In this episode, I sit down with bassist, producer, educator, and longtime Bacon Brothers collaborator Paul Guzzone. Paul and I first met backstage in Atlanta years ago when my band opened for the Bacon Brothers, and we bonded instantly over Aguilar rigs and the first U-Bass I had ever played.

What starts as a fun reconnection becomes a deep exploration of Paul’s multifaceted life in music. We talk about his early years with Tom Rush, his decades-long collaboration with Kevin and Michael Bacon, his extensive composing and jingle work, and his long career teaching Rock and Contemporary Culture at Pace University.

Paul’s warmth, humor, and decades of perspective make this a truly special conversation.

To learn more about Paul, visit his website.

Music from the Episode:
Dance While I Can (Paul Guzzone)
South of the Coconut Line (Paul Guzzone)
All I Ever Wanted to Do (Paul Guzzone)
Extra Innings (Paul Guzzone)

Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I sit down with vocalist, composer, and guitarist Becca Stevens for a conversation that moved me in ways I honestly wasn’t expecting.

We start with life right now for Becca: juggling touring, writing, teaching, and “momming” two little ones. She talks about how becoming a parent has completely reshaped her artistry, forcing a new level of efficiency, deepening her sense of purpose, and shifting her focus from serving herself to serving the song (and her kids). There’s a beautiful thread here about how parenthood strips away the illusion that we are the most important thing, and how that shows up in her singing and writing.

From there, we go back to the North Carolina School of the Arts, where everything really changed for her. Becca shares how she went from being the misunderstood “class clown” to finding her footing in an arts environment, discovering classical guitar almost by accident, and realizing that music alone was more than enough for a lifetime of exploration. We also talk about how jazz became her teenage rebellion, and how a wildly diverse listening palette—Bartók, Steve Reich, Joni Mitchell, Björk, and more still fuels her fearless tendency to never stay in one musical lane for long.

Becca also takes us inside the creative process behind several key projects:

• The string quartet project with Attacca Quartet and the way those arrangements reshaped her own songs
• The intimate, live-tracked world of Maple to Paper, where it had to be one guitar, one voice, and total honesty
• The studio-crafted layers of Wonder Bloom, built from tiny seeds into full sonic collages

We dig into her deep love of collaboration and what it’s like to work with some truly legendary musicians, including Antonio Sánchez, Jacob Collier, Brad Mehldau, Scott Colley, and more. Becca talks about knowing when to serve someone else’s vision and when to step in with her own ideas. Whether that’s bringing original material to Antonio, layering vocals for Edward Simon, building a stop-motion fever dream with Jacob Collier for “Bathtub,” or stepping into Brad Mehldau’s world as both a fan and a collaborator.

One of the most powerful parts of this conversation centers around grief and Maple to Paper. I share how that album helped me process the loss of my dad—how it made me feel seen and validated in a way I hadn’t been able to put into words. Becca opens up about losing her mom, the complicated nature of parent–child relationships, and how those songs began not as “an album” but as a survival mechanism. We talk about what it means to write from that place of raw honesty, to resist tying everything up with a pretty bow, and to allow music to carry both grief and gratitude at the same time.

We close by talking about David Crosby and Becca’s time in the Lighthouse Band with Michael League and Michelle Willis. Becca shares what it was like to work with him so late in his life, to feel both the shock of his passing and the sense that his voice is still very much present in her writing now. As a lifelong Crosby fan, I share my own experience of grieving someone I never met but felt incredibly connected to through his music—and how, watching those performances with the Lighthouse Band, it always looked to me like all the roads in his career led to that chapter.

This is a conversation about artistry, parenthood, grief, joy, and the choice to follow authenticity over marketability—even when the “long, slow simmer” is the more challenging road. I’m so grateful Becca was willing to go this deep with me, and I can’t wait for you to hear it.

To stay in touch with Becca, visit her website.

Music from the Episode:
Be Still (Becca Stevens)

Reminder (Becca Stevens & the Attaca Quartet)

Cogs in Cogs, Part II - Song (Becca Stevens & Brad Mehldau)

Maple to Paper (Becca Stevens)

Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I sit down with drummer Jordan Perlson for a deep dive into collaboration, sound, and how we listen to music in 2025. I’ve admired Jordan’s playing for a long time, especially with Becca Stevens, and it was a joy to finally talk with him about his journey and how he thinks about music.

We start with how he first connected with Becca Stevens and her band in New York, and what it means to show up as a collaborator while still protecting your own musical “mission statement.” Jordan talks about the tension between being a supportive hired gun and staying true to his instincts – and how, as he gets older, it’s harder to ignore that inner compass.

Jordan shares some of the drummers who have shaped his ears over the years, from John Bonham and Will Calhoun to Bill Stewart and Jay Bellerose – and why the “magic” of certain players only grows with time. We get into Bellerose’s multi-percussionist approach to the drum set, compensating for supposed “weaknesses,” and how those limitations can actually lead to a more unique sound.

From there, we talk about Jordan’s move from New York to Nashville in 2016: what he was (and wasn’t) seeing in 10-year-old versions of himself on the New York scene, and why he decided to build a life in a place where quality of life and long-term sustainability felt more achievable. I loved hearing how his “wide net” hustle in New York evolved into a more focused, intentional approach in Nashville, where his priority list was: Jeff Coffin, Victor Krauss, Adrian Belew – and then figuring out how to be musically meaningful to them.

Jordan also shares beautiful stories from touring with Adrian Belew, including Adrian’s fearlessness as a guitarist, singer, and composer, and what it’s like to sit inside that kind of energy every night.

We spend a good chunk of time talking about how we listen to music now versus how we listened when we grew up. Jordan reflects on the difference between buying a record or cassette for one song and then slowly falling in love with the deep cuts, versus today’s playlist culture, where it’s easy to skip anything that doesn’t hit instantly. We compare notes on hearing albums at 14 versus revisiting them in our late 40s, and how our relationship with certain songs completely changes over time.

Later in the episode, we get into:

• Growing up outside Philadelphia, going to Berklee, and why classical percussion never really clicked for Jordan, beyond a love of snare drum and books like Portraits in Rhythm
• His experience teaching – from a stint at MTSU to working with already-professional drummers looking to refine specific skills – and why an intermittent, online-friendly lesson model actually fits his students best.
• His work with Guthrie Trapp’s trio (and their weekly gig at the Underdog in Nashville), the expanded Guitar Party project with Guthrie, Tom Bukovac, Jed Hughes, Tim Marks, and Jimmy Wallace
• The trio with Jeff Coffin and Victor Krauss, their first record together, and the almost-finished follow-up featuring guests like Mike Stern, Jerry Douglas, Béla Fleck, and Sam Bush
• Playing on Jessica Simpson’s recent JD McPherson-produced projects and how surprising (in the best way) that music is
• The realities of remote recording from his home studio: the freedom, the creativity, the weird waiting-game around revisions, and why some magic can only happen when a band is in the room together

Jordan is thoughtful, honest, and funny, and this conversation felt like hanging out with a friend who happens to be one of the most musical drummers on the planet. I had a great time talking with him, and I think you’ll really enjoy hearing how he sees the instrument, the industry, and the future of making records.

To learn more about Jordan, please visit his website.

Music from the Episode:
e (The Adrian Belew Power Trio)

Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I get to sit down with Peter Martin of Third Coast Percussion, an ensemble I have admired for years. Peter and I dive into the inner world of a percussion quartet that tours the globe, creates new music, commissions major composers, collaborates with artists across genres, and somehow still manages to pack an unbelievable amount of gear into checked luggage.

Peter had just returned from Paris, where the ensemble performed Philip Glass’s August Amazonia Suite alongside a live painter, something they had never done before. From there, we talk about what it truly takes to tour as a percussion group, how they travel with twelve checked bags of instruments, how backlining works, what happens when a vibraphone arrives broken, and why they think about portability and footprint even before a new piece is written.

Peter shares his personal journey from military-kid piano lessons to discovering the drum set, jazz vibraphone, and eventually falling in love with the marimba. We talk about his time studying with Michael Burritt at Northwestern, crossing paths with Brett Dietz and William James, and the surreal experience of watching his classmates become lifelong colleagues in orchestras, universities, and ensembles across the world.

We also talk about the remarkable story of Third Coast Percussion itself, from its beginnings in the Civic Orchestra of Chicago to becoming a full-time, artist-run organization. Peter explains what it really means to run a chamber group from the ground up, how he unexpectedly became the ensemble’s finance director, and why having control of the administrative side gives them total artistic freedom.

Then we dig into the ensemble’s Grammy win for their Steve Reich album, including the thrill of performing on the telecast and the artistic decisions behind putting their own interpretive stamp on such iconic repertoire. Peter describes what it was like working with producer Jesse Lewis and why that collaboration changed how they approached recording forever.

Peter also talks about the emotional experience of recording Murmurs in Time with the legendary Zakir Hussain, who passed away shortly after the sessions. Hearing Peter reflect on Zakir’s musicianship, generosity, and spirit is profoundly moving.

We wrap with a look at what lies ahead for Third Coast Percussion, from new commissions to international touring to upcoming collaborations, including the premiere of a new work with Jlin. As Peter says, there is never a month when the ensemble is not creating something new, and their passion for pushing percussion forward is unmistakable.

It was an honor to talk with Peter and get an inside look at the ensemble’s artistry, work ethic, creativity, and humanity. Third Coast Percussion continues to redefine what chamber music can be, and I am grateful to share their story with you.

To learn more about Third Coast Percussion, visit their website.

Music from the Episode:
Philip GlassAguas da Amazonia- Japurá River (Third Coast Percussion feat. Constance Volk)
Steve Reich: Sextet- V: Fast (Third Coast Percussion)
Zakir Hussain: Murmurs in Time: II: - (Third Coast Percussion with Zakir Hussain)

Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode, I sit down with singer Bo Bice for a real conversation about life in music, overnight fame, and what it means to grow up and grow wiser without losing your love for the art. Bo walks me through his American Idol journey, from sleeping on the convention center floor at auditions to waking up one day and realizing he could not walk down the street without being recognized. We talk about the grit it takes to survive beyond the television spotlight, the reality of the music business, and all the unglamorous moments that shape you as a working musician.

Bo shares stories from his early days playing around Alabama and Muscle Shoals, loading his own PA, sleeping in the back of his vehicle after gigs, and learning from the characters he met along the way. We get into the music that shaped him, from Skynyrd and the Allman Brothers to Prince, the Eagles, and John Prine. We also talk about how digital tools and artificial intelligence have changed the landscape, and why live music still feels like the heartbeat of it all.

Later in the conversation, Bo opens up about faith, family, and purpose. He talks about putting God first, the peace he has found in his walk with Christ, and how learning to forgive himself has changed how he experiences his life and career. He also shares his passion for serving veterans through music and through new approaches to healing things like pain, anxiety, and PTSD, and he mentions a new project focused on herbal and cannabinoid therapy launching in 2026. We even touch on his recent appearance on the game show The Floor with Rob Lowe.

I also share a bit of my own story, including my time on Star Search as a teenager and my first year of sobriety. We compare notes on growing up in the South, getting older, and trying to keep our side of the street clean while still chasing the things we love. This one is honest, warm, and full of the kind of perspective that only comes from a lot of miles and a lot of music.

Music from the Episode:
Keep On Rollin' (Bo Bice)
Remember Me (Bo Bice)

Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

In this episode of The Bandwich Tapes, I sit down with one of my musical heroes, David Garibaldi. We talk about what he’s been up to since stepping away from Tower of Power, playing with Roger Smith’s group, staying active with new projects, and continuing to practice every day. David describes the drums as an endless landscape, and hearing him talk about still learning and exploring after all these years is truly inspiring.

David reflects on how imagination and curiosity remain at the center of great playing, even in a world overflowing with online content. The core never changes: you still have to follow what lights you up, spend time alone working through the “suck zone,” and develop your own voice.

One of the most meaningful parts of our conversation is David’s look back at his legendary partnership with Rocco Prestia. He talks about their immediate chemistry, their deep listening, and the intuitive way Rocco responded to the drum articulation and phrasing. His stories about Rocco’s unorthodox technique and unmistakable feel are as insightful as they are moving.

We also dive into the culture of Tower of Power, the constant rehearsing, the tight arrangements, the expectation that everyone listens, contributes, and functions as a team. David explains how “Tower 101” shaped new members musically and personally, and why the band sounded the way it did.

David shares memories of his time in the Air Force Band, how concert percussion study helped shape his ear, and how returning to the Bay Area after his enlistment led him directly into the musical world that would define his career. He also talks about his current work as a teacher and his upcoming “living book” project with Hudson Music, which he’ll continue adding to over time.

This conversation was an absolute honor for me. David has influenced generations of drummers, myself included, and getting to hear his perspective firsthand was something I won’t forget. I hope you enjoy our conversation as much as I did.

Music from the Episode:
What is Hip? (Tower of Power)
Squib Cakes (Tower of Power)
Oakland Stroke (Tower of Power)
Soul Vaccination (Tower of Power)

Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at brad@thebandwichtapes.com.

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 brad@thebandwichtapes.com.

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 brad@thebandwichtapes.com.