JIM NUNALLY (Part 2): PUBLISHED ON PRX  9 / 7 / 2018 - BEYOND A SONG originates in BLOOMINGTON, INDIANA and is sponsored by: THE BLUEBIRD NIGHTCLUB ,  TRAUMA PRODUCTIONS ,  and  VISIT BLOOMINGTON.COM

Host Rich Reardin talks with Jim Nunally about his life and music.

A San Francisco Bay Area-native, Jim is musician, composer, record producer, and teacher. His third-generation traditional music roots began in Arkansas with his guitar-playing grandfather who taught Jim’s father, who in turn taught Jim. This pedigree contributes to his unmistakably traditional sound.
In 2007 Jim released his first solo CD Gloria’s Waltz, dedicated to his wonderful mom. It features all songs his mother likes.
Jim has released two instructional DVDs. The Art Of Rhythm Guitar: Strums, and his latest DVD, Walks and Runs, are based on over 25 years of experience teaching at music camps.
In 2005 Jim appeared alongside John Reischman on Tone Poets produced by David Grisman.
He performs with The Nell Robinson and Jim Nunally Band, The David Grisman Bluegrass Experience, Bangers and Grass, Dix Bruce, Keith Little.

SONS OF BILL (Part 2): PUBLISHED ON PRX 8 / 3 / 2018 - BEYOND A SONG originates in BLOOMINGTON, INDIANA and is sponsored by: THE BLUEBIRD NIGHTCLUB ,  Trauma Productions ,  and  VISIT BLOOMINGTON.COM

Host Rich Reardin talks with James Wilson about his life and music with "Sons of Bill".

Formed in 2005 in Charlottesville, Virginia by brothers Sam Wilson, James Wilson, and Abe Wilson, along with friends Seth Green (bass) and Todd Wellons (drums), Sons of Bill (the three Wilson boys' father was Bill Wilson, a musician and professor emeritus of philosophical theology and Southern literature at the University of Virginia, thus the name of the band) developed a graceful and powerful blend of literate, R.E.M. and Wilco-like Americana folk-rock. A debut album, A Far Cry from Freedom, was independently released in 2006, followed by the Jim Scott-produced One Town Away in 2009. The critically acclaimed Sirens arrived in 2012, with an EP, The Gears, showing up two years later in the spring of 2014. The Ken Coomer-produced Love and Logic was released in the fall of that same year. 

AHMET ZAPPA (PART 3): PUBLISHED ON PRX 5 / 4 / 2018 - BEYOND A SONG originates in BLOOMINGTON, INDIANA and is sponsored by: THE BLUEBIRD NIGHTCLUB ,  AIRTIME RECORDING STUDIO ,  and  VISIT BLOOMINGTON.COM

Hosts Rich Reardin and Professor Andy Hollinden have a conversation with Ahmet Zappa and Joe Travers about Frank Zappa's "The Roxy Performances" 7 CD set that was released in February 2018.

Fourty three years ago in December 1973, Frank Zappa played a series of legendary concerts at the famed Roxy Theatre on the Sunset Strip in Hollywood. Considered a high-water mark of his career, owing to the incredible, virtuosic performances of himself and his stellar band The Mothers, the five shows – across three nights – included a private invite-only performance/soundcheck/film shoot followed by back-to-back doubleheaders. A few days later, continuing this incredibly prolific week, Zappa brought his band and camera crew to Ike Turner’s Bolic Sound in Inglewood for a filmed recording session. In typical Zappa fashion, he recorded it all. 

On February 2, 2018, Zappa Records/UMe will release The Roxy Performances, a definitive seven-CD box set that collects all four public shows from December 9-10, 1973, and the December 8th film shoot/soundcheck, each presented in their entirety for the first time, along with bonus content featuring rarities from a rehearsal, unreleased tracks and highlights from the Bolic Studios recording session. This complete collection, totaling nearly eight hours, documents the Roxy shows as they happened and presents brand new 2016 mixes by Craig Parker Adams from new 96K 24 Bit transfers of the multi-track masters. The set is rounded out with a 48-page booklet that includes photos from the performances, extensive liner notes by Vaultmeister Joe Travers, essays from Zappa family friend, Australian writer Jen Jewel Brown, and American singer/songwriter Dave Alvin, who give their firsthand recollections about the shows, and a selection of archival press reviews. Those who digitally pre-order the box set will receive an instant grat download of “RDNZL.” Culled from the very first show on December 9, the track is a live version of the classic song featuring the never-before-heard 2016 mix that exemplifies the sonics of the new box set. Pre-order The Roxy Performances now: http://ume.lnk.to/FrankZappaRoxy

“This is one of my favorite FZ line-ups ever. This box contains some of the best nights of music Los Angeles has ever seen with their ears at an historic venue," says Ahmet Zappa, who co-produced the collection along with Travers, “Hold on to your hotdogs people. This box is the be-all-end-all. This is it. This is all of it. It’s time to get your rocks off for the Roxy.” 

While portions of these concerts have been released in various formats over the years – first in 1974 on the album Roxy and Elsewhere, which mixed material from the shows with performances recorded in different locations months later, followed by 2014’s Roxy By Proxy, which featured Zappa’s 1987 digital mixes of tracks from various shows, and most recently the 2015 film Roxy The Movie and its accompanying soundtrack – the shows have never been released in their entirety until now. 

The Roxy Performances capture Zappa and The Mothers in peak condition as they play to rowdy sold-out crowds in the intimate, just-opened venue in their hometown Los Angeles following the release of Over-Nite Sensation. The extraordinary band was one of Zappa’s best with keyboardist George Duke, bassist Tom Fowler, trombonist Bruce Fowler, tenor saxophonist and vocalist Napoleon Murphy Brock, percussionist Ruth Underwood and drummers Ralph Humphrey and Chester Thompson all flawlessly in lockstep as Zappa led them through his musically adventurous compositions filled with complicated time signatures and sudden tempo changes. As the Los Angeles Times remarked in their review, “The content of any show starring Frank Zappa and the Mothers of Invention is unpredictable. But the quality of the show is predictable. I have seen this satirical rock group many times and every show has been excellent. True to form, the group performed sensationally at the Roxy on Sunday night.” The (long-defunct) Los Angeles Herald-Examiner was equally impressed: “This time around Zappa, the counter-culture’s John Cage, has assembled a remarkable group of musicians. Tim Fowler on bass, his brother Bruce on trombone, Ralph Humphrey on drums, and George Duke, whose keyboard skills almost upstaged the leader himself. Percussionist Ruth Underwood kept up with the band’s frenetic pace without missing a single swat of the gong, and she was incredible.”

The material expertly performed across the five shows consisted mostly of songs from 1969 and beyond and included a dizzying array of stylistic diverse tracks from Uncle Meat, Hot Rats, Waka/Jawaka and Over-Nite Sensation. The shows also include a number of live favorites like “Village Of The Sun,” “Pygmy Twylyte,” “Cheepnis,” “Penguin In Bondage,” “Echidna’s Arf (Of You),” and “Don’t You Ever Wash That Thing.” Many of these ended up on Roxy & Elsewhere. 

Jen Jewel Brown and Dave Alvin give a glimpse at what it was like to be at these historic shows in their richly detailed essays in the liner notes that accompany the recordings. Alvin reflects about meeting Zappa on the Isle of Capri in 1982 while on tour with his band The Blasters and how Zappa’s eyes lit up when he told him he saw him at the Roxy. “You were at a Roxy show?,” he beamed. He goes on to write, “The Roxy Mothers were a grand combination of high art, low art, masterful technique and razor sharp humor with a touch of wild abandon.” In Brown’s reflection, Frank and Gail’s personal friend tells about what it was like for a young girl from Australia to witness Zappa on the Sunset Strip in the ‘70s and paints a vivid picture about what the shows were like. “This material shows an absolutely sleek beast at its prime,” she pens, adding, “This is a cultural record and there’s some prime Zappanalia here. Frank had put the crippling disasters of December ’71 behind him and was plunged headlong into some of the most beautiful music and zestful, open-hearted engagement with life imaginable.”

AHMET ZAPPA (PART 1): PUBLISHED ON PRX 4 / 20 / 2018 - BEYOND A SONG originates in BLOOMINGTON, INDIANA and is sponsored by: THE BLUEBIRD NIGHTCLUB ,  AIRTIME RECORDING STUDIO ,  and  VISIT BLOOMINGTON.COM

Hosts Rich Reardin and Professor Andy Hollinden have a conversation with Ahmet Zappa and Joe Travers about Frank Zappa's "The Roxy Performances" 7 CD set that was released in February 2018.

Fourty three years ago in December 1973, Frank Zappa played a series of legendary concerts at the famed Roxy Theatre on the Sunset Strip in Hollywood. Considered a high-water mark of his career, owing to the incredible, virtuosic performances of himself and his stellar band The Mothers, the five shows – across three nights – included a private invite-only performance/soundcheck/film shoot followed by back-to-back doubleheaders. A few days later, continuing this incredibly prolific week, Zappa brought his band and camera crew to Ike Turner’s Bolic Sound in Inglewood for a filmed recording session. In typical Zappa fashion, he recorded it all. 

On February 2, 2018, Zappa Records/UMe will release The Roxy Performances, a definitive seven-CD box set that collects all four public shows from December 9-10, 1973, and the December 8th film shoot/soundcheck, each presented in their entirety for the first time, along with bonus content featuring rarities from a rehearsal, unreleased tracks and highlights from the Bolic Studios recording session. This complete collection, totaling nearly eight hours, documents the Roxy shows as they happened and presents brand new 2016 mixes by Craig Parker Adams from new 96K 24 Bit transfers of the multi-track masters. The set is rounded out with a 48-page booklet that includes photos from the performances, extensive liner notes by Vaultmeister Joe Travers, essays from Zappa family friend, Australian writer Jen Jewel Brown, and American singer/songwriter Dave Alvin, who give their firsthand recollections about the shows, and a selection of archival press reviews. Those who digitally pre-order the box set will receive an instant grat download of “RDNZL.” Culled from the very first show on December 9, the track is a live version of the classic song featuring the never-before-heard 2016 mix that exemplifies the sonics of the new box set. Pre-order The Roxy Performances now: http://ume.lnk.to/FrankZappaRoxy

“This is one of my favorite FZ line-ups ever. This box contains some of the best nights of music Los Angeles has ever seen with their ears at an historic venue," says Ahmet Zappa, who co-produced the collection along with Travers, “Hold on to your hotdogs people. This box is the be-all-end-all. This is it. This is all of it. It’s time to get your rocks off for the Roxy.” 

While portions of these concerts have been released in various formats over the years – first in 1974 on the album Roxy and Elsewhere, which mixed material from the shows with performances recorded in different locations months later, followed by 2014’s Roxy By Proxy, which featured Zappa’s 1987 digital mixes of tracks from various shows, and most recently the 2015 film Roxy The Movie and its accompanying soundtrack – the shows have never been released in their entirety until now. 

The Roxy Performances capture Zappa and The Mothers in peak condition as they play to rowdy sold-out crowds in the intimate, just-opened venue in their hometown Los Angeles following the release of Over-Nite Sensation. The extraordinary band was one of Zappa’s best with keyboardist George Duke, bassist Tom Fowler, trombonist Bruce Fowler, tenor saxophonist and vocalist Napoleon Murphy Brock, percussionist Ruth Underwood and drummers Ralph Humphrey and Chester Thompson all flawlessly in lockstep as Zappa led them through his musically adventurous compositions filled with complicated time signatures and sudden tempo changes. As the Los Angeles Times remarked in their review, “The content of any show starring Frank Zappa and the Mothers of Invention is unpredictable. But the quality of the show is predictable. I have seen this satirical rock group many times and every show has been excellent. True to form, the group performed sensationally at the Roxy on Sunday night.” The (long-defunct) Los Angeles Herald-Examiner was equally impressed: “This time around Zappa, the counter-culture’s John Cage, has assembled a remarkable group of musicians. Tim Fowler on bass, his brother Bruce on trombone, Ralph Humphrey on drums, and George Duke, whose keyboard skills almost upstaged the leader himself. Percussionist Ruth Underwood kept up with the band’s frenetic pace without missing a single swat of the gong, and she was incredible.”

The material expertly performed across the five shows consisted mostly of songs from 1969 and beyond and included a dizzying array of stylistic diverse tracks from Uncle Meat, Hot Rats, Waka/Jawaka and Over-Nite Sensation. The shows also include a number of live favorites like “Village Of The Sun,” “Pygmy Twylyte,” “Cheepnis,” “Penguin In Bondage,” “Echidna’s Arf (Of You),” and “Don’t You Ever Wash That Thing.” Many of these ended up on Roxy & Elsewhere. 

Jen Jewel Brown and Dave Alvin give a glimpse at what it was like to be at these historic shows in their richly detailed essays in the liner notes that accompany the recordings. Alvin reflects about meeting Zappa on the Isle of Capri in 1982 while on tour with his band The Blasters and how Zappa’s eyes lit up when he told him he saw him at the Roxy. “You were at a Roxy show?,” he beamed. He goes on to write, “The Roxy Mothers were a grand combination of high art, low art, masterful technique and razor sharp humor with a touch of wild abandon.” In Brown’s reflection, Frank and Gail’s personal friend tells about what it was like for a young girl from Australia to witness Zappa on the Sunset Strip in the ‘70s and paints a vivid picture about what the shows were like. “This material shows an absolutely sleek beast at its prime,” she pens, adding, “This is a cultural record and there’s some prime Zappanalia here. Frank had put the crippling disasters of December ’71 behind him and was plunged headlong into some of the most beautiful music and zestful, open-hearted engagement with life imaginable.”

THE REVEREND SHAWN AMOS (PART 1) : PUBLISHED ON PRX 3 / 9 / 2018 - BEYOND A SONG originates in BLOOMINGTON, INDIANA and is sponsored by: THE BLUEBIRD NIGHTCLUB ,  AIRTIME RECORDING STUDIO ,  AFRICA SASA ,  and  VISIT BLOOMINGTON.COM  
Host Rich Reardin has a conversation with Los Angeles singer/songwriter and bluesman extraordinaire The Reverend Shawn Amos.   Shawn is the son of a nightclub singer mother who performed under the name Shirley May, and is the youngest son of Famous Amos chocolate chip cookie founder Wally Amos.  Shawn isn't really an ordained priest, but he preaches through his blues music with firey 21st Century Freedom songs about Peace, Love, and Understanding. with many successful studio albums to date, Shawn also performs with his band around the country, and owns his own company, the Amos Content Group.   Before we get into the interview, let's hear some of his  music, this is Reverend Shawn Amos.
From West Coast clubs, to Deep South joints, to European festivals, to YouTube, to the podcast universe, the Reverend Shawn Amos’ message of joyful blues is reaching an ever-increasing flock. The Rev’s distinctive blend of black roots music, R & B, and stripped down rock n’ roll brings a bracing, soul-deep musical experience to audiences starved for authenticity, for connection. “I derive a lot of satisfaction bringing people joy,” he says.
His third studio album, The Reverend Shawn Amos Breaks It Down, expands that mission. This time out, he spices up the mix with 21st century Freedom Songs, socially conscious soul, a stripped-down cover of Bowie’s “The Jean Genie” that slyly reveals the glam nugget’s blues bones, and an austere version of Nick Lowe’s “(What’s So Funny ‘Bout) Peace, Love, and Understanding?” that turns the post-punk gem into modern gospel. At the center of James Saez’ (Social Distortion, The Road Kings) no-frills production, the Rev’s voice and harp tie everything together in a stirring, celebratory whole, both beholden to history and refreshingly timely.  “It’s the oddest birth of any album I’ve made,” the Rev says.  “It has a particular depth.”
This sonic evolution is partly the result of over 100 dates in 2016-17, supporting his chart-topping The Reverend Shawn Amos Loves You. On the road, the Rev took risks, listened to his heart, and honed his chops. In the midst of that came the seismic election of 2016, and the subsequent altering of the American landscape. All of the above significantly impacted the Rev as a father, citizen, musician, and African-American man, and all of it can be heard on The Reverend Shawn Amos Breaks It Down.
“When we toured the South in May of 2017, I could feel things changing post-Trump,” he says. “I was listening to a lot of Staples Singers, especially [acclaimed 1965 LP] Amen. The degree to which I was aware of my race was distracting, striking, hard to ignore. It was powerful being in the South and listening to protest music, to freedom songs conceived to fuel a movement, with no thought toward commercialism.” One can hear the Staples, as well as Curtis Mayfield, in Breaks It Down’s debut single “2017” (video now at 9K+ YouTube views), which calls for unity and compassion in the face of intense division.
“I was listening to a lot of MLK speeches, and reading him,” the Rev says. “I wanted to be immersed in black history, in a resistance movement of the past.” This included recording a moving a cappella rendition of the traditional “Uncle Tom’s Prayer” at the historic Clayburn Temple in Memphis, singing on floorboards where protesters once painted signs for the Civil Rights Movement. After taking his eldest child to the Civil Rights Museum – “to introduce her to her history,” he says – and absorbing Dylan’s 1962 cover of Bukka White’s harrowing “Fixin’ to Die,” the Rev penned and recorded “Does My Life Matter,” a brutally honest, necessary blues, encompassing despair, anger, and grace. The Rev admits, “That song freaked me out a bit. It’s more pointed than anything I’ve ever done.”
Serendipity played a role in the creation of The Reverend Shawn Amos Breaks It Down. When old friend and producer-drummer extraordinaire Steve Jordan (X-Pensive Winos, Neil Young, John Mayer, hundreds more) guested on the jaunty pop-blues “Ain’t Gonna Name Names,” he introduced the Rev to bassist Larry Taylor (Tom Waits) and drummer Steve Potts (Booker T. & the MG’s), who enliven several cuts. And while passing through Muscle Shoals, Alabama, the Rev and his stalwart live band decided to tour the illustrious FAME studios. In the 60s, Aretha Franklin, Wilson Pickett, Etta James and many others cut seminal sides at FAME, in a racially inclusive environment unheard-of for its time and place. The tour turned into a four-hour impromptu recording session, yielding “The Jean Genie,” and album opener “Moved,” co-written by longtime sideman, guitarist Chris “Doctor” Roberts.
Prior to his creation of the Reverend persona in 2013, folks knew Shawn Amos as producer (Solomon Burke’s Live in Nashville, and Shout! Factory box set Q: The Musical Biography of Quincy Jones), content creator for companies looking for ways to tell their stories on the internet, and Americana singer-songwriter who’d grown up in a dramatically dysfunctional L.A. home, a story the Rev serialized as Cookies & Milk in the Huffington Post.
By the time he set out to record The Reverend Shawn Amos Breaks It Down, his life had changed dramatically. For starters, he was a newly single man, a painful development audible in the darker numbers of the Reverend Shawn Amos Breaks It Down. The Rev also became Artistic Director of Vibrato Jazz Grill in Los Angeles, owned by longtime friend Herb Alpert, co-founder of the legendary A & M record label.
“It’s a full-circle experience,” the Rev says of the Vibrato gig. As the son of entrepreneur and William Morris agent Wally “Famous” Amos, the Rev says, “I grew up on the A & M lot.” And back in his producer days, the Rev oversaw the reissue of Herb Alpert & the Tijuana Brass’ catalog, and a remix of the classic Whipped Cream & Other Delights album. At Vibrato, the Reverend Shawn Amos regularly performs, and curates everything from jazz, to Great American Songbook evenings. 
The Rev brings it all back to the people in 2018, supporting The Reverend Shawn Amos Breaks It Down with his biggest tour yet, from West Coast, to Europe, to East Coast. With new episodes of his Kitchen Table Blues podcast and webseries to boot, the Rev will be plenty busy sharing the vision, keeping the faith, and spreading the gospel of his joyful blues.


Musical selections include: The Jean Genie, Thank You Shirl-ee May, The Bottle Always Brings Me Down, Brothers Keeper, Something Inside Me, Hollywood Blues, Will You Be Mine, We've Got To Come Together.

This program is "Evergreen" and not necessarily date specific.

For more information, visit BEYOND A SONG.COM

RADNEY FOSTER : PUBLISHED ON PRX  11 / 11  / 2017  
BEYOND A SONG  originates in BLOOMINGTON, INDIANA   and is sponsored by:   THE BLUEBIRD NIGHTCLUB   ,  AIRTIME RECORDING STUDIO   ,  AFRICA SASA  and  VISIT BLOOMINGTON.COM  

Host Rich Reardin has a conversation with Nashville singer/songwriter Radney Foster . As a young musician straight out of Texas, Radney Foster spent the lengthy drives in between tour stops reading the likes of John Steinbeck, Larry McMurtry, and Harper Lee. Over 30 years of artist cuts later, there is no question that he himself is an established storyteller. Whether it’s navigating the ever-changing music industry or battling a sudden, terrifying illness – Foster definitely has a story to tell.
In late Fall 2015, the legendary songwriter got the diagnosis every musician fears-- a severe case of pneumonia and laryngitis. However, for someone who’s been producing songs for almost 40 years, the desire to write doesn’t fade along with the voice. During a grueling six week period of vocal constraint, Foster’s creative side emerged in the form of a short story inspired by the song, titled “Sycamore Creek,” and the idea for Foster’s newest endeavor was born.
For You To See The Stars is a project comprised of two parts – a book and a CD. The book is a collection of short stories published by Working Title Farm. Though the stories are fiction, they are informed by Foster’s upbringing on the Mexican border in Del Rio, TX. The story that most closely resembles memoir, “Bridge Club,” is a humorous and poignant retelling of the song “Greatest Show on Earth,” a recollection of playing music with family and friends on the back porch on a Saturday night.
While it’s evident that Texas has always been an inspiration for his music, in For You To See The Stars, Foster explores various landscapes, both physical and emotional, from the story of a retired spy in New Orleans, to the tale of a Dallas lawyer wandering the Rocky Mountains in search of redemption, to a post apocalyptic parable of a world in endless war.
The beauty of this CD/book combo lives within Foster’s extensive imagery, which not only further expands the meaning behind Foster’s songs, but gives the reader a look at the thought process behind his songwriting. “For me, the goal of writing is always to touch that one person so much that they wonder how I got a peek into their living room--how I understood exactly what they felt. More than just rhyming or having a pretty melody, I try to express a part of the human condition that can make someone want to laugh, cry, make love, or all of the above.”
Although the literature can be enjoyed independently, each story is uniquely coupled with a song. The 10-track album, also titled For You To See The Stars, features nine new songs and a special re-recording of “Raining on Sunday,” the song Foster co-wrote with Darrell Brown, which became one of Keith Urban’s top Billboard singles. The album was recorded at the historic Nashville studio Sound Emporium and was produced by award-winning Will Kimbrough, who also plays multiple instruments and sings on the record.
For You To See The Stars is Radney Foster’s eleventh album. Foster has written eight number one hit singles, including his own “Nobody Wins,” and “Crazy Over You” with duo Foster & Lloyd. His discography contains countless cuts by artists ranging anywhere from country (Keith Urban, The Dixie Chicks, Luke Bryan, Nitty Gritty Dirt Band) to contemporary (Marc Broussard, Hootie & The Blowfish, Kenny Loggins, Los Lonely Boys). Although highly recognized and accomplished in the music world, Foster is a true renaissance man. In addition to For You To See The Stars being his first book, Foster recently starred in the world premiere of "Troubadour,” at Atlanta’s Tony Award winning Alliance Theatre.  He also appears in the upcoming feature film, Beauty Mark.
For You To See The Stars is Foster at his classic storytelling best, both as a seasoned singer/songwriter and a soulful writer of prose. Although both components stand alone as separate pieces of art-- they are meant to be enjoyed together for a reason. When coupled, the book and CD give fans a deeper insight into the subconscious of Foster’s storytelling. Journalist Peter Cooper puts it best, “Radney Foster writes with uncommon depth of emotion, humor, empathy, and clarity. I’m going to ask him how he does it, and if he tells me I’ll let you in on his secret. Until then, it’s best that we read, wonder, and revel.”

KEITH JOHNSON (Part 2) : PUBLISHED ON PRX  10 / 13 / 2017  
BEYOND A SONG  originates in BLOOMINGTON, INDIANA   and is sponsored by:   THE BLUEBIRD NIGHTCLUB   ,  AIRTIME RECORDING STUDIO   ,  AFRICA SASA  and  VISIT BLOOMINGTON.COM  

Host Rich Reardin has a conversation with legendary audio recording innovator, recording and mastering engineer Keith Johnson . Keith Johnson has served for over 40 years as Reference Recordings Technical Director, recording and mastering engineer. He has recorded and released over 140 compact disc, LP and surround sound titles, spanning the genres of classical, jass, world and blues music. He has spent over 50 years developing a reputation for innovative thinking, technical achievement and musicianship that has elevated him to a position in the audio industry occupied by only a handful of visionaries. He is a true audio legend, having designed and patented numerous innovative products in the professional and consumer fields, including the revolutionary HDCD encoding process.
The Reference Recordings Sound comes from his singular methods and equipment, almost all hand-built or extensively modified by him. His microphone techniques range from purist to complex, depending on the musical forces and the performing space involved.
He received the GRAMMY® for Best Surround Sound Album in 2011. And, to date, has received 8 additional nominations for Best Engineered Album Classical, and a host of other industry awards and nominations, including the prestigious Audio Engineering Society Silver Medal Award in 2008. Given in recognition of outstanding development or achievement in the field of audio engineering, other recipients of the Silver Award include: Ray Dolby, Paul Klipsch, Robert Moog, and Willi Studer.
Multi-channel processing for large screen sound is currently a great interest for Johnson. He is also investigating and consulting on hearing physiology and hearing correction. He plays keyboard instruments and is a competitive middle distance runner.

GREGG ALLMAN (PART 2) : PUBLISHED ON PRX  8 / 25 / 2017  
BEYOND A SONG  originates in BLOOMINGTON, INDIANA   and is sponsored by:   THE BLUEBIRD NIGHTCLUB   ,   AIRTIME RECORDING STUDIO   ,  AFRICA SASA  and  VISIT BLOOMINGTON.COM  

Host Rich Reardin  talks about the life and music of the late, great keyboardist/singer/songwriter Gregg Allman .  Gregory Lenoir "Gregg" Allman (December 8, 1947 – May 27, 2017) was an American singer-songwriter. He was known for performing in the Allman Brothers Band. Allman grew up with an interest in rhythm and blues music, and the Allman Brothers Band fused it with rock music, jazz, and country at times. He wrote several of the band's biggest songs, including "Whipping Post", "Melissa", and "Midnight Rider". Allman also had a successful solo career, releasing seven studio albums. He was born and spent much of his childhood in Nashville, Tennessee, before relocating to Daytona Beach, Florida.

TIM CARBONE (PART 1) : PUBLISHED ON PRX  3 / 24 / 2017
BEYOND A SONG originates in BLOOMINGTON, INDIANA and is sponsored by: THE BLUEBIRD NIGHTCLUB ,  AIRTIME RECORDING STUDIO ,  and VISIT BLOOMINGTON.COM

Host Rich Reardin talks with songwriter, musician, violinist, and producer Tim Carbone from the band Railroad Earth .
After 34 years of experience creating music as an artist, songwriter, session musician and producer Tim says he may not be up to playing music live for the rest of his life but you will have to pry his dead, clammy hands off the mixing console. Safe to say producing records is his passion.
Mostly known nowadays as the violinist for the roots/jamband Railroad Earth, Tim produced his first record in 1986 and since then has lent his talents to records all around the United States.
As a producer Tim has helped create dozens of albums for some of todays leading, up and coming artists on the Jamband – Americana scene.

Musical selections include: Railroad Earth, Like a Buddha, Mighty River, Give That Boy A Hand, Bird In A House, The Good Life.

This program is "Evergreen" and not necessarily date specific.

For more information, visit BEYOND  A SONG.COM

TIM CARBONE (PART 3) : PUBLISHED ON PRX  4 / 7 / 2017
BEYOND A SONG originates in BLOOMINGTON, INDIANA and is sponsored by: THE BLUEBIRD NIGHTCLUB ,  AIRTIME RECORDING STUDIO ,  and VISIT BLOOMINGTON.COM

Host Rich Reardin talks with songwriter, musician, violinist, and producer Tim Carbone from the band Railroad Earth .
After 34 years of experience creating music as an artist, songwriter, session musician and producer Tim says he may not be up to playing music live for the rest of his life but you will have to pry his dead, clammy hands off the mixing console. Safe to say producing records is his passion.
Mostly known nowadays as the violinist for the roots/jamband Railroad Earth, Tim produced his first record in 1986 and since then has lent his talents to records all around the United States.
As a producer Tim has helped create dozens of albums for some of todays leading, up and coming artists on the Jamband – Americana scene.

Musical selections include: Been Down This Road, Little Bit O' Me, The Great Boot, Which Way World, Time Waw Only Yesterday, Colorado, Steady Ride.

This program is "Evergreen" and not necessarily date specific.

For more information, visit BEYOND  A SONG.COM

THE JON STICKLEY TRIO (PART 1) : PUBLISHED ON PRX  2 /3 / 2017
BEYOND A SONG originates in BLOOMINGTON, INDIANA and is sponsored by: THE BLUEBIRD NIGHTCLUB ,  AIRTIME RECORDING STUDIO ,  and VISIT BLOOMINGTON.COM

Host and executive producer Rich Reardin talks with Jon Stickley of the 'Jon Stickley Trio' about his life and music.

REVEREND PEYTON'S BIG DAMN BAND: PUBLISHED ON PRX  12 / 28 / 2018 - BEYOND A SONG originates in BLOOMINGTON, INDIANA and is sponsored by: THE BLUEBIRD NIGHTCLUB, AIRTIME RECORDING STUDIO ,  and  VISIT BLOOMINGTON.COM

Host Rich Reardin talks with Josh (Reverend) Peyton of 'Reverend Peyton's Big Damn Band' about his life and music.

Reverend Peyton's band performs their own band of alternative country that is primarily influenced by country blues. The leader of the Big Damn Band, which is actually a three piece band is Josh Peyton.  Josh grew up listening to his fathers blues rock albums, and after getting ahold of an electric guitar and an amp at age 13 he formed his first band with his brother Jamie Peyton on drums, and a friend of theirs on bass. Not long after that he discovered country blues and fell in love with the style. Josh's budding career was almost cut short thought, after a performance at his high school graduation left him in extreme pain in both of his hands. He was diagnosed with tendonitus, and as a result he had to abandon music for a year until he could undergo surgery to correct the problem. While he was recovering he met his future wife Breezy. Discovering they had common musical tastes, Breezy began writing songs with Josh and Jamie, and eventually the band started touring and they decided to make music a full time endeavor. They released their first album in 2004, it was called the "Pork and Beans Collection'. And that was followed by a new album every year for the next few years including, the 'Big Damn Band Sampler', 'Big Damn Nation', 'The Gospel Album', 'The Wages', 'Poor Until Payday', 'So Delicious', and 'The Front Porch Sessions'.
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Musical selections include: Clap Your Hands, Poor Until Payday, Pot Roast and Kisses, We Deserve A Happy Ending, In a Holler Over There, So Good, It Is or It Aint, Sure Feels Like Rain, Miss Sarah

TYSON MEADE (PART 2): PUBLISHED ON PRX  3 / 22 / 2019 - BEYOND A SONG originates in BLOOMINGTON, INDIANA and is sponsored by: THE BLUEBIRD NIGHTCLUB, AIRTIME RECORDING STUDIO,  and  VISIT BLOOMINGTON.COM

Host Rich Reardin talks with singer/songwriter and 'Godfather of Alternative Rock', Tyson Meade. 

Often cited as The Godfather of Alternative Rock, Meade was the vocalist for Norman, OK based rock band Chainsaw Kittens, along with Defenestration. Meade was cited by Kurt Cobain as an influence, friends The Flaming Lips covered Tyson's song 'She's Gone Mad,' and Billy Corgan of the Smashing Pumpkins credits the Chainsaw Kittens as one of his favorite bands, writing Meade during the recording of the SP album 'Gish' to express his appreciation. Meade released his debut solo album, 'Kitchens and Bathrooms,' in 2005, following with the albums 'Motorcycle Childhood' and 'Tomorrow In Progress,' with the latter being recorded and produced during Meade's extended stay in Shanghai, where a young violinist named Haffijy reignited Meade's passion for music. Meade was eager to explore a further musical collaboration with Haffijy. “I became very curious as to how he might score a song still in development, one that I had no preconceived notions about, one that I had just written — though I had not written any songs in some years at that point,” Meade says. “I was now driven to write a song.” The result was “Stay Alone” which became the catalyst for the entire China project.  Meade played the song for some of his Western music friends, including fellow Norman-based, alt-rockers the Flaming Lips (who covered the Chainsaw Kittens’ “She’s Gone Mad”), Jimmy Chamberlain of Smashing Pumpkins, Maria McKee, and Other Lives (Meade has previously collaborated with Other Lives’ Jesse Tabish and the Flaming Lips’ Derek Brown on a project called Winter Boys).  After hearing “Stay Alone,” these friends became interested in being a part of this unique, cross-cultural project and have agreed to contribute to this record as well. Meade will return to Shanghai this July and begin work with various high schools and universities both there and in the United States for the project. His goal is to write and record at least a dozen tracks, which he will release as an album next year. A series of live performances is also in the works. “I lived in China for five years and every Chinese person that I ever encountered is wonderful,” says Meade. “They love America and Americans and I would love for America to love them back. I want the people who hear this project to hear their jubilation for living and for mankind in general.” Tyson Meade is an American musician, painter, writer, and teacher from Bartlesville, Oklahoma. Meade has recorded more than a dozen critically acclaimed records for major and indie labels since 1984 with his bands Defenestration and the Chainsaw Kittens, whose 1991 debut SPIN magazine described as “The Smiths meets the New York Dolls meets the devil.” He’s also released records as a solo artist and has contributed songs to the soundtracks for “Hellraiser III,” “Clerks” and “Bug.” The new album, 'Robbing The Nuclear Family,' is out early 2017 on Jett Plastic.

DAVE KUBIAK (PART 1): PUBLISHED ON PRX  9 / 13 / 2019 - BEYOND A SONG originates in BLOOMINGTON,INDIANA and is sponsored by: THE BLUEBIRD NIGHTCLUB, AIRTIME RECORDING STUDIO,  and  VISIT BLOOMINGTON.COM

BEN BOSTICK (PART 3): PUBLISHED ON PRX  5 /29/ 2020 - BEYOND A SONG originates in BLOOMINGTON, INDIANA and is sponsored by:
THE BLUEBIRD NIGHTCLUB, REAL TO REELS RECORDING STUDIO, AND VISITBLOOMINGTON.COM

Beyond a Song host Rich Reardin interviews Georgia based singer / songwriter  Ben Bostick.
Ben Bostick is a South Carolina-raised, Georgia-based outsider country singer-songwriter and one man band. His influences range from Johnny Cash and Bruce Springsteen to Otis Redding and Tommy Emmanuel.
After leaving home for a decade of rambling and toiling at odd jobs, Bostick blew into California and decided to try his hand busking on the Santa Monica Pier. To the great surprise of the former ranch hand and roofer, Bostick found that he could make a living playing music. Ben saved his busking money and used it to record his debut EP, My Country, in 2016. No Depression says, “he comes on like an unholy alliance of George Jones and Merle Haggard.” My Country was nominated for an Independent Music Award in the Roots/Country category.
His debut album, Ben Bostick (2017), takes on a more progressive country tone, recalling such artists as Jason Isbell and Sturgill Simpson, and showcases his versatility as a songwriter. “This eponymous album is so well written that it is to look into the heart of the divine, a true great,” says Liverpool Sound & Vision.
Hellfire (2018), Bostick’s sophomore release, is a collection of high energy songs written during his band’s yearlong weekly residency at The Escondite in downtown Los Angeles. It was during this residency that Bostick solidified the lineup in his band and set out to write material to suit the players and the venue. Lonesome Highway says, "Bostick has a wicked & wry sense of looking at things and amidst a gumbo of Country, Rockabilly, Blues and Rock we are treated to plenty of drinkin’, hard partying on Saturday nights, lustful love flings, poor boy messes and just downright bitter and mean men - loners set to do you harm."
September 2019 brought Bostick and his family to Atlanta, GA. Back in the beautiful southeast, he plans to keep making music and playing 200+ shows a year. His latest album, Among the Faceless Crowd, was released on April 17, 2020 to universal praise. The Daily vault says, ""The haunted feel and moral complexity of these songs inevitably bring to mind Bruce Springsteen’s Nebraska. It’s a point of comparison one should never make lightly, but it’s merited here thanks to the exceptional craft and affecting power of Bostick’s songs."

Musical selections include:  Feeling Mean, Sweet Thursday, The Thief, Central Valley, It Ain't Cheap Being Poor,  If I Were In A Novel, The Last Coast

For more information, visit BEYOND A SONG.COM

NATE LEE  (PART 1): PUBLISHED ON PRX  7  / 4  / 2020 - BEYOND A SONG originates in BLOOMINGTON, INDIANA and is sponsored by:
THE BLUEBIRD NIGHTCLUB, REAL TO REELS RECORDING STUDIO, AND VISITBLOOMINGTON.COM

Beyond a Song host Rich Reardin interviews Nashville singer-songwriter Nate Lee.
Nate Lee is an International Bluegrass Music Association (IBMA) award-winning instrumentalist and renowned teacher of private lessons and music camps. The overlapping landscapes of folk, bluegrass, old-time, and new acoustic music offer a wide field to hoe and singer/mandolinist Nate ably covers every bit of that ground. Tuneful lopes, the muscular bounce of ‘grass, the sparkling charm of Grisman-Rice inspired dawg music, and more are all in his comfort zone and he moves between them with uncommon ease. Nate is known as the kind of musician who is able to put his own stamp on whatever he plays and his forthcoming album, Wings of a Jetliner, brings that home and is set for independent release June 12 on his own Adverb Records.
Nate is known as a member of award-winning bluegrass group, the Becky Buller Band, which he joined in 2017 and he quickly became a fan-favorite. For this project Nate assembled an inspired collection of iconic players, modern masters, and rising stars—including his bandmates from Becky Buller Band.
Two-time GRAMMY winning songwriter, eight-time International Bluegrass Music Association award winner, and leader of the band that bears her name, Becky Buller, contributes her fiddle and vocal chops to four of the songs on Wings of a Jetliner. She says, “Nate is an incredible musician and human being. This project really shows the world the depth of his abilities, both as a picker and a singer. I’m so honored to be along for the fun!”
A Texas native residing in Nashville, Nate first came on the bluegrass scene playing fiddle with legendary banjo player and teacher, Alan Munde, in the Alan Munde Gazette, and later on fiddle and mandolin with the Jim Hurst Trio. He has also played with The Hard Road Trio and continues to record with the band. When he’s not playing, Nate is heavily involved in the work of the International Bluegrass Music Association, helping bluegrass musicians and the bluegrass community to develop and grow as the chair of the Planning Committee for the IBMA’s Leadership Bluegrass program.
Wings of a Jetliner finds Nate stepping forward as a leader in a new way, setting a higher bar for himself and bringing his singing and playing to the forefront. Buzzing with inspiration after taking in a performance by Soggy Bottom Boy, Dan Tymiski, at Wide Open Bluegrass in Raleigh, NC, in 2019, Nate returned to his hotel room to begin planning a new album that same night, and he didn’t look back. The seed of Wings of a Jetliner had been planted and was already beginning to grow. He set to work from that moment shaping his vision and making plans.
Renaissance man, Professor Dan Boner, came on board early as producer and engineer. When not playing alongside Nate in the Becky Buller Band, Dan directs the bluegrass, old-time, and country music program at East Tennessee State University (ETSU) in Johnson City, Tennessee. In the audio world, Dan is known for his hand-built high-end studio gear and exacting repair of vintage equipment. Nate credits Dan with fostering an environment and process that pulled the best from every musician involved in creating Wings of a Jetliner, a freedom that is apparent on each song, primarily tracked at the ETSU Recording Lab.
Professor Dan says, “Wings of a Jetliner mirrors all that I have observed in Nate’s persona. He is an objective seeker, lifelong learner, patient teacher, and a quick-witted responder to happenstances. He is as nimble on the fretboard as he is at racking up airline points. His smooth bow arm reflects his own pursuit of balance. Life is navigated best with a calculated efficiency of motion, energy, and time.”
“Great soundscapes resonate with listeners in the same internal places as the sound-makers,” Dan continues. “Nate so thoughtfully recruited this group of like-minded artists to create a most fascinating listening experience. I am proud that he called on me to capture these sounds and help share them with you.”
The musicians that joined Nate for this project would make anyone’s all-star ballot and many annual awards lists. Appearing on all but two tracks, 2018 International Bluegrass Music Association Banjo Player of the Year and host of “Derailed” on SiriusXM, Ned Luberecki pulls double-duty on the five-string banjo in Nate’s studio band and as a member of the Becky Buller Band. Joining Nate and Ned in the studio band on guitar is original member of the Tony Rice Unit and flatpicking legend, Wyatt Rice, and icon of acoustic music and sideman to the stars, living-legend Todd Phillips plays upright bass. Rounding out the studio band, rising star Bronwyn Keith-Hynes, founding member of IBMA Momentum award-winners Mile Twelve, handles fiddle duties on eight tracks.
Guesting in, we find bass monster Daniel “The Hulk” Hardin laying down the groove on a few and Dan Boner steps out from behind the glass to provide guitar and harmony vocals as well as fiddle on a track. Bluegrass singer and songwriter Daniel Salyer joins in on harmony vocals on a few songs. Three songs call on the talents of Buller Band members (Buller, Boner, Luberecki, and Hardin) exclusively: “Tobacco, “All Along,” and “Comealong Brown Dog.”
2016 winner of the prestigious Rockygrass mandolin competition (and founding member of the genre-bending group Circus No. 9), Thomas Cassell, serves as Nate’s duet partner on the Grisman-inspired two-mandolin feature “Serenity” a song (named for the spaceship in the sci-fi television show Firefly) which grew from a harmonic reworking of a traditional Irish tune that pays tribute in melody to the great David “Dawg” Grisman, mandolin innovator and father of the dawg style of jazz-bluegrass fusion. The whole band shines here, especially Nate, who plays both fiddle and mandolin.
Nate’s wide-ranging taste, not to mention his deep well of musical tools, give a lot for fans to enjoy in the striking variety of instrumentals on Wings of a Jetliner. Nate composed all five instrumental numbers on Wings of a Jetliner, and the quality of instrument and operator shine on each one. Mandolin players in particular will find much to love. Nate takes full advantage of his axe’s tone, monster chop, and uncommon sustain— which he says has had a significant impact on his playing—to great effect.
The lead-off track, “Wonderbat,” is a bluegrass ripper named after his trusty mandolin, which Nate, a die-hard fan of The Simpsons, named after the baseball bat that cartoon dad Homer Simpson used in an episode. It’s a showcase for the instrument’s muscle, “My Pava P5 mandolin, ‘Wonderbat,’ feels to me like Homer’s bat. I can do things with it that are better than when I play other mandolins. This song really shows the powerful side of the ‘Wonderbat,’ and it’s really fun to play.”
Nate updated a tune he’d written while in college to create “Quick Select,” a light-hearted piece with a playful bounce that was inspired by his favorite video game, Ratchet & Clank. Here, compositional approaches from jazz meet the feel of a traditional fiddle tune. It’s easy to listen to, but offers rich complexity for listeners who want to dig deeper.
Nate is joined by Buller and Hardin on “Comealong Brown Dog,” an instrumental lope inspired by Nate’s dog, Cashew. The “three T’s” of taste, timing, and tone are masterfully executed on this one, and the trio conjures the dreaminess of a late-summer afternoon in a way that is patient, lovely, and spare.
“Rook Roller” is a spiraling bluegrass number that grew out of a riff Nate came up with during a practice session on the couch. The name comes from Nate’s favorite finishing move in chess and it’s traditional flavor belies the twists and turns of a decidedly modern tune. Parking lot jammers will be wrapping their minds and fingers around this tune for years to come.
Listeners will find equally satisfying variety in the carefully chosen vocal numbers, penned by an eclectic assortment of accomplished songwriters, on Wings of a Jetliner Hard-driving bluegrass songs, western swing, and more, are all here to delight. The same taste and mastery that make each of Nate’s tunes stand out make every song shimmer on it’s own.
A tale of resistance, at great personal risk, in the face of exploitation, “Tobacco,” written by Dan Salyer, draws from the history of western Kentucky and Tennessee to tell a story about the Black Patch Tobacco Wars of the early 20th century. The Becky Buller Band supports Nate on this track with drive and power to spare.
The darkly tender, “Somewhere Far Away,” written by Nick Woods and Bradford Lee Folk, has a special resonance for Nate. “This has been one of my favorite songs in the world since I first heard Brad Folk sing it. The title of the album, Wings of a Jetliner, comes from a line in this song, ‘I like the lights on the wings of a jetliner as they blink out, and they cut through the cloud cover.’ I really love to watch planes, especially takeoff and final approach before landing. My back porch is a front row seat for final approach at the BNA airport. I like to sit out there and watch, and sometimes I wish I was in the plane instead of watching from the ground.” With it’s not-quite happy melody and deeply sad lyrics, “Somewhere” showcases Nate’s ability to tell a nuanced story. Though it may be unfamiliar to many, it has the feeling of a song you’ve heard before.
Some listeners will recognize “All Along” from 90’s rock icons, The Offspring, delivered here with all the raw urgency of the original, by Nate and the rest of the Becky Buller Band. “I must have listened to their album Conspiracy of One hundreds of times and always thought their songs would make great bluegrass songs. The drive they created between the bass/kick drum and the snare is just like a fast bluegrass groove. ‘All Along’ has always been one of my favorites; the lyrics are pretty lonesome and look like a bluegrass song on paper.”
Nate’s clawhammer banjo (which was built by his dad with a custom Lord of the Rings inspired inlay on the peghead and is called “The Blue Dragon”) propels the atmospheric canter of “Miner’s Grave,” written by Ashleigh Caudill. This dark and rich tale of a moonshiner’s tragic life drips with mood, and holds a bit of sonic experimentation for the sharp-eared to listen for.
“The More I Pour,” penned by Tim Stafford and Mark Bumgarner, began life as a honky-tonk song, but Nate pulled from his experience and transformed it into a dancehall-ready charmer. “In days past, I was a fiddler in a Western Swing band and I’ve always loved triple fiddle and swing chord changes. One of my favorite parts of the recording is Wyatt Rice’s solo. It’s unmistakably Rice, and just what I was hoping for!” The vocal and fiddle harmonies gleam on this cut, and were as much a joy to make as they are to listen to. “The triple fiddles were really fun to arrange and record. Dan Boner is a master arranger, and he developed the fiddle arrangements with input from Bronwyn and myself.”
Written by Bill Caswell and made famous by bluegrass legends, Country Gazette, which included the equally legendary Alan Munde on banjo, “Sweet Allis Chalmers” is a favorite song of Nate’s, and was the first thing recorded for Wings of a Jetliner. Nate speaks to the song’s personal significance, “Coming up in bluegrass, my first professional gig was with the Alan Munde Gazette. During my second semester in the South Plains College Bluegrass & Country Music program, someone left the band, and I was in the right place at the right time. They asked me to join and I was ecstatic. The Alan Munde Gazette covered a lot of Country Gazette material, and although we never covered this song I discovered it through my exploration of the Country Gazette catalog. The banjo part of Sweet Allis Chalmers really makes the song, and Ned Luberecki’s version of Alan Munde’s banjo arrangement is excellent.”
“Love Medicine” closes out Wings of a Jetliner on a contemporary-feeling note. The song was written by Chris Sanders, Nate’s former bandmate in the Hard Road Trio, and looks at addiction in tough-but-tender terms. The influence of the Red Hot Chili Peppers peeks through consistently and gives the song a uniqueness. The arrangement gives each player a closing opportunity to shine, and they all do.
Nate Lee’s Wings of a Jetliner is an album of significant range and each track breathes with the kind of life that can usually be found on only a few cuts on any one record. Here, all twelve numbers sparkle in a unique way. This release is a new high-water mark for Nate. It’s sure to make a lot of new fans for a fast-rising talent.
Ned Luberecki says, “Wings of a Jetliner is your first class window seat on an exciting musical journey with Captain Nate Lee at the helm. So put on your noise cancelling headphones, recline the seat and enjoy your flight! Earn double miles if you buy one for a friend!”

Musical selections include: Come Along BrownDog, Jazz Grass Waltz, The More I Pour, Business, Wonderbat, Sweet Alice Chalmers, Love Medicine 

For more information, visit BEYOND A SONG.COM

BARBARA BERGIN  (PART 2): PUBLISHED ON PRX  7  / 25  / 2020 - BEYOND A SONG originates in BLOOMINGTON, INDIANA and is sponsored by:
THE BLUEBIRD NIGHTCLUB, REAL TO REELS RECORDING STUDIO, AND VISITBLOOMINGTON.COM

Beyond a Song host Rich Reardin interviews Austin, Texas  singer/songwriter Barbara Bergin.
I’m Barbara Bergin, orthopedic surgeon by day, and you can occasionally find me gigging after hours in Austin, Texas, the Live Music Capital of the World! Bought my first stick, a Gibson B-25 Student Guitar, in 1968, with babysitting dollars. Back then I was earning a fat fifty cents an hour, so I would have to say that’s been one of the best investments I have ever made. You might think that since I started playing guitar when I was in the ninth grade, by now I should be quite the hand. But like many girls of my day, we were more interested in hanging with the boys, and the guitar was just a ticket to sitting at the table. I did learn how to play G, C and D, and was on my way to playing all the cool folk tunes you can play with those three chords, like Sloop John B.
College, med school and orthopedic residency slowed me down a little. But with one of my first paychecks, I promptly purchased a sweet Martin D-38, and that lovely guitar set me on the path to Travis finger-picking, and learning a few more chords.
Despite being primarily a left-brainer, and honing the scientific skills of my career, music and story-telling have always been a passion. In 2007 I published my first novel, ENDINGS (Sunstone Press). I won a few awards and sold a bunch of copies. Didn’t quit my day job though. But second and third novels are in the works, along with my non-fiction work-in-progress, Sit Like A Man (S.L.A.M.)
I have a pretty healthy case of stage fright, so I was surprised when songs started coming to my head, along with the chords to back them up. If you write songs, I guess they must be sung, so I got involved with a music school in Austin called Girl Guitar. It’s based primarily on the concept of forming band classes for women, and they’re taught only by women. The six -week class sessions are followed by public performances, and I was on my way to performing my own songs. Dealing with stage fright is also a work-in-progress, but since I’m not quitting my day job, it’s not too worrisome.
Since I’m a story-teller, writing old-timey ballads, bluegrass and folk tunes just seemed to come naturally to me. The owner of Girl Guitar, Mandy Rowden, and many of her students are aspiring and accomplished musicians in their own right, and publishing music and cutting CDs is a happening thing around there. Always wanting to try something new, I recorded my first CD, Blood Red Moon, in 2018. I had the help of one of my teachers, Jane Gillman, who is also my producer, and my sound engineer, Merel Bregante. I’m so happy with my product. I’m sure more are to come.
In my spare time, I run a medical self-help blog: drbarbarabergin.com.  As a cowgirl and rancher, I am also an experienced western equestrienne, in the sport of Reining. As of this summer, my new horse, Sneakers and I are in sync and looking toward regional championships in August.
And did I say I’m still not quitting my day job?

Musical selections include:The Captain of the Robert E. Lee, Let's Get on Up, Daughters Lament,She Danced With The Young Prince of Wales, Low Water Bridge,Blood Red Moon 

For more information, visit BEYOND A SONG.COM 

BILL FRISELL (PART 1): PUBLISHED ON PRX  10  / 2  / 2020 - BEYOND A SONG originates in BLOOMINGTON, INDIANA and is sponsored by:
THE BLUEBIRD NIGHTCLUB, REAL TO REELS RECORDING STUDIO, AND VISITBLOOMINGTON.COM

Beyond a Song host Rich Reardin interviews composer/guitarist extraordinaire Bill Frisell.
Bill Frisell’s career as a guitarist and composer has spanned more than 40 years and many celebrated recordings, whose catalog has been cited by Downbeat as "the best recorded output of the decade."
Released March of ’18, Frisell’s latest album for OKeh/Sony is a solo album titled, Music IS - "Taken as a whole, the album beautifully encapsulates Frisell’s depth and range in all its meditative glory."- Chicago Reader.  It was recorded in August, 2017 at Tucker Martine’s Flora Recording and Playback studio in Portland, Oregon and produced by longtime collaborator Lee Townsend. All of the compositions on Music IS were written by Frisell, some of them brand new – Change in the Air, Thankful, What Do You Want, Miss You and Go Happy Lucky – others being solo adaptations of now classic original compositions he had previously recorded, such as Ron Carter, Pretty Stars, Monica Jane, and The Pioneers. In Line, and Rambler are from Frisell’s first two ECM albums.
Frisell’s previous project, the Grammy nominated When You Wish Upon a Star also with OKeh/Sony, germinated at Lincoln Center during his two-year appointment as guest curator for the Roots of Americana series (September ’13 – May ’15).  It features Frisell with vocalist Petra Haden, Eyvind Kang (viola), Thomas Morgan (bass) and Rudy Royston (drums) performing Frisell’s arrangements and interpretations of Music from Film and Television.  Jazz Times described the project as follows: "unforgettable themes are the real draw here, reconfigured with ingenuity, wit and affection by Frisell and a terrific group."
"Frisell has had a lot of practice putting high concept into a humble package. Long hailed as one of the most distinctive and original improvising guitarists of our time, he has also earned a reputation for teasing out thematic connections with his music... There’s a reason that Jazz at Lincoln Center had him program a series called Roots of Americana."  - New York Times
Recognized as one of America’s 21 most vital and productive performing artists, Frisell was named an inaugural Doris Duke Artist in 2012.  He is also a recipient of grants from United States Artists, Meet the Composer among others.  In 2016, he was a beneficiary of the first FreshGrass Composition commission to preserve and support innovative grassroots music.  Upon San Francisco Jazz opening their doors in 2013, he served as one of their Resident Artistic Directors.  Bill is also the subject of a new documentary film by director Emma Franz, entitled Bill Frisell: A Portrait, which examines his creative process in depth.

Musical selections include:  Justice and Honor, Pretty Stars, Pipeline, Wagon Wheels, The Street Where You Live, Pretty Flowers Were Made For Blooming, Witchita Lineman


For more information, visit BEYOND A SONG.COM