In this episode of The Bandwich Tapes, I sit down with percussionist Chris DeChiara, whose musical journey spans from teenage rock bands to drum corps, classical training, and ultimately, more than two decades with the U.S. Navy Band in Washington, D.C. I first discovered Chris after hearing him on a Classical Breakdown episode, and I was blown away by his playing, his sound, and the way he talked about percussion. I reached out immediately, and I’m so glad he agreed to come on the show.

Chris and I discuss how he found his way into classical music later than most, and how that discovery completely altered the direction of his life. We explore how drum corps shaped his sense of time and listening, as well as the pressure of performing high-level percussion parts night after night. He recounts the story of joining the Navy Band just before 9/11, and we discuss the weight and responsibility of performing military funerals and ceremonial duties at Arlington.

We also delve into his book on Stravinsky’s Rite of Spring, which originated from a graduate school paper and evolved into a comprehensive research project during the pandemic. Hearing how he approached the timpani part, the historical context, and the self-publishing process was fascinating. From there, we discuss what it truly takes to balance drum set and orchestral percussion, the challenge of leading time within a large ensemble, and the mindset shift required to blend, anticipate, and adapt depending on one’s position on stage.

Chris and I share a love of the Beatles, so of course, we dive into why those songs are so deceptively complex. Chris also fills me in on what his life looks like now: performing with the Alexandria Symphony, gigging with his long-running band Dr. Fu, playing in tribute acts (including an Iron Maiden tribute), teaching at Catholic University, and tackling a Britney Spears musical mainly played on a sample pad.

This is a rich and wide-ranging conversation filled with great stories, thoughtful musical insight, and an inside look at a fascinating career in percussion. I had a great time talking with Chris, and I think you’re going to enjoy this one.

Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at [email protected].

Theme music: "Playcation" by Mark Mundy

In this episode of The Bandwich Tapes, I sit down with Jake Banfield, a singer, songwriter, and performer with deep Oklahoma roots who turned a career-ending basketball injury and the stillness of quarantine into a brand-new life in music. Jake and I discuss his new album, Open Bars, how growing up in small towns influenced his writing voice, and why moving to Nashville after writing stints in LA sharpened both his craft and his confidence.

We delve into co-writing versus writing for himself, channeling mental health into honest songs, and how his genre stew, encompassing country, pop, hip-hop, and classic rock, manifests across the record. We also get into the wild growth on social media, the rush of hearing crowds sing his songs back, and the surreal moment of hitting #1 on country radio in Australia, with tours abroad now on the calendar.

To learn more about Jake, visit his website.

Music from the Episode:
Open Bars (Jake Banfield)
Lasso (Jake Banfield)
Still Feels the Same (Jake Banfield)
Thought of You (Jake Banfield)

Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at [email protected].

In this episode of The Bandwich Tapes, I sit down with drummer, singer, and songwriter Alwyn Robinson, whose story travels from East Texas to Boulder, Colorado, and now to Brooklyn, New York.

You may know Alwyn from his work with Leftover Salmon or his performances with Billy Strings, but now he’s stepping forward with a new solo album called Marshall, out Friday, November 14. The record is a beautiful reflection of what Americana means to him, rooted, soulful, and full of texture.

We discuss the importance of process, navigating grief and self-care, learning to be still, and how these inner lessons have shaped his growth as both a musician and a person. We also get into the making of Marshall, his collaboration with Bridget Carney (Lake Street Dive) and Andrew Ibanez, and how he’s learning to find his own voice as a frontman.

Music from the Episode:
Carrying On (Alwyn Robinson)
Nose on the Grindstone (Alwyn Robinson)
Gentle on My Mind (Alwyn Robinson)

Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at [email protected].

Theme music: "Playcation" by Mark Mundy

In this episode, I’m joined by John Mailander, a fearless and lyrical fiddler/violinist whose work bridges bluegrass, jazz, ambient improvisation, and songcraft. We trace his path from San Diego to Berklee (where he studied American Roots with mentor Darol Anger) to Nashville, where he found a close-knit community that’s as experimental as it is supportive. John discusses the city’s “weirdo music” scene, ambient nights, free improvisation, and oddball collaborations, and how that energy coexists alongside the touring calendar.

We dig into his life-changing chair with Bruce Hornsby: the no-setlist ethos, learning the “top 80” deep-cut originals, living on the edge together, and the night Bruce rearranged the stage so John could stand next to John Scofield, then kept tossing them intertwined solos all evening. John shares recent runs with Sam Grisman (with hero Peter Rowan onboard), producing and recording more from Nashville, and the origin of his own band Forecast, a genre-porous collective inspired by Bill Frisell, Brian Blade Fellowship, Pat Metheny/Brad Mehldau, and Joni Mitchell. We talk through the new record Let the World In: how residency nights at Dee’s in Madison shaped the tunes, why the drums sound so alive, and why he welcomes rotating lineups to hear the same music through new lenses.

Teaching and mentorship thread through the conversation: passing on what was given to him (formally and backstage between songs), honoring influences like Matt Mundy (ARU/Bruce Hampton), and why the point isn’t “pushing boundaries” as a goal but playing honestly enough that the music pushes itself. It’s a generous, grounded conversation about trust, curiosity, and letting the music lead.

To learn more about John, visit his website.

Music from the Episode:
Let the World In (John Mailander's Forecast)
Road (John Mailander's Forecast)
Gardener (John Mailander's Forecast)
Reprise (John Mailander's Forecast)

Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at [email protected].

I’m excited to announce that for the six weeks, I’ll be releasing two episodes every week, one on Monday and another on Thursday. That means twice the music, twice the stories, and twice the fun.

If you haven’t already, make sure to follow or subscribe wherever you get your podcasts, so you don’t miss any of the upcoming episodes. And if you’re enjoying the show, please share it with a friend. That’s the best way to help it grow.

Thanks again for listening and for being part of The Bandwich Tapes community.

In this episode of The Bandwich Tapes, I sit down with legendary session drummer Paul Leim, whose six-decade career quietly powers a staggering piece of the soundtrack to our lives. Paul has played on more than 12,000 songs across over 2,000 releases, with 1,400+ silver/gold/platinum certifications, and global sales topping 540 million units. His discography encompasses over 150 combined GRAMMY nominations and wins, as well as 40+ major film/TV awards, and credits on more than 150 films and 100 television specials and series. If you’ve heard Lionel Richie, Shania Twain, Lyle Lovett, Kenny Chesney, Whitney Houston—or cues from Dirty Dancing, Smokey and the Bandit II, The River, or even Return of the Jedi, you’ve likely heard Paul.

We trace the arc from East Texas clubs and Dallas jingle mills to late-’70s Los Angeles, where a “typical” week meant two complete drum rigs leapfrogging between Lionel Richie sessions, network TV soundstages, film dates, and award shows. Paul talks mentors and “angels” (band director Neil Grant, Robin Hood Brians, Doc Severinsen), lifelong friendships with the TCB family (Ron Tutt, Jerry Scheff), and lessons that still anchor his playing—especially dynamic control and “letting the mics work.” We get inside the high-wire reality of studio life. Paul calls it “95% boredom and 5% sheer terror”, including how to read conductors, when to lead the time, and when to ride it, and what it’s like to move from live kit to orchestral percussion with John Williams.

There are great shop-floor stories: cutting Lionel’s “Truly” and counseling Lionel at the fork-in-the-road moment of leaving the Commodores; discovering that Lyle Lovett’s “The Blues Walk” was gloriously vocal-free; and a deep dive into the precision world of Mutt Lange and Shania, ending bass notes just before the snare for mix “air,” the chrome-over-brass “important” snare, and the on-the-fly invention of tom “Mutt flaps” for short, open fills. Paul also shares a personal fork he chose differently: turning down a James Taylor tour to be home with his young family, only to hand JT the final serial-numbered Leim signature snare decades later at the White House.

Today, Paul is still very much in motion: bandleading the TCB Band in Europe, steering The Tennessee Four with Thomas Gabriel to carry the Cash legacy, and jumping into Million Dollar Quartet shows—proof that the hang, the humility, and the groove endure. It’s a conversation about craft, friendship, stewardship of a gift, and the choices that shape both a career and a life.

Music from the Episode:
Pick it Apart (Mark O'Connor)
Truly (Lionel Richie)
The Blues Walk (Lyle Lovett)

Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at [email protected].

Theme music: "Playcation" by Mark Mundy

In this episode of The Bandwich Tapes, I reconnect (30 years later!) with bassist and singer Trish Imbrogno. We apparently shared the same summers at the Chautauqua Institution as teens, then each took “classical first” career paths before veering joyfully into other sounds. Trish tells the story of leaving a busy classical schedule to become a bluegrass/Americana bassist and bandleader and why she’s never looked back. We explore topics such as discipline, groove, ensemble trust, the debate between purists and progress, and the thrill (and terror) of starting over in a new musical language. We also preview her debut EP Bluegrass Love Songs, Vol. 1 (out Nov 7) and the monster lineup that played on it.

To learn more about Trish, visit her website.

Music from the Episode:
Think of What You've Done (Trish Imbrogno)

Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at [email protected].

In this episode, I reconnect with drummer and percussionist Wayne Viar, a true chameleon equally at home on rudimental snare, timpani, orchestral percussion, hand percussion, and straight-ahead drum set grooves. Raised in Richmond, Virginia, Wayne followed his older brother into the school band and studied at East Carolina University under the guidance of Mark Ford. He marched in the early 1990s with Santa Clara Vanguard in the front ensemble. Those years sharpened the two traits that still define his playing: refined touch and a highly trained ear. Wayne shares how timpani work shaped his sound concept, tuning, touch, and intent, and why those lessons transfer to every instrument he plays.

We trade stories from the North Carolina Triangle scene to Atlanta’s deep pool of drummers, reflecting on what makes a rhythm section feel great: listening, placement, and serving the song. Wayne describes his approach to subbing as studying a band’s center of gravity while giving them the feel they expect. He also shares what he learned playing percussion alongside Atlanta stalwarts such as Joe Lee, Scott Meeder, and Jon Chalden. He contrasts the football-team edge of earlier drum corps with today’s more dance-oriented productions. He explains why he writes parts that are musical, supportive, and grooving, using as much as needed but no more, instead of cramming in notes for flash.

These days, Wayne splits his time among theater and tribute productions, including A1A, the long-running Jimmy Buffett show he loves for its surprising stylistic range, occasional ABBA productions with original bassist Mike Watson, and writing and teaching for high school programs. Throughout our conversation, we keep coming back to process over product, rehearsing well, building reliable systems, and teaching skills that outlast any single show. It is a deep dive into musicianship, adaptability, and being the kind of player and hang people want to call again.

To learn more about Wayne, visit his website.

Music from the Episode:
Who's Been Talking (Shannon Wickline, Wayne Viar, & Brad Williams)

Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at [email protected].

In this episode, I shine the spotlight on The Unfaithful Servants through a conversation with singer, guitarist, and songwriter Dylan Stone From Vancouver Island’s roots scene to a week immersed at IBMA in Chattanooga, the Servants have built a sound that slips past easy labels: tight three- and four-part harmonies, fearless arrangements, and a blend of bluegrass, folk, alt-country, and Americana that still feels unmistakably like one band.

Dylan walks me through the Servants’ arc: his partnership with mandolinist Jesse Cobb (a founding member of The Infamous Stringdusters), the jolt of energy when fiddle phenom Quinn Etheridge-Peddon joined, and the final puzzle piece in bassist Mark Johnson. We discuss the chemistry that's palpable onstage and how trust enables them to push beyond genre boundaries while always prioritizing the song.

Their new album, Fallen Angel (out October 17), captures that identity. The band converted Quinn’s basement into a studio. It brought in producer Adrian Dolan to keep it honest and alive, arrangements evolving in real time, performances that breathe, and the raw cohesion of a working band. We also explore their next steps: incorporating listening-led improvisation into writing (akin to jazz school rather than “endless solo”) and planning U.S. runs in 2026 from the Pacific Northwest down the coast and inland.

The title track “Fallen Angel” is out now on all platforms.

Band lineup

• Dylan Stone — vocals, guitar, songwriting
• Jesse Cobb — mandolin, instrumental writing, vocals
• Quinn Etheridge-Peddon — fiddle, vocals
• Mark Johnson — bass, vocals

To learn more about The Unfaithful Servants, visit their website.

Music from the Episode:
Fallen Angel (The Unfaithful Servants)
Real to Touch (The Unfaithful Servants)

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at [email protected].

Niia joins me to unpack her forthcoming album—a modern, live-first take on jazz that blends an acoustic rhythm section with subtle, future-leaning electronic colors. Trained as a jazz vocalist and raised at the piano, she set out to create something timeless, without relying on retro tropes or trend-bound sounds. The result is a record that breathes: spacious mixes, genuine dynamics, and arrangements that allow for interplay while keeping the vocal narrative at the center.

We trace her path from a fiercely musical Italian family outside Boston—classical piano with her mom, jazz studies at The New School in New York—to early studio reps as a jingle singer, where she learned mic technique, speed, and how to “translate” creative direction. A move to Los Angeles opened new collaborative circles and ultimately led to the creation of this album, co-produced with Lawrence Rothman and Spencer Zahn (whose bass work is a standout). Most core tracks were cut together, with Niia revisiting vocals after living with the songs; mixer John Castello kept the feel alive rather than over-processed. Her version of “Angel Eyes,” distilled to voice and piano, anchors the record and nods to the tradition she loves.

We also discuss the human side of performing—stage fright, perfectionism, and the transition from singing with eyes closed to fully engaging with an audience. For Niia, connection beats ego: the goal is to help people feel something, not to sand every edge. As the new album rolls out (release date: October 10), she’s launching a 10-date European tour starting in Germany and Copenhagen, with hopes of bringing the show to Asia and the U.S. next. Long term, she dreams of a lush standards album—but, as she puts it, not just yet.

Pre-save and listen to Niia's upcoming album, V, on all streaming services (https://niiamusic.lnk.to/niiavPR).

To learn more about Niia, visit her website.

Music from the Episode:
throw my head out the window (Niia)
pianos and great danes (Niia)
f*cking happy (Niia)
angel eyes (Niia)

Thank you for listening! If you have any questions, feedback, or ideas for the show, please contact me at [email protected].