Explore every episode of the podcast Close Enough for Jazz
| Title | Pub. Date | Duration | |
|---|---|---|---|
| Scat Singing, Physics, and Getting Roasted by Jazz Times with Lorin Benedict | 29 Oct 2026 | 01:04:57 | |
We sit down with scat singer and physicist Lorin Benedict to explore his highly unique vocal improvisations and what it’s like to start a serious music career at age 31. Lorin explains the extra-musical origins of his nonsense-syllable language and why he treats his voice like a horn, drawing inspiration from instrumental giants. He shares hilarious insights into his own self-awareness, discussing why he proudly displays a negative Jazz Times review on his website, and reflects on how his intense listening habits were shaped by a childhood surrounded by Cleveland Orchestra musicians. We also dive into how Steve Coleman convinced him to jump into the scene, his collaborations with Kim Cass and Louis Cole's Knower, the parallels between physics and music, and his upcoming duo albums with Anthony Fung and Caroline Davis. Timestamps:
BIRCH GROVE MEDIA
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| Book Review: Nik Bärtsch on Aikido, Ritual Groove Music, and "Zen Beginner's Mind" | 22 Oct 2026 | 00:48:35 | |
We take a break from our regular programming for a deep exploration into the fascinating world of Swiss pianist, composer, and "cultural entrepreneur" Nik Bärtsch. In this episode, Lindsay reviews his conceptual book, Listening: Music, Movement, Mind, co-authored with his wife Andrea Pfisterer (a fourth Dan Aikido teacher and biologist). We explore the profound intersections between music, martial arts, and nature, breaking down Bärtsch’s concept of "Ritual Groove Music" and how he translates the "Zen beginner's mind" into his compositional process. We also look at the history of his long-running Swiss ensembles, Mobile and Ronin, and his dedication to building community through open-house Monday hangs and the long-running "Montags" concert series in Zurich. You can purchase Nik Bärtsch's book directly at: https://www.nikbaertsch.com/ *Note: Birch Grove Media is not sponsored by the artist or their book sales- we just really like their work and want to share! Chapter Timestamps: 00:00 - Intro: Finding books at the Berklee College of Music and Big Ears Festival 01:08 - Reviewing Nik Bärtsch's Listening: Music, Movement, Mind 08:56 - Who is Nik Bärtsch? (Ronin, Mobile, and "Cultural Entrepreneurship") 14:06 - "Ritual Groove Music": Stravinsky, Morton Feldman, and James Brown 18:02 - The "Zen Beginner's Mind" and the concept of Effortless Mastery 19:17 - How Aikido relates to live musical performance 33:02 - Listening vs. Hearing and Joe Zawinul's boxing routine 36:23 - Treating musical practice and rhythm like martial arts katas 41:50 - Community building: Open house Mondays, the Montags series, and EXIL BIRCH GROVE MEDIA
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| A Rare Matt Brewer Recording and the Warehouse Sound of ShapeShifter Lab | 15 Oct 2026 | 00:54:04 | |
We open the vault for another installment of our Blind Pig series, traveling back to October 16, 2014, for a rare bootleg of Matt Brewer's group Mythology live at ShapeShifter Lab in Gowanus, Brooklyn. In this episode, we revisit the night of Brewer's record release gig and analyze how the live quintet lineup—featuring Brewer on bass, Steve Lehman on alto, Mark Shim on tenor, David Virelles on piano, and Gerald Cleaver on drums—delivered a raw, guitar-less take on the compositions from his debut album as a leader. We explore the unique acoustic environment of ShapeShifter Lab, founded by Matthew Garrison and Fortuna Sung, and break down the enduring musical rapport between Lehman and Shim. We also unpack what the band members were releasing in 2014, including Steve Lehman's Mise en Abîme, David Virelles' Mbókò, and Gerald Cleaver's work with Farmers by Nature. Note: Birch Grove Media does not claim ownership of these performances or musical works, and is not monetizing this episode. This is shared purely for educational and archival appreciation. Chapter Timestamps:
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| Why Physical Media Matters and the NYC DIY Scene with James Paul Nadien | 08 Oct 2026 | 00:58:29 | |
We sit down with incredibly prolific drummer James Paul Nadien to explore his packed gig schedule, ranging from free improvisation and brutal death metal to holding down the drum chair for The Flying Luttenbachers. James talks about his recent trip to China playing the Tomorrow Festival with Weasel Walter, detailing the stressful visa process and the dedicated audience waiting for them in Shenzhen. We go deep into his thoughts on the "uncanny valley" effect of hearing AI-generated music, and why he believes physical media like CDs and cassettes are essential, tangible tools for unplugging from social media addiction. We also compare the legendary Brooklyn loft party scenes of the 2000s to today's fleeting DIY venues, reflect on the appeal of the current Berlin jazz scene, and explore how James adapts his playing style for everything from acoustic string groups to tracking at the historic Rudy Van Gelder Studios. Chapter Timestamps:
BIRCH GROVE MEDIA
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| Combating Writer’s Block, Composing for Big Bands, and Extended Techniques with Anna Webber | 01 Oct 2026 | 00:41:44 | |
We sit down with composer and saxophonist Anna Webber to explore her disciplined compositional process and look ahead to her upcoming nonet album, It's Easier to Imagine the End of the World. Anna explains how she maintains a daily composition practice by avoiding time crunches, relying on pencil and paper, and utilizing "rogue cop police walls" to combat writer's block. We dive into her strategies for writing difficult "etudes" designed to challenge heavy-hitting musicians, and the financial realities of co-leading a big band with Angela Morris. We also reflect on her time studying in Berlin with John Hollenbeck and how she integrates extended techniques and microtonality into her work. Finally, she previews her upcoming nonet release, inspired by the writings of Noam Chomsky, Angela Davis, and Naomi Klein as a hopeful response to late-stage capitalism. Note: Birch Grove Media does not own the recordings featured in this episode. Timestamps: 01:47 - Developing a daily, disciplined compositional process 05:14 - The benefits of writing slowly without time crunches 07:05 - Composing with pencil and paper vs. the computer 10:07 - Strategies for breaking out of writer's block 14:42 - Studying in Berlin with John Hollenbeck 17:39 - The financial realities of co-leading a big band with Angela Morris 23:21 - Finding inspiration in extended techniques and microtonality 28:52 - Navigating misogyny and the "boys club" mentality in jazz education 36:08 - Previewing her upcoming nonet release, It's Easier to Imagine the End of the World BIRCH GROVE MEDIA Web: birchgrove.io Follow us: @birch.grove.media on Instagram. Watch on YouTube: youtube.com/@BirchGroveMedia Get the Record: Shop our current 180g LP and digital releases on our website. Rate and review us on Apple Podcasts or Spotify. Hosted on Acast. See acast.com/privacy for more information. | |||
| Pure Improvisation, the Denver Jazz Scene, and Turning Off the Inner Critic with Kenny Warren | 24 Sep 2026 | 00:53:39 | |
We sit down with trumpeter Kenny Warren to explore the boundless possibilities of modern improvisation and the magic of trusting your instincts on the bandstand. Kenny opens up about his deep connection to free improvisation, describing it as a childlike state of uninhibited play, and details how he turns off his "inner critic" during esoteric sessions. We reflect on his formative years in the Denver scene with the legendary Ron Miles, his "jazz prog rock" roots with JP Schlegelmilch, and the collaborative strength of their current project, Slow Tiger. Kenny also shares his thoughts on the process of mixing and editing albums—comparing psychedelic post-production to a David Lynch film—and discusses how he adapts his compositions when writing for his Sweet World trio. Note: Birch Grove Media does not own the recordings featured in this episode. Catch the Slow Tiger album release gig at Three's Brewing on September 27th. Timestamps: 00:30 - Forming the Sweet World trio and adjusting to unique instrumentation 02:34 - The slippery slope of editing and mixing your own albums 07:59 - The "David Lynch" moments of psychedelic editing in jazz 08:37 - Taking inspiration from cellist Hank Roberts 09:29 - The magic of pure improvisation vs. playing written music on tour 17:32 - Navigating uninspired moments on the bandstand 19:57 - Trusting the process and turning off the "inner critic" 26:21 - Growing up in the Denver jazz scene with Ron Miles 30:35 - How to compose for specific musicians and adapting to line-up changes 42:09 - The history of Slow Tiger and taking inspiration from Sonic Youth 46:13 - Balancing the writing duties in a collective band 51:34 - Outro: Making new music with Tyler Gilmore and Carlo Costa BIRCH GROVE MEDIA Web: birchgrove.io Follow us: @birch.grove.media on Instagram. Watch on YouTube: youtube.com/@BirchGroveMedia Get the Record: Shop our current 180g LP and digital releases on our website. Rate and review us on Apple Podcasts or Spotify. Hosted on Acast. See acast.com/privacy for more information. | |||
| Revisiting the Golden Era of Williamsburg Jazz with the Alessi Quartet | 17 Sep 2026 | 00:47:21 | |
We open the vault for another installment of our Blind Pig series, traveling back 20 years to September 15, 2006, for a rare bootleg of the Ralph Alessi Quartet live at Layla Lounge. In this episode, we revisit a nostalgic set at the Williamsburg Jazz Festival featuring Ralph Alessi on trumpet, Brad Shepik on guitar, Scott Colley on bass, and a 26-year-old Tyshawn Sorey on drums. We reflect on the vibrant, pre-condo Brooklyn loft scene of the mid-2000s, exploring the history of lost venues and the grassroots origins of the Williamsburg Jazz Festival. We also unpack what these heavyweight musicians were up to in 2006, from Alessi’s School for Improvisational Music (SIM) to Brad Shepik’s Balkan folk-jazz integrations, while listening to the quartet's intense interplay over the ambient sounds of a Brooklyn hookah bar. Note: Birch Grove Media does not own the recordings featured in this episode. Timestamps: 00:25 - Introducing the Ralph Alessi Quartet bootleg from September 15, 2006 10:41 - Tyshawn Sorey’s dynamic playing and Brad Shepik's groovy soloing 12:33 - The aesthetic of Layla Lounge and mid-2000s Williamsburg 14:43 - The history of the Williamsburg Jazz Festival and the FONT festival 17:08 - Ben Neill's Mutantrumpet and other featured festival artists 27:53 - Hookah lounge acoustics and talking during the bass solo 30:30 - What Alessi, Shepik, and Colley were recording in 2006 32:58 - A 26-year-old Tyshawn Sorey touring with Steve Coleman 45:27 - "Allesorey": The intense duo interplay between Ralph and Tyshawn BIRCH GROVE MEDIA Web: birchgrove.io Follow us: @birch.grove.media on Instagram. Watch on YouTube: youtube.com/@BirchGroveMedia Get the Record: Shop our current 180g LP and digital releases on our website. Rate and review us on Apple Podcasts or Spotify. Hosted on Acast. See acast.com/privacy for more information. | |||
| Jazztronica, Dream Melodies, and The Big Machine with Aaron Burnett | 10 Sep 2026 | 00:45:44 | |
This episode features saxophonist Aaron Burnett to explore his evolution into "Jazztronica," discussing everything from auditioning for Wynton Marsalis over the phone to building a custom digital pedalboard in Ableton. We examine his unique compositional process, which he describes as "downloading" full melodies from his dreams—a method that helped him write his upcoming swinging, nostalgic album Archangel at just 21 years old. Aaron breaks down his boundary-pushing group The Big Machine and details his use of audio-to-MIDI pitch followers to manipulate his saxophone sound. We also discuss his experiences touring with powerhouse vocalists like Esperanza Spalding and Corinne Bailey Rae, including a nightmare scenario where an airline destroyed his baritone saxophone right before a week of gigs. Packed with stories about going viral with drum and bass remixes and shouting out the next generation of killer musicians, this episode covers the cutting edge of modern improvised music Note: Birch Grove Media does not own the recordings featured in this episode. Chapter Timestamps: 01:01 - The culture of sitting in on gigs and finding inspiration 05:22 - The Big Machine: Fusing modern classical, hard bop, and world music 07:11 - Creating "Jazztronica" with Ableton and audio-to-MIDI modules 12:19 - Branding the music and the upcoming Quantum Breaks project 16:37 - Bringing dance music back into the modern jazz ecosystem 17:27 - Taking inspration from Tyshawn Sorey, Morton Feldman, and Steve Coleman 21:53 - Going viral on social media with a drum and bass remix of "Countdown" 25:51 - Touring with Esperanza Spalding and Corinne Bailey Rae 28:43 - "Downloading" melodies from dreams and the upcoming Archangel album 31:38 - Auditioning for Wynton Marsalis over the phone with "Cherokee" 37:25 - Shouting out the next generation of killer jazz musicians 41:07 - Aaron's best gig ever: Roulette with Craig Taborn and Tyshawn Sorey 42:17 - The worst gig ever: Playing a European tour with a broken baritone saxophone BIRCH GROVE MEDIA Web: birchgrove.io Follow us: @birch.grove.media on Instagram. Watch on YouTube: youtube.com/@BirchGroveMedia Get the Record: Shop our current 180g LP and digital releases on our website. Rate and review us on Apple Podcasts or Spotify. AARON BURNETT https://www.instagram.com/aarondjuan/?hl=en https://aarondburnett.bandcamp.com/ https://soundcloud.com/aaron-burnett-music https://www.youtube.com/@aaronburnett476 Hosted on Acast. See acast.com/privacy for more information. | |||
| Inside the Mind of Chris Tordini: Upright Bass vs. Electric and Prioritizing Opportunities | 03 Sep 2026 | 00:57:16 | |
We sit down with highly in-demand bassist Chris Tordini to discuss his unique approach to the instrument, from his early days playing South Jersey bookstores to holding down the bass chair on Broadway. Chris shares the story of how he unexpectedly came to author two instructional books for Mel Bay, and why his early background in piano helped him seamlessly transition between guitar, electric bass, and upright bass. We talk about his formative years building a DIY jazz scene in South Jersey, how he navigates the New York gig economy using his trusty "two out of three" rule, and the realities of playing eight shows a week on Broadway's Hadestown. Chris also shares his strategies for staying grounded when playing with intense drummers—drawing inspiration from veteran bassist Drew Gress—and recounts a disastrous 2022 European tour featuring a flip-phone-wielding bandleader that taught him the ultimate lesson in trusting his gut. Note: Please go find and enjoy the music of Timo Vollbrecht, Marko Churnchetz, Alec Goldfarb, Chris Speed and Angelika Niescier. A few clips of their music were reposted in this episode. Birch Grove Media does not claim ownership of these performances or musical works, and is not monetizing this episode. This is shared purely for educational and archival appreciation. Chapter Timestamps:
BIRCH GROVE MEDIA
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| The Blind Pig Series - Bootleg from August 24, 2011 | 27 Aug 2026 | 00:37:33 | |
We open the vault for another installment of our Blind Pig series, traveling back to August 24, 2011, for a rare recording of the Steve Lehman Trio featuring Carlos Homs at The Stone. In this episode, we revisit a blazing set featuring Steve Lehman on alto, Carlos Homs on keys, Chris Tordini on bass, and Damion Reid on drums, listening to a massive wall-of-sound take on Jackie McLean's "Mr. E", a lightning-fast run of Lehman's original "Curse Fraction" and more. Beyond the music, we explore the history and rules of The Stone under John Zorn's direction, including the strict "no bathroom breaks" policy and the origin of its name . We also discuss the 2011 curator scene and note how this unique, one-off quartet served as an early preview for the Sélébéyone project, tracing the group's collaborative roots back to Andrew Carrico's 2008 New School senior recital. Note: Please go find and enjoy the music of Steve Lehman, Carlos Homs, Chris Tordini and Damion Reid. A few clips of their music were reposted in this episode. Birch Grove Media does not claim ownership of these performances or musical works, and is not monetizing this episode. This is shared purely for educational and archival appreciation. Chapter Timestamps: 00:00 - Intro: Someone has to... 01:15 - The Steve Lehman Trio featuring Carlos Homs at The Stone 08:42 - Listening to a burning take on Jackie McLean's "Mr. E" 10:05 - Discussing the infamous rules and history of The Stone 13:22 - The 2011 curator scene and Karl Berger's CMS workshops 23:06 - Carlos Homs floating over the top of Lehman's dense harmony 24:38 - What Tordini, Reid, and Homs were recording in 2011 27:08 - A preview of Sélébéyone and Andrew Carrico's 2008 senior recital 29:07 - A lightning-fast performance of "Curse Fraction" BIRCH GROVE MEDIA
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| Discovering Freedom in Frameworks and the Forgotten Borough with Julie Maniscalco | 20 Aug 2026 | 00:42:21 | |
Julie Maniscalco sits down to explore the logistical nightmares and creative triumphs of managing an 18-piece jazz orchestra in New York City. We discuss her writing process, contrasting the exposed nature of small group writing to the lush, vibrant colors of a big band, drawing on influences ranging from Tower of Power to Maria Schneider and Arturo O'Farrill. Julie shares the surreal experience of premiering three original pieces at Carnegie Hall—Songbird for Hoyt, Medusa, and Ripple Effect—and explains how writing within strict frameworks actually fuels her creativity. We also shine a spotlight on the often-overlooked Staten Island jazz scene, discussing her Outer Borough Project, the legendary Cargo Cafe, and local artist residencies at Snug Harbor. Finally, we look ahead to her upcoming Chamber Music America grant-funded dectet album, In Flux, slated for release in the summer of 2027. Timestamps:
BIRCH GROVE MEDIA
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| Water as a Muse, Augmented Bass, Sound Curtains and More with Pascal Niggenkemper | 13 Aug 2026 | 00:44:33 | |
We sit down with bassist and composer Pascal Niggenkemper to explore his fascinating approach to the "augmented bass" and look back on our early days together in the 2009 Brooklyn loft scene. Pascal explains how he uses external motors and octophonic settings to create an immersive, ASMR-like experience that places the listener directly inside the instrument. We then discuss his recent large-scale project, the Tuvalu Ensemble, commissioned for the SWR NEWJazz Meeting 2024, which featured eight musicians and a 360-degree audience experience surrounded by vibrating sound curtains. We also trace the recurring theme of water in his work, from his Astghik Waterfall Suite recorded in Armenia to his newest groove-heavy quartet album, The Ocean Within Us. Finally, we reflect on the grueling but foundational Brooklyn DIY circuit of the mid-2000s and reminisce about the recording for the upcoming Birch Grove Media release of Face's Fall 2009. Note: The Tuvalu excerpt mentioned in this episode can be found at https://www.swr.de/kultur/musik/swr-newjazz-meeting-2024-mit-bassist-pascal-niggenkemper-102.html. Chapters: 00:00 - Intro: The ASMR effect of the augmented bass 00:37 - Preparing the bass and using motors for sound 03:34 - Pascal's journey into non-standard bass techniques 08:14 - The SWR NEWJazz Meeting 2024 and the Tuvalu Ensemble 10:59 - Surrounding the audience with vibrating sound curtains 14:40 - Exploring the relationship between humans and nature through poetry 20:18 - The recurring theme of water in Pascal's compositions 23:36 - The Astghik Waterfall Suite and recording in Armenia 28:43 - Finding groove and pulse on the new album The Ocean Within Us 31:22 - Connecting with Gerald Cleaver, Liz Kosack, and Sakina Abdou 36:07 - Looking back on the 2006-2009 Brooklyn loft scene 39:50 - Meeting through Dimitri Mikelis and joining Alan's band, Face 42:46 - The upcoming Birch Grove Media Fall 2009 vinyl release BIRCH GROVE MEDIA
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| Anthropic, Media Destruction, and the Dystopian Future of Music AI | 06 Aug 2026 | 00:25:58 | |
We explore the dystopian reality of tech companies destroying physical media to train their AI models and what this terrifying trend could mean for the future of the music industry. In this episode, we discuss the alarming revelation that Anthropic, the company behind Claude, has been purchasing physical books, chopping off their spines, and destroying them to ingest their data. We examine the "first-sale doctrine" loophole, recent reports from 404 Media about bulk-buying pre-2022 literature, and Lindsay compares this aggressive consumption of physical history to the "firemen" in Ray Bradbury's Fahrenheit 451. Shifting to our own industry, we analyze the Capitol Records v. ReDigi case and theorize about a future where tech giants purchase classic music catalogs solely to train AI models to perfectly clone legendary artists. Special Note: All the musical excerpts in this episode are from Smirk's "Not Your Grandfather's Jazz" that can be found at birchgrove.io. Timestamps:
BIRCH GROVE MEDIA
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| The Disappearing Middle Class of Music Venues | 30 Jul 2026 | 00:36:46 | |
We record through a tornado warning to explore the global crisis facing live music venues, from the Live Nation antitrust lawsuit to the tragic closure of historic jazz clubs. In this episode, we break down the current state of music venues by analyzing the "ladder" of the live music industry. We discuss the recent Department of Justice antitrust ruling against Live Nation and Ticketmaster, before moving down the ladder to look at the devastating squeeze on mid-sized venues—the "missing middle"—and the recent closures of spaces like the Music Hall of Williamsburg, Highline Ballroom, and Stanhope House. Finally, we discuss the small-cap scene and legendary spots like the 55 Bar, Saint Vitus, and the Cotton Club. We also analyze new data on Gen Z's spending and drinking habits, noting a massive shift toward upscale, hybrid "treat yourself" venues and questioning how touring independent bands will survive without the traditional dive bar circuit. Timestamps:
BIRCH GROVE MEDIA
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| The Bling Pig Series - Bootleg from July 23, 2012 | 23 Jul 2026 | 00:29:49 | |
We open the vault for the second installment of our Blind Pig series, traveling back 14 years to July 23, 2012, for a rare bootleg recording of Nicolas Letman-Burtinovic's Bomb X. Captured on an iPod left on the floor of the Brooklyn venue Sycamore, this unreleased set features an incredible lineup with Michael Attias on saxophone, Art Hirahara on piano, and Tyshawn Sorey on drums. We unpack the context of this performance—which shared a bill with Alan's band, Smirk—and reflect on what these heavyweights were up to in 2012, from Letman-Burtinovic's extended arco techniques to Tyshawn Sorey's prestigious ICE fellowship. Note: Please go find and enjoy the music of Nicolas Letman-Burtinovic, Michael Attias, Art Hirahara and Tyshawn Sorey. A few clips of their music were reposted in this episode. Birch Grove Media does not claim ownership of these performances or musical works, and is not monetizing this episode. This is shared purely for educational and archival appreciation. Timestamps:
BIRCH GROVE MEDIA
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| Face’s Upcoming Album and the Glory Days of the Bushwick Loft Scene | 16 Jul 2026 | 00:20:37 | |
We step back to the gritty 2009 Brooklyn loft scene to announce the upcoming Birch Grove Media vinyl release of Fall 2009 by Alan's acoustic avant-garde band, Face. In this episode, we explore the origins of the group, tracking their evolution from high school friendships to playing lost Brooklyn venues like Goodbye Blue Monday and Evening Time Place. Alan breaks down the cast of characters, including the late Andrew Carrico, David Schnug, Pascal Niggenkemper, Cody Brown, and vocalist Matt Scollante—whose intense, yelling spoken-word performance at The Stone gave this album an explicit warning. We also take a clinical look at the realities of early DIY recording, with Alan explaining how he salvaged a highly flawed, 44.1kHz session recorded on cheap gear using modern audio plugins. Packed with stories about the "Almost V-Day Suite" and the parallel run of his electric band Smirk, this episode captures a definitive era of Brooklyn music ahead of the album's double vinyl release alongside Bear Skinner later this year. Timestamps: 00:00 - Intro: A yelling vocalist at The Stone 00:30 - Announcing the release of Face's Fall 2009 album 01:05 - The cast of characters: David Schnug, Pascal Niggenkemper, and more 02:00 - High school connections and moving to a Brooklyn Bedford Avenue apartment 03:45 - How the band's instrumentation evolved from the "Actually Actually" trio 05:27 - Remembering baritone saxophonist Andrew Carrico 06:43 - Recording the album on Halloween 2009 at the "Evening Time Place" loft 08:19 - The thriving 2009-2012 Bushwick loft scene and lost Brooklyn venues 10:00 - Face as a working acoustic band vs. the electric Smirk project 12:58 - Matt Scollante's unique spoken word performance 14:26 - Writing the "Almost V-Day Suite" over four years 16:56 - Salvaging a flawed 44.1kHz DIY recording with modern audio plugins 19:11 - The double vinyl release plan for Face and Bear Skinner 19:57 - Outro: Pick up the Smirk vinyl Podcast Footer:
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| The 1985 AI Music Prophecies from a Computer Science Genius | 09 Jul 2026 | 00:30:05 | |
We unearth a 41-year-old time capsule from the first edition of OPtion Magazine that accurately predicted the rise of AI in music. We review a 1985 article by computer scientist Eric Mueller, who envisioned "interactive works" where AI reacts to live human improvisation and "distributed works" that use dial-up phone lines to connect musicians and computers in a massive feedback loop. The conversation traces Mueller's impressive background—from developing the DAYDREAMER program at UCLA to his work on IBM's Watson—and contrasts his highly experimental, avant-garde vision of AI with the style-cloning algorithms of today. We also discuss the LISP programming language, Stefon Harris's Harmony Cloud, and the debate over whether software is truly more interesting than hardware. Note: Birch Grove Media does not own the recordings featured in this episode. Featured Musical Examples: George Lewis Rainbow Family Premiere: https://youtu.be/i4bS-0tsVEg Laurie Spiegel on Algorithmic Composition: https://youtu.be/aJBDHxyLEHg Timestamps:
BIRCH GROVE MEDIA
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| The Military Histories of Ayler, Coltrane, and Threadgill | 02 Jul 2026 | 00:23:04 | |
To celebrate America's 250th birthday, we explore the wild stories of three legendary jazz musicians whose time in the US military permanently altered their musical paths. We start the conversation with Albert Ayler, who spent his Cold War deployment in France testing out his early free-jazz concepts on GI’s and civilians alike, eventually carrying those twisted military marches into his own quintets. Next, we look at John Coltrane’s strategic enlistment into the Navy to avoid the Army infantry, a move that led to his first public recordings at Pearl Harbor. Finally, we recount Henry Threadgill’s harrowing experience in Vietnam, where a controversial arrangement of "America the Beautiful" resulted in a front-line deployment, surviving the Tet Offensive, and returning home with a reshaped perspective that ultimately defined his compositional voice. Note: Birch Grove Media does not own the recordings featured in this episode. Timestamps: 00:00 - Celebrating America's 250th with jazz and military history 00:42 - Albert Ayler joins the Army during the Cold War 01:46 - Testing avant-garde solos in Parisian cafes and barracks 04:01 - Weaponizing military marches in his later music 05:14 - Listening to Ayler's 1959 Army band recordings 08:23 - John Coltrane’s strategic enlistment in the US Navy 11:17 - Kitchen patrol and the segregated military band at Pearl Harbor 12:53 - Listening to Coltrane's first-ever recording in Honolulu 16:47 - Henry Threadgill gets drafted out of Chicago 17:48 - An avant-garde arrangement gets Threadgill sent to Vietnam 18:46 - Trading a saxophone for an M-16 during the Tet Offensive 20:31 - How surviving the war shaped Threadgill's compositions BIRCH GROVE MEDIA
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| The Blind Pig Series - Bootleg from June 25, 2004 | 25 Jun 2026 | 00:36:53 | |
We open the vault to launch "The Blind Pig," a new ongoing series featuring rare, unreleased bootleg recordings of legendary live performances. To kick things off, we go back exactly 22 years to June 25, 2004, at the Village Vanguard for the JVC Jazz Festival. The featured recording captures Uri Caine’s "Blue Wail" project, featuring Greg Osby, Drew Gress, and Ben Perowsky. We explore the context of the 2004 jazz scene while listening to the MiniDisc audio capture, and reflect on the era. Note: Please go find and enjoy the music of Uri Caine, Greg Osby, Drew Gress, and Ben Perowsky. A few clips of their music were reposted in this episode. Birch Grove Media does not claim ownership of these performances or musical works, and is not monetizing this episode. This is shared purely for educational and archival appreciation. Timestamps: 00:00 - Intro: Launching the Blind Pig bootleg series 01:17 - Traveling back 22 years to June 25, 2004 01:46 - Uri Caine's Blue Wail at the JVC Jazz Festival 03:35 - Cheesy Vanguard marketing and Uri Caine's legendary week-long run 07:40 - The impressive audio quality of 2000s MiniDisc recorders 10:08 - Disclaimer: Birch Grove Media makes zero money on these recordings 10:36 - Listening to the trio swing and Ben Perowsky’s deep feel 18:22 - Where Uri Caine, Greg Osby, and Drew Gress were in 2004 21:04 - Alan reflects on his sophomore year at William Paterson 27:43 - Giving bass players generous solos and listening to Drew Gress 32:03 - Listening to Greg Osby's original composition "Equalatogram" 33:57 - Playing Osby charts in James Weidman's ensemble 36:09 - Outro BIRCH GROVE MEDIA
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| Behind the Scenes, Studio Tour, the How & Why: CEFJ x Podfuel | 18 Jun 2026 | 00:19:13 | |
This week we take a step back to reintroduce the mission of Birch Grove Media and provide a behind the scenes tour of the studio driving the podcast. They detail their decade of experience in the industry, explaining the technical workflow of their sister company, Podfuel. The conversation transitions into a critique of AI editing tools, detailing why algorithmic cuts destroy conversational nuance and why human editors remain essential for quality short-form content. They also explore the podcast's role as a scene-building tool to support upcoming record releases and avant-garde musicians.
00:00 - Reintroducing Birch Grove Media and Podfuel 02:04 - A decade of podcasting experience turning into a business 02:50 - Behind the scenes of the studio and camera setup 04:34 - Timecode syncing and the technical workflow 05:40 - Why Riverside beats Zoom for remote podcast recording 06:53 - Using a teleprompter setup for direct eye contact 07:27 - The documentary style of the show and skipping cheesy intros 08:58 - Why AI ruins podcast edits and short-form content 11:32 - Using AI strictly as an administrative tool for audio cleanup 13:41 - A tour of the control room and audio gear 14:45 - The human-led quality assurance process for Podfuel 16:24 - Using the podcast to build the Birch Grove Media community 18:33 - Calling for future guest recommendations Podcast Footer:
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| Carlos Homs and the Psychotic Work Ethic Behind Music Production | 11 Jun 2026 | 00:58:04 | |
Keyboardist and producer Carlos Homs sits down with Lindsay to trace his journey from the highly intellectual avant-garde jazz scene back to his roots in hip-hop production. Carlos shares stories from his time in the NJPAC Jazz for Teens program, watching a young Tyshawn Sorey play out-of-this-world piano, and cutting his teeth with heavyweights like Peter Evans and Steve Lehman. The conversation unpacks how Lehman’s Sélébéyone project and the psychotic work ethic of super-producer Cirkut pushed Carlos to team up with bassist Brady Watt and eventually work out of DJ Premier’s studio. They also tackle the debt traps of jazz education, the esoteric nature of channeling music, the 440Hz conspiracies behind his 2020 trio album, and the realities of collaborating with his wife, vocalist Jamie Homs. Please go find and enjoy the music of Aaron Burnett, Brady Watt and Steve Lehman. A few clips of their music was reposted in this episode, Birch Grove Media does not claim ownership of these performances or musical works. Timestamps: 00:00 - Intro: Couples working together & transitioning to hip-hop 00:49 - Growing up on 90s hip-hop and discovering sampling 02:03 - Entering the NJ jazz scene and meeting Tyshawn Sorey & Alan Bjorklund 04:51 - The intense contrast between playing with Peter Evans and Steve Lehman 06:26 - How Steve Lehman’s Sélébéyone brought Carlos back to hip-hop 09:27 - Classical piano lessons and the unique New Jersey jazz ecosystem 11:12 - NJPAC Jazz for Teens and Tyshawn Sorey's lunchtime concerts 15:33 - Berklee dropouts, the problem with jazz education, and college debt 22:57 - The Berklee networker who never paid tuition 24:12 - Reconnecting with Brady Watt and working out of DJ Premier’s studio 27:49 - Learning a "psychotic work ethic" from super-producer Cirkut 34:07 - Treating music like entrepreneurship and overcoming the fear of failure 37:22 - Is improvisation creating or channeling? 45:21 - The Theory Conspiracy: Lizard people, 440Hz, and spontaneous studio albums 52:39 - Navigating the industry and keeping collaborations organic with his wife, Jamie Homs BIRCH GROVE MEDIA
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| Music You Can't Pigeonhole: Danny Sher on Emotion Over the Analytical | 04 Jun 2026 | 00:40:38 | |
Drummer and composer Danny Sher sits down to discuss the tug-of-war between highly intellectualized composition and raw emotion. Danny breaks down his desire to dodge "accounting jazz" and write music that forces the audience to feel the rhythm before they can analyze it. Tracing his wild musical evolution, Danny shares hilarious early memories of acting as a "Dog Star Commander" mascot for Manchild, getting humbled at early sessions, and watching a young Tyshawn Sorey casually drum in 15. Danny explains his strategy for writing "jazz disguised as rock" with Horse Torso, navigating the brutal polyrhythms of Atomic Pigeons, and pivoting from insane technical compositions to the catchy verse-chorus songs that got Crippling Alcoholism signed to The Flenser. Timestamps: 00:00 - Intro: Feeling the rhythm before judging the music 00:38 - The "Dog Star Commander" mascot in Manchild 05:10 - A humbling session 07:06 - Sitting behind a young Tyshawn Sorey playing in 15 08:48 - Forming Horse Torso and blending dissonance with relatable grooves 13:42 - Discovering the Mathcore Index Podcast and playing Saint Vitus 17:15 - Pivoting from insane technical music to catchy verse-chorus songs 20:39 - Getting signed to The Flenser with Crippling Alcoholism 24:42 - Dodging "accounting jazz" and focusing on emotion 26:10 - Navigating the otherworldly polyrhythms of Atomic Pigeons & Shardik 28:07 - Recording with legendary no-wave producer Martin Bisi 30:33 - Peter Apfelbaum's early funk days with Les Claypool 32:36 - Disguising jazz as rock: Writing for Travis Reuter and Andrew Smiley 38:51 - Writing cliches head-on for the hardcore band Unsee 40:04 - Outro: Keeping up with @HorseTorso BIRCH GROVE MEDIA
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| Special Edition: Is AI the Death Blow for Creative Music? | 28 May 2026 | 00:51:01 | |
In this Special Edition episode, Lindsay and Alan tackle the massive disruption of Artificial Intelligence in music. They break down the controversy surrounding the first AI-generated Billboard charting artist, the fierce pushback from working musicians, and the surreal "uncanny valley" of algorithmic audio. Shifting to the jazz ecosystem, they analyze new tech like Neural Audio Synthesis and Stefon Harris’s Harmony Cloud, before subjecting themselves to some truly horrific Suno AI generations attempting to mimic modern jazz artists. Timestamps: 00:00 - Intro: Going in blind on AI 01:13 - Meet Xania Monet: The first AI artist on the Billboard R&B charts 05:11 - Alan reacts to the cookie-cutter AI pop track in real-time 09:45 - The Gayle King interview and the ethics of "putting in the work" 16:18 - Kehlani’s backlash: AI stealing the spotlight from real musicians 24:00 - The "Uncanny Valley" effect of perfectly tuned AI audio 25:26 - Transitioning to the reality of AI in the Jazz ecosystem 27:22 - Neural Audio Synthesis and improvising live with AI models 31:40 - Stefon Harris’s Harmony Cloud ear-training app 36:39 - Suno AI Experiments: Prompting an Eric Dolphy jazz standard 43:24 - Forcing AI to simulate Tyshawn Sorey drumming for Steve Lehman 46:30 - Why jazz audiences won't tolerate fake, algorithm-generated music 49:09 - The Gen-Z analog revival and getting away from technology 50:09 - Birch Grove Media's official anti-AI label stance 51:04 - Outro: Podfuel and supporting human-made music BIRCH GROVE MEDIA
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| Josh Lopes: Dither, John Zorn, and the Art of Blasting White Noise | 21 May 2026 | 00:56:13 | |
Guitarist and composer Josh Lopes opens up about the intersection of classical chamber music discipline and underground experimentation. He walks through the collaborative history of Dither, the psychology of working directly under John Zorn, translating Laurie Spiegel’s planetary orbit tracking data to fretted instruments, and how an iPad mechanical failure turned a performance at the Stone into a living nightmare. Timestamps: 00:00 - Intro 00:25 - From Rhode Island to the Avant-Garde Scene 01:46 - Euphoniums, Marching Band, and Transferring Schools 03:44 - William Paterson University and the "Bossa Nova" Trap 05:44 - Unlearning Jazz Robot Habits and Developing Soft Skills 06:39 - Getting Academic Probation for Breaking Into Shea 09:25 - The Difference Between Chamber Musicians and Jazz Players 11:47 - Forming the Electric Guitar Quartet 14:22 - The Intensity of Performing John Zorn's Game Pieces 18:39 - A Shattered iPad During a Solo Bagatelle 20:09 - A Weird Mother's Day Encounter with John Zorn 22:23 - Playing "Rugby" at The Kitchen 23:22 - Translating Laurie Spiegel's Electronic Scores 26:50 - The Pretentious Venice Biennale Concert 28:37 - Blasting White Noise for Sensory Deprivation Music 33:03 - The $100 Vintage Japanese Guitar Project 35:15 - Learning Tuvan Throat Singing in a Trader Joe's Milk Cooler 37:37 - Discovering "Genghis Blues" and Ham Radio Harmonics 41:56 - Teaching Music in Newark to Kids Who Don't Listen to Music 44:29 - Replacing Standard Notation with YouTube QR Codes 49:49 - Why Good Guitarists Secretly Have Mental Disorders 51:13 - Missing the Grit of the Old Stone BIRCH GROVE MEDIA
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| Sam Ospovat: From Cecil Taylor to Blight Music | 14 May 2026 | 01:05:28 | |
Drummer Sam Ospovat discusses his technical evolution and the historical weight of performing with masters like Cecil Taylor. He breaks down the differences between the New York and Nordic music communities, the creation of his project Blight Music in a Brooklyn warehouse, and the discipline required to maintain a creative voice across different continents. Timestamps:
BIRCH GROVE MEDIA
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| Smirk: Not Your Grandfather’s Jazz and the Birth of a Label | 07 May 2026 | 00:36:02 | |
Alan and Lindsay Bjorklund explore the decade-long journey of the album Not Your Grandfather’s Jazz featuring Tyshawn Sorey, Matt Mitchell, Jeremy Viner, Travis Reuter, and Kim Cass. They break down the band history of Smirk, the process of recording world-class improvisers at GSI Studios, and why they chose to build an independent platform for creative music. Timestamps: 00:00 - Intro: Reflecting on the label’s first release 01:00 - The origins of Smirk (2011 at Ibeam) 02:00 - Smirk vs. Face: Electric and Acoustic quintets 04:14 - Expanding to a sextet with Matt Mitchell 09:29 - Personnel rotations and sub-players 11:44 - Writing specifically for the 5-string electric bass 12:04 - Bass chemistry with Tyshawn Sorey 15:28 - Meeting Tyshawn Sorey and early collaborations 19:51 - Inside the 2017 GSI recording session 22:38 - The decision to fund a project and start a label 25:58 - Interconnectedness: The Merry Poppins session 30:05 - The Nublu release gig and the live energy 31:14 - Tyshawn’s perfectly timed stick drop 32:39 - Nostalgia for the 55 Bar and intimate spaces BIRCH GROVE MEDIA
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| Kevin Scott: Scene Building and the Dancing Poodle | 30 Apr 2026 | 01:11:09 | |
Bassist Kevin Scott shares lessons from the road and the technical secrets of playing "out" while keeping the pocket. From touring with Gov't Mule to the manifestation stories that led to playing with his idols, Kevin discusses the necessity of artistic sacrifice and the "Dancing Poodle" analogy that defines the industry landscape. Timestamps: 00:00 - The reality of the professional music environment 00:26 - Touring with a "Raccoon Ambassador" 03:49 - Tour Hacks: Bus etiquette and sideman logistics 08:34 - Maintaining health and gym routines on the road 09:53 - Resonant Paths: Hiring Greg Osby and Ryan Clackner 13:42 - Manifestation: Joining Warren Haynes’ solo band 20:46 - Handling nerves when playing when being a “fanboy” 28:09 - The 55 Bar legacy and the 2026 NYC scene 35:36 - Building collaborative communities through sacrifice 44:19 - Playing "out" while maintaining the pocket 49:31 - The "Abusive Partner" analogy: Double Bass vs. Electric 53:14 - Electric Bass: The history of the "Ultimate Bastard" instrument 56:26 - The Mythic Pursuit: Col. Bruce Hampton and moving to Atlanta 01:06:16 - The Dancing Poodle Analogy: Why it always wins 01:10:19 - Upcoming records with Matt Chamberlain and Ryan Clackner BIRCH GROVE MEDIA
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| Recording Unobtainium: The Bear Skinner Session | 23 Apr 2026 | 00:51:22 | |
Alan and Lindsay Bjorklund join Matt Scollante to explore the intensive process of recording the new Bear Skinner album, Unobtainium. They discuss the technical challenge of live tracking during a snowstorm, the discipline of creating original audio patches, and the infrastructure required to document high-level creative music. BIRCH GROVE MEDIA
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| Trevor Lagrange on the Philosophy of Performance | 16 Apr 2026 | 00:31:54 | |
Keyboardist Trevor Lagrange joins the show to discuss the evolution of his creative voice and the necessity of visual entertainment in live music. He breaks down the history of the Brooklyn loft scene, the influence of his classical training, and the mental tools he uses to master the advanced rhythms of the Bear Skinner project. BIRCH GROVE MEDIA
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| The Producer’s Craft: Alan Bjorklund Interviewed by Matt Scollante | 09 Apr 2026 | 00:54:49 | |
Matt Scollante interviews Alan Bjorklund on the technical and philosophical evolution of the producer's role in creative music. Alan breaks down the high-level vision for Birch Grove Media, his specific audio choices for the band Smirk, and the expansive influences that shape the label's identity. Hosted on Acast. See acast.com/privacy for more information. | |||
| Big Ears 2026: The Festival Experience | 02 Apr 2026 | 00:34:26 | |
Alan & Lindsay Bjorklund and Ryan Clackner gather in Knoxville to review a weekend of live performance. They discuss the importance of "play" in improvised sets, the local venues that support the scene, and the long-awaited reunion duo of Ryan Clackner and Tyshawn Sorey. BIRCH GROVE MEDIA
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| Versatility and the "Soft Prune": Nick Jost | 25 Mar 2026 | 00:36:44 | |
Bassist Nick Jost joins Lindsay to discuss his "prepped-for-anything" mindset and the reality of the creative music scene. He breaks down his roots in St. Louis, his technical tools for learning odd meters, and why the best music comes from leaving your ego at the door. BIRCH GROVE MEDIA
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| Exit NYC: Building a Home Studio Near the Poconos | 18 Mar 2026 | 00:21:49 | |
Alan and Lindsay break down the move from New York City to their new headquarters in Blairstown, NJ. They discuss the "obsessive" process of building a professional-grade home studio, the difficulty of booking bands in the city post-2022, and the local history of the Delaware Water Gap. BIRCH GROVE MEDIA
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| Ryan Clackner on the Death of Creative Music | 06 Mar 2026 | 00:52:10 | |
Guitarist Ryan Clackner joins the show to discuss why jazz guitar often fails to harness the true power of the electric instrument. From the "incestuous" habits of guitar players to the soul-crushing influence of academia, Ryan breaks down what’s wrong with the scene today—and why he had to move to the "Bermuda Triangle of Appalachia" to find his own voice. Timestamps: 01:30 - The "Sound Riddle": From Holdsworth to Scofield 03:49 - The hurdle of "straight-ahead" proficiency 11:10 - How the "classical sickness" infected jazz 16:46 - From eighth-grade Metallica to jazz band 22:03 - The cultural importance of the Garwood Crossroads scene 28:31 - Why Nashville actually "hates musicians" 37:43 - Details on the upcoming Big Ears Festival duo performance BIRCH GROVE MEDIA
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| Introducing Birch Grove Media - Sovereignty, Vinyl, and 180 Grams of Jazz | 06 Mar 2026 | 00:28:21 | |
In the debut episode, founders Alan and Lindsay discuss why they decided to "choose themselves" and launch Birch Grove Media. They break down the importance of physical media, the roles of a creative director versus a label manager, and why their podcast won't sound like your typical "soothing" NPR jazz show. Timestamps:
BIRCH GROVE MEDIA
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