhammad (A Tribe Called Quest) formed the band, The Midnight Hour. In addition to musical releases & touring, they’ve teamed to score a myriad of television/film projects: Marvel’s Luke Cage (Netflix), Raising Kanan (Starz), The Equalizer (CBS), Reasonable Doubt (Hulu), Run This Town (2019), Washington Black (2023), Boogie (2021), and Bitchin’, The Sound and Fury of Rick James (2021). Younge has also scored Black Dynamite (2009), Black Dynamite animated series (2012), California King (2023), The Big Payback (2023), Queens (ABC), All Rise (OWN), & Human Footprint (PBS). In 2019, Younge, Muhammad, Andrew Lojero & Adam Block created Jazz Is Dead (JID): a multimedia company specializing in the production of live concerts, studio albums, television & film. JID concerts have earned an ever-growing fanbase through national/international tours. Under the label, Younge & Muhammad have produced albums w/their musical heroes including luminaires such as Roy Ayers, Lonnie Liston Smith, Gary Bartz, Jean Carne, Marcos Valle & Tony Allen. In February 2021, Younge released the seminal album, ‘The American Negro’, his most important work to date. This project, in tandem with his Amazon original podcast, ‘Invisible Blackness’ and short film ‘TAN’, provides an unapologetic critique on the evolution of racism in America. The podcast features conversations with guests such as Chuck D, Roy Choi, Dr. Melina Abdullah, Wayne Brady & Mahershala Ali. For Adrian, the message is more important than the music. The many projects continue today as he is working on JID30’s and we are just searing up JID20’s. In between, there is more going on over at Linear Labs: São Paulo. São Paulo sparks a new golden era of musical genius defined by the maestro Adrian Younge, encapsulating what he’s learned in building the first era of Linear Labs and its successor label Jazz Is Dead. Linear Labs: São Paulo marks the evolution of this journey. Step into an extraordinary psychedelic and soulful experience with Adrian Younge presents Linear Labs: São Paulo: a compilation of new songs showcasing the musical brilliance of Adrian Younge with artists from around the world. Essentially, the album features one unreleased song from an array of forthcoming albums Younge has produced for Linear Labs, including Something About April III, the tertiary installment of Younge’s masterwork trilogy, and a new blaxploitation adventure from hip hop legend Snoop Dogg, entitled ‘Don’t Cry For the Devil’. Also included on this preview is Brazilian actress/ singer Samantha Schmütz, Middle-Eastern singer Liraz, London-based jazz vocalist ALA.NI, afro-futuristic soul singer Bilal and a bonus song with Stereolab’s Lætitia Sadier.

I had the pleasure of catching up with friend of the proGram, Mr. Adrian Younge shortly after ‘Adrian Younge presents Linear Labs: São Paulo‘ dropped and even before we got into how that all took shape, and color, we just did a routine check in with each other since last we spoke. It is always one of my objectives to try and get listeners to ‘feel’ the way the artists, these PEOPLE, feel as they go through the artistic explorations and expressions. The global reach of many of his projects is always something that catches my ear – but on this compilation, this peek into the future, I really took off in flight with it. We talk about how then then gets mixed with the now and sometimes the future gets created, on analog even. I feel a connection with this cat, so the support is brotherly for me and I truly believe he will continue to unlock and open new doorways into sonic adventures that seem familiar yet, there’s a welcoming newness to that rare groove…and it may just be Adrian Younge.

Bruce Katz Band Live

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Bruce Katz is a legendary keyboardist (Hammond B3 & Piano) who has released 12 albums as a leader and has appeared on over 75 other CDs with the likes of John Hammond, Delbert McClinton, Ronnie Earl, Little Milton, Butch Trucks, Duke Robillard, David “Fathead” Newman, and countless others. He has also had a strong musical connection with the Allman Brothers Band, and was a member of Gregg Allman’s band for 6 years, Jamoe’s Jasssz Band (2010-2015), Butch Trucks’ Freight Train Band & Les Brers (2015-2017). Bruce also occasionally toured with the Allman Brothers as well. Of course he has been nominated and received many accolades in his illustrious career. He is a unique player/composer who combines Blues & American Roots music with elements of jazz, and improvisational rock music that creates a signature sound that is all is own. Bruce was an Associate Professor at the Berklee College of Music for 14 years (1996-2010), teaching Harmony, Hammond organ labs, Blues History & Private Piano Instruction. Bruce began playing piano at age 5 and has a lengthy background in classical piano. After hearing a Bessie Smith record when he was 10, he started teaching himself blues and early jazz on the piano. He then heard boogie-woogie & swing music and continued his musical journey into more aspects of jazz and American roots music. Bruce attended Berklee College of Music in the mid-1970s, studying Composition & Performance. For the next 15 years, he performed with many of the leading musicians in New England, and played “on the road” for long stretches of time. In the early 1980s, Bruce played with Big Mama Thornton on her East Coast tours and this experience revived his desire to play Blues Music as a primary focus. After a particularly long stint of touring in the late ’80s with Barrence Whitfield and the Savages, he decided to come off the road and enrolled at the New England Conservatory of Music in Boston where he earned a Master’s degree in Jazz Performance and studied with Geri Allen, Paul Bley, Cecil McBee, & George Russell. It was during this time that he conceived of and started writing music that became the Bruce Katz Band. In 1992, he met Ronnie Earl, who soon invited him to join his band, The Broadcasters. During his nearly 5-year stint with Earl, he toured the world and performed on 6 albums, writing & co- writing many of the tunes, such as “The Colour of Love,” “Ice Cream Man,” & “Hippology.” The album “Grateful Heart” (Bullseye) won the Downbeat Critics Poll for Best Blues Album of 1996. Also in 1992, Katz debuted his 1st solo album, “Crescent Crawl”, on the AudioQuest label. He released “Transformation” the following year. Just before the release of “Mississippi Moan” in 1997, his 3rd solo album, he left the Broadcasters to concentrate on a solo career. At that point, the Bruce Katz Band began touring the U.S. & Europe, and has been his ongoing focus, in addition to his many other projects. In these years, Bruce played with Duke Robillard (2001-02), John Hammond (2005 – 2014, Gregg Allman (2007-13), Delbert McClinton (2011-2014) and many other high profile roots, blues, & rock performers, while continuing to tour and record with his own band. His albums have consistently appeared high on the national & international radio play charts and have garnered critical & popular acclaim, still to this very day.

I had the pleasure of catching up with Bruce ahead of the December 10th event in Madison at the Red Rooster. We got into what soeone could expect from this trio in the live setting and het introduced to his bandmates, Aaron Lieberman & Liviu Pop. He leaves us pretty well informed on the who and what of it all. The music will range from blues to rock and root but there will be moments where we go for an unknown ride, unknown to the entire room. I look forward to this ride. We dive into the latest release from his own label, Dancing Rooster Records, ‘Back In Boston Live’ and hear how the plan took shape and how they ended up selecting the tracks they did – this album, which dropped this Summer, will certainly give an idea of what to expect form the trio live. When I asked if there was anyone making a name for themselves today he’d like to receive a call from to play with, he could not think of anyone off the top of mind, but this led to great stories (more stories) of how he landed the Delbert McClinton job, Gregg Allman being head over heels for a chance to meet Ringo Starr and Gregg not letting Roger Daltrey on stage (say what?) during a Michael J. Fox fundraising event! During some of the story time of the past, we get to know some of the things he learned from the many collabs and bandmates over the years. This is a classic convo with a classic guy.

Inside The Flow of Sa-Roc

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Sa-Roc grew up in Southeast D.C., at the height of the crack era, with neighborhoods plagued by poverty & disaffection. Her early experiences shaped her understanding of the world around her, deepened her emotional sensitivity and cemented a social consciousness that would later feature heavily within her work. She was born three-months premature and didn’t make a sound during the first fourteen months of her life. This struggle to find a voice, both literally and creatively, would later be critical in shaping her lyrical expression. Sa-Roc is arguably one of the most vibrant MCs in the world today. Her crisp articulation, fiery delivery, and her elevated & insightful lyricism has often placed her within the same conversation of some of Hip Hop’s most notable artists. There was no lack of early influences; she was raised by an artist father and an avid reader for a mother who would expose their young children to black writers, musicians & performers. She was raised on everything from the syncopated rhythms of hometown Go-Go acts like the Rare Essence & the Backyard band, to the prophetic poetry of Gil Scott Heron & Nikki Giovanni. It was the work of writers like these and more that helped Sa-Roc foster a love for language & writing and while still young, she began to pen her own poetry & short stories. She attended the Sankofa Institute, a Pan African centered school where her writing, social & creative expression was nurtured by Hasinatu Camara, an educator & civil rights activist. Camara would introduce Sa-Roc to close friends like Kwame Ture (f.k.a. Stokely Carmichael) MutaBaruka, and Haile Gerima. It was through these personal encounters that she began to see how artistic expression could be used as a tool to educate, inspire, & create change, a set of principles that she continues to live by. Sa-Roc was on the verge of graduating from Howard University as a biology major but decided to leave college and, D.C. for Atlanta. It was in THE ATL where she was introduced to famed DJ & producer, Sol Messiah. Inspired by one of the acts he was working with, Sa-Roc decided to record some of her poetry & rhymes to his beats. The result was her first EP, Astral Chronicles which dropped in 2008. She quickly began to gain recognition within the cultural & activist community in Atlanta, performing at social justice & political prisoner fundraisers, and other community based events. Still the full breadth of her artistic expression didn’t arrive until later that year when a surprise introduction at a Mutulu Shakur benefit concert thrusted her on stage for the very first time. Sa-Roc had finally found the full range of her voice and there was no looking back. Her powerful performances, metaphysical lyrics, and skills as an emcee, quickly caught the attention of the independent Hip Hop community in Atlanta. In an effort to maximize her momentum, as well as continually sharpen her skills, Sa-Roc & Sol Messiah continued to release a strong series of collaborative projects between 2008-2014. She also performed at the historic Zulu Nation 40th anniversary event, a performance which led to her gaining the attention of some of Hip Hop’s most respected pioneers. Sa-Roc was making waves as an emcee with notable stage presence and a prolific output — by 2014 she had dropped a stunning 8 projects in 6 years. Black Thought even pulled her on stage at A3C to perform an acapella verse. This led to several opportunities to open for The Roots as well as future creative collaborations w/Black Thought. She has opened for the likes of Common, Jay Electronica, and has shared the stage with legends such as Rakim, De La Soul, & Talib Kweli. She continued to write prolifically & tour with her peers/colleagues. In addition to her music career, Sa-Roc is a health and wellness advocate and public speaker, having led Hip Hop workshops and lectures both nationally and internationally. She is also an ambassador for Hip Hop is Green, an organization that uses the power and influence of Hip Hop music and culture to expose and educate underserved communities about the benefits of plant-based eating. Her Rhymesayers debut album, ‘The Sharecropper’s Daughter’, the title of which pays homage to her father’s experience growing up sharecropping tobacco, is in Sa-Roc’s own words “a sonic reflection on the generational inheritance of trauma and triumph that shapes our humanity and influences the way we see the world.” At a time where people all around the globe are calling for social change, Sa-Roc is an MC whose energy & conscious lyrics are here to shake up the rap game and remind us all that Hip Hop was always about giving a voice to the people.

I had the privilege of catching up with Sa-Roc ahead to her event in Madison on December 5th at the Union Theater’s Play Circle. The Union is going to change the landscape a little in this setting to make it more of a club vibe as part of the Black Box Sessions celebration of Hip Hop. We get deep into what an intimate gathering together will be like, and what the hope is for all of us in attendance when we walk away from this experience. We get a chance to learn more insightful observations from her latest single, ‘Amazing Grace’ and where this lies in the heart & ears of those who tune in. I could not forget to thank her for the full body experience that is ‘The Sharecropper’s Daughter’ and just how relevant it feels today – so we tap into the possible reasons why that could be. And no convo with her could feel complete without sharing in the energy and collaborative execution between her and Sol Messiah. Word cannot describe how excited I am for my mind’s mind to be a part of this event (and the idea that there’s a new album in the works get dropped on us to).

Madison McFerrin – Impactful Connections

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Independent artist & musician Madison McFerrin has come into her own. McFerrin holds a fruitful & robust solo career w/3 self-produced EPs and numerous performances & curatorships across the country & internationally. McFerrin’s distinct vocal and meticulously layered stylings of a ‘Capella & self-harmonizing culminate in work that blends the genres of R&B, pop, soul & jazz, all with a sense of softness. Her genre-bending work has led to Questlove dubbing her early sound “soul-appella!! The throughline of McFerrin’s work is independence and she is often looking towards a kind of inner liberation. Whether she is writing about understanding one’s intuition & inner beauty or the cyclical violence of anti-Blackness & sexism, McFerrin explores how to get free and how to care for oneself along the way. Her works live at the intersection of artistry & community building. She often looks back and honors a Black music canon while creating her own unique style, utilizing her voice as a central instrument and drawing upon lifelong inspirations like Stevie Wonder, Aretha Franklin, Erykah Badu, Pharell, Missy Elliot, & the Spice Girls. She is in community with other artists, cultural workers, & activists, and has been able to prioritize the work of women and POC in her curatorial tenures at venues like C’mon Everybody, the WNYC Greene Space, and the BRIC Jazz festival. The result of McFerrin’s work is an enduring commitment to finding ways to think better, express ourselves honestly, and nurture a sense of possibility. Born in San Francisco as the youngest sibling and only girl of 3, Madison grew up and lived across the U.S. throughout her adolescence and into early adulthood. As a young child, her earliest & fondest memories were singing & performing at impromptu home concerts and climbing trees, finding a sense of home & safety as she moved physical homes. Her lineage is also strongly rooted in music and performance. Her earliest influence in her home was her father, Bobby McFerrin a 10-time Grammy® winning world renowned vocalist and classical conductor. Madison McFerrin’s older brother, producer, Taylor McFerrin, was also a musical influence drawing her attention to the nuances of Timbaland’s production and exposing her to a wide range of sounds from Brazil to Brooklyn. All of these influences grow from her grandparents’ rich musical legacy, which includes her grandfather’s historic contract with the Metropolitan Opera and grandmother’s sought-after guidance as an award-winning vocal coach. From this, music and performance became a home of its own for her.

This event was held on 11/16 as part of Impactful Connections, our partnership with the District of Columbia Public Libraries and held on the Millennium Stage.

Love Time With The Motet

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Formed over two decades ago, the funk six-piece The Motet have always strived to work as an interlocking unit, with each member bolstering one another towards the best creative output. This symbiosis has led to a unique style and cohesive musical chemistry, as seen in the band’s immaculate and energy sharing live performances and their seamless blend of funk, soul, jazz, and rock. With a fervent fanbase in tow, The Motet have sold out shows across the nation, performed six headlining slots at Red Rocks and sets at festivals such as Bonnaroo, Bottlerock, Electric Forest, Bumbershoot, Summer Camp, and High Sierra. But even after their 20+ years of accolades and recognition, the legendary outfit are still exploring new sonic ideas and finding new ways to showcase each other’s skill sets. The band released their 10th studio album, ‘All Day’, in January 2023 – an eclectic instrumental voyage threaded by the infectious grooves and immaculate, layered arrangements that The Motet have become known for. Now with vocal powerhouse Sarah Clarke deep in the mix, the band continues their journey with new songs and fresh arrangements of Motet classics and a new album which just dropped on November 15th of 2024.

Dave Watts / drums
Joey Porter / keys
Garrett Sayers / bass
Drew Sayers / keys & saxophone
Ryan Jalbert / guitar
Sarah Clarke / vocals

I had the opportunity to catch up with Dave Watts ahead of the November 23rd show at The Majestic Theatre with Ethno (Jeffrey James Franca). We get into what the event could shape up like since they are heading here just as the new album ‘Love Time’ drops. We dissect one of the tracks from the new album, getting into how it was created since they’ve added Sarah to the mix and how the chemistry, which seems to be one of the key facets of this group, was easily attained when she began getting her Motet on. There are clue in moments in our conversation about their set(s), how much new material they already have for the next album (maybe they’ll try one of those on for size here in Madison or wherever you catch them?), what band Dave drove seven hours to go see recently and a set-list is built. Open mind, body and sou as the Motet have a fun path into all three.

Fun Starts With SistaStrings

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SistaStrings is a incredibly dynamic musical duo comprised of dynamic artists and sisters, Chauntee and Monique Ross, whose exceptional talent and versatility has made a profound impact on multiple music scenes. With their unique blend of classical training, heartfelt and heart-shared soulful melodies, and contemporary, even unique sounds, SistaStrings have established themselves as a formidable force within the an ever-widening music community. The duo was recently voted “best instrumentalists” for the Americana Music Associations 2023 honors. Born and raised in nearby Milwaukee, Wisconsin, Chauntee and Monique discovered their love for music at a extremely young age. Growing up in a musically inclined family, the sisters were exposed to a diverse range of genres and instruments. Chauntee found her calling as a violinist, while Monique ended up developing her skills as a cellist. Together, they embarked on a remarkable journey, fusing their classical training with their deep-rooted love for Rhythm and Blues, hip-hop, and gospel. As members of Brandi Carlile’s touring band, SistaStrings have performed at iconic venues such as Madison Square Garden, The Kennedy Center, Newport Folk Festival and even Saturday Night Live. They have performed with an eclectic array of artists such as Joni Mitchell, Ed Sheeran, Maggie Rogers, Margo Price, Allison Russell & Jason Isbell.

Sometimes when the phone gets picked up to start a conversation with artists, I immediately feel like we’ve done this before and any nerves just disappear. This was one of those times. I had a really great time chatting with Chauntee and Monique ahead of their November 21st event at the Stoughton Opera House. We talked about the way the event will shape up, with the music, the stories and the shared emotions all interconnected in the community of it all. I wanted to walk in their shoes during some very cool happenings. So we got into what’s been going on. The first time I wanted to tie their laces tight was the amazing experience (I can hardly even imagine being a part of), being able to play rare instruments at the Library of Congress. Say what?? Oh yes! This leads to all the feelings one could possibly have before a single event. They get time to name drop working with legends like Joni Mitchell, Elton John and Chaka Khan. We talk about the inspiration and friendship they’ve been able to foster with collaborator Peter Mulvey before and after their move to Nashville. Playing with friend of the program Allison Russell led to touring with Brandi Carlile and the hits have just kept on coming. It would be hard to find two better people to get to have these a part of their life’s stories. So we discuss what it is about these collaborative experiences of multiple genres that allows them to ‘bring themselves’ to it. Then we laugh about ‘that time networking in New York’. I am so looking forward to the next time the phone rings and it is SistaStrings catching up with all the next first times they’ve shared in.

Here To There: Goldberg Sickafoose Amendola

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For friend of the proGram, Scott Amendola, the drum kit isn’t so much an instrument as a musical portal. As an ambitious composer, savvy bandleader, electronics explorer, first-call accompanist & capaciously creative foil for some of the world’s most inventive musicians, Scott applies his wide-ranging rhythmic virtuosity to a vast array of settings. His closest musical associates include guitarists Charlie Hunter, Nels Cline, & Jeff Parker, Hammond B-3 organist Wil Blades, violinist Jenny Scheinman, saxophonist Phillip Greenlief, clarinetist Ben Goldberg, bassists Trevor Dunn, & Todd Sickafoose, all players who have each forged a singular path within and beyond the realm of jazz. While rooted in the San Francisco Bay Area scene, Scott has woven a dense & far-reaching web of bandstand relationships that tie him to influential artists in jazz, blues, rock and new music. A potent creative catalyst, the Berkeley-based drummer is the nexus for a disparate community of musicians stretching from Los Angeles and Seattle to Chicago and New York. Whatever the context, Amendola possesses a gift for twisting musical genres in unexpected directions. Over a career spanning more than 3 decades, he has forged deep ties across the country, and throughout the world. As an ambitious composer, savvy bandleader, electronics explorer, first-call accompanist, and capaciously creative foil for some of the world’s most inventive musicians, Mr. Amendola applies his wide-ranging rhythmic virtuosity to a vast array of settings.

Ben Goldberg played jazz on the saxophone and classical music on the clarinet. While getting a B.A. in music from the University of California at Santa Cruz, studied clarinet with Rosario Mazzeo, the dean of 20th century clarinet teachers. Mr. Goldberg started playing and studying klezmer music, which has a virtuosic clarinet tradition. He pondered how to use the clarinet in jazz & improvised music as he was getting tired of the search for “authenticity” through note-for-note reconstructions of old recordings. In Sweden he met Ziya Aytekin, a traditional zurna player from the Caucasus and felt/heard how much his music had in common with, for example, the late work of John Coltrane. He wondered if he could use klezmer music to explore this connection between the traditional and the “avant-garde.” One day he got together with some cats with whom he’d often played traditional klezmer music with and he suggested they take a familiar tune and cut loose on it to see where it might go. The result was exhilarating and had a powerful, lasting effect on him. It was his first taste of music as a transformative, liberating force. This was the beginning of his creative musical path; in the years since then, Mr. Goldberg continued to work with and cultivate the musical forces that were present at that time – research, education, musical fundamentals, diligence, attention to detail, and a relentless pursuit of truth.

Todd Sickafoose is a Tony & Grammy award-winning composer, producer, arranger, orchestrator, bandleader & double bassist. He has performed on hundreds of recordings, toured internationally, appeared at music venues/festivals from Carnegie Hall to New Orleans Jazz & Heritage Festival, and played on national television & radio programs including the Tonight Show with Jay Leno, Late Show with Conan O’Brien, The Artists Den, & NPR’s Mountain Stage. He is known known as a musical cross-breeder who stretches across genres. In 2004, he began performing/recording in a duo format with folk poet, activist & cultural icon Ani DiFranco. Their relationship has developed for nearly 2 decades and have made 7 albums, 2 concert DVDs, and performed over 1000 shows together. In 2007, he began working on Anaïs Mitchell’s folk opera, ‘Hadestown’, as arranger/orchestrator & music producer. After years of development and regional productions, the show opened at the Walter Kerr Theater on Broadway in 2019 and won 8 Tony Awards, including Best Musical & Best Orchestrations for Mr. Sickafoose and collaborator Michael Chorney. He produced the Hadestown Original Broadway Cast Recording which won a 2019 Grammy for Best Musical Theater Recording. ‘Hadestown’ continues to run both on Broadway and a North American Tour. Straddling the worlds of folk, indie rock, jazz & chamber music, his own band Tiny Resistors has performed at the North Sea Jazz Festival, Stern Grove Festival, Angel City Jazz Festival and been featured on many “Best-Of” lists including the Village Voice & JazzTimes. Writing for Tiny Resistors, he recently composed Bear Proof, a long-form chamber jazz hybrid commissioned by the Doris Duke Foundation.

I had the chance to catch up with Scott ahead of the November 9th record release event here in Madison at the North Street Cabaret. We get into how much he enjoys coming to Madison and specifically playing a spot that has an audience that’s there for it! I have to dsay, it does me/us good to know how welcoming some of our hometown haunts are to people doing the hard work out there of traveling and sharing their art. We get into the new record of course. On ‘Here to There’, Ben Goldberg, Todd Sickafoose, & Scott Amendola play music inspired by the bridges of Thelonious Monk compositions. We dissect one of the tracks that really called me into it. We will hear things off this record for sure, other things (including anything new one of these minds may have brought to the team before the show) and improv. Scott and I also compare/contra=st this project to another recent project with the group SticklerPhonics and I think there’s more room for more projects of Scott’s to come to Madison and play with us.

Photo by Lenny Gonzales

Luke Of lespecial with a lehanG

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lespecial is redefining the term “power trio”. They sound & feel more like a heavy Prog-tronic Power Trio. The multi-instrumentalists from Connecticut continue to push the boundaries of what a three-piece band is capable of both live and in the studio with their their latest full-length album that dropped Autumn 2023, “Odd Times”. The band’s signature blend of “heavy future groove” combines headbanging metal riffage & surgical rhythmic precision with bone shaking 808s, sub synths and ethereal vocal stylings for a dance floor that welcomes moshing, dancing and hip swaying alike. Listeners are taken on a journey to the musical netherworld through esoteric soundscapes punctuated by raw, primal power. Odd Times, lespecial’s darkest and heaviest record to date, is an enigmatic and compelling musical project that explores the ever-changing nature of time amidst isolation. With heavy riffs, tribal drumming, and hints of levity, it’s a captivating journey crafted in collaboration with Havok‘s David Sanchez. An intriguing blend of old-school metal and modern djent-inspired riffage awaits in this haunting sonic experience.

Band Members:

Luke Bemand – Bass, Synth, Percussion, Vocals
Jonathan Grusauskas – Guitar, Synth, Sampler, Percussion, Vocals
Rory Dolan – Drums, Sampler, Percussion, Vocals

I had the chance to hanG out with Luke before this party rolls into Madison on November 8th at the Majestic. We got into what this tour and this event with Doom Flamingo is shaping up to be, including some of the special treats for not only your ears from lespecial, but prepare your eyes for some serios effects/lights. We go deep into their latest full-length mentioned above ‘Odd Times’ and how for me as a listeners, the heaviness of it came at a time when that rawness was needed, so we got into how if felt to create it, working with David and it felt like they too really got to enjoy being back together in the same space working as this is a band meant to be in a live setting creating the moods and supporting the grooves. We also talk a little bit about the conclusion of legetaway V, what this festival errr retreat err hang out, yes all of this, is all about. Sounds like a place to be a part of for the cool kids for sure. I have listened to this band for a few years and I just really enjoy the space within their music to invite others in and we get into one of those artists, the incomparable and friend of this program, Mike Dillion. We get into what kind of energy he brings, a project they created together and the coolness of playing with some like Mike that he grew up listening to and learning from since kidhood.