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How much can you change a melody before it becomes something else? Palestinian-American violinist and composer Akram Abdulfattah joins me to explore a tradition in which variation is part of learning the tune from the start. Recorded at WOMEX in Finland in 2025, this conversation comes with plenty of violin demonstrations. Akram explains why a maqam is more than a scale, introduces the expressive possibilities between familiar notes, and shows how a phrase can take a different route each time it is played. His six-string violin extends into an unusually low register. We hear what those extra strings make possible, how they change the physical experience of playing, and why the instrument can sound so close to a human voice. There is an original solo performance along the way. We also talk about learning musical rules and finding freedom within them, Arabic roots and wider influences, and the pleasure of hearing a familiar melody change without losing its identity. Towards the end, Akram reflects on music, family and his Palestinian-American identity, before we discuss the challenges of making a living as a musician and helping audiences discover something unfamiliar. IN THIS EPISODE 00:00 – Welcome to Origin 00:26 – Introducing Akram Abdulfattah 02:33 – Live at WOMEX 2025 03:11 – Meet Akram 04:28 – Arabic roots, many influences 06:33 – Maqam: more than a scale 08:19 – Tarab and musical feeling 09:07 – The notes between the notes 10:29 – Hearing microtones on violin 16:49 – Tradition and improvisation 19:18 – Never the same melody twice 22:57 – A six-string violin 27:33 – An original solo performance 30:04 – Why the violin sounds like a voice 33:28 – What is music for? 36:08 – Music and Palestinian-American identity 39:02 – Where is music heading? 42:11 – Becoming more adventurous listeners 44:11 – Tradition, innovation and what comes next 46:47 – Support the show WATCH & EXPLORE Akram Abdulfattah — official website Akram's music Akram's listening and social links MUSIC FROM THIS EPISODE Live excerpts from WOMEX 2025, an original solo composition and violin demonstrations by Akram Abdulfattah. MORE FROM ORIGIN OF THE PIECES Website — episodes, transcripts and mailing list YouTube Patreon If you enjoy the show, please share it with a friend or leave a rating or review. Stay musically curious. Hosted on Acast. See acast.com/privacy for more information.

How do you tell the entire history of music? If you're director and Cosmic Shambles co-founder Trent Burton, apparently you start with the Big Bang, interview more than 100 people around the world, and emerge four-and-a-half years later with a nine-part, 10.5-hour documentary. This week I'm joined by Trent to talk about For the Record: An Incomplete History of Music, the enormous new series presented by Charlotte Ritchie, which travels from the origins of sound and the earliest music through notation, recording, jazz, rave culture, streaming and AI. I've been deeply embedded in the project myself as music consultant and mix engineer, so this conversation quickly expands beyond the making of the documentary into some of the questions it raises. How do you tell music history when music doesn't evolve in a straight line? What gets lost when oral traditions become notation — or performances become definitive recordings? And what happens to music when a machine can generate it on demand? We get into live performance, improvisation, rave culture, cultural exchange and appropriation, active listening, the economics of grassroots live music, Robert Smith's battle with ticket pricing, and why a 10.5-hour independent music documentary may make more sense on YouTube than on broadcast television. Midway through, there's some actual music too: an excerpt from Slack Tide, my piece for violinist Harriet Mackenzie and me, premiered at First Light Festival 2026 and based on the tidal cycle of the Suffolk coast. IN THIS EPISODE 00:00 – Welcome back and introducing For the Record 02:30 – Trent Burton, Cosmic Shambles and how the project began 06:00 – How 90 minutes became nine episodes and 614 minutes 09:00 – The impossible problem of structuring music history 14:10 – Notation, oral traditions and writing music down 21:30 – Recording and the invention of the “definitive” version 24:30 – AI, commodification and the future of live music 31:00 – Electronic music, improvisation and musical jeopardy 37:00 – Music, humanity, grief and why sound can make us cry 44:00 – Musical interlude: Harriet Mackenzie and Slack Tide 48:40 – Active listening and learning how to hear unfamiliar music 52:00 – Cultural appropriation, exchange and context 59:30 – AI, commercial music and making a living 1:01:30 – The crisis in grassroots live music 1:04:10 – Robert Smith, The Cure and affordable tickets 1:05:45 – Why For the Record is on YouTube rather than TV 1:12:55 – What is the point of music? 1:14:00 – How is music evolving? 1:18:35 – The musical moments that weren't meant to happen WATCH & EXPLORE For the Record: An Incomplete History of Music https://cosmicshambles.com/fortherecord/ Cosmic Shambles https://cosmicshambles.com/ MUSIC FROM THIS EPISODE Slack Tide – Steve Pretty & Harriet Mackenzie https://youtu.be/1c9Urm13Ahw The Lark Ascending – Steve Pretty & Harriet Mackenzie https://youtu.be/ANBH_a-MPs8 Shells & Bells – Steve Pretty & Jason Singh https://youtu.be/qCNOWeMf6pI MORE FROM ORIGIN OF THE PIECES Website – episodes, transcripts and mailing list https://www.originofthepieces.com/ YouTube https://youtube.com/@StevePretty Patreon https://www.patreon.com/StevePrettyOnTheOriginofthePieces If you enjoyed this episode, following the show, rating it or sharing it with another musically curious person makes a real difference. Stay musically curious. Hosted on Acast. See acast.com/privacy for more information.

This week, I’m joined by bass Barnaby Rea for a longer-than-usual opera special I mean if we're doing opera, we've gotta go long, right?!), recorded backstage at the Royal Opera House, London. Barnaby is a British/Irish bass who trained at the Guildhall School of Music & Drama and the National Opera Studio. He was a Harewood Artist at English National Opera and a member of the Oper Frankfurt solo ensemble. He has also appeared with companies including the Royal Opera House, Deutsche Oper Berlin, Zurich Opera, Teatro Real, Opéra de Lyon, Scottish Opera and Opera North. We recorded this while Barnaby was performing Doctor Grenvil in Verdi’s La traviata, in Richard Eyre’s long-running Royal Opera production. This episode was also partly inspired by a recent visit to Milan and the extraordinary Teatro alla Scala, which got me thinking about opera not just as music, but as architecture, social ritual, commerce, class, spectacle and power. So this is partly a conversation about opera singing, partly a look at the machinery of a major opera house, and partly an attempt to understand why opera can feel both thrillingly immediate and socially intimidating. We talk about opera vs musical theatre, why singers train for so long, how a voice can fill a huge theatre without amplification, what “placement” and resonance mean, and why vibrato is not just decorative wobbling. We also get into opera’s social context: boxes, gods, stalls, ticket prices, access, prestige, and whether opera’s elitist reputation is entirely fair. There’s also a wider reflection on live music now: why huge arena shows can dominate the public story of the music industry while smaller venues, grassroots promoters, festivals and independent musicians are struggling. This is a longer episode than usual, but that feels fitting for opera: there is a lot of voice, history, scale and backstage machinery to get into. In this episode00:00 – Steve introduces the opera special, Barnaby Rea, the Royal Opera House and the Milan / La Scala inspiration01:35 – Barnaby’s route into opera: school swing band, musical theatre, Sweeney Todd, Guys and Dolls and early training07:30 – Guildhall, opera school, learning the craft, and why opera takes so long to train for properly12:30 – Singing in different languages and understanding what you are actually saying15:40 – Opera vs musical theatre: amplification, stamina, acting, dancing and vocal demands20:45 – Inside the Royal Opera House: backstage scale, sets, docks, ballet and multiple productions24:45 – La Scala, opera boxes, social hierarchy, standing tickets and opera as mass entertainment30:05 – Arena economics, struggling grassroots venues, festivals and why smaller gigs matter36:50 – Is opera elitist? Ticket prices, access, class, prestige and opera culture in Europe42:35 – Entertaining Noises: Barnaby demonstrates the bass voice43:00 – Breath, resonance, placement, formant, range and preparing different roles50:15 – Show days, double casting, vocal recovery, travel, jump-ins and the pressure of saying yes55:00 – Berg, volume, singing without microphones, working with the room, and breathing with the orchestra01:00:30 – Vibrato: what it is, why it exists, and why it is not just decorative wobbling01:03:10 – Steve attempts a brief opera lesson01:07:40 – Learning roles, memory, punctuality, preparation and what performers can control01:12:45 – What is music for? Barnaby on release, escape, connection and performance01:15:50 – Music as personal soundtrack, film scoring, galleries, headphones and emotional recontextualising01:16:40 – Barnaby’s links, La traviata and walking into productions with decades of history01:18:35 – Outro: Peter Grimes, Wilton’s Music Hall, Ocean Songs, the website and what’s coming nextGuestFind Barnaby Rea at barnabyrea.com and on Instagram at @barnabyrea_bass. Support the show on Patreon: patreon.com/StevePrettyOnTheOriginofthePieces Stay musically curious! Hosted on Acast. See acast.com/privacy for more information.

A collaboration with What We Did Before on the deep history of music, from prehistoric instruments and ritual to place, technology and AI.  A slightly different episode this time. Instead of the usual format, I’m sharing an interview I did for the excellent podcast What We Did Before. This particular episode, Before Music: Cave Rituals and Ancient Instruments | Steve Pretty explores where music may have come from, what it might have looked and sounded like before recorded history, and what those origins can still tell us now.  We get into prehistoric conch shells and bone flutes, the role of ritual, why location and environment matter to how music develops, and how some of those ancient questions suddenly loop back round when you start thinking about AI-generated music. In other words: caves, culture, creativity, and the usual big weird human questions.  I also mention a couple of live dates at the top of the episode. Ocean Songs is at East Point Pavilion in Lowestoft on Saturday 21st March, and the album launch is at Theatreship in London on Tuesday 24th March. My next live edition of Steve Pretty On the Origin of the Pieces is at Wilton’s Music Hall on Tuesday 19th May, featuring Jim Bob.  In this episode a collaboration with What We Did Beforewhere music may have come fromprehistoric instruments, including conch shells and bone flutesmusic, ritual and early human culturewhy place and environment shape musical traditionssome thoughts on AI and what it means for music now  Also mentioned Ocean Songs at East Point Pavilion, 21st MarchOcean Songs album launch at Theatreship, 24th MarchSteve Pretty On the Origin of the Pieces live at Wilton’s Music Hall, 19th May Hosted on Acast. See acast.com/privacy for more information.

In this episode, I’m dedicating the show to Nathaniel Dye — musician, music teacher, brass band obsessive, ultramarathon runner, and one of the most quietly extraordinary people I’ve met. We begin with Nat performing his song “Public Service Announcement” (recorded live at my Wilton’s Music Hall show in November 2024) — a funny, furious, razor-sharp call to take bowel cancer symptoms seriously. Nat sadly died recently from complications related to bowel cancer. This episode is part tribute, part replay, part attempt to hold onto the actual substance of what he stood for: making things, teaching people, and choosing music — not as escapism, but as a meaningful way to use the time you’ve got. You’ll also hear excerpts from my “Listen like a musician” series, and then a replay of my earlier interview with Nat (from Episode 10), where he talks about his diagnosis, his fundraising, his trombone marathon plans, and what music became for him after everything changed. In this episode Nat’s live performance of “Public Service Announcement” Why he threw himself back into teaching and music-making after treatment The story behind Bowel Cancer Bucket List and the fundraising workA replay of our earlier chat: music, mortality, and doing the thing anywayThe episode outro: Nat’s music, accompanied by bass/tuba greats Guy Pratt and Theon Cross  Links & references Bowel Cancer Bucket List (Nat’s site + donation links): bowelcancerbucketlist.comMatters of Life and Death (album page): Bowel Cancer Bucket List – album page Matters of Life and Death (Spotify): Spotify album link“Public Service Announcement” (Spotify track): Spotify track linkDonate to Macmillan Cancer Support: Macmillan donation page Guy Pratt: guypratt.comTheon Cross who appears in Nat's closing song too: theoncross.com  Stay musically curious. Hosted on Acast. See acast.com/privacy for more information.

Episode 37 - A clap, a Slap and a Stomp What actually is musical time? In this episode, Steve kicks off 2026 with the first four days of his “12 Days of Listening” mini-series — all about pulse, groove, and how our brains latch onto patterns (sometimes to our advantage, sometimes not). Then we jump to Wilton’s Music Hall (January 2025) for a live guest spot from Aluá Nascimento — Brazilian percussionist, multi-instrumentalist, and former STOMP cast member — starting with a trumpet + pandeiro duet on “Brazil” and expanding into body percussion, Afro-Brazilian rhythm traditions, and the wonderfully low-tech joy of making music out of whatever’s around. Along the way, Aluá talks about growing up around capoeira, how culture and history shaped these sounds, and demonstrates instruments including berimbau (musical bow), caxixi (shaker), and pandeiro — with a bit of audience participation thrown in too. In this episode A practical listening upgrade: pulse vs rhythm (try it while walking)“The pocket”: groove as micro-timing, not just the patternWhy your brain is basically a pattern-hunting drummerShared time / entrainment: why humans sync up (and why it matters in music)Live at Wilton’s: trumpet + pandeiro on “Brazil”Aluá’s story: capoeira roots, Afro-Brazilian traditions, and the STOMP yearsInstruments you’ll hear: body percussion, pandeiro, berimbau, caxixi (and more) Find Aluá InstagramBeat Goes On (bio + workshops)Watch: Aluá Nascimento & Helene Jank – Body Music (YouTube) Also in this episode Steve mentions Episode 36 (breaking down how the My Friend Maisy theme was made)Wilton’s Music Hall shows: 24th January — kids/family show at 2pm, evening show at 7pm Support the show Explore episodes, transcripts, and more: originofthepieces.comJoin the Patreon: patreon.com/StevePrettyOnTheOriginofthePiecesIf you enjoyed this one, share it with a musically curious human (it helps more than you’d think) Stay musically curious! Hosted on Acast. See acast.com/privacy for more information.

From a Colombian ritual flute heard backstage at Oslo Mela to a children’s TV theme tune played on a London school playground, this episode explores why pentatonic scales turn up everywhere — and why they feel so immediately playable, memorable, and emotionally direct. Along the way, Steve unpacks the thinking behind the theme tune he wrote for My Friend Maisy (also available on NOW), based on the books by Lucy Cousins, and how five carefully chosen notes can shape an entire musical world. The episode takes a gentle detour into Colombian traditional music with a backstage conversation recorded in 2024 with El León Pardo of Mestizo Collective, exploring the gaita — a ritual wind instrument built around paired male and female voices, deep cultural symbolism, and tightly limited pitch material. That sound becomes a useful reference point for the episode’s main thread: how scales function less like theory and more like palettes of identity. Back in TV land, Steve breaks down the Maisy theme in detail, showing how pentatonic scales sit at the heart of children’s musical toys, playground instruments, and early musical experiences — and why avoiding semitone clashes makes music feel instantly safe, inclusive, and playable. Using live demonstrations, playground recordings, and some creative repitching in Melodyne, the episode shows how tiny changes to a scale can completely transform a melody’s emotional character. In this episode: • A backstage conversation with León Pardo about the Colombian gaita, its ritual use, construction, and sound-world. • How male and female gaita flutes are paired, and what that reveals about musical identity. • Why pentatonic scales appear in folk traditions, playground instruments, and children’s musical toys worldwide. • A breakdown of the theme tune Steve wrote for My Friend Maisy, based on the books by Lucy Cousins. • Why playground bells and boomwhackers are almost always pentatonic — and why that matters. • A live experiment repitching the Maisy theme into an Ethiopian-inflected pentatonic. • Why thinking of scales as identities or colour palettes can make musical listening feel less intimidating. Also in this episode, Steve reflects on why many people drift away from music when theory becomes detached from sound — and why listening itself is a learnable, creative skill, whether or not you play an instrument. Plus details of the upcoming Steve Pretty On the Origin of the Pieces live shows at Wilton’s Music Hall on 24th January, including the first ever Origin KIDS matinee at 2pm and the evening show at 7pm. Full details and tickets at originofthepieces.com/live. 🎧 Listen, rate and share to help more musically curious ears find the show. 💻 More episodes, transcripts, and extras at originofthepieces.com 🪶 Patreon: patreon.com/StevePrettyOnTheOriginofthePieces Stay musically curious. Hosted on Acast. See acast.com/privacy for more information.

From Addis to the Barbican and back again, this episode dives into the sound-world shaped by Mulatu Astatke — the father of Ethio jazz. With Mulatu having recently completed his farewell tour, Steve goes back to a long, previously-unreleased interview he recorded with him during the making of Hackney Colliery Band’s Collaborations: Volume One. What emerges is a portrait of a true pioneer: a composer trained in London and at Berklee, a collaborator with Duke Ellington, and the architect of a style heard across film soundtracks, samples and stages worldwide. Expect discussions of Ethio jazz’s roots in traditional modes and tribal instruments; a journey through pentatonic and diminished scales; and Mulatu’s deep reflections on African musical heritage and collaboration. There’s even a live extract of Derashe from HCB’s Barbican show — the tune he discusses in the interview. In this episode: • How Mulatu fused Ethiopian pentatonic traditions with jazz harmony and improvisation. • Why some Ethiopian tribes use diminished (whole–half) scales, and how that changes the emotional palette. • The story of Duke Ellington’s Jazz Ambassadors tour — and how Ellington ended up performing one of Mulatu’s arrangements in Addis. • The embilta, washint and other Ethiopian wind instruments that parallel trumpets, trombones and baritone sax. • The link between African “bush” instruments, mbira/“African piano” traditions, and Western harmonic thinking. • A rare 2018 interview captured at Livingston Studios during the HCB/Mulatu recording sessions. • A live performance of Derashe from the Barbican, featuring Hackney Colliery Band and Mulatu Astatke. Also in this episode, Steve welcomes listeners from the New Scientist Podcast and explores the science–music crossover behind shell acoustics, underwater sound, and the physics of musical evolution. Plus a reminder that the new Origin of the Pieces website now includes full transcripts, an interactive world-map archive of every episode, and a growing library of extras. And don’t miss the upcoming Wilton’s Music Hall shows on 24th January 2026, including the first ever Origin KIDS matinee at 2pm and the evening performance at 7pm. TICKETS. 🎧 Listen, rate and share to help more musically curious ears find the show. 💻 More episodes and extras at originofthepieces.com 🪶 Patreon: https://patreon.com/StevePrettyOnTheOriginofthePieces Hosted on Acast. See acast.com/privacy for more information.

From the high lonesome sound of Appalachia to the flow of a Bronx cipher, this episode explores what happens when two traditions of storytelling and rhythm collide. Recorded at the WOMEX 2024 world-music gathering in Finland, Steve talks with Gangstagrass — the trailblazing American group fusing bluegrass instrumentation with hip-hop lyricism and beats. Expect fiddles, banjo and beats; live sessions that blur the line between folk jam and freestyle; and a conversation about community, curiosity and the shared language of groove. There’s even a spontaneous rap about Origin of the Pieces and a bus-ride performance that somehow turned into a cipher on wheels. In this episode: How Gangstagrass blend banjo, fiddle and MCs without losing the soul of either style.Why hip-hop ciphers and bluegrass picks are closer than you might think.The jam session as a universal language — connecting folk musicians, rappers and improvisers worldwide.How genre boundaries were drawn by history, and how artists can redraw them.A stripped-back version of Do Better plus a freestyle that plugs their UK tour entirely in rhyme. Gangstagrass UK Tour — November 2025 Also in this episode, Steve launches the new Origin of the Pieces website — featuring full transcripts, an interactive world-map archive, the Darwin-trumpet T-shirt shop, and exclusive extras via Patreon. And don’t miss the upcoming Wilton’s Music Hall shows on 24 January 2026, including the first ever Origin KIDS matinee and an evening performance featuring new guests and experiments in sound. 🎧 Listen, rate and share to help more musically curious ears find the show. 💻 More episodes and extras at originofthepieces.com 🪶 Patreon: patreon.com/StevePrettyOnTheOriginofthePieces Hosted on Acast. See acast.com/privacy for more information.

From living-room experiments to Malawian street stages — and a brief stop-off in Transylvania. This week, Steve explores what it means to sing what you see: making music that’s spontaneous, handmade and gloriously human. There’s a Halloween detour into his live Nosferatu score, a new Clip n Mix, and a look at the brilliant Madalitso Band from Malawi — two musicians whose home-built instruments and hypnotic grooves turn simplicity into joy. Plus: the mystery of a slightly windy theme tune proves that accidents can be the best kind of inspiration. 👇 Full timestamps + links below! ⏱️ Chapters 00:00 – A suspiciously familiar theme 02:30 – Living-room experiments & musical accidents 06:40 – Clip n Mix – turning everyday sounds into music 10:45 – Vampire Vamps: Nosferatu score (watch) 16:30 – Introducing Madalitso Band (Malawi) 22:00 – Homemade instruments & street recordings 32:00 – Singing what you see 44:30 – Finding beauty in simple sounds 55:20 – Wilton’s shows, Patreon & Universe of Music tour 🔗 Links & Extras 🎧 Listen / Watch YouTube | Apple Podcasts | More platforms 🎬 Nosferatu live score → Full video 🎛 Support / Extras → Patreon 🪐 Universe of Music Tour (with Chris Lintott) Corsham (20 Nov) | Cambridge (27 Nov) | Shoreham-by-Sea (15 Jan) 🎟 Full info → universeofmusic.co.uk 🎟️ Live at Wilton’s Music Hall – 24 Jan 2026 👨‍👩‍👧‍👦 KIDS matinee (2 pm) – interactive family show 🌙 Evening show (7 pm) – live podcast with guests & musical surprises 💸 Code SPRETTY15 = £15 best available seats Book Kids | Book Evening 💬 Got a weird sound you’d like Steve to turn into music? Email [email protected] or comment with #ClipnMix. 🙌 Like, subscribe & stay musically curious. Hosted on Acast. See acast.com/privacy for more information.

⚠️ Note: This is a re-upload The original episode was taken down due to a copyright strike on the theme tune — even though I wrote and produced it myself. While I sort that out, you’re treated to a gloriously bad placeholder version. Also, I’ve trimmed down the Clip n Mix segment — I was clearly having too much fun with firepits last time, and it got a bit… indulgent. This one gets to the good stuff faster. 🔥 Can you make music from a campsite firepit? And what is Tonás — the raw, unaccompanied flamenco style with roots in secrecy, survival, and soul? In this episode, I launch a new segment called Clip n Mix, where I turn everyday sounds into music. This time? A campsite firepit. My son and I hit it with sticks, sample it using Ableton Note, and turn it into a crunchy little beat — which you’ll hear later in the episode. Then we dive into one of flamenco’s most haunting styles: Tonás. My guest is the brilliant Josie Sinnadurai, a flamenco dancer based in Seville, who helps unpack the history, sound, and emotional depth of this unaccompanied vocal tradition. 👇 Full chapters and links below! ⏱️ Chapters 00:00 – Intro + why the theme tune sounds different 02:20 – Clip n Mix: sampling a firepit in Dorset 09:45 – What is Tonás? 10:20 – Interview with Josie Sinnadurai 34:50 – Why I didn’t make a Tonás track 35:20 – Turning firepit samples into music 49:15 – Sound, play, and curiosity 54:25 – Live shows + Patreon + sign-off 🔗 Links 🎬 Watch the Tonás video: https://www.youtube.com/watch?v=X7vpU5zLl-A 👣 Follow Josie Sinnadurai: Website: https://www.josielaurelflamenco.com/ Instagram: @josie_sinna 📱 Try Ableton Note (free app): iOS: https://apps.apple.com/app/ableton-note/id1611814758 Android: https://play.google.com/store/apps/details?id=com.ableton.note 🎧 Download the firepit samples + Ableton Note session: https://www.patreon.com/StevePrettyOnTheOriginofthePieces 🎟️ Live at Wilton’s Music Hall – 24th Jan 2026 👨‍👩‍👧‍👦 Kids show (2pm): https://wiltons.org.uk/whats-on/steve-pretty-and-friends-on-the-origin-of-the-pieces-kids/ 🌙 Evening show (7pm): https://wiltons.org.uk/whats-on/steve-pretty-and-friends-on-the-origin-of-the-pieces-2/ 💬 Got a weird sound you’d like me to turn into music? Drop it in the comments or email [email protected] Hosted on Acast. See acast.com/privacy for more information.

What can a lump of whale earwax tell us about human history? What does the end of the universe sound like? And how do you play the sea like a synthesiser? This episode of Steve Pretty On The Origin of the Pieces goes from marine mammal physiology to cosmological heat death, taking in hydrophones, cultural transmission in humpbacks, the physics of underwater sound, and an improvised trumpet elegy for the end of everything. My guests are: Chris Lintott – astrophysicist, broadcaster, and co‑host of The Sky at Night. We open with a live extract from our Universe of Music show, performed at Gresham College — exploring what sound and music can tell us about the ultimate fate of the cosmos.Richard Sabin – whale expert and lead curator of mammals at the Natural History Museum, who shares sonic insights from the deep — including how 150 years of whale earwax is helping scientists track stress in marine life. We also: Hear vintage 78 rpm whale recordings, played on a £60k system at Audio GoldUse filters to “play the sea” like a scaleDrop a hydrophone into a water tank and see how sound behavesDiscuss echolocation, underwater acoustic pollution, and whale “culture”Recreate underwater acoustic effects via processing and pitch shiftingReflect on what it means to really listen — to whales or the cosmos Recorded live at the brilliant First Light Festival in a sweltering tent by the sea (thanks again to them for hosting us). 🧠 Bonus content 🎥 The full, uncut interview with Richard Sabin — including audience Q&A and extended hydrophone demos — is available on Patreon. 👯 Mentioned in this episode Sonic Collaborations – project by Colin Riley & teamAudio Gold – London hi‑fi / vinyl emporiumNatural History MuseumFirst Light FestivalChris Lintott 💌 How to support the show Join the mailing list: www.originofthepieces.comBecome a patron: patreon.com/StevePrettyOnTheOriginofthePiecesShare with a musically curious friendRate & review on Apple or Spotify — it genuinely helps 🎧 Hosted on Acast. See acast.com/privacy for more information.

This week I speak to Kassandra e’Silva, a saxophonist, improviser and NHS music therapist. We caught up just before a gig at the Edinburgh Jazz Festival to talk about the power of music in care settings — from dementia wards and mental health clinics to the BBQ playlist at home. We cover: Baby‑wearing during soundcheck 👶Pre‑verbal communication in musicClinical improvisation and jazzWhether all music is a kind of therapyAnd why rhythm might be the most important bit — ⏱️ Highlights 00:00 – Intro – ALSO Festival, Nosferatu live score, and a conch bath update 03:00 – Edinburgh Jazz Festival – A tribute to The Jazz Bar and Bill Kyle 08:30 – Interview with Kassandra e’Silva – Backstage at the Spiegeltent 10:00 – What music therapy is – Presence, trauma, and non-verbal expression 13:30 – Lighting up the brain – Music as reconnection 16:00 – Music at both ends of life – Parenting and dementia 20:00 – Letting go of ‘good’ music – From jazz standards to egg shakers 23:10 – Rhythm as anchor – Repetition, stability, and mental health 25:40 – Creative expression – Instruments, blocks, and tambo-responsiveness 29:40 – Teaching vs therapy – When learning becomes part of healing 31:40 – Improvisation as diagnostic mirror – Sound as resistance 34:40 – Participation matters – Why passive listening isn’t enough 36:10 – What’s the point of music? – A beautiful closing answer — 🎶 Check out Resounding, co-written with Nicole Cassandra Smit, on Hackney Colliery Band – Collaborations: Volume Two 👉 Listen on Bandcamp — 💬 Resource: Music in Dementia (NHS Lothian) Kassandra helped develop this practical guide for carers, families and practitioners. Includes activity ideas, playlists, and real examples from NHS care. 🎵 Explore the guide Note: Kassandra’s views are her own, not those of NHS Lothian. — 🎧 Support the show: 💌 originofthepieces.com ☕ patreon.com/StevePrettyOnTheOriginofthePieces #musictherapy #jazz #musicanddementia #improvisation #originofthepieces #kassandraesilva #stevepretty Hosted on Acast. See acast.com/privacy for more information.

This week, Steve shares a powerful, surprising, and often jaw-dropping conversation with musician, composer and activist Jono Enser. Jono is a gifted multi-instrumentalist and a member of Nubiyan Twist, but he’s also a disabled artist whose recent experiences as an amputee have sparked a radical rethinking of performance, access, and the body as instrument — quite literally. Together, they explore: The challenges and realities of touring as a disabled musicianHow venue design (or lack of it) creates systemic barriers to inclusionThe radical creativity of reclaiming trauma — including Jono’s current project turning his amputated leg bone into a working fluteMusical ancestors: from Neanderthal bone flutes to Tibetan thighbone trumpetsWhy accessibility isn’t just a bolt-on feature — it’s a cultural responsibilityAnd what it means to give your pain a voice, breath, and song Plus, Steve shares a clip from his Ocean Songs sunrise performance at Benacre Broad — part of his work with the Blue Machine project, inspired by Dr. Helen Czerski’s oceanography book of the same name. There’s a lot packed in here, and it’s one of the most wide-ranging and deeply personal episodes yet. 🎟 Jono’s band Nubiyan Twist are touring this summer – check them out. 🎶 His solo project Matters Unknown is also worth diving into. 🎤 Steve is performing live at ALSO Festival and on July 11th at the National Maritime Museum with Blue Machine – see originofthepieces.com for details. — 🧡 Support the podcast and get exclusive content at: patreon.com/StevePrettyOnTheOriginofthePieces 🎧 Listen, watch, share and review: it all helps the podcast grow. 📍 More info at originofthepieces.com 00:00 – Welcome back + Acid Brass recap Steve introduces the episode and reflects on his recent chat with Jeremy Deller. 02:00 – Meet Jono Enser Jono’s musical upbringing, his shift from trumpet to tuba, and the spiritual resonance of breath. 07:00 – Life as a touring amputee The hidden and not-so-hidden barriers for disabled musicians on the road. 10:00 – Access is everywhere (or isn’t) From venue layouts to door weights and bar heights — access means more than ramps. 14:00 – What artists and venues can actually do Practical steps, responsibility, and why checking access before the gig matters. 18:00 – Ocean Songs interlude Steve shares a clip from his beachside dawn performance as part of the Blue Machine project. 23:00 – A flute made from his own amputated leg Jono’s extraordinary project connecting trauma, ancestry, and sonic experimentation. 28:00 – Resonance, ritual, and reclaiming space Caves, Ambisonics, somatic practice and ecological listening. 32:00 – Music as breath and transformation Why giving pain a voice — literally — matters. 36:00 – What’s the point of music? Jono’s heartfelt answer to Steve’s recurring question. 40:00 – Wrap-up and upcoming gigs Tour dates, ALSO Festival, and National Maritime Museum performance previews. Hosted on Acast. See acast.com/privacy for more information.

❤️ Support the show on Patreon: http://www.patreon.com/StevePrettyOnTheOriginofthePieces 📬 Join the mailing list + explore the archive: https://www.originofthepieces.com Welcome back to your favourite podcast for musically curious ears! This week, I’m talking to the brilliant Jeremy Deller, Turner Prize-winning artist and creator of the now-legendary Acid Brass project — a bold collision of working-class brass band tradition and squelchy late-80s acid house. Join us as we trace the unexpected cultural connections between miners’ strikes, 303s, and knitting in the front row… ⏱️ Chapters and Highlights: 00:00 – Welcome and new format intro Steve explains the new single-topic format and introduces today’s guest, Jeremy Deller. 02:00 – The story of Acid Brass From a Turner Prize idea to a 30-year legacy: how Jeremy connected acid house and brass bands. 05:00 – Why it inspired Hackney Colliery Band Steve reflects on how Acid Brass shaped his own journey. 07:00 – Interview Pt. 1: Backstage at rehearsal Jeremy and Steve discuss working-class music, the politics of sound, and whether acid house is “folk.” 14:00 – What’s a 303, anyway? Steve demos the iconic Roland TB-303 and compares it to traditional brass. 17:00 – Interview Pt. 2: Deeper dive Jeremy reflects on his artistic intentions, early audience reactions, and the cultural fallout. 29:00 – The knitting incident Yes, really. Knitting, brass bands and acid house. Who'd have thought? 32:00 – Musical roles and expectations Steve discusses how Acid Brass plays with what music is for. 33:00 – The Big Question: What’s the point of music? Jeremy shares his thoughts on connection, spirit, and why most artists are just frustrated musicians. 36:00 – Outro and rehearsal teaser Steve wraps up and previews an exclusive clip from the Acid Brass rehearsal at EartH Hackney. 🎟️ Event Promo (if catching in time!) Catch Acid Brass live at EartH Hackney on 13th June 2025, followed by a late-night party with acid house pioneer A Guy Called Gerald. Limited tickets available! 🎟️ Check ticket availability 🎥 Video extras & behind-the-scenes at: Patreon.com/StevePrettyOnTheOriginofthePieces Hosted on Acast. See acast.com/privacy for more information.