Laila Biali

Singer, pianist and songwriter Laila Biali recently released Your Requests, built around a collection of songs from the Great American Songbook that were requested by her fans. After a string of projects of her original songs and more contemporary covers, the album was a departure for her.  After spending years living in New York, Laila moved back to her native Canada to raise her son, along with her husband, drummer and producer Ben Wittman, who she met when the two were working with the singer-songwriter Paula Cole.  Laila had established herself in New York as a reliable and sought after collaborator - she worked with Sting, Chris Botti and Suzanne Vega. After moving to Toronto she began focusing more on her solo career. It paid off. In 2018 she won a Juno Award for Vocal Jazz Album of the Year. And she hosts the popular radio show Saturday Night Jazz on CBC 2.  Here she talks about her career, what it’s like being married to her closest collaborator, motherhood, loyalty, leaving New York to return to her native Canada, leaning into limitations, and how the pandemic led her to renew her “vows to music.” www.third-story.com www.patreon.com/thirdstorypodcast www.wbgo.org/studios 

Singer, pianist and songwriter Laila Biali recently released Your Requests, built around a collection of songs from the Great American Songbook that were requested by her fans. After a string of projects of her original songs and more contemporary covers, the album was a departure for her. After spending years living in New York, Laila moved back to her native Canada to raise her son, along with her husband, drummer and producer Ben Wittman, who she met when the two were working with the singer-songwriter Paula Cole. Laila had established herself in New York as a reliable and sought after collaborator - she worked with Sting, Chris Botti and Suzanne Vega. After moving to Toronto she began focusing more on her solo career. It paid off. In 2018 she won a Juno Award for Vocal Jazz Album of the Year. And she hosts the popular radio show Saturday Night Jazz on CBC 2. Here she talks about her career, what it’s like being married to her closest collaborator, motherhood, loyalty, leaving New York to return to her native Canada, leaning into limitations, and how the pandemic led her to renew her “vows to music.” <a href="https://www.third-story.com" rel="nofollow" target="_blank">www.third-story.com</a> <a href="https://www.patreon.com/thirdstorypodcast" rel="nofollow" target="_blank">www.patreon.com/thirdstorypodcast</a> <a href="https://www.wbgo.org/studios" rel="nofollow" target="_blank">www.wbgo.org/studios</a>

252: Laila Biali

Conversations on community, artificial intelligence, identity, fan engagement, healthy living, life on the road and more, recorded at the 2023 Montreal International Jazz Festival. Featuring Michael League, Nate Smith, Carlos Homs, Julius Rodriguez, Benny Benack III, Emmet Cohen, Stacey Kent, and more. www.third-story.com www.patreon.com/thirdstorypodcast

Conversations on community, artificial intelligence, identity, fan engagement, healthy living, life on the road and more, recorded at the 2023 Montreal International Jazz Festival. Featuring Michael League, Nate Smith, Carlos Homs, Julius Rodriguez, Benny Benack III, Emmet Cohen, Stacey Kent, and more. <a href="https://www.third-story.com" rel="nofollow" target="_blank">www.third-story.com</a> <a href="https://www.patreon.com/thirdstorypodcast" rel="nofollow" target="_blank">www.patreon.com/thirdstorypodcast</a>

251: Scenes from the Montreal Jazz Festival 2023

Brandee Younger

When it comes to instruments that are not easily designed for improvising soloists, there is perhaps none more difficult to handle than the harp. And when it comes to contemporary jazz harpists, there is perhaps none more influential in this moment than Brandee Younger.  From the very beginning, as a young music student growing up on Long Island, Brandee Younger was toeing the line between her classical, orchestral musical education and the hiphop, soul and pop music that she grew up loving. She spent her early years musically code switching, trying to figure out how to make sense of her sensibilities.  But for those who listened closely to the samples on records by Jay Z, Pete Rock, The Pharcyde, J. Dilla, or Common it was clear that the sound of the harp had become part of the language of modern music.  Many of the harp samples heard on those in early hip hop records featured two African American women, who, like Brandee, learned to thrive beyond their perceived limitations: Dorothy Ashby and Alice Coltrane. Eventually both Ashby and Coltrane would become two of her biggest influences.  Younger eventually made history as the first Black female solo artist to be nominated for a Grammy - for Best Instrumental Composition in 2021, for “Beautiful is Black” from her album Somewhere Different. She has also worked with the likes of Beyonce, John Legend, Drake &amp; Lauryn Hill, as well as jazz artists including Christian McBride, Kat Edmonson, Marcus Strickland, Kassa Overall, Makaya Mccraven, and Ravi Coltrane. On her recently released album Brand New Life she honors Dorothy Ashby and enlists icons of hip-hop and R&amp;B, including Pete Rock, Mumu Fresh &amp; Meshell Ndegeocello. The album was produced by Makaya Mccraven.  We spoke recently about her journey from orchestra girl to emerging icon, the challenges of playing the harp in a contemporary context, and why she’s done running from the harp police and the jazz police. www.third-story.com www.patreon.com/thirdstorypodcast www.wbgo.org/podcast/the-third-story

When it comes to instruments that are not easily designed for improvising soloists, there is perhaps none more difficult to handle than the harp. And when it comes to contemporary jazz harpists, there is perhaps none more influential in this moment than Brandee Younger.  From the very beginning, as a young music student growing up on Long Island, Brandee Younger was toeing the line between her classical, orchestral musical education and the hiphop, soul and pop music that she grew up loving. She spent her early years musically code switching, trying to figure out how to make sense of her sensibilities.  But for those who listened closely to the samples on records by Jay Z, Pete Rock, The Pharcyde, J. Dilla, or Common it was clear that the sound of the harp had become part of the language of modern music.  Many of the harp samples heard on those in early hip hop records featured two African American women, who, like Brandee, learned to thrive beyond their perceived limitations: Dorothy Ashby and Alice Coltrane. Eventually both Ashby and Coltrane would become two of her biggest influences.  Younger eventually made history as the first Black female solo artist to be nominated for a Grammy - for Best Instrumental Composition in 2021, for “Beautiful is Black” from her album Somewhere Different. She has also worked with the likes of Beyonce, John Legend, Drake &amp; Lauryn Hill, as well as jazz artists including Christian McBride, Kat Edmonson, Marcus Strickland, Kassa Overall, Makaya Mccraven, and Ravi Coltrane. On her recently released album Brand New Life she honors Dorothy Ashby and enlists icons of hip-hop and R&amp;B, including Pete Rock, Mumu Fresh &amp; Meshell Ndegeocello. The album was produced by Makaya Mccraven.  We spoke recently about her journey from orchestra girl to emerging icon, the challenges of playing the harp in a contemporary context, and why she’s done running from the harp police and the jazz police. <a href="https://www.third-story.com" rel="nofollow" target="_blank">www.third-story.com</a> <a href="https://www.patreon.com/thirdstorypodcast" rel="nofollow" target="_blank">www.patreon.com/thirdstorypodcast</a> <a href="https://www.wbgo.org/podcast/the-third-story" rel="nofollow" target="_blank">www.wbgo.org/podcast/the-third-story</a>

250: Brandee Younger

Theo Katzman

Multi instrumentalist singer-songwriter Theo Katzman (known for his work with the funk band Vulfpeck) bought a van from a teenager in California and drove across the country, settling in the woods of Michigan where he set up a studio, started a label, and got down to the business of writing a new record.  Along the way, he discovered the Wim Hof breathing and ice bathing techniques and came out with a transformed idea of “the self” and his own motivations, and decided that he wanted to make records with as few technological interventions as possible. The result of this journey is his latest record Be The Wheel which he released recently on his 10 Good Songs label. Here he talks about the process of making that record, as well as thoughts on artificial intelligence, psilocybin, social media, touring, and honesty in songwriting.

Multi instrumentalist singer-songwriter Theo Katzman (known for his work with the funk band Vulfpeck) bought a van from a teenager in California and drove across the country, settling in the woods of Michigan where he set up a studio, started a label, and got down to the business of writing a new record.  Along the way, he discovered the Wim Hof breathing and ice bathing techniques and came out with a transformed idea of “the self” and his own motivations, and decided that he wanted to make records with as few technological interventions as possible. The result of this journey is his latest record Be The Wheel which he released recently on his 10 Good Songs label. Here he talks about the process of making that record, as well as thoughts on artificial intelligence, psilocybin, social media, touring, and honesty in songwriting.

249: Theo Katzman

Ben Wendel

For saxophonist Ben Wendel, the pandemic provided the space for him to develop his latest solo record, All One (Edition Records), a project that is both very solitary and very collaborative. It features a woodwind choir of saxophones and bassoons performed entirely by Ben, and then joined by special guests like singers Cecile McLorin Salvant and Jose James, guitarist Bill Frisell, and trumpeter Terence Blanchard.  Wendel is no stranger to experimentation or to collaboration. As a member of the genre bending group Kneebody, he has always had one foot in contemporary music. And previous solo projects were motivated by his desire to collaborate, like The Seasons which found him composing 12 original pieces dedicated to 12 musicians he admired and then performed with those musicians.  Wendel performed at the Village Vanguard in New York earlier this spring. He was joined by his longtime friend and musical partner, drummer Nate Wood, Harish Raghavan on bass, Gilad Hekselman &amp; Nir Felder on guitar (they split the week between them) and Larry Goldings on piano.  We spoke that week about playing in that sacred space, his desire to connect and to belong, his ongoing negotiation with technology, and how his personal experience during the pandemic influenced his music. Plus, learning the ineffable wisdom of his elders in the music. www.third-story.com https://www.wbgo.org/podcast/the-third-story www.patreon.com/thirdstorypodcast

For saxophonist Ben Wendel, the pandemic provided the space for him to develop his latest solo record, All One (Edition Records), a project that is both very solitary and very collaborative. It features a woodwind choir of saxophones and bassoons performed entirely by Ben, and then joined by special guests like singers Cecile McLorin Salvant and Jose James, guitarist Bill Frisell, and trumpeter Terence Blanchard.  Wendel is no stranger to experimentation or to collaboration. As a member of the genre bending group Kneebody, he has always had one foot in contemporary music. And previous solo projects were motivated by his desire to collaborate, like The Seasons which found him composing 12 original pieces dedicated to 12 musicians he admired and then performed with those musicians.  Wendel performed at the Village Vanguard in New York earlier this spring. He was joined by his longtime friend and musical partner, drummer Nate Wood, Harish Raghavan on bass, Gilad Hekselman &amp; Nir Felder on guitar (they split the week between them) and Larry Goldings on piano.  We spoke that week about playing in that sacred space, his desire to connect and to belong, his ongoing negotiation with technology, and how his personal experience during the pandemic influenced his music. Plus, learning the ineffable wisdom of his elders in the music. <a href="https://www.third-story.com" rel="nofollow" target="_blank">www.third-story.com</a> <a href="https://www.wbgo.org/podcast/the-third-story" rel="nofollow" target="_blank">https://www.wbgo.org/podcast/the-third-story</a> <a href="https://www.patreon.com/thirdstorypodcast" rel="nofollow" target="_blank">www.patreon.com/thirdstorypodcast</a>

248: Ben Wendel

Beth Nielsen Chapman

Beth Nielsen Chapman is a songwriter’s songwriter. She began writing before she had any idea that it could be a career; it was just something that came naturally to her. When she first started out, there was no way to possibly imagine just how important songs would become in her journey - both professionally and personally.  Here she talks about that journey, which includes writing songs for Martina McBride, Willie Nelson, Tanya Tucker, Mary Chapin Carpenter, Crystal Gayle, Juice Newton, Bette Midler, and most famously co-writing Faith Hill’s hit song “This Kiss”. She has released sixteen albums as a solo artist as well.  Along the way, she also talks about processing grief and loss through music (and making music through grief). We spoke only weeks after her second husband, Bob passed away. Her first husband, Ernest, died in 1994. She also tells the stories behind many of her hit songs, and lays out her philosophy of creativity and craft, including what it means to “write from the center of your truth,” channeling humanity’s “collective wisdom” and what it means to have “investment without attachment” in songwriting.  Beth’s most recent album, Crazy Town came out in 2022. www.third-story.com www.wbgo.org/podcast/the-third-story www.patreon-com/thirdstorypodcast

Beth Nielsen Chapman is a songwriter’s songwriter. She began writing before she had any idea that it could be a career; it was just something that came naturally to her. When she first started out, there was no way to possibly imagine just how important songs would become in her journey - both professionally and personally. Here she talks about that journey, which includes writing songs for Martina McBride, Willie Nelson, Tanya Tucker, Mary Chapin Carpenter, Crystal Gayle, Juice Newton, Bette Midler, and most famously co-writing Faith Hill’s hit song “This Kiss”. She has released sixteen albums as a solo artist as well. Along the way, she also talks about processing grief and loss through music (and making music through grief). We spoke only weeks after her second husband, Bob passed away. Her first husband, Ernest, died in 1994. She also tells the stories behind many of her hit songs, and lays out her philosophy of creativity and craft, including what it means to “write from the center of your truth,” channeling humanity’s “collective wisdom” and what it means to have “investment without attachment” in songwriting. Beth’s most recent album, Crazy Town came out in 2022. <a href="https://www.third-story.com" rel="nofollow" target="_blank">www.third-story.com</a> <a href="https://www.wbgo.org/podcast/the-third-story" rel="nofollow" target="_blank">www.wbgo.org/podcast/the-third-story</a> <a href="https://www.patreon-com/thirdstorypodcast" rel="nofollow" target="_blank">www.patreon-com/thirdstorypodcast</a>

247: Beth Nielsen Chapman

Vijay Iyer

Pianist-composer Vijay Iyer has been described by The New York Times as a “social conscience, multimedia collaborator, system builder, rhapsodist, historical thinker and multicultural gateway.” He has been praised by Pitchfork as “one of the best in the world at what he does,” by the Los Angeles Weekly as “a boundless and deeply important young star,” and by Minnesota Public Radio as “an American treasure.” He received a MacArthur Fellowship, a Doris Duke Performing Artist Award, a United States Artist Fellowship, a Grammy nomination, the Alpert Award in the Arts, and two German “Echo” awards, and was voted Downbeat Magazine’s Jazz Artist of the Year four times in the last decade.  But beyond all that praise, he is at his core simply a seeker of genuine connection and community. Here he talks about growing up in Rochester, NY as one of a small handful of first generation Indian Americans (his parents immigrated), how he developed his musical identity alongside an academic career as a scientist (he did his undergraduate work in math and physics at Yale and holds a PHD from UC Berkeley in the cognitive science of music), creating work for an uncertain future, how to make music matter, and his most recent recordings.  He released Love In Exile - a collaborative album with Arooj Aftab and Shahzad Ismaily - last month on Verve Records.  www.third-story.com www.patreon.com/thirdstorypodcast www.wbgo.org/studios

Pianist-composer Vijay Iyer has been described by The New York Times as a “social conscience, multimedia collaborator, system builder, rhapsodist, historical thinker and multicultural gateway.” He has been praised by Pitchfork as “one of the best in the world at what he does,” by the Los Angeles Weekly as “a boundless and deeply important young star,” and by Minnesota Public Radio as “an American treasure.” He received a MacArthur Fellowship, a Doris Duke Performing Artist Award, a United States Artist Fellowship, a Grammy nomination, the Alpert Award in the Arts, and two German “Echo” awards, and was voted Downbeat Magazine’s Jazz Artist of the Year four times in the last decade.  But beyond all that praise, he is at his core simply a seeker of genuine connection and community. Here he talks about growing up in Rochester, NY as one of a small handful of first generation Indian Americans (his parents immigrated), how he developed his musical identity alongside an academic career as a scientist (he did his undergraduate work in math and physics at Yale and holds a PHD from UC Berkeley in the cognitive science of music), creating work for an uncertain future, how to make music matter, and his most recent recordings.  He released Love In Exile - a collaborative album with Arooj Aftab and Shahzad Ismaily - last month on Verve Records.  <a href="https://www.third-story.com" rel="nofollow" target="_blank">www.third-story.com</a> <a href="https://www.patreon.com/thirdstorypodcast" rel="nofollow" target="_blank">www.patreon.com/thirdstorypodcast</a> <a href="http://www.wbgo.org/studios" rel="nofollow" target="_blank">www.wbgo.org/studios</a>

246: Vijay Iyer

Christian McBride

To say Christian McBride is prolific is both obvious and an understatement. The list of his projects is too long to fit neatly into any one container - he’s a musician, an educator, a composer, an artistic director, and a broadcaster. He’s an ambassador, a personality, an icon. And of course, he is a bass player.  One gets the sense that his days are simply fuller than most people’s days. He always seems to be coming from some other event, or heading out to another gig. Honestly it’s hard not to run into Christian McBride if you’re engaging with this music on any level.  At 50 years old, he has appeared on more than 300 recordings as a sideman, has made nearly 20 as a leader, and is an eight-time Grammy Award winner. There’s nothing trivial about his career. But as he picks up his bass to play, there is an almost mischievous gleam in his eye - a childlike excitement, and a clear sense of joy. He loves to play and it’s infectious - it’s hard not to feel good watching him do it. Here he talks about his band New Jawn and their most recent release Prime, as well as his project The Movement Revisited: A Musical Portrait of Four Icons, which was released on vinyl recently, what makes a great music city, leading by example, what it means to live the life you believe in, and why he went “kicking and screaming” into playing the acoustic bass as a boy. www.third-story.com www.wbgo.org/studios www.patreon.com/thirdstorypodcast

To say Christian McBride is prolific is both obvious and an understatement. The list of his projects is too long to fit neatly into any one container - he’s a musician, an educator, a composer, an artistic director, and a broadcaster. He’s an ambassador, a personality, an icon. And of course, he is a bass player.  One gets the sense that his days are simply fuller than most people’s days. He always seems to be coming from some other event, or heading out to another gig. Honestly it’s hard not to run into Christian McBride if you’re engaging with this music on any level.  At 50 years old, he has appeared on more than 300 recordings as a sideman, has made nearly 20 as a leader, and is an eight-time Grammy Award winner. There’s nothing trivial about his career. But as he picks up his bass to play, there is an almost mischievous gleam in his eye - a childlike excitement, and a clear sense of joy. He loves to play and it’s infectious - it’s hard not to feel good watching him do it. Here he talks about his band New Jawn and their most recent release Prime, as well as his project The Movement Revisited: A Musical Portrait of Four Icons, which was released on vinyl recently, what makes a great music city, leading by example, what it means to live the life you believe in, and why he went “kicking and screaming” into playing the acoustic bass as a boy. <a href="https://www.third-story.com" rel="nofollow" target="_blank">www.third-story.com</a> <a href="https://www.wbgo.org/studios" rel="nofollow" target="_blank">www.wbgo.org/studios</a> <a href="https://www.patreon.com/thirdstorypodcast" rel="nofollow" target="_blank">www.patreon.com/thirdstorypodcast</a>

245: Christian McBride

Accepting her Grammy award for Best New Artist last month, Samara Joy looked out at a sea of faces that she had grown up admiring and said, “I’ve been watching y’all on TV for so long…I’m born and raised in the Bronx.”  It was almost as though she was reminding herself of just how far she had come, and just how quickly. That was a big moment for the 23 year old singer who was just a year and a half out of college. As she delivered her speech, the camera cut to Lizzo and Adelle, each with a hint of a tear in their eyes. It was also a big moment for jazz at the Grammys and by extension in the larger popular consciousness (Samara was only the second jazz singer to win the award - Esperanza Spalding was the first). Samara also took home the Grammy for Best Jazz Vocal Album that night for her record Linger Awhile.  In many ways, Samara Joy’s extremely rapid rise is like a fairy tale. On the other hand, it’s a reminder that sometimes artists arrive just at the right time and meet their moment head on. In this case, it seems that the world was waiting for Samara Joy.  What is like for the 23 year old to manage so much success so quickly? What must she be feeling right now?  Today Samara Joy will tell us in her own words about where she came from, how she got here, and where she thinks she might be going next. And - she does it all while sitting on the curb in the parking lot behind her hotel in Palm Springs, California, where we caught up last month, just a couple weeks after her Grammy success. www.third-story.com www.wbgo.org/studios www.patreon.com/thirdstorypodcast

Accepting her Grammy award for Best New Artist last month, Samara Joy looked out at a sea of faces that she had grown up admiring and said, “I’ve been watching y’all on TV for so long…I’m born and raised in the Bronx.”  It was almost as though she was reminding herself of just how far she had come, and just how quickly. That was a big moment for the 23 year old singer who was just a year and a half out of college. As she delivered her speech, the camera cut to Lizzo and Adelle, each with a hint of a tear in their eyes. It was also a big moment for jazz at the Grammys and by extension in the larger popular consciousness (Samara was only the second jazz singer to win the award - Esperanza Spalding was the first). Samara also took home the Grammy for Best Jazz Vocal Album that night for her record Linger Awhile.  In many ways, Samara Joy’s extremely rapid rise is like a fairy tale. On the other hand, it’s a reminder that sometimes artists arrive just at the right time and meet their moment head on. In this case, it seems that the world was waiting for Samara Joy.  What is like for the 23 year old to manage so much success so quickly? What must she be feeling right now?  Today Samara Joy will tell us in her own words about where she came from, how she got here, and where she thinks she might be going next. And - she does it all while sitting on the curb in the parking lot behind her hotel in Palm Springs, California, where we caught up last month, just a couple weeks after her Grammy success. <a href="https://www.third-story.com" rel="nofollow" target="_blank">www.third-story.com</a> <a href="https://www.wbgo.org/studios" rel="nofollow" target="_blank">www.wbgo.org/studios</a> <a href="https://www.patreon.com/thirdstorypodcast" rel="nofollow" target="_blank">www.patreon.com/thirdstorypodcast</a>

244: Samara Joy

This week on the Third Story Podcast I’m turning the tables on myself and sharing the stories and the creative process behind my new record What’s Trending. Featuring excerpts of past episodes with artists who collaborated on the record and inspired the songs, including Boz Scaggs, Louis Cato, Janis Siegel, Michael Leonhart, Peter Coyote and more. www.third-story.com www.patreon.com/thirdstorypodcast www.wbgo.org/studios www.leosidran.com

This week on the Third Story Podcast I’m turning the tables on myself and sharing the stories and the creative process behind my new record What’s Trending. Featuring excerpts of past episodes with artists who collaborated on the record and inspired the songs, including Boz Scaggs, Louis Cato, Janis Siegel, Michael Leonhart, Peter Coyote and more. <a href="https://www.third-story.com" rel="nofollow" target="_blank">www.third-story.com</a> <a href="https://www.patreon.com/thirdstorypodcast" rel="nofollow" target="_blank">www.patreon.com/thirdstorypodcast</a> <a href="https://www.wbgo.org/studios" rel="nofollow" target="_blank">www.wbgo.org/studios</a> <a href="https://www.leosidran.com" rel="nofollow" target="_blank">www.leosidran.com</a>

243: What's Trending

THE THIRD STORY features long-form interviews with creative people of all types, hosted by musician Leo Sidran. Their stories of discovery, loss, ambition, identity, risk, and reward are deeply moving and compelling for all of us as we embark on our own creative journeys.

Fantastic informative podcast!

Thank you for your amazing conversations!!!

Came for the Vulf episodes, staying for the rest!!

The Third Story with Leo Sidran

Steve Khan

Guitarist Steve Khan was born and raised in Los Angeles in a house of songs. His father, lyricist and songwriter Sammy Cahn, made countless contributions to the American songbook. As a young boy, Steve was surrounded by his father’s friends and collaborators; Dean Martin was a regular at the house.  But as he describes it, his father’s world was not particularly attractive to him, and he felt a real distance between himself and his father’s world.Coming of age in LA in the 60’s, Steve was drawn to music for somewhat more social reasons. His friends played in garage bands, and he wanted a piece of the action. His first instrument was the drums, while still in high school he ended up playing in a surf rock band called the Chantays, who had a hit called Pipeline. Oddly enough, it was the guys in the Chantays who turned Khan onto jazz, the music that truly inspired him.At 19, Steve made the switch to guitar. In 1970 he relocated from the West Coast to New York. He quickly became an integral part of the studio recording and fusion scenes – in the 1970s he recorded on dozens of records, many of them important statements for artists ranging from the Brecker Brothers to Billy Joel, Kenny Loggins to Freddie Hubbard, Ashford and Simpson to Blood Sweat and Tears, Chaka Khan to Steely Dan. During the period when he was most active on the scene, Steve started recording as a solo artist for major labels. He has recorded over 25 albums as a soloist.One particular project, called Eyewitness, was clearly a watershed moment for him. It featured Khan, bassist Anthony Jackson, drummer Steve Jordan and percussionist Manolo Badrena. This project seems to have opened a door for him creatively, and since the early 80s he has pursued his love of Latin music.When I started this podcast, sometimes people would ask me what I’m interested in talking about. I would sometimes answer that I’m looking for the intersection between personal experience and art – where life meets craft. Of course, that’s not always what happens in these conversations, and it’s certainly not any kind of mandate. But it does feel appropriate to wrap up the first year of these conversations with Steve Khan, because not only is he a great storyteller full of anecdotes, but he also is deeply aware of how his life and his music overlap. www.stevekhan.com  This was a long conversation and for the first time, I’m including some pieces that didn’t make the final cut available here. So if you’re interested and would like to hear more, specifically about some of the technical aspects of Steve’s playing, there’s another 20 minutes of the conversation available below. Stream it here or download it from the iTunes Music Store.

Guitarist <a href="http://stevekhan.com" rel="nofollow" target="_blank">Steve Khan</a> was born and raised in Los Angeles in a house of songs. His father, lyricist and songwriter Sammy Cahn, made countless contributions to the American songbook. As a young boy, Steve was surrounded by his father’s friends and collaborators; Dean Martin was a regular at the house.  But as he describes it, his father’s world was not particularly attractive to him, and he felt a real distance between himself and his father’s world.Coming of age in LA in the 60’s, Steve was drawn to music for somewhat more social reasons. His friends played in garage bands, and he wanted a piece of the action. His first instrument was the drums, while still in high school he ended up playing in a surf rock band called the Chantays, who had a hit called Pipeline. Oddly enough, it was the guys in the Chantays who turned Khan onto jazz, the music that truly inspired him.At 19, Steve made the switch to guitar. In 1970 he relocated from the West Coast to New York. He quickly became an integral part of the studio recording and fusion scenes – in the 1970s he recorded on dozens of records, many of them important statements for artists ranging from the Brecker Brothers to Billy Joel, Kenny Loggins to Freddie Hubbard, Ashford and Simpson to Blood Sweat and Tears, Chaka Khan to Steely Dan. During the period when he was most active on the scene, Steve started recording as a solo artist for major labels. He has recorded over 25 albums as a soloist.One particular project, called Eyewitness, was clearly a watershed moment for him. It featured Khan, bassist Anthony Jackson, drummer Steve Jordan and percussionist Manolo Badrena. This project seems to have opened a door for him creatively, and since the early 80s he has pursued his love of Latin music.When I started this podcast, sometimes people would ask me what I’m interested in talking about. I would sometimes answer that I’m looking for the intersection between personal experience and art – where life meets craft. Of course, that’s not always what happens in these conversations, and it’s certainly not any kind of mandate. But it does feel appropriate to wrap up the first year of these conversations with Steve Khan, because not only is he a great storyteller full of anecdotes, but he also is deeply aware of how his life and his music overlap. <a href="http://www.stevekhan.com" rel="nofollow" target="_blank">www.stevekhan.com</a> This was a long conversation and for the first time, I’m including some pieces that didn’t make the final cut available here. So if you’re interested and would like to hear more, specifically about some of the technical aspects of Steve’s playing, there’s another 20 minutes of the conversation available below. Stream it here or download it from the <a href="https://itunes.apple.com/us/podcast/third-story-conversations/id808401775?mt=2" rel="nofollow" target="_blank">iTunes Music Store</a>.

Episode 21: Steve Khan

Donald Fagen

Just when you think you know all there is to know about Donald Fagen, he surprises you. There are legendary stories, traded like playing cards in chat rooms, fanzines, and merch lines. Along with his musical partner, the late Walter Becker (who passed away in 2017), Fagen has influenced countless musicians, producers and songwriters by setting the gold standard in record production and arrangement with his band Steely Dan. This is known. There are the solo records, including The Nightfly, which was nominated for seven Grammys and which continues to be one of the best sounding records ever made nearly 30 years on. This is known. Much is known about Donald Fagen and his work, it’s true. But much is still left to be revealed. Stage fright, a general aversion to appearing on television (he and Becker lacked the "large heads" and “swaths of cheek” that they felt necessary to really make it on the small screen), and nearly 20 years with no touring created a mystique that endures to this day, despite the fact that they’ve toured regularly since the mid 90s. So Donald can surprise you. He does it not by telling you what happened, but rather what he thinks about it. Or more to the point, how he thinks about it. He tells you that Steely Dan has “more in common with punk than with the confessional California singer songwriters” that they were often compared to. He tells you why Stravinsky was a precursor to funk music. He tells you what’s postmodern about his music, why making his first solo record was so personally disruptive to him, how he falls asleep, when he decided to finally grow up, and who he never wants to see again. Thanks for listening. If you enjoyed it, please leave a review on iTunes and consider supporting the podcast on Patreon! And now you can also listen to the podcast on Spotify! www.third-story.com www.patreon.com/thirdstorypodcast

Just when you think you know all there is to know about Donald Fagen, he surprises you. There are legendary stories, traded like playing cards in chat rooms, fanzines, and merch lines. Along with his musical partner, the late Walter Becker (who passed away in 2017), Fagen has influenced countless musicians, producers and songwriters by setting the gold standard in record production and arrangement with his band Steely Dan. This is known. There are the solo records, including The Nightfly, which was nominated for seven Grammys and which continues to be one of the best sounding records ever made nearly 30 years on. This is known. Much is known about Donald Fagen and his work, it’s true. But much is still left to be revealed. Stage fright, a general aversion to appearing on television (he and Becker lacked the "large heads" and “swaths of cheek” that they felt necessary to really make it on the small screen), and nearly 20 years with no touring created a mystique that endures to this day, despite the fact that they’ve toured regularly since the mid 90s. So Donald can surprise you. He does it not by telling you what happened, but rather what he thinks about it. Or more to the point, how he thinks about it. He tells you that Steely Dan has “more in common with punk than with the confessional California singer songwriters” that they were often compared to. He tells you why Stravinsky was a precursor to funk music. He tells you what’s postmodern about his music, why making his first solo record was so personally disruptive to him, how he falls asleep, when he decided to finally grow up, and who he never wants to see again. Thanks for listening. If you enjoyed it, please leave a review on iTunes and consider supporting the podcast on Patreon! And now you can also listen to the podcast on Spotify! <a href="http://www.third-story.com" rel="nofollow" target="_blank">www.third-story.com</a> <a href="http://www.patreon.com/thirdstorypodcast" rel="nofollow" target="_blank">www.patreon.com/thirdstorypodcast</a>

129: Donald Fagen

Charlie Hunter

Guitarist Charlie Hunter is a true innovator who has collaborated with countless music legends including D’Angelo, John Mayer, Mos Def,  Michael Franti, Ben Goldberg and Norah Jones.

Guitarist Charlie Hunter is a true innovator who has collaborated with countless music legends including D’Angelo, John Mayer, Mos Def,  Michael Franti, Ben Goldberg and Norah Jones.

30: Guitarist Charlie Hunter on D'Angelo, limitation, and finding your voice

Tatum Greenblatt

Jazz trumpeter Tatum Greenblatt knew what he wanted to do from the first moment he heard the sound of Freddie Hubbard playing on the “Ugetsu” album by Art Blakey’s Jazz Messengers, when he was just a boy. Here he talks about growing up in a jazz house, his early musical mentors, and his general philosophy about professionalism in music.  I’ve said it before and I’ll probably say it a few more times: Tatum is one sharp dressed cat. 

Jazz trumpeter <a href="http://www.tatumgreenblatt.com" rel="nofollow" target="_blank">Tatum Greenblatt</a> knew what he wanted to do from the first moment he heard the sound of Freddie Hubbard playing on the “Ugetsu” album by Art Blakey’s Jazz Messengers, when he was just a boy. Here he talks about growing up in a jazz house, his early musical mentors, and his general philosophy about professionalism in music.  I’ve said it before and I’ll probably say it a few more times: Tatum is one sharp dressed cat.

7: Tatum Greenblatt, jazz trumpet player

Saxophonist Ben Wendel grew up in a loud household and he had to fight to be heard. Maybe that’s why it’s so important to him to be heard clearly. Born in Vancouver and raised in Los Angeles, by the time he left the west coast to attend Eastman School of Music, he had already been informed by a community of players and mentors, along with his cohorts in the Leimert Park scene. He carried the openness of that atmosphere with him to Eastman, then back to Los Angeles, and eventually to New York. In college he connected with a group of like musicians and they formed Kneebody, a band that proudly defies category, but that lives in what Wendel refers to as “jazz adjacent” territory. Ben works regularly as both a sideman and a leader. His 2015 video series “The Seasons” featured 12 original duets dedicated to (and featuring) 12 different musicians and released over the course of 12 months. How does working in a visual medium change the way he thinks about making music? What’s happening in LA? What was it like to work with Snoop Dogg? Is it important to swing? How do you learn style and sound? Can it be taught?  www.third-story.com

Saxophonist Ben Wendel grew up in a loud household and he had to fight to be heard. Maybe that’s why it’s so important to him to be heard clearly. Born in Vancouver and raised in Los Angeles, by the time he left the west coast to attend Eastman School of Music, he had already been informed by a community of players and mentors, along with his cohorts in the Leimert Park scene. He carried the openness of that atmosphere with him to Eastman, then back to Los Angeles, and eventually to New York. In college he connected with a group of like musicians and they formed Kneebody, a band that proudly defies category, but that lives in what Wendel refers to as “jazz adjacent” territory. Ben works regularly as both a sideman and a leader. His 2015 video series “The Seasons” featured 12 original duets dedicated to (and featuring) 12 different musicians and released over the course of 12 months. How does working in a visual medium change the way he thinks about making music? What’s happening in LA? What was it like to work with Snoop Dogg? Is it important to swing? How do you learn style and sound? Can it be taught?  <a href="http://www.third-story.com" rel="nofollow" target="_blank">www.third-story.com</a>

63: Ben Wendel

Cory Wong

Guitarist Cory Wong wants you to know that “smooth-jazz” is not a dirty word. At least not as he sees it. That’s why he started referring to himself as the “millennial smooth jazz ambassador”. Cory comes from Minneapolis and got his start working with many of the great Minneapolis funk musicians who worked with Prince; they showed him the ways of the funk. It’s a deep and very special legacy. Cory is an infectious performer, with incredible energy and positivity on stage. One night a half dozen years ago, some young musicians from Michigan were on tour in Minneapolis and had a night off. Somebody told them to go check out a band called Doctor Mambo’s Combo (Cory happened to be subbing for the regular guitar player that night). Something special happened that night. Maybe it was a full moon. Maybe it was destiny. Maybe it was beshert. By the time the concert was over, Cory had connected with a group of people who would have a big impact on his life and career: Jack Stratton, Theo Katzman, Joe Dart &amp; Joey Dosik of Vulfpeck. Today Cory is best known for his work with the band Vulfpeck. Their YouTube videos have made them into funk-celebrities, and now they sell out all over the world. It’s a completely independent, gorilla style operation, which is why it’s so extraordinary that in just a few short years Vulfpeck has built up enough of a following to be able to play for larger and larger audiences. (Later this year, for example, they’ll play Madison Square Garden in New York.) In our conversation we tell the story of what happened when Cory met Vulf, how the first encounter went, and subsequently how Cory’s life and career were impacted. Cory explains how his concept of “letting rhythm be take the lead” developed after he connected with Jack Stratton of Vulfpeck. We also get severely sidetracked talking about saxophonist Dave Koz, legendary Minneapolis drummer Michael Bland and bassist Sonny Thompson, Los Angeles phenomenon Louis Cole, mandolin master Chris Thile, playing with the Fearless Flyers. Cory’s own solo project has grown recently as well. He has released a series of records and videos, and tours regularly with his band of Minneapolis groove assassins. In late January he played a sold out show at the Bowery Ballroom in New York. The next night, we had this conversation, in which he talks about coming up in Minneapolis, playing with Vulfpeck, disrupting smooth jazz, commanding the grid, letting “rhythm take the lead”, the YouTube effect, the power of a good story, and Thai massage.  Thanks for listening. If you enjoyed it,  please leave a review on iTunes and consider supporting the podcast on Patreon! And now you can also listen to the podcast on  Spotify!

Guitarist Cory Wong wants you to know that “smooth-jazz” is not a dirty word. At least not as he sees it. That’s why he started referring to himself as the “millennial smooth jazz ambassador”. Cory comes from Minneapolis and got his start working with many of the great Minneapolis funk musicians who worked with Prince; they showed him the ways of the funk. It’s a deep and very special legacy. Cory is an infectious performer, with incredible energy and positivity on stage. One night a half dozen years ago, some young musicians from Michigan were on tour in Minneapolis and had a night off. Somebody told them to go check out a band called Doctor Mambo’s Combo (Cory happened to be subbing for the regular guitar player that night). Something special happened that night. Maybe it was a full moon. Maybe it was destiny. Maybe it was beshert. By the time the concert was over, Cory had connected with a group of people who would have a big impact on his life and career: Jack Stratton, Theo Katzman, Joe Dart &amp; Joey Dosik of Vulfpeck. Today Cory is best known for his work with the band Vulfpeck. Their YouTube videos have made them into funk-celebrities, and now they sell out all over the world. It’s a completely independent, gorilla style operation, which is why it’s so extraordinary that in just a few short years Vulfpeck has built up enough of a following to be able to play for larger and larger audiences. (Later this year, for example, they’ll play Madison Square Garden in New York.) In our conversation we tell the story of what happened when Cory met Vulf, how the first encounter went, and subsequently how Cory’s life and career were impacted. Cory explains how his concept of “letting rhythm be take the lead” developed after he connected with Jack Stratton of Vulfpeck. We also get severely sidetracked talking about saxophonist Dave Koz, legendary Minneapolis drummer Michael Bland and bassist Sonny Thompson, Los Angeles phenomenon Louis Cole, mandolin master Chris Thile, playing with the Fearless Flyers. Cory’s own solo project has grown recently as well. He has released a series of records and videos, and tours regularly with his band of Minneapolis groove assassins. In late January he played a sold out show at the Bowery Ballroom in New York. The next night, we had this conversation, in which he talks about coming up in Minneapolis, playing with Vulfpeck, disrupting smooth jazz, commanding the grid, letting “rhythm take the lead”, the YouTube effect, the power of a good story, and Thai massage. Thanks for listening. If you enjoyed it, <a href="https://itunes.apple.com/us/podcast/third-story-conversations/id808401775?mt=2" rel="nofollow" target="_blank"> please leave a review on iTunes</a> and consider <a href="https://www.patreon.com/thirdstorypodcast" rel="nofollow" target="_blank">supporting the podcast on Patreon!</a> And now you can also listen to the podcast on <a href="https://open.spotify.com/show/0gjaZjWGrmNroCd8W2HWY0?si=dtBlQsTeR7mS0YtEpU7WBw" rel="nofollow" target="_blank"> Spotify</a>!

121: Cory Wong

Joey Dosik

As a younger man Joey Dosik thought he might make a contribution on the saxophone. He loved playing basketball and playing piano too, and he had a sweet, soulful singing voice. But if you asked him he probably would have told you that he was going to be a jazz sax player. That’s what took him out of LA and to the University of Michigan.  Sometimes the stars align and the right people show up in the right place at just the right time. Later on we realize that something special was going on, but in the initial moment it’s just what’s happening. In Joey’s case, he ended up at Michigan with a cohort of other talented, multifaceted musicians (former Third Story guest Theo Katzman, for example). Somewhere along the line, he realized that he needed to sing!  Today Joey is best known for the soulful, romantic songs that he sings with the band Vulfpeck as well as on his solo recordings (he released both Game Winner and Inside Voice in 2018). His Game Winner project ended up merging his two great loves, music and basketball, into a conceptual collection of songs that are surprisingly compelling even for non sports lovers. Inside Voice also operates on two levels, as a classic sounding record that he describes as “deep, sexual, but also kind of silly”. In fact it’s the sense of humor in his writing that keeps his work fresh and modern. As Joey tells it, he’s interested in both honoring and transcending his references. Here Joey talks about maintaining the balance between classic and modern, working with Vulfpeck (“we look up to one another”), the value of practical application, what’s so great about Italian vowels, why basketball is good practice for life, why he never throws away a creative idea, and how he keeps his saxophone chops up. Thanks for listening. If you enjoyed it, please leave a review on iTunes and consider supporting the podcast on Patreon! And now you can also listen to the podcast on Spotify!

As a younger man Joey Dosik thought he might make a contribution on the saxophone. He loved playing basketball and playing piano too, and he had a sweet, soulful singing voice. But if you asked him he probably would have told you that he was going to be a jazz sax player. That’s what took him out of LA and to the University of Michigan.  Sometimes the stars align and the right people show up in the right place at just the right time. Later on we realize that something special was going on, but in the initial moment it’s just what’s happening. In Joey’s case, he ended up at Michigan with a cohort of other talented, multifaceted musicians (former Third Story guest Theo Katzman, for example). Somewhere along the line, he realized that he needed to sing!  Today Joey is best known for the soulful, romantic songs that he sings with the band Vulfpeck as well as on his solo recordings (he released both Game Winner and Inside Voice in 2018). His Game Winner project ended up merging his two great loves, music and basketball, into a conceptual collection of songs that are surprisingly compelling even for non sports lovers. Inside Voice also operates on two levels, as a classic sounding record that he describes as “deep, sexual, but also kind of silly”. In fact it’s the sense of humor in his writing that keeps his work fresh and modern. As Joey tells it, he’s interested in both honoring and transcending his references. Here Joey talks about maintaining the balance between classic and modern, working with Vulfpeck (“we look up to one another”), the value of practical application, what’s so great about Italian vowels, why basketball is good practice for life, why he never throws away a creative idea, and how he keeps his saxophone chops up. Thanks for listening. If you enjoyed it, please leave a review on iTunes and consider supporting the podcast on Patreon! And now you can also listen to the podcast on Spotify!

128: Joey Dosik

Larry Goldings

Larry Goldings has been one of the most respected, versatile and working jazz pianists and organists around since he moved to New York in 1986 to attend the (then) brand new New School jazz program. His career has been varied, working with his own trio with drummer Bill Stewart and guitarist Peter Bernstein (a project that started nearly 30 years ago), stints as a sideman with Jon Hendricks, Jim Hall, John Scofield, Maceo Parker, and more recently James Taylor, and session work in LA.  Since moving to California in the early aughts, he has worked as a session player with producers including Larry Klein, Tommy LiPuma and Steve Jordan, and artists including Madeleine Peyroux, John Mayer, and of course James Taylor.  Along the way he's recorded on over 100 albums as a sideman, released nearly 20 as a leader, and contributed to various film and TV projects.   Here he talks about the scene in New York in the 90s, developing his approach to the organ, the difference between New York and LA, and the importance of humor in his life.  www.third-story.com

Larry Goldings has been one of the most respected, versatile and working jazz pianists and organists around since he moved to New York in 1986 to attend the (then) brand new New School jazz program. His career has been varied, working with his own trio with drummer Bill Stewart and guitarist Peter Bernstein (a project that started nearly 30 years ago), stints as a sideman with Jon Hendricks, Jim Hall, John Scofield, Maceo Parker, and more recently James Taylor, and session work in LA. Since moving to California in the early aughts, he has worked as a session player with producers including Larry Klein, Tommy LiPuma and Steve Jordan, and artists including Madeleine Peyroux, John Mayer, and of course James Taylor. Along the way he's recorded on over 100 albums as a sideman, released nearly 20 as a leader, and contributed to various film and TV projects.  Here he talks about the scene in New York in the 90s, developing his approach to the organ, the difference between New York and LA, and the importance of humor in his life. <a href="http://www.third-story.com" rel="nofollow" target="_blank">www.third-story.com</a>

52: Larry Goldings

Woody Goss

Vulpeck keyboardist Woody Goss on his early days growing up in the suburbs of Chicago where he learned to elevate rhythm playing to high art, when he connected with the crew that would become his Vulf family at the University of Michigan, how talking about evolutionary psychology is emotional, why organized religion is dubious, where he likes to go bird watching, and who he really is when the spotlight is turned away. This conversation is surprisingly provocative, enlightening, and funny. Woody is not entirely as he appears to be. He is, in fact, much more. www.third-story.com https://woodygoss.bandcamp.com/ https://www.veryvulfychristmas.com/

Vulpeck keyboardist Woody Goss on his early days growing up in the suburbs of Chicago where he learned to elevate rhythm playing to high art, when he connected with the crew that would become his Vulf family at the University of Michigan, how talking about evolutionary psychology is emotional, why organized religion is dubious, where he likes to go bird watching, and who he really is when the spotlight is turned away. This conversation is surprisingly provocative, enlightening, and funny. Woody is not entirely as he appears to be. He is, in fact, much more. <a href="http://www.third-story.com" rel="nofollow" target="_blank">www.third-story.com</a> <a href="https://woodygoss.bandcamp.com/" rel="nofollow" target="_blank">https://woodygoss.bandcamp.com/</a> <a href="https://www.veryvulfychristmas.com/" rel="nofollow" target="_blank">https://www.veryvulfychristmas.com/</a>

137: Woody Goss

Dave King

44: Dave King "Commitment is an incredible thing"

Kurt Elling

Singer Kurt Elling has been one of the most influential, respected and popular jazz singers on the scene for 2 decades. As the New York Times puts it, “Elling is the standout male vocalist of our time.” The Washington Post agrees: “Since the mid-1990s, no singer in jazz has been as daring, dynamic or interesting as Kurt Elling. With his soaring vocal flights, his edgy lyrics and sense of being on a musical mission, he has come to embody the creative spirit in jazz.” Here he talks about his process, what motivates him, what Chicago offered him and why he moved to New York.

Singer Kurt Elling has been one of the most influential, respected and popular jazz singers on the scene for 2 decades. As the New York Times puts it, “Elling is the standout male vocalist of our time.” The Washington Post agrees: “Since the mid-1990s, no singer in jazz has been as daring, dynamic or interesting as Kurt Elling. With his soaring vocal flights, his edgy lyrics and sense of being on a musical mission, he has come to embody the creative spirit in jazz.” Here he talks about his process, what motivates him, what Chicago offered him and why he moved to New York.

59: Kurt Elling

Glyn Johns

Legendary recording engineer and producer Glyn Johns’ career and discography are so extensive that it’s very difficult to summarize quickly. The sound of his recordings has had an immeasurable influence on the way we listen to popular music, particularly Rock and Roll. The Rolling Stones, Led Zeppelin, The Who, The Beatles, Eric Clapton... he worked with them all.  Here he talks about his philosophy of recording, producing, and managing a career in record making.  www.third-story.comwww.patreon.com/thirdstorypodcast www.glynjohns.com

Legendary recording engineer and producer Glyn Johns’ career and discography are so extensive that it’s very difficult to summarize quickly. The sound of his recordings has had an immeasurable influence on the way we listen to popular music, particularly Rock and Roll. The Rolling Stones, Led Zeppelin, The Who, The Beatles, Eric Clapton... he worked with them all.  Here he talks about his philosophy of recording, producing, and managing a career in record making.  <a href="http://www.third-story.com" rel="nofollow" target="_blank">www.third-story.com</a><a href="http://www.patreon.com/thirdstorypodcast" rel="nofollow" target="_blank">www.patreon.com/thirdstorypodcast</a> <a href="http://www.glynjohns.com" rel="nofollow" target="_blank">www.glynjohns.com</a>

143: Glyn Johns

Jesse Harris

Jesse Harris is a singer, songwriter, guitar player and producer who has been walking the line between jazz and pop since he got started in the mid 90’s. While he was on a road trip with a friend, he stopped in Denton, Texas to visit some other musician friends of his, and happened to meet Norah Jones, who was still a student. The two became friends and ended up starting a band together after Norah graduated and moved to New York. That single chance encounter in Texas would prove to be an incredibly important one for both Jones and Harris. Jesse contributed five songs to Norah’s debut album “Come Away With Me” and won a Grammy for his song  “Don’t Know Why”. Subsequently, he has released a dozen albums as a solo artist, and produced nearly the same again for other artists. Here he talks about his early musical development, his experience pre and post success, and the state of the business as he sees it today.  

<a href="http://jesseharris.com" rel="nofollow" target="_blank">Jesse Harris</a> is a singer, songwriter, guitar player and producer who has been walking the line between jazz and pop since he got started in the mid 90’s. While he was on a road trip with a friend, he stopped in Denton, Texas to visit some other musician friends of his, and happened to meet Norah Jones, who was still a student. The two became friends and ended up starting a band together after Norah graduated and moved to New York. That single chance encounter in Texas would prove to be an incredibly important one for both Jones and Harris. Jesse contributed five songs to Norah’s debut album “Come Away With Me” and won a Grammy for his song  “Don’t Know Why”. Subsequently, he has released a dozen albums as a solo artist, and produced nearly the same again for other artists. Here he talks about his early musical development, his experience pre and post success, and the state of the business as he sees it today.

8: Jesse Harris, singer, songwriter, guitar player

George Colligan

Pianist, drummer, trumpeter, educator, blogger, George Colligan stopped by recently when he was visiting Brooklyn. After living in New York for 15 years, he relocated to Portland, Oregon for a teaching position in 2011. He touched on his long career as a sideman, his ideas about “creativity versus tradition”, jazz education, how standup comedy and jazz are similar, how playing changes and changing diapers are different, how 911 changed the scene in New York, kids these days, playing with Jack DeJohnette, why chops aren’t all that matter, and what flying business class does to improve performance. www.third-story.com

Pianist, drummer, trumpeter, educator, blogger, George Colligan stopped by recently when he was visiting Brooklyn. After living in New York for 15 years, he relocated to Portland, Oregon for a teaching position in 2011. He touched on his long career as a sideman, his ideas about “creativity versus tradition”, jazz education, how standup comedy and jazz are similar, how playing changes and changing diapers are different, how 911 changed the scene in New York, kids these days, playing with Jack DeJohnette, why chops aren’t all that matter, and what flying business class does to improve performance. <a href="http://www.third-story.com" rel="nofollow" target="_blank">www.third-story.com</a>

72: George Colligan

Butch Vig

 How did it feel to produce one of the biggest records of all time (Nirvana's Nevermind)? What is the key to great production? How does he listen to new music and what is he looking for in a band? How much of his job is in the interpersonal interactions with people? How much is technical? How did computers change the way he makes records? How has being in a band impacted the way he works with other bands?

<ul> <li>How did it feel to produce one of the biggest records of all time (Nirvana's Nevermind)?</li> <li>What is the key to great production?</li> <li>How does he listen to new music and what is he looking for in a band?</li> <li>How much of his job is in the interpersonal interactions with people? How much is technical?</li> <li>How did computers change the way he makes records?</li> <li>How has being in a band impacted the way he works with other bands?</li></ul>

Butch Vig: Record Producer on working w/ Nirvana, Garbage, and the art of communication

Mark Guiliana

Mark Guiliana is having at this very moment a profound influence on the way the drums are played. There’s a conversation happening in his playing between organic, traditional sounds and electronic music. Part of his innovation is to get his acoustic drums sounding more electronic, and to approach the drums in some ways as though he were a dj or a programmer.  Mark was born and raised in New Jersey, and until six months ago he lived there. Now he lives in LA. But he was in New York for the Winter Jazzfest - he was the artist in residence this year, which meant that he was invited to put together a series of shows and events. Over the course of the week, he did a different show every day with a different group, different configurations, some completely free improvised, some very organized, as is the case with his project Beat Music, his most electronic band.  The sound of Mark’s drumming and drums are so identifiable, and here he tells me that he thinks “Sound is everything.” He says “If the sound can be right, then you can really play anything.” We got together just before Mark left New York for the airport to fly to Europe, and spoke about Mark’s philosophy and approach. He explained his ideas of coincidental interaction, and proactive repetition (“Repetition is one of the most powerful tools that we have in music and in life,” he tells me), the importance of familial relationships with his musical partners, how “sound is everything” and why for him “the music does the talking”. www.third-story.com www.patreon.com/thirdstorypodcast 

Mark Guiliana is having at this very moment a profound influence on the way the drums are played. There’s a conversation happening in his playing between organic, traditional sounds and electronic music. Part of his innovation is to get his acoustic drums sounding more electronic, and to approach the drums in some ways as though he were a dj or a programmer.  Mark was born and raised in New Jersey, and until six months ago he lived there. Now he lives in LA. But he was in New York for the Winter Jazzfest - he was the artist in residence this year, which meant that he was invited to put together a series of shows and events. Over the course of the week, he did a different show every day with a different group, different configurations, some completely free improvised, some very organized, as is the case with his project Beat Music, his most electronic band.  The sound of Mark’s drumming and drums are so identifiable, and here he tells me that he thinks “Sound is everything.” He says “If the sound can be right, then you can really play anything.” We got together just before Mark left New York for the airport to fly to Europe, and spoke about Mark’s philosophy and approach. He explained his ideas of coincidental interaction, and proactive repetition (“Repetition is one of the most powerful tools that we have in music and in life,” he tells me), the importance of familial relationships with his musical partners, how “sound is everything” and why for him “the music does the talking”. <a href="http://www.third-story.com" rel="nofollow" target="_blank">www.third-story.com</a> <a href="http://www.patreon.com/thirdstorypodcast" rel="nofollow" target="_blank">www.patreon.com/thirdstorypodcast</a>

148: Mark Guiliana

Morgan James

Morgan has a soulful voice: big pipes, lots of power, a certain swagger, and incredible technique. But although she has a classic sound,  fed by by the likes of Chaka Khan, Nina Simone and Eva Cassidy, she has a modern career. Her path has been completely unexpected, unpredictable, and in some ways unbelievable. Here, as she says, we “dig deep into the journey”. Her new album, Reckless Abandon, came out last month.  www.third-story.com

Morgan has a soulful voice: big pipes, lots of power, a certain swagger, and incredible technique. But although she has a classic sound,  fed by by the likes of Chaka Khan, Nina Simone and Eva Cassidy, she has a modern career. Her path has been completely unexpected, unpredictable, and in some ways unbelievable. Here, as she says, we “dig deep into the journey”. Her new album, Reckless Abandon, came out last month.  <a href="http://www.third-story.com" rel="nofollow" target="_blank">www.third-story.com</a>

76: Morgan James

Daniel Levitin

Daniel Levitin is a neuroscientist, musician and author. His books “This Is Your Brain On Music” and “The World In Six Songs” are both best sellers, and are both must reads for anyone interested in music and the brain. He teaches psychology and behavioral neuroscience at McGill University in Montreal. Dan stopped by on a recent evening to hang out, and ended up recording a spontaneous episode, in which he tells some anecdotes he has collected from his own personal research and musical journey. 

Daniel Levitin is a neuroscientist, musician and author. His books “This Is Your Brain On Music” and “The World In Six Songs” are both best sellers, and are both must reads for anyone interested in music and the brain. He teaches psychology and behavioral neuroscience at McGill University in Montreal. Dan stopped by on a recent evening to hang out, and ended up recording a spontaneous episode, in which he tells some anecdotes he has collected from his own personal research and musical journey.

3: Daniel Levitin, Author of "This Is Your Brain On Music"

Peter Coyote

Actor, writer, Zen Buddhist Peter Coyote on the value of meditation ("it's like walking in fog - you get drenched!"), the search for the authentic self, and how to stay true to yourself in the midst of commercial pressures.

Actor, writer, Zen Buddhist Peter Coyote on the value of meditation ("it's like walking in fog - you get drenched!"), the search for the authentic self, and how to stay true to yourself in the midst of commercial pressures.

31: Peter Coyote, "Every other role but your authentic self has already been taken"

Emma Straub

Emma Straub is the author of the novels The Vacationers and Laura Lamont’s Life in Pictures, and the short story collection Other People We Married. 

Emma Straub is the author of the novels The Vacationers and Laura Lamont’s Life in Pictures, and the short story collection Other People We Married.

10: Emma Straub, Author

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