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Today, The Tonearm’s needle drops on cellist and composer Tomeka Reid. Tomeka Reid has spent the last decade building one of the most distinctive voices in creative music. The New York Times called her a "New Jazz Power Source." She's a MacArthur Fellow, a founder of the Chicago Jazz String Summit, and a key collaborator with Anthony Braxton, Roscoe Mitchell, and Craig Taborn, among many others. Her quartet with guitarist Mary Halvorson, bassist Jason Roebke, and drummer Tomas Fujiwara just released dance! skip! hop! on Out of Your Head Records. It's their fourth album together, and it shows what twelve years of shared language sounds like: tight, playful, and willing to take chances. She also appears on Dream Archives, Craig Taborn's ECM debut with this instrumentation, recorded in New Haven, Connecticut and out earlier this year. We talked about the cello's role in jazz, how family history shapes her work, and what it means to lead a band that's been together long enough to surprise itself. (The musical excerpts heard in the interview are from The Tomeka Reid Quartet's album dance! skip! hop!) — Dig DeeperArtist and AlbumVisit Tomeka Reid at tomekareid.com and follow her on Instagram and FacebookPurchase The Tomeka Reid Quartet's dance! skip! hop! from Out Of Your Head Records, Bandcamp, or Qobuz, and listen on your streaming platform of choiceOut Of Your Head Records — Tomeka's label for dance! skip! hop!Tomeka Reid — MacArthur Foundation Fellow (2022)Quartet MembersJason Roebke — bass, cassetteMary Halvorson — guitarTomas Fujiwara — drumsRelated Albums and Projects3+3 — Tomeka Reid Quartet (Cuneiform, 2024) — the quartet's previous albumDream Archives — Craig Taborn, Tomeka Reid, Ches Smith (ECM, 2026) — Tomeka's ECM debutHear in Now — co-led trio with Mazz Swift and Silvia BolognesiOrganizations and FestivalsAssociation for the Advancement of Creative Musicians (AACM) — the Chicago collective central to Tomeka's artistic developmentChicago Jazz String Summit — Tomeka's annual festival, founded 2013, dedicated to improvising string playersMusical References and InfluencesAbdul Wadud — jazz cellist and major influence on Tomeka's approach to the instrumentStuff Smith — pioneering jazz violinist; referenced in discussion of CJSS repertoireGinger Smock — jazz violinist mentioned in the context of overlooked string player composersDiedre Murray — jazz cellist and composer; referenced alongside Stuff SmithHistorical ReferencesRock Springs massacre (1885) — the violent attack on Chinese miners in Rock Springs, Wyoming, which Tomeka mentions in the context of her grandmother's family history in the regionFred Anderson — Chicago jazz saxophonist and founder of the Velvet Lounge, where Tomeka met mentor Clarence JamesThe Velvet Lounge, Chicago — legendary South Side jazz venue where Tomeka came up (verify whether Wikipedia article exists under this exact title)— Dig into this episode's complete show notes at podcast.thetonearm.com— • Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today we put The Tonearm's needle on Ben Wendel. Ben is a Grammy-nominated saxophonist, composer, and co-founder of Kneebody, with a discography that covers post-bop, chamber jazz, and electronic music. He's worked with Bill Frisell, Tigran Hamasyan, Terence Blanchard, and yes, Prince. His new album BaRcoDe just dropped on Edition Records. It's built around a concept that's hard to pull off: four of the most in-demand vibraphonists working today—Joel Ross, Simon Moullier, Patricia Brennan, and Juan Diego Villalobos—surrounding one saxophonist. The group developed the music across two residencies at The Jazz Gallery in New York City, and the result is something that sits between chamber music and jazz improvisation, with electronics running through all of it. Ben's here to walk us through how this project came together and what it took to write for an ensemble like this. (The musical excerpts heard in the interview are from Ben Wendel's album BaRcoDe) — Dig DeeperArtist and AlbumVisit Ben Wendel at benwendel.com and follow him on Instagram, Facebook, and YouTubePurchase Ben Wendel's BaRcoDe from Edition Records, Bandcamp, or Qobuz and listen on your streaming platform of choice.BaRcoDe — Postgenre reviewBaRcoDe — PopMatters reviewKneebody — Ben Wendel's long-running band; Reach (2025) includes "Repeat After Me," also recorded on BaRcoDeThe Jazz GalleryThe Jazz Gallery — the New York venue where BaRcoDe was commissioned and developed across two residencies (2023 and 2025)Ensemble MembersJoel Ross — iplayvibes.com | Blue Note Records pageSimon Moullier — simonmoullier.comPatricia Brennan — patriciabrennanvibes.com | The Tonearm InterviewJuan Diego Villalobos — juandiegovibes.comMusical Influences and ReferencesSō Percussion — the Grammy-winning new-music percussion quartet whose members came up with Wendel at the Eastman School of Music; a key inspiration for BaRcoDeAntônio Carlos Jobim — "Olha Maria" — one of Wendel's favorite compositions of all time; the sole non-original on the albumKit Downes — British pianist and organist on ECM Records; a loose inspiration for "Birds Ascend"Aidan O'Rourke — Scottish fiddle player and composer; also a loose inspiration for "Birds Ascend"The Creative Act: A Way of Being by Rick Rubin — Wendel paraphrases a line from this book when discussing the title BaRcoDeLos Angeles ConnectionsThe World Stage — performance and education space in Leimert Park Village, Los Angeles; co-founded by drummer Billy Higgins; a formative venue for WendelTerrace Martin — Wendel's high school friend and collaborator; hip-hop producer for Kendrick Lamar and Snoop Dogg (verify URL before publishing)Billy Higgins — legendary jazz drummer and World Stage co-founder; an early mentor whose spirit Wendel also invokes when describing the Village VanguardFurther Reading / ListeningJohn Patitucci — bassist scheduled to guest with Wendel at the Village Vanguard in JulyUnderstory: Live at the Village Vanguard — Ben Wendel (Edition, 2024)All One — Ben Wendel (Edition, 2023) — Grammy-nominated for Best Contemporary Instrumental Album— Dig into this episode's complete show notes at podcast.thetonearm.com— • Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, we’re putting The Tonearm's needle on Julianna Barwick and Mary Lattimore. Julianna is a composer, vocalist, and producer whose music is built almost entirely from layered, looped human voices. Mary is a harpist who has spent years pushing that instrument into a vast, exploratory realm. In January 2025, the two flew to Paris just days after the LA wildfires tore through their community. There, they spent nine days recording with instruments pulled from a museum, including harps dating back to 1728 and vintage analog synthesizers. The result is Tragic Magic, out on InFiné, and it's one of the most talked-about records of the year so far. Julianna and Mary just returned from Big Ears Festival and, in a few days, are heading back to Paris to perform these songs live with those same instruments. We caught them as they were preparing for the trip. (The musical excerpts heard in the interview are from Julianna Barwick & Mary Lattimore's Tragic Magic) — Dig Deeper• Artist and Album: Visit Julianna Barwick at juliannabarwick.com and follow her on Instagram and FacebookVisit Mary Lattimore at marylattimore.net and follow her on Instagram and FacebookPurchase Tragic Magic from InFiné, Bandcamp, or Qobuz and listen on your streaming platform of choice• Recording Location: Philharmonie de Paris — Musée de la Musique — the museum whose instrument collection made the album possibleMusée de la Musique collections database — searchable archive of the museum's historic instruments• Collaborators: Roger Eno — composer of "Temple of the Winds," written for voice and harp after a shared lunch with Barwick and Lattimore in MelbourneTrevor Spencer — engineer, additional producer, and mixer on Tragic Magic; known for his work with Fleet Foxes and Beach House• Instruments: Jacob Hochbrücker — maker of the 1728 harp used for "Temple of the Winds"; one of the oldest instruments on the albumÉrard harps — the French instrument maker whose 1799 and 1873 harps Mary Lattimore used throughout the sessionsSequential Circuits Prophet-5 — the synthesizer Julianna Barwick chose; introduced in 1978 as the first fully programmable polyphonic synthesizerRoland Jupiter-8 — the second synthesizer Barwick used; the "Jupiter" referenced throughout the episodeKorg VC-10 Vocoder — used by Barwick on "Stardust" and elsewhere on the album• Visual Art — James Turrell: James Turrell — the light artist whose work both Barwick and Lattimore cite as a significant influenceJames Turrell: Into the Light at MASS MoCA — where Barwick and Lattimore opened Turrell's newest Skyspace, C.A.V.U.Chichu Art Museum, Naoshima — permanent Turrell installations on the Japanese island Mary mentions visitingJames Turrell retrospective at the Guggenheim — the 2013 exhibition (Aten Reign) that first brought Mary to Turrell's work after reading a New Yorker review• Previous InFiné / Musée de la Musique Collaborations: InBach by Arandel (2020) — the first album in InFiné's Musée de la Musique series, featuring Baroque instrumentsSaturn 63 by Seb Martel (2022) — the second album in the series; Tragic Magic is the third— Dig into this episode's complete show notes at podcast.thetonearm.com— • Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, we're putting The Tonearm's needle on the Montreal jazz collective Bellbird. Bellbird formed during pandemic park jams and has since become one of the more compelling voices in Canada's avant-garde jazz scene. The quartet consists of Claire Devlin on tenor sax, Allison Burik on alto sax and bass clarinet, Eli Davidovici on bass, and Mili Hong on drums. No guitar, no piano, just three mostly single-note instruments and a drum kit, which turns out to be more than enough. Their debut, Root in Tandem, earned serious praise. Their second album, The Call, came out on February 6th on Constellation Records. It was built from bird sound transcriptions, Mary Oliver poems, and sessions in the countryside, and it doesn't sound like anything else on that storied label's roster. Two members of the collective, Claire Devlin and Eli Davidovici, are here to take us through the story. (The musical excerpts heard in the interview are from Bellbird's album The Call) — Dig Deeper• Artist and Album: Visit Bellbird at bellbird.band and follow them on Instagram and YouTubePurchase Bellbird's The Call from Constellation Records, Bandcamp, or Qobuz, and listen on your streaming platform of choiceVisit Bellbird's page at Constellation Records• Individual Members: Claire Devlin — tenor saxophone; follow her on InstagramEli Davidovici — bassAllison Burik — alto saxophone and bass clarinet; follow them on InstagramMili Hong — drums; follow her on Instagram• Label: Constellation Records — Montréal's celebrated independent label, home to Godspeed You! Black Emperor, Matana Roberts, Sam Shalabi's Land of Kush, and more• Recording and Compositional Context: Hotel2Tango — the Montréal studio where The Call was recordedOrford Musique — the Quebec residency center where Bellbird developed the album's material• Musical References and Inspiration: White Bellbird (Procnias albus) — the Amazonian bird whose recorded call Allison Burik transcribed and analyzed as the foundation for the title trackMary Oliver, "Wild Geese" — the poem that inspired the track "Soft Animal," published in House of Light (Beacon Press, 1990)• Montréal Scene: Casa del Popolo — Montréal venue and community hubSuoni Per Il Popolo — Montréal's annual festival of experimental music, free jazz, and improvisation, presented at Casa del Popolo and La Sala Rossa• Previous Release: Root in Tandem (2023) — Bellbird's self-released debut— Dig into this episode's complete show notes at podcast.thetonearm.com— • Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, we're putting The Tonearm's needle on guitarist and composer Sam Wenc. Wenc is a Philadelphia-based artist who has spent nearly a decade building one of the more distinctive bodies of work in American experimental music, mostly under the name Post Moves. Now he's released his first album under his own name. It's called Language at an Angle, and it came out on Lobby Art Editions in January. The record grew out of a year of live performances—from Philadelphia to Japan—and it captures Sam doing something specific with pedal steel guitar: striking it, bowing it, treating it as both a sound source and a physical object. The result sits somewhere between drone, jazz, and a kind of American folk music you can't quite place. Sam's here to walk us through the record, his move to Philadelphia, and what it means to finally put his own name on the work. (The musical excerpts heard in the interview are from Sam Wenc's Language at an Angle) — Dig Deeper• Artist and Album: Visit Sam Wenc at samwenc.com and follow him on InstagramPurchase Sam Wenc's album Language at an Angle from Bandcamp or Qobuz, and listen on your streaming platform of choiceLobby Art Editions — Sam Wenc's label, releasing Language at an Angle and his previous catalog• Susan Alcorn: Susan Alcorn — official website of the pedal steel pioneer to whom Language at an Angle is dedicatedAnd I Await the Resurrection of the Pedal Steel Guitar — Alcorn's landmark 2007 solo albumSusan Alcorn: Revolutionary Voice of the Pedal Steel Guitar — The Tonearm's tribute, including a full conversation with Alcorn on her album CANTOSusan Alcorn obituary — WRTI• Collaborators: Sam Yulsman — pianist on Language at an Angle; studied with George Lewis at ColumbiaBark Culture — the Philadelphia trio of Victor Vieira-Branco (vibraphone), John Moran (bass), and Joey Sullivan (drums); members appear in Wenc's live bandVictor Vieira-Branco — vibraphonist and Bark Culture leaderBark Culture — Warm Wisdom — the trio's 2024 debut album• Venues: Roulette Intermedium — Brooklyn venue where Wenc held his album release showThe Stone — New York experimental music venue referenced in the episode• Musical References and Influences: George Lewis — composer, trombonist, and Columbia University professor; Sam Yulsman trained with himOkkyung Lee — South Korean cellist and improviser; Wenc cites Alcorn's improvisations with her as influentialMarshall Allen / Sun Ra Arkestra — Marshall Allen, still active in Philadelphia's Germantown neighborhood, is mentioned by Wenc as part of the city's deep musical lineageOlivier Messiaen — composer whose work Susan Alcorn famously transposed for pedal steelVíctor Jara — Chilean singer-songwriter; Alcorn covered his songs• Additional Context: Mississippi Records — the independent archival label Wenc manages alongside his own music workSam Wenc — Post Moves: Heart Music — released on Where to Now? Records, representative of his work under the Post Moves alias— Dig into this episode's complete show notes at podcast.thetonearm.com— • Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today we're putting The Tonearm's needle on Zeena Parkins, composer, improviser, and one of the most singular forces in experimental music. Zeena has spent four decades dismantling what the harp can do: through electronics, object preparations, and a series of custom electric instruments she built herself, she's turned a concert hall fixture into something alive and unpredictable. Her collaborators range from Björk to John Zorn to Pauline Oliveros. Last year, she released two records paying tribute to her years teaching at Mills College before its closure: Modesty of the Magic Thing and Lament of the Maker. And she's performing this spring at Big Ears Festival in Knoxville. She's also a Guggenheim Fellow and a three-time Bessie Award winner for her work composing for dance. We cover all of it: her instruments, her process, and what it means to make music at the edge of what's possible. (The musical excerpts heard in the interview are from Zeena Parkins' album Lament of the Maker) — Dig DeeperArtist and RecordingsVisit Zeena Parkins at zeenaparkins.com and follow her on Instagram and BandcampPurchase Lament for the Maker (Relative Pitch Records, 2025) from Bandcamp or Qobuz, and listen on your streaming platform of choicePurchase Modesty of the Magic Thing (Tzadik, 2025) from Qobuz or Squidco, and listen on your streaming platform of choiceCollaborators MentionedWilliam Winant — percussionist and longtime collaborator; Parkins discusses finding Lou Harrison instruments in his studio and performing Modesty of the Magic Thing with himFred Frith — guitarist and composer; Parkins replaced him at Mills and performed with him in Skeleton CrewLaetitia Sonami — sound artist and Mills colleague; composed "She is a Butcher in My Dreams" for Lament for the MakerJames Fei — composer and Mills colleague; composed "In Such Circumstances of Miscalculations" for Lament for the MakerJennifer Monson — choreographer; one of Parkins's most significant long-term dance collaboratorsChris Cutler — drummer; encountered Parkins in Europe and brought her into News from BabelNayland Blake — artist who curated the San Francisco gallery show where Parkins gave her first solo concertEnsembles and ProjectsSkeleton Crew — experimental rock trio with Fred Frith and Tom CoraNews from Babel — group with Chris Cutler, Lindsay Cooper, and Dagmar Krause; Parkins discusses joining after meeting Cutler in EuropeTable of the Elements — American experimental music label; released Parkins's first solo recordRoulette Intermedium — Brooklyn venue where Parkins and Winant perform Modesty of the Magic Thing just before Big EarsArtists and Figures DiscussedJay DeFeo — Bay Area visual artist whose work, particularly The Rose and the Seven Pillars of Voice series, inspired Modesty of the Magic ThingThe Rose at the Whitney Museum — DeFeo's monumental painting, now in the Whitney's permanent collectionLou Harrison — American composer whose handmade instruments, bequeathed to William Winant, are central to Modesty of the Magic ThingDaphne Oram — British electronic music pioneer who worked at the BBC; Parkins mentions her as inspiration for an upcoming electric harp recordFestivalsBig Ears Festival — Knoxville, Tennessee; March 26–29, 2026; Parkins performs Modesty of the Magic Thing with William WinantOther Minds Festival — San Francisco; site of the West Coast premiere of Modesty of the Magic Thing— Dig into this episode's complete show notes at podcast.thetonearm.com— • Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, we're putting The Tonearm's needle on Michael Graves, a five-time Grammy-winning mastering engineer and the founder of Osiris Studio in Los Angeles. Michael's work is restoration as archaeology—pulling performances off deteriorating tapes, damaged acetates, and obsolete formats, then deciding how much intervention is too much. He's done this for recordings by Hank Williams, Aretha Franklin, Stax songwriters, and field recordings from Cambodia, Sudan, and Mississippi. His most recent Grammy came in 2024 for Written in Their Soul: The Stax Songwriter Demos. The deeper question his work raises is curatorial: where does restoration end and revisionism begin? What gets rescued, and what stays buried? — Dig Deeper • Michael Graves and Osiris Studio: Visit Michael Graves at osirisstudio.com and follow Osiris Studio on InstagramMichael Graves — Osiris Studio: AboutMichael Graves (sound engineer) — Wikipedia• Key Projects Discussed: Written in Their Soul: The Stax Songwriter Demos — 7-CD box set on Craft Recordings (2023), Grammy Award for Best Historical Album (2024)Blondie: Against the Odds: 1974–1982 — box set via Numero Group and UMe (2022)Chris Bell: I Am the Cosmos — definitive reissue on Omnivore Recordings (2017)Chris Bell: The Complete Chris Bell — 6-LP box set, Omnivore Recordings (2017)• Labels: Omnivore RecordingsNumero GroupDust-to-DigitalAnalog AfricaCraft RecordingsRhino Records• Artists and People Referenced: Chris Bell — Big Star co-founder; I Am the Cosmos recorded in the mid-1970sBig Star — Memphis power pop band co-founded by Chris Bell and Alex ChiltonGeoff Emerick — engineer and producer; produced and recorded Chris Bell's post-Big Star sessionsEddie Floyd — Stax recording artist and songwriter; known for "Knock on Wood"Johnny Mercer — American lyricist, songwriter, and Capitol Records co-founder; his archive is held at Georgia State UniversityLeonard Cohen — Canadian singer-songwriter; Graves worked on his personal archive• Institutional Archives and Collections: Johnny Mercer Collection — Georgia State UniversityAlan Lomax and George Pullen Jackson Collection of Sacred Harp Music (1942) — Library of CongressSacred Harp singing — WikipediaStax Records — WikipediaStax Museum of American Soul Music• Professional Organizations: The Recording AcademyAssociation for Recorded Sound Collections (ARSC)Audio Engineering Society (AES)The Dust-to-Digital Foundation (Graves is a board member and technical advisor)• Other References: Mobile Fidelity Sound Lab (MoFi) — audiophile reissue label referenced in the source tape discussionThe Sacred Harp Publishing CompanyGrammy Award for Best Historical Album— Dig into this episode's complete show notes at podcast.thetonearm.com— • Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.  • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice.  • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.  • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today we’re putting The Tonearm's needle on musician and composer Erik Hall. Based in Michigan, Erik Hall has spent the last five years doing something that sounds simple but definitely is not: recording landmark works of contemporary classical music entirely on his own. Erik’s 2020 solo reconstruction of Steve Reich's Music for 18 Musicians won the Libera Award for Best Classical Record. Reich wrote to tell him he'd reinvented the piece. A 2023 interpretation of Simeon ten Holt's Canto Ostinato followed, and now Hall has completed the trilogy. Solo Three came out in January on Western Vinyl, and it takes on works by Glenn Branca, Charlemagne Palestine, Laurie Spiegel, and Reich again—every note performed and recorded by Hall himself, no loops, no sequencers. Erik is here to walk us through the project and the thinking behind it. Enjoy. (The musical excerpts heard in the interview are from Erik Hall’s Solo Three)  --- Dig DeeperArtist and AlbumsVisit Erik Hall at erikhall.net and follow him on Instagram, Bluesky, and Facebook.Purchase Erik Hall’s album Solo Three from Western Vinyl, Bandcamp , or Qobuz, and listen on your streaming platform of choiceListen to and purchase Music for 18 Musicians (Steve Reich) — Erik Hall's first volume — on BandcampListen to and purchase Canto Ostinato (Simeon ten Holt) — Erik Hall's second volume — on BandcampErik Hall's catalog at Western VinylComposers Featured on Solo ThreeSteve Reich — composer of Music for a Large Ensemble and Music for 18 MusiciansSteve Reich — "Music for a Large Ensemble"Steve Reich — Octet / Music for a Large Ensemble / Violin Phase Glenn Branca — composer of "The Temple of Venus Pt. 1"Charlemagne Palestine — composer of "Strumming Music"Strumming Music (original 1974 Shandar recording)Laurie Spiegel — composer of "A Folk Study"The Expanding Universe on Bandcamp — the album containing "A Folk Study"Bandcamp Daily — Laurie Spiegel feature — background on Spiegel's influence, relevant to Hall's treatment of her workEarlier Composer in the TrilogySimeon ten Holt — Dutch composer of Canto Ostinato, subject of Hall's second volumeThe Minimalist Composer Who Keeps Getting Left Out — article on Simeon ten Holt, minimalism, and Erik Hall’s solo recording Steve Reich — Referenced WorksSteve Reich — "Come Out" (1966) — early tape piece Hall encountered in his university musicology courseSteve Reich — Music for 18 Musicians — the composition that set Hall's courseCollaboratorsAaron Lowell Denton — designer of all three trilogy album covers; follow on InstagramNatalie Bergman — artist with whom Hall toured as drummer around the time of Solo Three's completionBrian Deck — producer and engineer at Narwhal Studio, Chicago; mixed Music for 18 Musicians with HallWarren Defever — mastering engineer at Third Man Mastering, Detroit; mastered all three volumes--- Dig into this episode's complete show notes at podcast.thetonearm.com(https://www.podcast.thetonearm.com) --- • Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.  • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice.  • Looking for more? Visit podcast.thetonearm.comfor bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.  • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, we're putting The Tonearm's needle on Toronto saxophonist Patrick Smith. Patrick has become a key player in the city's creative music scene. His new album, Words Underlined, came out in December on Lit Soc Records. It's the first release from the new label started by Sellers & Newell, a Toronto bookstore that moonlights as a music venue. Patrick recorded there with guitarist Dan Pitt and drummer Lowell Whitty. The trio plays without a bass, and the album alternates between composed pieces and full improvisations. A few episodes back, we featured a talk with Noah Franche-Nolan, who also collaborated with Dan Pitt. A link to that, and my November 2024 conversation with Dan, are both in the show notes. Patrick's here to talk about making music in the trio format, the Toronto scene, and why a bookstore was the right place to record. (The musical excerpts heard in the interview are from the album Words Underlined by The Patrick Smith Words Trio) – Dig DeeperArtist and Album: Visit Patrick Smith at patricksmithsax.com and follow him on Instagram and FacebookPurchase The Patrick Smith Words Trio's Words Underlined from Lit Soc Records, Bandcamp, or Qobuz and listen on your streaming platform of choiceListen to Patrick's fusion project Pangea: Rebirth on BandcampSellers & Newell and Lit Soc Records: Sellers & Newel Secondhand Books — Toronto's beloved College Street bookstore and performance spaceLit Soc Records on BandcampWhy this Toronto bookstore is starting its own record label — Toronto Today, November 2025Toronto bookstore is moonlighting as an underground live music venue — BlogTO, September 2021The Musicians: Dan Pitt — guitarist and composer, TorontoBetween the Lines of Dan Pitt's 'Horizontal Depths' - The Tonearm, November 2024Lowell Whitty — drummer and founding member of the Heavyweights Brass BandMentors and Influences: Mark Shim — saxophonist; Patrick's primary teacher in New YorkMark Shim at Manhattan School of MusicDave Young — Order of Canada recipient; Oscar Peterson's longtime bassist, now based in TorontoDavid Liebman — saxophonist, educator, and major post-Coltrane voiceDeveloping a Personal Saxophone Sound by David Liebman — available via J.W. PepperJeff Coffin — saxophonist; source of the Sonny Rollins quote relayed in the episodeMusical References: Paul Motian — the drummer whose bassless trio recordings were the direct inspiration for this projectPaul Motian Trio — It Should've Happened a Long Time Ago (ECM, 1985) — with Bill Frisell and Joe LovanoPaul Motian Trio — Time and Time Again (ECM, 2007) — with Bill Frisell and Joe LovanoJohnny Cash — My Mother's Hymn Book — the stripped-down solo Cash record Patrick cites as a model for songwritingSonny Rollins — saxophone icon; his advice about creativity as resistance runs through the episodeFrom Sacred Space to Silent Film — Noah Franche-Nolan Serves the Music - The Tonearm, February 2026 - Noah also collaborates with guitarist Dan Pitt– Dig into this episode's complete show notes at podcast.thetonearm.com– • Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, we’re putting The Tonearm's needle on Stephen Vitiello. Stephen is an electronic musician and media artist. His sound installations are in the permanent collections of MoMA, the Whitney, and the Museum of Contemporary Art in Lyon. He's worked with Pauline Oliveros, Ryuichi Sakamoto, and Joan Jonas. By day, he teaches Kinetic Imaging at Virginia Commonwealth University. Stephen’s latest project is Trinity, a collaborative album with Lawrence English, who you heard on last week's show. Each of Trinity's five tracks brings in a different third musician: Brendan Canty from Fugazi, Chris Abrahams from The Necks, Marina Rosenfeld, Aki Onda, and the late Steve Roden. The album came out last November. Stephen shares how this project came together, what it's like to work with each of these artists, and how he's built a career turning everyday sounds into sonic experiences. (The musical excerpts heard in the interview are from Lawrence English & Stephen Vitiello’s album Trinity) – Dig DeeperArtist and AlbumVisit Stephen Vitiello at stephenvitiello.com and follow him on Soundcloud, Instagram, and BandcampPurchase Lawrence English & Stephen Vitiello’s Trinity from American Dreams, Bandcamp, or Qobuz and listen on your streaming platform of choicePrevious collaborations: Acute Inbetweens (2011) and Fable (2014) with Lawrence EnglishStephen Vitiello & Brendan Canty: Second (with Hahn Rowe)Trinity CollaboratorsLawrence English and Room40 RecordsBrendan Canty - drummer (Fugazi, The Messthetics)Chris Abrahams - pianist (The Necks)Marina Rosenfeld - turntablist and composerAki Onda - electronic musician and sound artistSteve Roden - late sound artist and visual artistWorld Trade Center ProjectWorld Trade Center Artist Residency - Lower Manhattan Cultural CouncilWorld Trade Center Recordings: Winds After Hurricane Floyd (1999)Bright and Dusty Things - album featuring WTC recordingsStephen Vitiello: Listening With Intent - documentary by ABC-TV AustraliaEducational InstitutionVCU Kinetic Imaging - Virginia Commonwealth UniversityKinetic Imaging Graduate Program at VCUInfluences and Collaborators MentionedNam June Paik - video art pioneerPauline Oliveros - composer and accordionistRyuichi Sakamoto - composer and musicianFred Frith - guitarist and composerIkue Mori - drummer and electronic musician (DNA)Maryanne Amacher - sound artist and composerR. Murray Schafer - composer and writer on acoustic ecologyRobin Rimbaud (Scanner) - electronic musicianColin Newman - Wire guitarist and vocalistTaylor Deupree - 12k Records founderKey Venues and InstitutionsThe Kitchen - New York performance spaceElectronic Arts Intermix - video art distributorAnthology Film Archives - New York cinemaMASS MoCA - Massachusetts Museum of Contemporary ArtThe High Line - New York elevated parkWhitney Museum of American Art - 2002 BiennialMuseum of Modern Art - Soundings exhibition (2013)Punk and No Wave ReferencesFugazi - influential post-hardcore bandDNA - no wave bandThe ClashNo Wave movement - late 1970s NYCMusic Theory and PracticeFluxus movement - experimental art movementJohn Cage and prepared pianoAmbisonic audio - spatial sound formatDolby Atmos - immersive audio formatArticles and InterviewsSteve Roden and Stephen Vitiello conversation in Bomb magazineThe Collaborative Recent History of Stephen Vitiello - Fluid Radio interview- Dig into this episode's complete show notes at podcast.thetonearm.com– • Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Show NotesAustralian composer Lawrence English has spent over two decades treating sound as something that occupies your body, not just your ears. Putting The Tonearm's needle on Lawrence English means entering a sonic world where you're never quite sure what you're hearing or where it's coming from, and if you are a listener like our host, that will suit you just fine. Lawrence’s recent album Trinity pairs him with Stephen Vitiello and guests like Brendan Canty from Fugazi and Chris Abrahams from The Necks. Each track builds what English calls "impossible trios," turning geographic and other constraints into creative fuel. Lawrence is here to discuss collaboration, the art of curation, and what it means to make meaningful work in an age drowning in content. (The musical excerpts heard in the interview are from Lawrence English & Stephen Vitiello's album Trinity) – Dig DeeperArtist and AlbumVisit Lawrence English at lawrenceenglish.com and follow him on Bluesky, Instagram, Facebook, and BandcampPurchase Lawrence English & Stephen Vitiello's Trinity from American Dreams, Bandcamp, or Qobuz and listen on your streaming platform of choiceLearn more about Room40, Lawrence English's label celebrating its 25th anniversaryCollaborators on 'Trinity'Chris Abrahams (The Necks) - pianistStephen Vitiello - sound artist and composerAki Onda - multidisciplinary artistMarina Rosenfeld - turntablist and composerBrendan Canty (Fugazi, The Messthetics) - drummerThe late Steve Roden - artist and lowercase musicianBooks and TheoryPeter Szendy - 'Listen: A History of Our Ears'Neil Postman - 'Amusing Ourselves to Death: Public Discourse in the Age of Show Business'Lauren Berlant - Cruel Optimism theoryMark Fisher - cultural theoristPlaces and ConceptsGunkanjima (Battleship Island) - abandoned coal mining island off NagasakiHashima Island history - most densely populated place in historyJapanese Metabolist architecture - architectural movement English researchedArt Gallery of New South Wales - collected English's bell workMusical Groups and EnsemblesThe Necks - Chris Abrahams' improvisational jazz trioTenniscoats - Japanese duo Saya and Takashi UenoAcademic and Philosophical ConceptsRelational listening - English's PhD theory on reconciling psychological and technological auditionAcid nostalgia - English's working concept on how contemporary nostalgia corrodes the pastNatsukashii - Japanese concept of longing for a time/place you were never part ofTsundoku - Japanese word for collecting books you don't readMa - Japanese concept of the space between elementsRelated WorksLawrence English - 'Cruel Optimism' (Room40)Lawrence English - 'Wilderness of Mirrors' (Room40, 2014)Chris Abrahams - 'Thrown' (Room40)Chris Abrahams - 'Appearance' (Room40, 2020)– Dig into this episode's complete show notes at podcast.thetonearm.com– • Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today we're putting The Tonearm's needle on pianist and composer Noah Franche-Nolan. Noah's latest album, Rose-Anna, is named after his Acadian great-grandmother, a church organist from Grand Falls, New Brunswick. The Acadians are French-speaking people with deep roots in Canada's Maritime provinces. The Acadians were expelled from their land by the British in the late 1700s and many of them migrated south to Louisiana where they became known by their more famous name, the Cajuns. Noah’s family connection runs deep through the record and he even plays organ on two tracks, honoring the woman who sparked his musical heritage. The album pairs him with bassist Jodi Proznick and drummer Nicholas Bracewell in a trio that displays deftness with groove-driven chops, tender hymns and free exploration. The music conjures thoughts of home, family, and what gets passed down through generations. Noah's also one half of Arid Landscapes, an ambient electroacoustic project with guitarist Dan Pitt, that takes a totally different approach—live looping, processing, and soundscapes that feel vast and open. My November 2024 talk with Dan for The Tonearm is linked in the show notes. Noah and I talk about both projects, his work as a church music director in Vancouver, and what it means to make music that honors the past while pushing into new territory. (The musical excerpts heard in the interview are from Noah Franche-Nolan's album Rose-Anna) – Dig Deeper • Artist and Albums: Visit Noah Franche-Nolan at noahfranche-nolanmusic.com and follow him on InstagramPurchase Noah Franche-Nolan's Rose-Anna from Bandcamp or Qobuz and listen on your streaming platform of choiceNoah Franche-Nolan on All About JazzVancouver Guardian profile• Arid Landscapes (duo with Dan Pitt): Arid Landscapes released September 2025, available on BandcampDan Pitt — official siteDan Pitt on BandcampBetween the Lines of Dan Pitt's 'Horizontal Depths' (The Tonearm)• Collaborators and Ensembles: Jodi Proznick — bassist, Noah Franche-Nolan TrioNicholas Bracewell — drummer, Noah Franche-Nolan TrioRaagaverse — JUNO-nominated Indo-jazz fusion quartet led by Shruti RamaniShruti Ramani — vocalist and bandleader, RaagaverseJaya (Raagaverse debut album) on BandcampNick Fraser — Toronto drummer and University of Toronto faculty; Noah's former teacher• Recording Labels: Cellar Music Group — Vancouver label founded by Cory Weeds; 2023 Grammy Award winnerCory Weeds — Cellar Music Group founder and artistic directorFrankie's Jazz Club — Vancouver jazz venue run by Cory Weeds (Rose-Anna release show venue)• Film Scoring: Häxan (1922) — Swedish-Danish silent horror essay film directed by Benjamin ChristensenThe Cinematheque — Vancouver independent film institute that commissioned Noah's live score for Häxan• Educational Institutions: Vancouver Community College (VCC) — where Noah teaches jazz pianoVSO School of Music — Vancouver Symphony Orchestra's school; Noah teaches in Jazz and Classical Theory/CompositionUniversity of Toronto, Faculty of Music — where Noah and Dan Pitt studied jazz• Venues and Spaces: The Tranzac — Toronto's not-for-profit community arts venue; central to the city's improvised music sceneBrentwood Presbyterian Church — Burnaby; where Noah serves as coordinator of musicking and where Arid Landscapes was partly recorded– Dig into this episode's complete show notes at podcast.thetonearm.com– • Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today we’re putting The Tonearm's needle on author and behavioral scientist Michael Hallsworth. Michel has spent the last two decades applying behavioral science to real-world problems at the Behavioural Insights Team. He's held positions at Princeton, Columbia, Imperial College London, and the University of Pennsylvania. Michael's new book, The Hypocrisy Trap, takes on something we all recognize instantly but rarely understand: why we're so quick to spot hypocrisy in others yet are blind to it in ourselves. He shows how our hunt for inconsistency has become a weapon in politics and daily life, one that actually breeds more of what it tries to eliminate. The book reveals why some hypocrisy might be unavoidable in functioning democracies, and how our relentless attacks on it can backfire in dangerous ways. We talk about double standards, the psychology behind moral accusations, and why the most authentic-seeming politicians might be the most deceptive. Michael explains how we can tell the difference between hypocrisy that harms society and the everyday compromises that allow us to function together. – Dig DeeperGuest and BooksVisit Michael Hallsworth at michaelhallsworth.comPurchase Michael Hallsworth's The Hypocrisy Trap: How Changing What We Criticize Can Improve Our Lives from MIT Press, Penguin Random House, Bookshop, Barnes and Noble, or AmazonMichael Hallsworth and Elspeth Kirkman's Behavioral Insights from MIT PressConnect with Michael Hallsworth on LinkedInBehavioral Scientist column by Michael HallsworthOrganizations and InstitutionsThe Behavioural Insights Team (BIT) - World-leading organization applying behavioral science in support of social purpose goalsDr. Michael Hallsworth at BITMaster of Behavioral and Decision Sciences Program at University of PennsylvaniaImperial College LondonColumbia UniversityPrinceton UniversityKey Concepts and ResearchBehavioral economics and public policy - Michael Hallsworth's Google Scholar profileNature Human Behaviour - Journal featuring Hallsworth's researchJournal of Public EconomicsThe LancetHistorical and Philosophical ReferencesHannah Arendt's On Revolution - Analysis of the French and American RevolutionsHannah Arendt on hypocrisy and the Reign of Terror - "Robespierre's war upon hypocrisy transformed the 'despotism of liberty' into the Reign of Terror"The French Revolution Reign of Terror - Historical contextMaximilien Robespierre - Key figure in the French RevolutionPolitical Examples DiscussedBoris Johnson's COVID-19 party scandal - The "Partygate" scandal discussed in the episodeBrexit and UK politicsRelated Reading"Our Hypocrisy Blind Spot" by Michael Hallsworth - Essay in Behavioral Scientist"The Future of Behavioral Insights Demands Human-Centered Design" - Hallsworth and Kirkman on behavioral scienceHannah Arendt quotes on hypocrisy - "What makes it so plausible to assume that hypocrisy is the vice of vices is that integrity can indeed exist under the cover of all other vices except this one"- Dig into this episode's complete show notes at podcast.thetonearm.com– • Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

We're putting The Tonearm's needle on John Mlynczak, President and CEO of the National Association of Music Merchants. NAMM is the trade association for the music, sound, and event industries. Basically, NAMM represents the companies that make the tools your favorite music artists use to create their work. John has spent years at Hal Leonard and PreSonus Audio, where music education meets technology. He built curricula, managed platforms, and taught teachers how to use tech in their classrooms. Now he runs an organization that's rethinking what a trade show means when the music industry has gone digital. NAMM just celebrated its 125th anniversary, but John isn't interested in nostalgia. He's asking harder questions about how people discover instruments, how they learn to play them, and why gathering in person still matters when you can order anything online. The NAMM Show draws tens of thousands of people to Anaheim every January (this January 20 - 24, to be exact), and the numbers behind those crowds tell a story about content, influence, and how musicians connect with gear today. We talk about John’s shift from teaching in Louisiana to shaping industry strategy, why music advocacy needs to be offensive rather than defensive, and what happens when trade shows have to prove their value in real time. – Dig Deeper Guest and Organization:Visit NAMM at namm.org and follow on Instagram, Facebook, and LinkedInJohn Mlynczak's NAMM ProfileThe NAMM Show 2026 - January 23-25, Anaheim, CaliforniaNAMM Show Registration and App Information Educational Background and Previous Roles:Virginia Commonwealth University - Bachelor of Music EducationLouisiana State University - Master's degrees in Music Performance and Education LeadershipHal Leonard - Music publishing and educationPreSonus Audio - Audio technology and recording equipmentNoteflight - Online music notation software Music Education Organizations:Technology Institute for Music Educators (TI:ME)Massachusetts Music Educators Association (MMEA)NAMM FoundationSupportMusic CoalitionNAfME (National Association for Music Education) Music Technology Tools Mentioned:GarageBand - Apple's music creation softwareCubase - Digital audio workstationEssential Elements Interactive - Music education platform NAMM Events and Awards:She Rocks Awards - Celebrating women in musicParnelli Awards - Honoring live event professionalsNAMM U - Educational programming and resources Performance Groups:MetWinds - John's current performance ensemble Musical Reference:Alexander Arutiunian Trumpet Concerto - The piece John performed as a cocky freshman Industry Research and Reports:NAMM Industry Insights - Music products industry dataTrade Show Executive - Conference John mentioned attending – • Dig into this episode's complete show notes at podcast.thetonearm.com – • Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today we're putting The Tonearm's needle on Patricia Brennan, a vibraphonist and composer who grew up in Veracruz, Mexico, playing salsa with her dad while listening to Hendrix and Zeppelin with her mom. She studied classical percussion at the Curtis Institute, performed with Yo-Yo Ma and the Philadelphia Orchestra, then found her voice and career in jazz and improvisation. Patricia’s latest album, Of The Near And Far, takes constellations from the summer sky and turns them into music. She superimposes the circle of fifths over star patterns to generate pitches, then turns them into compositions that reflect a voice as unique as the compositional approach.  Patricia’s ten-piece ensemble features a jazz quintet, a string quartet, and an electronic musician, all conducted by Eli Greenhoe.  Hot on the heels of her 2024 release, Breaking Stretch, which won Album of the Year and Vibraphonist of the Year in the DownBeat Critics Poll, Patricia's here to talk about finding symmetry between the cosmos and composition, why she carries a telescope wherever she goes, and how ancient myths and modern astronomy shape her work. (The musical excerpts heard in the interview are from Patricia Brennan's album Of The Near And Far) – Dig DeeperArtist and AlbumVisit Patricia Brennan at patriciabrennanvibes.com and follow her on Instagram, Facebook, and YouTubePurchase Patricia Brennan's Of The Near And Far from Pyroclastic Records, Bandcamp, or Qobuz and listen on your streaming platform of choicePatricia Brennan's acclaimed 2024 album Breaking Stretch on Pyroclastic RecordsEducational InstitutionsCurtis Institute of Music – Philadelphia conservatory where Patricia studied classical percussionYouth Orchestra of the Americas – Continental ensemble Patricia joined at age seventeenCollaborators and Ensemble MembersSylvie Courvoisier, pianistMiles Okazaki, guitaristKim Cass, bassistJohn Hollenbeck, drummer and composerKyle Armbrust, violistArktureye (Noel Brennan) – Electronic musician and Patricia's duo partner in MOCHEli Greenhoe, conductorMusical Influences and ReferencesKeiko Abe – Japanese marimbist who transformed the instrumentRadiohead – In RainbowsErik Satie – "Gnossienne No. 1"Glenn Gould performing BachPhilip Glass – String QuartetsGyörgy Ligeti – AtmosphèresGrachan Moncur III – Evolution featuring Bobby HutchersonKid Koala – Canadian turntablistEighth Blackbird – Contemporary chamber music ensembleFania All-Stars – Legendary salsa supergroupComposers MentionedTōru Takemitsu – Japanese composerIannis Xenakis – Greek-French composerKarlheinz Stockhausen – German composerEdgard Varèse – French-American composerJohn Cage – American experimental composerSteve Reich – American minimalist composerDavid Lang – Pulitzer Prize-winning composer, Bang on a Can co-founderAstronomical ReferencesAndromeda Galaxy (M31) – Nearest major galaxy to the Milky WayCircle of fifths – Music theory concept used in Patricia's compositional systemConstellation guide – Reference for the star patterns inspiring the albumNASA's Sounds of Space – Astronomical recordings translated into audio– Dig into this episode's complete show notes at podcast.thetonearm.com– • Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.