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Close Enough for Jazz: Daily Summaries Delivered
by Birch Grove
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.
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- Yesterday12 min
Upcoming Releases: Face's "Fall 2009" and Bear Skinner's "Unobtainium"
We take a moment to look inward at Birch Grove Media and preview two massive upcoming releases dropping before the end of 2026: Face's Fall 2009 and Bear Skinner's Unobtainium. We preview the highly anticipated Bear Skinner lineup (Ryan Clackner, Trevor Lagrange, Nick Jost, and Jason Nazary) and look back 17 years to unearth the explosive Face time capsule (Alan Bjorklund, David Schnug, Andrew Carrico, Matt Scollante, Pascal Niggenkemper, and Cody Brown). We explore the physical production of these 180-gram vinyl records, discussing why the tangible details—like included posters, liner notes by Carlos Homs and Josh Lopes, and vinyl-exclusive bonus tracks—matter so much to us. We also discuss the freezing January tracking session for Bear Skinner, why we printed Matt Scollante's profane spoken-word lyrics, and the eerie origins of the Fall 2009 album artwork, sourced from a room of deteriorating vintage dolls at Space Farms.Chapter Timestamps:00:00 - Intro: Releasing two Birch Grove Media albums before the end of 202601:40 - Previewing Bear Skinner's Unobtainium03:03 - Previewing Face's Fall 2009 (a 17-year time capsule)03:21 - The importance of 180-gram vinyl, posters, and bonus tracks04:06 - Liner notes by Carlos Homs and Josh Lopes05:01 - Album Artwork: The creepy dolls of Space Farms06:41 - The Bear Skinner sign photo and upcoming release gigs07:22 - The deserted greenhouse origin of the Bear Skinner cover photo08:24 - Executive producer notes: Recording on a snowy January day and capturing improv pieces09:50 - Why we print Matt Scollante's profane spoken-word lyrics12:08 - Outro: Go buy the Smirk Not Your Grandfather's Jazz LPBIRCH 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.
- 1 weeks ago1h 4m
Scat Singing, Physics, and Getting Roasted by Jazz Times with Lorin Benedict
We sit down with scat singer and physicist Lorin Benedict to explore his highly unique vocal improvisations and what it’s like to start a serious music career at age 31. Lorin explains the extra-musical origins of his nonsense-syllable language and why he treats his voice like a horn, drawing inspiration from instrumental giants. He shares hilarious insights into his own self-awareness, discussing why he proudly displays a negative Jazz Times review on his website, and reflects on how his intense listening habits were shaped by a childhood surrounded by Cleveland Orchestra musicians. We also dive into how Steve Coleman convinced him to jump into the scene, his collaborations with Kim Cass and Louis Cole's Knower, the parallels between physics and music, and his upcoming duo albums with Anthony Fung and Caroline Davis. Timestamps:00:00 - Intro: The advantages of starting a music career later in life00:49 - Developing a unique language of syllables and nonsense words02:40 - Approaching the voice as an instrument rather than a traditional singer06:01 - Recording in the bathroom and analyzing his own syllabic phrasing08:44 - Agreeing with a negative review from Jazz Times ("annoying wordless vocals")19:28 - Growing up with classical musicians in the Cleveland Orchestra23:35 - Going to physics grad school at UC Berkeley and meeting Vijay Iyer25:54 - How Steve Coleman convinced Lorin to become a musician at 3145:13 - Forming a standards duo with bassist Kim Cass48:19 - Connecting with Louis Cole and sitting in with Knower56:22 - The dual life of a condensed matter physicist and avant-garde scat singer01:02:36 - Upcoming duo albums with Anthony Fung and Caroline DavisBIRCH 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.
- 2 weeks ago48 min
Book Review: Nik Bärtsch on Aikido, Ritual Groove Music, and "Zen Beginner's Mind"
We take a break from our regular programming for a deep exploration into the fascinating world of Swiss pianist, composer, and "cultural entrepreneur" Nik Bärtsch. In this episode, Lindsay reviews his conceptual book, Listening: Music, Movement, Mind, co-authored with his wife Andrea Pfisterer (a fourth Dan Aikido teacher and biologist). We explore the profound intersections between music, martial arts, and nature, breaking down Bärtsch’s concept of "Ritual Groove Music" and how he translates the "Zen beginner's mind" into his compositional process. We also look at the history of his long-running Swiss ensembles, Mobile and Ronin, and his dedication to building community through open-house Monday hangs and the long-running "Montags" concert series in Zurich. You can purchase Nik Bärtsch's book directly at: https://www.nikbaertsch.com/*Note: Birch Grove Media is not sponsored by the artist or their book sales- we just really like their work and want to share!Chapter Timestamps:00:00 - Intro: Finding books at the Berklee College of Music and Big Ears Festival 01:08 - Reviewing Nik Bärtsch's Listening: Music, Movement, Mind 08:56 - Who is Nik Bärtsch? (Ronin, Mobile, and "Cultural Entrepreneurship") 14:06 - "Ritual Groove Music": Stravinsky, Morton Feldman, and James Brown 18:02 - The "Zen Beginner's Mind" and the concept of Effortless Mastery 19:17 - How Aikido relates to live musical performance 33:02 - Listening vs. Hearing and Joe Zawinul's boxing routine 36:23 - Treating musical practice and rhythm like martial arts katas 41:50 - Community building: Open house Mondays, the Montags series, and EXIL 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.
- 3 weeks ago54 min
A Rare Matt Brewer Recording and the Warehouse Sound of ShapeShifter Lab
We open the vault for another installment of our Blind Pig series, traveling back to October 16, 2014, for a rare bootleg of Matt Brewer's group Mythology live at ShapeShifter Lab in Gowanus, Brooklyn. In this episode, we revisit the night of Brewer's record release gig and analyze how the live quintet lineup—featuring Brewer on bass, Steve Lehman on alto, Mark Shim on tenor, David Virelles on piano, and Gerald Cleaver on drums—delivered a raw, guitar-less take on the compositions from his debut album as a leader. We explore the unique acoustic environment of ShapeShifter Lab, founded by Matthew Garrison and Fortuna Sung, and break down the enduring musical rapport between Lehman and Shim. We also unpack what the band members were releasing in 2014, including Steve Lehman's Mise en Abîme, David Virelles' Mbókò, and Gerald Cleaver's work with Farmers by Nature. Note: 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.Chapter Timestamps:00:00 - Intro: "Jump Scare" dynamics in Matt Brewer's Mythology00:48 - Live at ShapeShifter Lab on October 16, 201401:15 - Live quintet personnel vs. the studio album lineup18:19 - "Tubby" acoustics and the warehouse sound of ShapeShifter Lab20:35 - The history of ShapeShifter Lab and Matthew Garrison21:26 - Releasing Mythology on Criss Cross and alternate band configurations35:53 - Track 2: The dissonant trill and history between Steve Lehman and Mark Shim37:41 - 2014 in Review: Matt Brewer's debut as a leader and sideman work39:31 - Steve Lehman's Mise en Abîme and NPR's #1 Jazz Album of the Year40:50 - David Virelles (Mbókò) and Gerald Cleaver (Farmers by Nature)51:08 - How bootlegs evoke memories: An uncut 62-minute recording Hosted on Acast. See acast.com/privacy for more information.
- 4 weeks ago58 min
Why Physical Media Matters and the NYC DIY Scene with James Paul Nadien
We sit down with incredibly prolific drummer James Paul Nadien to explore his packed gig schedule, ranging from free improvisation and brutal death metal to holding down the drum chair for The Flying Luttenbachers. James talks about his recent trip to China playing the Tomorrow Festival with Weasel Walter, detailing the stressful visa process and the dedicated audience waiting for them in Shenzhen. We go deep into his thoughts on the "uncanny valley" effect of hearing AI-generated music, and why he believes physical media like CDs and cassettes are essential, tangible tools for unplugging from social media addiction. We also compare the legendary Brooklyn loft party scenes of the 2000s to today's fleeting DIY venues, reflect on the appeal of the current Berlin jazz scene, and explore how James adapts his playing style for everything from acoustic string groups to tracking at the historic Rudy Van Gelder Studios. Chapter Timestamps:00:00 - Intro: A crazy schedule00:43 - Is music school worth it? (Studying at the New England Conservatory)04:18 - Growing up with Beatles fanatics and Tom Petty tribute bands07:13 - The Brooklyn loft party scene and surviving DIY venues13:38 - Why younger musicians are returning to CDs and physical media20:04 - The "uncanny valley" effect of AI-generated music28:16 - Touring China with Weasel Walter and The Flying Luttenbachers37:32 - The Berlin jazz scene and an upcoming European tour40:37 - The band Typo: Playing drums alongside violin and cello44:24 - Double kick pedals and playing brutal death metal48:30 - Tracking 40+ albums and using the "Two out of Three" gig rule57:28 - Why there is a rubber chicken on the drum setBIRCH 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.
- Oct 1, 202641 min
Combating Writer’s Block, Composing for Big Bands, and Extended Techniques with Anna Webber
We sit down with composer and saxophonist Anna Webber to explore her disciplined compositional process and look ahead to her upcoming nonet album, It's Easier to Imagine the End of the World. Anna explains how she maintains a daily composition practice by avoiding time crunches, relying on pencil and paper, and utilizing "rogue cop police walls" to combat writer's block. We dive into her strategies for writing difficult "etudes" designed to challenge heavy-hitting musicians, and the financial realities of co-leading a big band with Angela Morris. We also reflect on her time studying in Berlin with John Hollenbeck and how she integrates extended techniques and microtonality into her work. Finally, she previews her upcoming nonet release, inspired by the writings of Noam Chomsky, Angela Davis, and Naomi Klein as a hopeful response to late-stage capitalism. Note: Birch Grove Media does not own the recordings featured in this episode.Timestamps:01:47 - Developing a daily, disciplined compositional process05:14 - The benefits of writing slowly without time crunches07:05 - Composing with pencil and paper vs. the computer10:07 - Strategies for breaking out of writer's block14:42 - Studying in Berlin with John Hollenbeck17:39 - The financial realities of co-leading a big band with Angela Morris23:21 - Finding inspiration in extended techniques and microtonality28:52 - Navigating misogyny and the "boys club" mentality in jazz education36:08 - Previewing her upcoming nonet release, It's Easier to Imagine the End of the WorldBIRCH 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.
- Sep 24, 202653 min
Pure Improvisation, the Denver Jazz Scene, and Turning Off the Inner Critic with Kenny Warren
We sit down with trumpeter Kenny Warren to explore the boundless possibilities of modern improvisation and the magic of trusting your instincts on the bandstand. Kenny opens up about his deep connection to free improvisation, describing it as a childlike state of uninhibited play, and details how he turns off his "inner critic" during esoteric sessions. We reflect on his formative years in the Denver scene with the legendary Ron Miles, his "jazz prog rock" roots with JP Schlegelmilch, and the collaborative strength of their current project, Slow Tiger. Kenny also shares his thoughts on the process of mixing and editing albums—comparing psychedelic post-production to a David Lynch film—and discusses how he adapts his compositions when writing for his Sweet World trio.Note: Birch Grove Media does not own the recordings featured in this episode.Catch the Slow Tiger album release gig at Three's Brewing on September 27th.Timestamps:00:30 - Forming the Sweet World trio and adjusting to unique instrumentation02:34 - The slippery slope of editing and mixing your own albums07:59 - The "David Lynch" moments of psychedelic editing in jazz08:37 - Taking inspiration from cellist Hank Roberts09:29 - The magic of pure improvisation vs. playing written music on tour17:32 - Navigating uninspired moments on the bandstand19:57 - Trusting the process and turning off the "inner critic"26:21 - Growing up in the Denver jazz scene with Ron Miles30:35 - How to compose for specific musicians and adapting to line-up changes42:09 - The history of Slow Tiger and taking inspiration from Sonic Youth46:13 - Balancing the writing duties in a collective band51:34 - Outro: Making new music with Tyler Gilmore and Carlo CostaBIRCH 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.
- Sep 17, 202647 min
Revisiting the Golden Era of Williamsburg Jazz with the Alessi Quartet
We open the vault for another installment of our Blind Pig series, traveling back 20 years to September 15, 2006, for a rare bootleg of the Ralph Alessi Quartet live at Layla Lounge. In this episode, we revisit a nostalgic set at the Williamsburg Jazz Festival featuring Ralph Alessi on trumpet, Brad Shepik on guitar, Scott Colley on bass, and a 26-year-old Tyshawn Sorey on drums. We reflect on the vibrant, pre-condo Brooklyn loft scene of the mid-2000s, exploring the history of lost venues and the grassroots origins of the Williamsburg Jazz Festival. We also unpack what these heavyweight musicians were up to in 2006, from Alessi’s School for Improvisational Music (SIM) to Brad Shepik’s Balkan folk-jazz integrations, while listening to the quartet's intense interplay over the ambient sounds of a Brooklyn hookah bar. Note: Birch Grove Media does not own the recordings featured in this episode.Timestamps:00:25 - Introducing the Ralph Alessi Quartet bootleg from September 15, 200610:41 - Tyshawn Sorey’s dynamic playing and Brad Shepik's groovy soloing12:33 - The aesthetic of Layla Lounge and mid-2000s Williamsburg14:43 - The history of the Williamsburg Jazz Festival and the FONT festival17:08 - Ben Neill's Mutantrumpet and other featured festival artists27:53 - Hookah lounge acoustics and talking during the bass solo30:30 - What Alessi, Shepik, and Colley were recording in 200632:58 - A 26-year-old Tyshawn Sorey touring with Steve Coleman45:27 - "Allesorey": The intense duo interplay between Ralph and TyshawnBIRCH 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.
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About Close Enough for Jazz
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.
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