The Playful Musician

I’m grateful to be sitting down once again with Martin Majkut, Music Director of both the Rogue Valley Symphony in Oregon and the Queens Symphony Orchestra in New York. We haven’t spoken since 2020, and there’s much to catch up on.

We geek out over Beethoven's 5th Symphony and the ongoing debate about its proper tempo. Martin shares how fatherhood has transformed him as both a person and a conductor, explaining why becoming a father later in life has been ideal for him. We also delve into the aftermath of the pandemic and how it has positively changed both him and the makeup of his orchestra. This conversation, like all my discussions with Martin, is delightful. You'll come away with wisdom to apply to your own path in life and an intimate look at this wonderful composer.

Caity is a two-time Juno Award-winning vocalist from Canada, known for her remarkable musical talent and relentless work ethic. Her voice has an instrumental quality that can hold its own against any saxophone on an improvisational riff. Gyorgy has performed at jazz clubs and festivals across Canada, Mexico, Japan, and the United States, collaborating and recording with incredible musicians, including Christine Jensen, Pat LaBarbera, Jocelyn Gould, Ira Coleman, Bryn Roberts, and Joe LaBarbera, to name a few.

Join us as we discuss her ambitious project of transposing 31 songs in 30 days, her ability to write music that feels as if it emerged organically from the 1950s, and how she has honed her writing and improvisational skills to stand out as a young jazz vocalist you'll want to keep an eye on. We also talk about her newly released album Hello! How Are You?, where she brings her joyful spirit and playfulness to these new tracks, and what's next for her career.

Nikka Costa returns to the music scene after a career break, and we sit down to discuss her life and her new album, Dirty Disco. Costa’s evolution as an artist is truly inspiring. Each of her works invites the listener to peel back layers, revealing more about this transformative vocalist with every song and decade.

In our candid conversation, we revisit her early fame, which began with an album that catapulted her to stardom at just seven years old. From being greeted by adoring fans at airports to growing up with musical legends, we explore her journey and what she enjoys listening to when she’s not creating new music. This episode offers an intimate look at an artist with decades of experience in the music industry and the stories to match.

Tune in as we discuss showmanship, the art of guiding an audience, and how to write a song by listening to how it wants to be written. This episode is both profound and exciting, featuring advice and wisdom from an artist we’ve all eagerly awaited for her next big hit.

Originally from London, Will Vinson has played as a leader and sideman in New York, Canada, the UK, France, Germany, Norway, Sweden, Denmark, Italy, Spain, Ireland, Portugal, the Netherlands, Belgium, Austria, Switzerland, Australia, and Japan. Will is a member of Rufus Wainwright’s band and has performed, arranged, and recorded with Sufjan Stevens, Sean Lennon, Martha Wainwright, Beth Orton, Harper Simon, and other jazz visionaries.

In this episode, we discuss his mentors and how they have shaped his sound and that of other alto saxophonists. We also explore how his sense of time affects everything, his journey overcoming shyness to make a mark on New York and jazz, and how picking up the alto saxophone pushed him to carve his own path as a jazz leader with incredible power, dramatic sensitivity, and technical prowess.

Sarah Belle Reid is a rule breaker. A performer-composer who trained in trumpet and moved through, and at times against the status quo, to modular synthesizer, and an ever-expanding array of handcrafted electronic instruments. The personal voice she explores, moves between the intersections of contemporary classical music, experimental and interactive electronics, visual arts, noise music, and improvisation. Reid holds a Doctorate of Musical Arts from California Institute of the Arts, with a research focus on the development of new electronic instruments and musical notation systems as interfaces for exploring temporal perception and co-creation. Reid is on faculty at Chapman University teaching music technology, as well as Temple University, where she teaches Physical Computing and Electronic Instrument Design. 

Sarah and I discuss her early career and how she disrupted her own ideas of musical success to forge a path all of her own. She shares the story of creating her own instrument, MIGSI, explaining what inspired its development, its mechanics, and how it has propelled the trumpet into the future with innovative sensing technology and sound processing. Sarah also reflects on her journey as an innovative musician in her field, building a social media presence, independent research and improvisation, and how she felt like she was “just starting”, once she realized she was not just a performer but so much more, herself. Sarah goes on to announce, for the first time publicly, her newest work, an opera titled “Times Undoing and Progress”.

Alexandra Arrieche, Brazilian-born conductor keeps busy working with some of the most important ensembles and figures in both classical and pop music. With an ability to move masterfully between genres, she distinguishes herself as one of the most unique and exciting conductors of her generation. Alexandra currently serves as Music Director of the Olympia Symphony Orchestra and the Henderson Symphony, and as Principal Conductor of the Antwerp Philharmonic in Belgium as well as conducting the European Emmy Award-winning Night of the Proms. Alexandra has a laundry list of collaborations including Bryan Ferry, Seal, Simple Minds, Earth Wind and Fire, Pointer Sisters, Natasha Bedingfield, Chaka Khan, Roger Hodgson (Supertramp), Peter Cetera (Chicago), Toto, and Alan Parsons.

In this episode Alexandra shares her life’s story, starting from her early days in Brazil, emerging as a musician from a family of chefs, attributing her musical talent to her maternal grandfather, a traditional fado guitarist who she never met. We chat about her early life, starting with piano and composing for the first time at the age of 16, creating a musical storm. Today, she is an extremely accomplished and a rare “collaborative conductor”. We chat about her upcoming Britt performances in Jacksonville Oregon where she is a guest conductor, why classical music is vital, and how she works to successfully produce applaudable performances from the orchestral ensembles she works with.  

From picking up the violin before even mastering speech, to gracing prestigious concert halls worldwide, Jennifer Roig-Francoli’s musical odyssey is as captivating as her performances. An international prize-winner, her talent has been featured in TIME Magazine. She’s also certified and accomplished Alexander Technique (AT) instructor, reshaping how musicians perceive and inhabit their craft, with the goal to free mind, body, and spirit. 

Jennifer immerses us in her enthralling violin journey, recounting tales of her childhood violin practice. We delve into what drew her to the Alexander Technique and its exploration, her current teaching path, her “without hands” approach, and her mission to empower students’ to train themselves. Her recent book, Make Great Music with Ease adds depth to our conversation; expect to be inspired by Jennifer's spark and sharp insight. 

This week, I sit down with Idit Shner. Idit holds a Bachelor of Music degree from Oklahoma City University, a Master’s degree in Music Education from the University of Central Oklahoma, and a Doctor of Musical Arts degree from the University of North Texas. She currently teaches at the University of Oregon as a professor of saxophone and jazz studies. Idit has performed solo recitals across the United States and Israel.

Idit is one of those rare musicians who excels in both classical and jazz saxophone. I couldn’t wait to hear about her theories on playing both genres and her tips and tricks for switching between these two demanding styles. We discuss how she gigged to pay for college, her experience meeting her husband when she started grad school, and the newest hot topic of reeds—when she would use synthetic ones and why she prefers not to.

Idit’s enviable drive, dedication, and work ethic are a wonder to behold, yet she still manages to keep things Playful.

Heralded as one of the best prepared and most serious bassists by Chuck Israels, Garrett Baxter is also a longtime friend. Though years separate us, Garrette and I grew up in the same small town in Southern Oregon where we cut our teeth in band rooms from high school to college. Residing now in Portland he is one of the most exciting young bassists in the city. 

One of only a few in person interviews I have done, I was excited to join Garrett in his home in Portland to talk music. We chat about practice patterns and tips, what we do before we even pick up our instruments to learn new pieces, and who he is currently playing with, in the Pacific NorthWest and beyond, including his first gig in New York City at Dizzy’s Club. 

Garrett is a consummate student of music. Listen as he shares some of the best advice and most memorable lessons he’s learned along the way. 

Assistant Professor of Jazz Studies and Jazz Ensemble Director at Houghton University  Russell Scarbrough is a composer, bandleader, trombonist, and educator. His works have been performed by symphonies, orchestras, big bands, jazz ensembles, and soloists alike on a multitude of stages, at schools and universities, Carnegie Hall, and the steps of the US Capital. 

Russell and I get nostalgic and walk down memory lane in this episode. Tune in and reminisce with us about choosing our first instruments in school and making the trek home with our cumbersome choices. While swapping stories from the jazz band, we discuss the changing landscape of jazz education, and what Russell learned by playing along with borrowed records from the public library. Russell shares the trials and joys of writing for jazz musicians, who each have their own voice and we debate whether a composition is there to serve the needs of the musician or the soloist is there to serve the piece.