Close Enough for Jazz

Birch Grove

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Entrevistas de música

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. Hosted on Acast. See acast.com/privacy for more information.

-3 dias

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: Birch Grove Media does not own the recordings featured in this episode. Timestamps: 00:00 - Intro: What is a Blind Pig speakeasy?01:48 - Traveling back 14 years to July 23, 201202:17 - Introducing Nicolas Letman-Burtinovic's Bomb X03:22 - Discovering the gig was recorded on an iPod06:53 - Art Hirahara’s unexpected avant-garde piano playing07:18 - Playing a double bill with Smirk at Sycamore in Brooklyn09:45 - Michael Attias and the lost Brown House bootleg tapes16:29 - Nicolas Letman-Burtinovic's extended bass techniques and protest music22:49 - A snapshot of Michael Attias's 2012 album releases23:44 - What Art Hirahara and Tyshawn Sorey were up to in 201229:15 - Outro: Tyshawn Sorey's abrupt endingsBIRCH GROVE MEDIA Web: birchgrove.ioFollow us: @birch.grove.media on Instagram.Watch on YouTube: youtube.com/@BirchGroveMediaGet 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.
16/07

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 MEDIAWeb: birchgrove.ioFollow us: @birch.grove.media on Instagram.Watch on YouTube: youtube.com/@BirchGroveMediaGet 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.
9/07

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 Magazine01:46 - Eric Mueller's "Entangling Computers and Music"03:23 - The concept of "interactive works" and reactionary AI04:34 - Comparing early AI ideas to Stefon Harris's Harmony Cloud08:43 - Will musicians become programmers and vice versa?10:42 - Feeding the program multiple source elements for complex reactions13:22 - "Distributed works" and the concept of dial-up avant-garde music17:52 - Learning the LISP programming language in 198520:04 - Debating if software is truly more interesting than hardware22:41 - Eric Mueller's background with UCLA, MIT, and IBM's Watson26:41 - Why 1980s AI concepts lend themselves perfectly to avant-garde jazz27:28 - Interactive free improvisation vs. modern AI cloning apps29:14 - The legacy of OPtion Magazine and its focus on experimental music BIRCH GROVE MEDIA Web: birchgrove.ioFollow us: @birch.grove.media on Instagram.Watch on YouTube: youtube.com/@BirchGroveMediaGet 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.
2/07

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.ioFollow us: @birch.grove.media on Instagram.Watch on YouTube: youtube.com/@BirchGroveMediaGet 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.
25/06

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.ioFollow us: @birch.grove.media on Instagram.Watch on YouTube: youtube.com/@BirchGroveMediaGet 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.
18/06

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 MEDIAWeb: birchgrove.ioFollow us: @birch.grove.media on Instagram.Watch on YouTube: youtube.com/@BirchGroveMediaGet 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.
11/06

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.ioFollow us: @birch.grove.media on Instagram.Watch on YouTube: youtube.com/@BirchGroveMediaGet 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.
4/06

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.ioFollow us: @birch.grove.media on Instagram.Watch on YouTube: youtube.com/@BirchGroveMediaGet 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.

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. Hosted on Acast. See acast.com/privacy for more information.

Autoria

Birch Grove
Anos em atividade

2026
Episódios

21
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Explícito
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© Birch Grove
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Close Enough for Jazz

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