Episodes

From Alice Cooper to the Jayhawks, Bob Ezrin explains why artists keep coming back to him and why he asks permission to hold them to the best work they have ever done.

The reggae historian joins us to discuss 'Dub Revolution,' his account of how King Tubby, Prince Jammy, and Scientist pulled reggae records apart at the mixing desk and sent the pieces back out.

Seven players, four cities, and no rehearsals: Fling ii's Brad Gowland and Richard Murphy describe a recording method that turns a weekend of continuous tape into a six-track album.

The acclaimed music producer joins Lawrence Peryer to explain why he has worked out of one Gowanus building since 1979, what the rezoning is displacing, and why he thinks genres behave like social movements, with their own looks, uniforms, and language.

The saxophonist joins us to discuss 'Turn the Music Up,' the friendship with Pharoah Sanders behind its central tribute, and why he refuses to think of the jazz lineage as something outside himself.

The Florida sound artist joins us to discuss 'Kicking A Dark Horse,' a modular album bound into a hardcover book, with each half composed to fill the silences left by the other.

The NEA Jazz Master and four-time Grammy winner joins us to discuss 'Trip the Night Fantastic,' the second album from Terri Lyne Carrington + Social Science, which sets deportation, prison abolition, and climate collapse to music for the dance floor.

The pop-chart analyst and 'Hit Parade' host joins us to discuss what better data revealed about hit songs, the slow end of the monoculture, and the cultural rules that keep outsiders off country radio.

On his debut solo album, 'Teleportations,' the synthesist, producer, and founding member of The Comet Is Coming turns grief and upheaval into a science-fictional voyage built entirely from analog machines.

The electronic music pioneer joins the podcast to discuss 'CIANI/ORKEST,' her live album pairing the Buchla synthesizer with the 50-piece Metropole Orkest, and why she has always heard the instrument as orchestral.

The veteran trumpeter and arranger joins the podcast to discuss the twin albums 'ResoNation Trio' and 'Ultra Resonance,' Laurie Anderson's lesson that you never need permission to make art, and why this music dies if it stays in a museum.

Trained in the Jackie McLean tradition and later mentored by Herbie Hancock, Hellmuth explains how 'Tether' turns trust between bandmates into the record's actual structure.

Trumpeter and composer Dave Douglas discusses his album Transcend, the Jack Whitten retrospective that reshaped his thinking about raw material, and why Booker Little gave an entire generation of players permission to keep scrambling.

Ora Cogan on the politics of 'Hard Hearted Woman,' the hollowing-out of folk tradition, and why her forties have been the best time of her life to be playing music.

From the Black Ark tapes buried in Lee Perry's yard to unreleased Dennis Brown sessions, Billy Polo on the forensic pleasures and urgent stakes of reggae's analog archive.

The Dutch composer joins Lawrence Peryer to discuss 'Asymmetrical Dot,' the album shaped by his mother's death, a grandson's birth, and four decades of learning which clichés to reject.

George Grella joins the podcast to discuss his book Minimalist Music and argue that the genre has nothing to do with sparse materials and everything to do with time.

On ‘The Observer Effect’, Canadian composer Meredith Bates builds long-form sound worlds from violin, electronics, and the recordings of the natural world—and finds that art, love, and politics are harder to separate than they appear.

Toronto drummer Nick Fraser discusses 'Areas,' his long creative partnership with Kris Davis and Tony Malaby, and what committing to acoustic music costs when electronics define the contemporary sound.

Composer, bandleader, birder, and unapologetic alarm-sounder, Maria Schneider brings 'American Crow' to The Tonearm for a conversation about listening as both artistic practice and civic obligation.

Armed with a saxophone, an Organelle, and an aluminum can, Caroline Davis spent a month in Wyoming making her debut solo record—and thinking about freedom in all its forms.

The Grammy-nominated composer and chief conductor of the Danish Radio Big Band discusses her new album Frames, the death of her mentor Jim McNeely, and why love is the only honest reason to make music.

Cellist and composer Tomeka Reid joins the podcast to discuss dance! skip! hop!, the fourth Tomeka Reid Quartet album, and why photographs of her grandmother's Wyoming life keep finding their way onto her record covers.

The Grammy-nominated saxophonist and Kneebody co-founder joins us for episode 300 to discuss his new album BaRcoDe, a project built around four of the most inventive mallet players working today.