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Close Enough for Jazz

Birch Grove

Tired of the old jazz paradigm? We call this Close Enough for Jazz because "Modern-Avant-Garde-Polyrhythmic-Sound-Art" was too long for the RSS feed. Join Lindsay and Alan Bjorklund (Birch Grove Media) for unfiltered dialogues with the composers and improvisers pushing the boundaries of the modern and avant-garde jazz scene.

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S1 · E29
Thursday · 47 min
Revisiting the Golden Era of Williamsburg Jazz with the Alessi Quartet
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.
S1 · E28
September 10 · 45 min
Jazztronica, Dream Melodies, and The Big Machine with Aaron Burnett
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.
S1 · E27
September 3 · 57 min
Inside the Mind of Chris Tordini: Upright Bass vs. Electric and Prioritizing Opportunities
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: 00:00 - Intro: Sweating with certain drummers 00:25 - Writing two upright bass books for Mel Bay 06:00 - Translating technique between electric and upright bass 11:06 - Taking the "rock route" to the upright bass 13:08 - Growing up and gigging in the South Jersey music scene 18:25 - How to prioritize gigs: The "Two out of Three" rule 24:41 - Practicing quarter tones, polyrhythms, and meditative focus 28:01 - Keeping calm while playing with intense, complex drummers 29:56 - Finding inspiration in Drew Gress's relaxed playing at the Village Vanguard 32:00 - Knowing when to step out and when to be the glue 36:44 - Taking over the bass chair on Broadway's Hadestown 42:32 - The mental challenges of playing repetitive shows eight times a week 47:55 - Exploring groove-based improvisation and extreme math jazz 51:04 - Storytime: The worst tour 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.
S1 · E26
August 27 · 37 min
The Blind Pig Series - Bootleg from August 24, 2011
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 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.
S1 · E25
August 20 · 42 min
Discovering Freedom in Frameworks and the Forgotten Borough with Julie Maniscalco
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: 00:00 - Intro: The logistics of managing an 18-piece band 02:47 - The compositional process: Why writing for a big band is like mixing a cocktail 06:07 - Premiering three original pieces at Carnegie Hall 10:46 - Writing for the Susan Wagner High School Wind Ensemble 12:28 - Finding creative freedom within traditional musical frameworks 18:50 - Major compositional influences: Maria Schneider, Arturo O'Farrill, and Miggy Miyajima 23:13 - The Outer Borough Project: A musical tribute to Staten Island 29:22 - The history and current state of the Staten Island jazz scene 39:29 - Outro: Chamber Music America grant and the upcoming album In Flux 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.
S1 · E24
August 13 · 44 min
Water as a Muse, Augmented Bass, Sound Curtains and More with Pascal Niggenkemper
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 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.
S1 · E23
August 6 · 25 min
Anthropic, Media Destruction, and the Dystopian Future of Music AI
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: 00:00 - Intro: A dystopian AI episode 00:25 - Staying on top of AI in the music industry 01:57 - How Anthropic scanned and destroyed physical books to train Claude 03:54 - The "first sale doctrine" and the publishers' lawsuit 05:51 - 404 Media's report on ISBNdb and bulk-buying pre-2022 books 08:25 - Destroying physical history for AI slop-free data 09:36 - Ray Bradbury's Fahrenheit 451 and AI as the new "firemen" 11:45 - Private equity firms buying up music catalogs 13:45 - The Capitol Records v. ReDigi case and digital audio files 15:03 - The terrifying potential of feeding classic catalogs into AI 18:00 - Are there legal loopholes for shredding records like books? 21:18 - Treating art and physical media as nothing but data for the machine 24:29 - The theoretical scenario of an AI cloning George Clinton's catalog 25:34 - Outro: Let us know your thoughts in the comments 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.
S1 · E22
July 30 · 36 min
The Disappearing Middle Class of Music Venues
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: 00:00 - Intro: Recording through a tornado warning 01:25 - Defining the venue size "ladder" and its impact on musicians 03:22 - Large Venues: Madison Square Garden, Terminal 5, and Brooklyn Steel 04:39 - The DOJ antitrust lawsuit against Live Nation and Ticketmaster 08:08 - The Ticketmaster settlement and what it means for consumers 10:26 - Medium Venues: The "missing middle" and soaring tour costs 12:48 - Tragic closures: Music Hall of Williamsburg, Highline Ballroom, and The Well 16:04 - The end of the Stanhope House in New Jersey 17:21 - Small Venues: Dive bars, DIY spaces, and the end of the 55 Bar 18:46 - What happened to Saint Vitus Bar and Bowery Electric? 22:56 - Jazz Standard and the historic Cotton Club close their doors 25:11 - Debunking data on Gen Z drinking and spending habits 29:03 - The death of the middle class and the rise of upscale hybrid venues 34:25 - Outro: Are festivals like Big Ears the solution for touring bands? 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.
S1 · E21
July 23 · 29 min
The Bling Pig Series - Bootleg from July 23, 2012
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: 00:00 - Intro: What is a Blind Pig speakeasy? 01:48 - Traveling back 14 years to July 23, 2012 02:17 - Introducing Nicolas Letman-Burtinovic's Bomb X 03:22 - Discovering the gig was recorded on an iPod 06:53 - Art Hirahara’s unexpected avant-garde piano playing 07:18 - Playing a double bill with Smirk at Sycamore in Brooklyn 09:45 - Michael Attias and the lost Brown House bootleg tapes 16:29 - Nicolas Letman-Burtinovic's extended bass techniques and protest music 22:49 - A snapshot of Michael Attias's 2012 album releases 23:44 - What Art Hirahara and Tyshawn Sorey were up to in 2012 29:15 - Outro: Tyshawn Sorey's abrupt endings 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.
S1 · E20
July 16 · 20 min
Face’s Upcoming Album and the Glory Days of the Bushwick Loft Scene
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: 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.
S1 · E19
July 9 · 30 min
The 1985 AI Music Prophecies from a Computer Science Genius
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: 00:00 - Intro: What happens when the AI freezes up? 00:31 - Unearthing a 1985 AI music time capsule from OPtion Magazine 01:46 - Eric Mueller's "Entangling Computers and Music" 03:23 - The concept of "interactive works" and reactionary AI 04:34 - Comparing early AI ideas to Stefon Harris's Harmony Cloud 08:43 - Will musicians become programmers and vice versa? 10:42 - Feeding the program multiple source elements for complex reactions 13:22 - "Distributed works" and the concept of dial-up avant-garde music 17:52 - Learning the LISP programming language in 1985 20:04 - Debating if software is truly more interesting than hardware 22:41 - Eric Mueller's background with UCLA, MIT, and IBM's Watson 26:41 - Why 1980s AI concepts lend themselves perfectly to avant-garde jazz 27:28 - Interactive free improvisation vs. modern AI cloning apps 29:14 - The legacy of OPtion Magazine and its focus on experimental music 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.
S1 · E18
July 2 · 23 min
The Military Histories of Ayler, Coltrane, and Threadgill
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 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.
S1 · E17
June 25 · 36 min
The Blind Pig Series - Bootleg from June 25, 2004
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 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.
S1 · E16
June 18 · 19 min
Behind the Scenes, Studio Tour, the How & Why: CEFJ x Podfuel
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. Timestamps: 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: 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.
S1 · E15
June 11 · 58 min
Carlos Homs and the Psychotic Work Ethic Behind Music Production
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 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.
June 4 · 40 min
Music You Can't Pigeonhole: Danny Sher on Emotion Over the Analytical
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 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.
S1 · E13
May 28 · 51 min
Special Edition: Is AI the Death Blow for Creative Music?
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 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.
S1 · E12
May 21 · 56 min
Josh Lopes: Dither, John Zorn, and the Art of Blasting White Noise
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 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.
May 14 · 1 hr 5 min
Sam Ospovat: From Cecil Taylor to Blight Music
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: 00:00 - Intro: The difficulty of moving to New York 01:13 - Formative years at UC Santa Cruz 04:16 - Mills College: An incubator for the avant-garde 05:32 - Two weeks with Cecil Taylor: Focus and improvisation 08:12 - Moving to NYC and the influence of mentors 11:46 - Relocating to Finland and the Nordic scene 19:07 - Classical music as a Finnish national identity 26:19 - Rhythmic ratios: Composing with prime numbers 29:39 - Virtuosity and the feeling of total abandon 32:11 - The "Blight Music" concept and the warehouse scene 39:51 - Writing for non-specialists in complex structures 44:19 - Timbre and the intellectual component of music 50:13 - The Brooklyn warehouse and the Blight Music festival 56:10 - Identifying the true originals in the current era 1:03:59 - How to find Sam Ospovat’s music 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.
S1 · E10
May 7 · 36 min
Smirk: Not Your Grandfather’s Jazz and the Birth of a Label
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 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.

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