The Third Story with Leo Sidran

Before Tyler Duncan was a Grammy-nominated multi-instrumentalist producer/composer with credits including Carly Rae Jepsen, Vulfpeck, Lake Street Dive, Theo Katzman, Scary Pockets and Antwaun Stanley, he was just a kid from Michigan who was obsessed with bagpipes. Tyler is still based in his hometown Ann Arbor, Michigan, where he makes artful, patient, beautifully crafted productions in his home studio. We had a wide ranging conversation about "just how rich the world sounds", how producing a project is like "being the surrogate parent" of the music, and how when it comes to making pop music, "You can't mold yourself to a moving target." Plus, more Vulfpeck origin stories. www.third-story.com www.patreon.com/thirdstorypodcast www.tylerduncan.work/about

Advice from friends and family ranging in age from 10 to 93 about how to stay young, what makes a meaningful life, ambition, desire, fear, success and music. With Sol Sidran, age 10Zelta Sils, age 10Zane Gruber Baruth, age 21Michael Thurber, age 34Michael Leonhart, age 47Jorge Drexler, age 57Daniel Levitin, age 63Gil Goldstein, age 71Ben Sidran, age 78Howard S. Becker, age 93 www.third-story.com

30 years ago Martin Sexton made a record called In The Journey. It wasn't so much a record as it was a glorified demo tape that he sold while busking on the streets of Boston. He had moved there from his hometown of Syracuse, New York where he grew up in a large family (he was the 10th of 12 siblings). From the very beginning, Sexton figured out how to marry dynamic, soulful live performances with plainspoken and thoughtful songwriting. He's a songwriter's songwriter, but he's also a masterful guitar player and singer who knows how to give the people what they want. Maybe that's how he managed to sell 15,000 copies of that first self produced cassette back in the early 90s, back before the idea of "self released music" was in the mainstream. He says, "People connect to honesty." In many ways, Sexton's own journey began with In The Journey and he's still on it today: he has averaged a new record every two years since he started. He takes record making seriously, has worked with some of the greatest session players and producers alive, and has seen his music licensed in TV and movies for years. But he is perhaps at his finest when he's alone on stage with a guitar and an audience. Martin Sexton can make more out of that simple recipe than most musicians could hope to achieve standing in front of an orchestra. Earlier this year he released 2020 Vision, which is, for lack of a better term, his Covid EP, a tight collection of new songs about America, family and perseverance in these times of uncertainty. Martin says, "I've always said that I love the idea of America, but I never loved the politics. I love the geography and the people." He's not political, but he is patriotic in his way. Or, more to the point, he's dedicated to making music with a message. "No one can deny that what America has given to the world is great music," he tells me. We had a great talk about his new project, his origin story, the journey that he's been in now for over 30 years, the tension between art at mortgage payments, The American Dream, and how songs, like produce, grow naturally, as he says it, "out of shit." www.third-story.com www.patreon.com/thirdstorypodcast www.martinsexton.com/

Mike Errico's new book Music, Lyrics, and Life: A Field Guide for the Advancing Songwriter is about songwriting, and the life of the songwriter. Errico teaches songwriting at NYU, Yale and Wesleyan. He's a serious thinker, and a serious talker. But he's also a musician - he came of age in a music business that no longer exists, where a young songwriter could get signed to a contract on the strength of a handful of acoustic songs that played well in downtown coffee shops and song circles at the Bitter End on Bleecker Street. And that's what happened to him - he was signed, sealed and delivered, fed to the lions and spit back out, and along the way he made a whole bunch of records, wrote a whole bunch of songs, and developed his approach both to writing and to teaching song craft. We spoke recently about his own personal story, as well as the book. In our talk we considered such questions as "what is a song?", what is means to make something non trivial and undeniable, the important distinction between how things act versus what they are, the fallacy of Art, the search for timelessness, what is melodic math, and what do Ani DiFranco, The Beatles, Billie Eilish, or McDonalds have to do with any of it. www.third-story.com www.patreon.com/thirdstorypodcast http://errico.com/

Madison McFerrin says she's "Shedding the narrative about what it means to be an artist in the music industry." In fact, she says she's had to learn to shed a lot of things. Like her "identity". She calls herself an independent singer-songwriter, which is both true and also not entirely the whole story. Questlove calls her a "soul-appella" singer because she first found a wide audience doing solo a cappella songs, just her and a looping pedal. In fact, from pretty much the start of her professional career, she was turning tastemaker heads. That's due in large part, I think, to the quiet determination and courage of her music: just getting out on stage alone with a looper pedal and her voice and creating lush arrangements from scratch every time. And while some of her songs deal with the personal, the sensual, the searching soul, others are more overtly political or topical. Like her songs "Can You See" and "Guilty" both of which address police brutality. Madison McFerrin is also the daughter of Bobby McFerrin, probably the most famous and influential improvising singer alive today. She says that what she does really isn't very related to what her father does, and she wears that legacy loosely and comfortably, drawing on his encouragement and advice but cautious not to seek comparisons. One lesson she does borrow from him is in the way he avoids being placed in any one genre or style. She says, "my father calls himself a folk singer because he sings the music of the folk, and I consider myself to be a soul singer because I sing the music of the soul." Nonetheless, Madison McFerrin, like her father before her, finds herself skating (if not scatting) on the surface of jazz. On the one hand, as she says, "jazz is at the root of all popular music in America" so if she is a part of the contemporary jazz space, it's because she's a part of the world today. But on the other hand, she is contributing to the conversation whether she meant to or not. This week, she'll perform at the Bric Jazz Fest in Brooklyn. And in addition to playing, she also guest curated the lineup. She has a lot of thoughts about how to bring an audience that reflects her, both in terms of generation and identity, back to jazz. Or maybe, how to lead jazz back to people who reflect a different set of values. She tells me, "I originally thought I was just going to be an artist who showed up… but if you don't adjust now you're going to fall behind. The music industry is changing more rapidly than pretty much any other industry." www.third-story.comwww.patreon.com/thirdstorypodcast www.madisonmcferrin.com/www.bricartsmedia.org

In this bonus episode, actor, author, poet, director, screenwriter, narrator of films, and Zen Buddhist priest Peter Coyote talks about Buddhism, the "JewBu" phenomenon, the distinction between suffering and affliction, the limitations of language, the True Self, why it's so difficult to speak about attachment, the creative process, and his newfound passion for poetry. This conversation was organized and underwritten by Rabbi Severine from Temple Sinai in Newport News, Virginia. www.third-story.com www.patreon.com/thirdstorypodcast www.petercoyote.com/

Monica Martin was 18 years old, driving in the car with her friend Matt and singing along with the radio. She had always enjoyed "hamming it up" and singing along to music, but she had no intention of taking it seriously. But the universe had other plans for her. Her friend, who Matt, who was a musician, coaxed her into performing; she started to sing in public and on friends' records, which all led to her writing her own songs. She fronted experimental-folk-pop sextet, PHOX, formed in Madison, Wisconsin in 2012. PHOX released an eponymous album, played big festivals, national TV shows, and flew overseas to play shows far away from home. PHOX went on indefinite hiatus in 2017, and Monica moved to LA because "Wisconsin is cold as f*ck". She found herself a periwinkle casita and is feeling freer than ever in the city of misfits. She's presently at work unpacking her mental confusions by cataloging/celebrating the "fuckery" of her ex-es (and herself) in lowkey pop songs with soul whispers, some golden-era hollywood dramatics, and psychedelic flickers courtesy of a theremin. Monica is still figuring out who she is, but quite happy to share her cautionary tales: "I made hundreds of mistakes so you don't have to." She recently released her new single "Go Easy, Kid" and is featured on the James Blake song "Show Me" from Blake's latest release. Monica and I did an ill fated interview in 2015 which was never released. We were both back in Wisconsin over the summer and decided the time was right to get together for an interview redo. Here she talks about discovering her musical talent in her late teens, what it means to be "Wisconsin sober", the complex and delicate dynamics of her first band Phox, her mental health struggles, why it's so expensive to be poor, the many ways that she has had to integrate in her life, staying in bed all day, the influence of Fiona Apple and Billie Holiday on her music, working with James Blake, Vulfpeck, Scary Pockets and how being a hairdresser is similar to being a therapist (but much less well paid).

Drummer, composer and bandleader Nate Smith is known and celebrated in many circles. In recent years his drumming has become as influential as it has been ubiquitous. Transcription books of his playing have been written, and any drummer trying to play funk or pocket oriented music today will have to confront Nate's playing one way or another. He has a very specific and personal way of drumming, both deeply reliable and rooted, and also very fluid and flexible. Some know him from his early work with Dave Holland and Chris Potter. Some know him from his association with the Vulfpeck crew, and the Vulf adjacent project The Fearless Flyers. Some know him from his playing with southern rock singer songwriter and icon Brittany Howard. Some - many in fact - may have discovered him by way of the singer Jose James, and the viral videos that Jose made of Nate's nightly solos back in 2016, which he tagged with the hashtag #thelegendarynatesmith. As Nate tells it, he was in his early 40s when he had his first viral video and it changed his life and career. Some know him from his own compositions and solo records. He recently released Kinfolk 2: See The Birds, the second in a trilogy that seeks to tell Nate's personal story through music. He says, "I'm interested in compositions that have a narrative and a concept. I think about 'what's the story'?" One gets the sense that although Nate is an incredible drummer, the drums are not the end of the story for him, but rather, the means to an end. He's so deeply funky and creative on the drums and also such an intensely sensitive and emotional composer - he even co-wrote and co-produced a track for Michael Jackson, back when he was still living in Richmond, Virginia, where he cut his teeth and earned his stripes. We talked recently about the technical, emotional, strategic, mystical, unpredictable aspects to music and a life in music, how where you come from affects how you sound, the value and values of great leadership, the influence of other drummer-bandleaders on his conception, and what the internet taught him about his own playing. www.third-story.com www.patreon.com/thirdstorypodcast www.natesmithmusic.com/

Family musicians Dan and Claudia Zanes had just moved to Baltimore from Brooklyn when Covid came on. In an effort to be useful, creative, and connected, they decided to record a video of a new song every day until it was over. They called it their "Social Isolation Song Series." They imagined it would continue for a month or two. Two hundred musical days later we wrapped it up. As they tell it, something happened during that experience. Our thoughts about music became bigger and broader. We started to realize more clearly what folk singers have always known: songs are here to inspire and uplift but they're also here to tell the stories and reflect the times." We spoke recently about their new record, and their new life in Baltimore, about their individual journeys that led them to this moment, about what they see as their responsibility as folk singers, artists and advocates, what they describe as the "racial pandemic in America", how to practice productive antiracism, coming from "two different worlds", the work-life balance in a creative partnership, and what artisanal soaps have to do with any of it. www.third-story.com www.patreon.com/thirdstorypodcast https://www.danandclaudia.com/

George Wein opened his first jazz club, Storyville, in the early 1950s when he was a young man. He then created the Newport Jazz Festival in 1954. The festival became an icon among music festivals and influenced the way music was presented around the world. I spoke to George just before he turned 90, in 2015. At the time he was still vital and vibrant, working tirelessly to further the mission of his festival and his foundation (Newport Festivals Foundation). Although his festivals have been responsible for bringing jazz, folk and pop music to general awareness, he is unabashedly a jazzman. As he says, "you gotta stick with jazz." We talked about his past, present, and incredibly, his future. We started out with him asking me my age. It caught me off guard, but as he explained "when you know someone's age, you know a little bit about where they're coming from." George passed away this week. He was 95. www.third-story.com www.patreon.com/thirdstorypodcast