Strada-Sphere Radio Podcast

stradasphereradio@gmail.com (Juan R Leon) — Sat, 14 Oct 2017 01:38:00 -0400

Strada-Sphere Radio is a podcast born out of the love for the music of the Chapman Stick. Hosted by Juan R Leon with later editions hosted by Shane Carey.

All episodes are now available on Internet Archive. Unfortunately they are not in order but they are numbered. Additionally, click ----> The Archived Shows for a complete list of podcast episodes. Almost all the episodes are here (Spanish editions also) save for two episodes which have been lost in cyber space somewhere.

SSR Interview with Irene Orleansky

stradasphereradio@gmail.com (Juan R Leon) — Sat, 14 Oct 2017 01:33:00 -0400

I am proud to present our first SSR interview for 2006 with the extremely talented Irene Orleansky.A truly cosmopolitan artist (she is Russian born and lives in Isreal),Irene effortlessly blends world motifs,new age movements,and even manages to garner a hit in the Isreali Club Cicurt with her new CD "Live the Music". Irene takes a little of her precious time and sets it aside to answer a few questions.

SSR: Thank you for taking time to answer some questions for me! You are my 1st interview for 2006 and I am honored and thrilled. You have been very busy since the release of "Live the Music" (which I love,by the way).Tell me about the impact that the album has had on your musical career.

Irene: Thank you, Juan! I’m glad you like my album! People like my album, and some even purchase it. It encourages me to go on with music. On the other hand, recording the album taught me a lot, and now I know what are the things I’d like to improve in the future.

SSR The album was recorded via internet in 3 different countries (Russia,Israel,Spain).What challenges did this environment bring to you?What advantages?

Irene: Not all the recording was done over the Internet. Some tracks were recorded at Kirill's studio Music Brothers Records in Moscow where I came especially for the recording sessions. But most of the tracks each one recorded at his own place. Kirill in his studio in Moscow, Guillermo at his home in Barcelona, Asi at this home in Tel Aviv, and I - in the bedroom of my apartment in Kfar Saba. The only disadvantage of recording over the Internet is in mixing, when you have to send and resend the files to one another. In all the other aspects, it’s pretty much the same as recording at a studio together, but only if there is good chemistry among the musicians.

SSR: How long have you been collaborating with Kirill, Asi, and Guillermo? What do they each bring out in you as an artist?

Irene: Each one is a different story and I can talk for hours about these guys.

I have been playing with Kirill for, let me count, 18 years, since we were really young. We played in a band together in Moscow. He was a singer and I was a bass player. We have great chemistry and similar musical tastes. Kirill is a fantastic sound designer and I owe him my sound. He is also a very demanding producer, and his high standards force me to become better and better. I remember that I had a nightmare after I had finished recording the CD. In my dream, I arrived in Moscow and Kirill was waiting for me at the airport. I told him cheerfully “I’m so glad the recording is over! Now we can have a great time in Moscow, see all the friends!” On what he cut strictly “What do you mean the recording is over? You will have to sing all the vocal tracks again. Professionals don’t sing like that!” It’s just a funny dream, but it is really “Kirillish”, indeed. Kirill also encourages me a lot, and he was the one who made me believe that I’m capable of singing many years ago. Another great quality of Kirill is that he is ready to listen to any crazy idea of mine, he will never reject it until he gives it a try. Therefore I feel really free with him.

Asi is the person who took me into the world of club music, and I am really grateful to him for that. The story with Asi started really prosaically. When my CD was almost over, I gave it to a friend of mine, Jaan, to listen. He listened to it and said “It sounds great, but why don’t you make it more modern? You have great dj’s in Israel, why don’t you make a club remix of one of the songs?” First I rejected the idea. What do I have to do with dj’s? But then, after thinking for a while I thought why not? I’m not that old. So another friend of mine, Sagi, got the phone numbers of three famous dj’s, I contacted them all, and to my surprise they all agreed to make a remix for me. So I only had to choose the best. And I chose Asi. The result – a nice house remix of my song “Dance With The Music Of Your Heart” which is played in the most popular clubs of Tel Aviv and Jerusalem.

Recording with Guillermo was a wonderful experience. We have never seen each other and contacted only through emails. Recording with Guillermo was really magical. We didn’t have to talk much or discuss what’s it going to be like. We contacted on “cosmic” level. So, Guillermo took me to some new, previously unknown to me, heights.

Here I would also like to mention another person who didn’t really participate in the recording but is also a part of my album. That’s Don Schiff, who was generous enough to let us cover his wonderful song “Deep Within My Soul”.

SSR: In addition to being an excellent Stickist and vocalist with an innate ability to hear the melody and harmony hidden in every musical passage, you appear to be an accomplished poet. Your lyrics are not the usual "rhyme for the sake of rhyming" banter that clouds so many songs today. Is this a conscience effort, or do you just "let it flow"? How do you approach your song writing sessions?

Irene: Each of my songs is a real story, sometimes a very intimate one. So I write songs only when I am in the right mood to share my deep intimate feelings with the world. When such a moment arrives, everything flows naturally and simultaneously – lyrics, melodies, rhythms, sounds.

SSR:Tell us a little about your signal chain both live and in the studio.

Irene: Recording the CD, I played the melody side of the Stick mostly directly into the sound card of the computer and later processed the sound with Guitar Rig, other VST effects or hardware effects. In some of the solos, I played through Digitech 2120 preamp processor. I recorded the bass side with the microphone through SWR Workingman’s combo.
As for playing live, I don’t use much gear. It’s not that I wouldn’t like to, but that’s what I have. I play the Stick through Ableton Live program that I run on my PowerBook laptop. I use Ableton Live to loop the Stick and to process the sound with Ableton’s built-in effects, Guitar Rig and Korg Legacy Collection.

SSR: Word has it that here is a new "project" on the horizon for you. What is it and tell us a little about it.

Irene: That’s true. I’m working on the venture of our label Music Brothers Records that I called Artists Pro Artists. I had the idea of such a venture after a few of my musician-friends told me that they have difficulties selling their CD’s online in their countries. So the idea of the project is very simple: a group of artists sell their CD’s and iTunes from Music Brothers Records website and receive all the money from CD sales. Every artist participating in the project also does his best to promote the project and its artists in his or her country. That’s why I called the project Artists Pro Artists. There are some really great artists who have joined the venture – the fantastic Russian guitarist Dmitry Chetvergov, one of my favorite musicians the Japanese Shugo Tokumaru, amazing guitarists Uri Bracha from Israel and Konstantine Baranov from the USA, the stickists John Edmonds, Virna Splendore, Diego Souto, Toshiaki Kanamaru. And there are already some musical editions and radio stations that are willing to promote the project. I hope there will be more great artists and promoters who will join us. So if there is someone who wants to join the project as an artist or as a promoter, please contact me at irene@musicbrothersrecords.com I’m going to launch the project somewhere in the middle of May.

SSR: What's next for you? Any plans on coming to the US?

Irene: First, I have to complete some tasks at hand. I'm working on three tracks now. One is the remake of the Door's Riders On The Storm Kirill and I are working on. The other two are the tracks I'm working on together with the Israeli electronic musician Fon. One is the ambient remix of one of my songs, another is his trance track on which I am singing. I also have to launch the Artist Pro Artists venture about which I told you before and prepare the materials for the Russian magazine Music Box in which I have a column dedicated to the Chapman Stick. I write articles about the Stick there and interview Stick players. For the next issue I'm preparing an interview with Don Schiff, in the previous issues I interviewed Emmett Chapman and Guillermo Cides. Music Box will publish some of these materials online soon, also the English versions.
After I finish with all that, I'm planning to do more recordings.We are discussing recording the album of Don Schiff's unreleased songs together. Virna Splendore and I are also thinking of recording some tunes. I've also started putting a band together for playing gigs. There are going to be a drummer/percussionist, back vocalists and a dancer in it, and myself with the Stick and vocals, of course.
Certainly, I would like to come to the United States, especially since I have so many friends there, both Stick and "Teflon". I'll try to come as soon as possible.

It was a great pleasure to answer your interview questions, Juan. I really love your Strada Sphere Radio podcasts! Thanks for the great work you do! I'd also like to use the opportunity to thank all those who listen to my music and buy my CD! And also thanks to all those who sent me mails with all those kind words about my CD! I really appreciate your support and encouragement!

SSR Interview with Fergus Marsh

stradasphereradio@gmail.com (Juan R Leon) — Sat, 14 Oct 2017 01:31:00 -0400

Canadian Stickist Fergus Jemison Marsh has had a long and brilliant career sharing stage and studio with some of the most prominent names in music..He has appeared on over 50 albums and has toured the world over.His tight,rhythmic Stick work can be heard on albums by contemporary Christian Music's late great Mark Heard, multi-Juno Award winner Bruce Cockburn, Alt Rockers Big Faith, brother Hugh Marsh,and Art Turner,to name but a few.He has also managed to squeeze in some jingle work.And now Fergus has released an album of world beat grooves with beautiful, spiritual themes.His signature Stick is in full bloom providing a rich tapestry upon which is built a magnificent experience of lush harmonies and meditative chants.Fergus was kind enough to take time from his busy schedule and answer a few questions for us.

SSR You have had an illustrious career as a bassist and Stickist working with some of the top names in the music industry.Why did you wait so long to put out a solo album?

I think it was just the right time for me.I bought a computer and I suddenly had the means to twiddle away on it and try to figure out what kind of project to do.I wanted something that would express who I am musically and spiritually.

SSR How did you set out to write the material for "Spirit Moves"?

It was a combination of playing around on the Stick and looking for scripture that could accompany the music. The idea was to find short passages that would act as chants or meditations. In this way, the thought process of the listener remains open to one's own directions for meditation on the themes provided and the music can either support the lyrics or take more of a leading role. Having said that, you can hopefully also just listen to it and enjoy it for what it is.

SSR Your album has a definite "world vibe" to it.Some of the material reminds me of Peter Gabriel's "So" or "Shaking the Tree".Who are some of your musical influences?

A short incomplete list:
Peter Gabriel
Bill Laswell
Mark Isham
Jimi Hendrix
Frank Zappa
Bjork
Los Lobos
Daniel Lanois
Japan
Miles Davis and Steps Ahead
My other main influence was all forms of Classical music which I was brought up on.

SSR Tell us about Big Faith.Is Big Faith going to release another album soon?

Dead and burried.

SSR You have had a long standing association with Christian performers of the highest caliber. How was it working with folks like Mark Heard?

Mark was a wonderful man whom I knew for a very short period over a few years before his untimely death. He always made it easy to work with him because he was so much fun and he wrote such poignant and beautiful songs.

SSR You have also worked with the incredible Bruce Cockburn.Bruce seems to gravitate towards front and center players when it comes to the bass and percussion sidemen of his various groups.His music has a driving force which is propelled by a tight rhythm section. Did Bruce have a
clear idea of what he wanted from you on your collaborations with him,or were you allowed a certain measure of freedom?

Bruce actually made me play Stick all the time, which I'm thankful for now, but I remember on the first tour , I didn't really know what notes I was playing all the time because I didn't know the instument that well.
Musically, Bruce always seemed to give plenty of freedom to the players.Of course he had input to give but I felt he wanted the musicians to express themselves as well.

SSR Any chance of doing more recordings with Bruce?

No phone calls to date.

SSR Getting back to "Spirit Moves".For the song "Shelter" you employ the Swahili language for some of the verses.Where did the inspiration come for this?

Well I don't think I could do a credible job of writing and playing an African song ,but I've always enjoyed artists who incorporate different elements of "World Music".In "Shelter" there's a combination of African singers, Middle Eastern Duduk and percussion, synthy loops and Chapman Stick. I asked the singers to improv a bit and use the language of their choice. (they spoke Swahili, Congolese, French and English).

SSR When did you first begin playing Stick and do you still play "The Grid"?

Well as I mentioned before I owned a stick when I began with Bruce Cockburn, but that was essentially when I started which is around '84. I'm not using the grid anymore (just a personal choice to rely more on effects than synths).

SSR Any plans on touring for "Spirit Moves" and are you gonna tour the U.S.?

I don't think that's going to happen unless circumstances change quite drastically.CD sales would have to be phenomenal to justify the very large expense of touring.

SSR Thank you so much for your time Fergus! I usually ask only 10 questions for our interviews but what the heck! Here's one more.Any plans on attending some of the Stick Nights or Stick Seminars around the U.S?

I've always wanted to go to one of the seminars but the opportunity has never panned out. Maybe sometime, I'll make it.

"Toy Bin"
Chapman Stick
Fender bass
Ned Steinberger upright electric bass
Alembic F 2B pre amp
Boss se-70 effects unit
Mac G4 running Logic Audio, Reason
Doyle custom bass cabinets

SSR Interview with Terry Telson

stradasphereradio@gmail.com (Juan R Leon) — Sat, 14 Oct 2017 01:04:00 -0400

We invite you to take a trip with us.A trip to a land filled with street corner folk musicians,Flower Power,peace rallies,long hair,Latin rhythms,world beats,and relaxing melodies.

That's quite a mix.

Then again,Terry Telson is quite an artist.With over 30 years of music coursing through his veins,Terry has been painting the aural landscape with his multi-instrument,multi-stylistic vigor.Pour yourself a cup of cyber green tea,light some incense, and let Stickist Terry Telson speak to your soul....

SSR Thanks for spending a little time with us Terry. You've been playing music for over 30 years now. How did ya get started?

I originally started out as a drummer way back in the late 50's all the girls liked the drummers in the bands at that time and I liked girls, so drums it was.Then along came the 60's, protest songs on acoustic guitars. Peace rallies and long hair. Well I thought I had allot to say too and it's pretty hard being a solo act and singing protest songs with drums hence an instrument change to guitar was in order.

It was the early days of the folk music scene in Chicago. Everyone had an acoustic guitar and used to sit around at the parks and play the tunes of the day by Dylan, Guthrie, Baez and so many others. It was at that time I discovered a lyricist in myself. I was plagued by them and still am, with lyrics running through my mind most of the time.

So I put together an act and started doing the coffee houses and clubs. I teamed up with a bass player Ray Teichman and we did the college circuit and clubs all around Chicago. At that time, others that were on the circuit were Steve Goodman, John Prine, Bonnie Koloc, Tom Dundee and Mick Scott all great players, so there was allot of inspiration to hang with it and be part of the then music scene. Ray and I went into the studio and did what was called an EP (extended play) album called "Bounty Man." It had four cuts on it.

I did that up until the mid 70's and decided to head west first stopping in the mountains of Arizona for a couple of years to get my head right and do my first full length 33 1/3 lp album called "While In Exile." When I had enough of clean mountain air I decided California was the place I needed to be to continue my musical journey. First landing in San Francisco and finally in Sacramento, playing in different bands in both places.

I picked up playing the Vibraphone while in San Francisco after seeing a street player down at Fisherman's Wharf playing them. I fell in love with them and so got a set myself. I guess it appealed to the early percussion days in me. I played them in a few different Latin Jazz bands having always been a huge fan of the Latin rhythms, congas and all the different percussive sounds, they can really get a killer groove going with the Latin rhythms.
Finally when I had enough of band dynamics about ten or so years ago, I decided I wanted to paint my own picture. I put together a studio and have barely come out of it since, except to eat once in awhile. It was somewhere in there that I decided I wanted to put together a body of work to leave behind, a certain sense of immortality I suppose. Something that says I was here and this is what I contributed to the arts and the gentler side of life.

SSR When did your association with the Chapman Stick begin?

About three years ago I ran across it on the internet and jokingly said to my wife honey I need one of these things, what is it. At that time they did not have any demos up and so I just blew it off as a hmmmm that's interesting. Then about two years ago I ran into it again on the net and this time they had the demos up of Greg Howard jammin' on it and my jaw dropped. My wife overhearing it playing said what is that? Well the two of us watched the video a few times and the next day I called up and ordered one. From that point on it became my instrument of choice.

SSR Being a child of the 60's really comes through in your music. It is well orchestrated and every song flows with tremendous melody. How has your music changed in the last 25 yrs or so?

Well the folk music had not changed in the basics of it, still acoustic guitar and protesting about one thing or another. What has changed though is that I hope I have gotten better at both the lyrics and the playing of it. What has evolved allot more than that though is my New Age, World Music Jazz instrumentals. I love them, because they allow me to experiment and push to the limits exploring new territory. My Stick has become a great instrument to use in them as well. There is a certain sort of freedom that the Stick allows that no other instrument has,I don't think. I believe it is because of the way the Stick is played. At least for me it does.

SSR On your site you mention wanting to "bring relevant information to the fore front" through music during the late 60's.Do you still feel as strongly today as you did in the 60's?

I'm not sure I ever left the 60's at least not fully. I have a song on my site an autobiographical one called "What Ya' Got To Protest Man." One of the chorus lines is "I believed it then I still believe it now, so why would I leave it all behind." I think that says it all for me. Even in my instrumentals I try to put that same sense relevancy in them, matching the music to the title to deliver the message.

SSR What is your usual routine when writing/recording your music?

That depends on whether it is an instrumental or vocal piece. With vocals as I said I have lyrics running through my head and I either use guitar or keyboard to develop the tune. With instrumentals I usually will sit and play with progressions and licks, then put them to a percussion rhythm to develop them. In either case though I rarely take more than a day or two to write a tune and record it. For me it has always been the tune is either there or it isn't. I loose interest in it if I try to go beyond that.

SSR How much do you compose on the Stick?

It seems to me that there are basically two types of Stick players. The first which encompasses most of the players. They play it more as a solo instrument standing on it's own with the bass and melody. I don't mean to say they don't play in bands but more so that one could easily take the band away and let the Stick carry it all, much like Greg Howard's playing.
The second type which is the way I use my Stick more is that of a lead instrument, something that needs to be backed up with other instruments, to complete the cut. I use the wonder of the technology of keyboards to do that. I guess my use of it falls more into line with my Vibes and guitar playing, both also as lead instruments. Larry Tuttle and Freeway Philharmonic, who is my favorite Stick player and Stick equipped band do it more in this vein.

SSR It certainly appears that you have seen your fair share of clubs. How often do you get to perform nowadays?

I don't perform live anymore for a few reasons. Primarily now what I want to do is record all of the music I have in me, to leave behind. I treat my compositions more like paintings, that is when it's done it's done and once committed to cd I rarely ever physically play it again on any of the instruments. After so many years of memorized tunes and playing them over and over again I prefer not to anymore. What is great about what I am doing now is every day or two starting on a new tune it always stays fresh to me now and I don't tire of them. Every now and again I think maybe I should put another band together......naw, I think I'll just keep doing what I'm doing I love it. Although I ran into a lady violinist recently and we may put something together if for nothing else recording.

SSR I noticed that some of your latest mp3s are from CD #83.That is quite an accomplishment! Have you been able to distribute your music nationally?

What a great invention the internet was for musicians. Not only nationally, but internationally as well. I have many of my cds all over the world and that was only possible with the net. It really has opened up the world literally to many great musicians that otherwise would never have been heard at all. The other thing it has afforded me is to work on a few collaborative compositions and cds with other musicians form around the world. That is very cool.
SSR Tell us about "Club Chops".

Having been part of music forums for allot of years, I was always pretty dissatisfied with their makeup. They are either brand specific or there is a snobbery on them that what and how they are doing their thing is cool and what you are doing is junk. I was pretty fed up with that and decided I wanted a place that was all about the music. It doesn't matter how one gets there or with what, the end result being the important thing. That's what Club Chops is all about, the music. Essentially it's all good there.
The second thing I was getting real bored with was rude behavior on forums and useless feedback comments given from a self serving egotistical point of view. Nothing constructive to say that would help the person to get better just a useless "your stuff is crap" give up music. That isn't happenin' at Club Chops.

SSR O.K. Terry. Here comes the infamous Strada-Sphere "10th Question":

Seeing as how you are a child of the 60's we'll give ya a somewhat relevant question.
Describe what you feel the following folks would have sounded like had they taken up the Chapman Stick...

A. Timothy Leary

Leary would probably be doing some off the wall metaphysical meditation music with his Stick midi'd up to a sitar sound. That is when he was not in a self induced drug coma.

B. Rowan and Martin

They would be doing a political comedy act and instead of "sockin'" it to us, they'd be "Stickin'" it to us.

C. Ritchie Havens
Ah now here's a guy I like allot because his guitar playing was all about a rhythmic percussive sound. Havens would find an innovative way to play an open tuned Stick. He would do some rhythmic chord progression and never touch the bass side.

D. Dick Cavet

Cavet would be doing an Avante Garde classical sort of thing that would only be understood by a very few elitist Stick fans.

SSR Interview with Jim Kam

stradasphereradio@gmail.com (Juan R Leon) — Sat, 14 Oct 2017 00:55:00 -0400

It's a pleasure (and a goal) of Strada-Sphere Radio to bring you interviews with up and coming Stickists from around the planet.Once and a while you come across an artist whose statements strike a chord like a clear church bell in the early mists of morn'.Jim Kam is one such artist.His debut Stick CD, "Jimmy Nobody", resounds with clarity and passion. Jim was gracious enough to grant me some time and offer up a window into his world.

SSR Jim,tell us about your early years with the Stick.

I got my first Stick in around 1982. It was an Ironwood 10 string; Grands were not available in those days. I had read the original interview with Emmett in the mid 70s in Guitar Player magazine and was quite intrigued. It was not till I was on a road trip in California that I actually saw one being played. From that moment, I knew that I had to have one.

My friend and I were inLos Angelesat the time. I gave Emmett a call from a pay phone and went to see him early the next morning.

A couple of months later, I had my brand new Stick in hand. I had sold my prized Gibson ES335 to finance it. In retrospect, I wish that I had been able to keep the guitar as well as get the Stick, but what the hey. I have not had much desire to play guitar in years.

I wish that I could say that I clicked with the Stick right off the bat, but I didn't. Despite years of formal musical training in piano (and to a lesser extent, guitar), I never did get the hang of it during that period. Eventually, the Stick got relegated to the spare bedroom closet where it stayed for about 15 years, taken out once a year or so.

I would have completely lost interest in playing had I not discovered Stickwire (Stick enthusiasts mailing list) on the internet. I started playing the Stick again. I think that this was in 1998. I ended up trading the Ironwood for a Cherry Grand Stick. Not long after that I attended a weekend Stick seminar in Dallas,Texas taught by Greg Howard and Guillermo Cides. Those 2 days of intensive lessons and performances were enough to give me a tangible sense of what I could do with the instrument and how to go about unraveling its mysteries.

Since then, I have made it a point to try and attend a seminar every chance I get. I always come away having learnt something valuable, and made some new friends as a bonus. It's great to put a face to people I have had met via email. I have thus far attended seminars in Abilene, San Diego and San Jose. I look forward to going toDetroitsometime, and perhaps one of the Canadian events.

SSR It appears that your association with music and performing started at an early age.How has that helped you as a solo performer on the Stick?

While I started piano lessons at an early age, I was never that focused on being an instrumentalist. Of course, I had to do the obligatory music school recitals etc. I might add that I did not much like them at the time. Later on in my teens, playing an instrument was a means of accompanying myself or other singers I played with. I did this with both guitar and piano. Much of my musical focus in my late teens and early twenties was as a vocalist in an ensemble context. During that time, I performed a lot with the Singapore Youth Choir, the Singapore Youth Choir Ensemble, and the Singapore Armed Forces Music and Drama Company. I also played in a couple of bands. I only occasionally performed solo.

So, when I started playing Chapman Stick as a soloist, and as mostly an instrumentalist, this was something new for me.

I should add that being a soloist is quite a liberating experience. It is also a pragmatic choice. Being a parent and a working stiff, it would be hard to make time for both rehearsals as well as gigs, were I in a band. On the other hand, practice time is not a problem. Most of the time, I practice in the wee hours of the evening or early in the morning before work.

SSR Taking the Stick out to jam nights is a surefire way to raise some interesting questions from folks as well as a few blank stares.How did you approach the live, solo Stick situations after your performing hiatus during the 80's and 90's?

I plunged into it head first. I credit my friend Jeff Schriber who for years has run the open mike at the Crooked Ferret pub inHoustonfor making me feel welcome enough to play in public. When I first started, I was pretty raw, and definitely not ready. Still, I persisted and practiced. As the fellow in Monty Python said,I got better.

Yes, I do get questions all the time, mostly from other musicians. It does get a little tiresome at times. Still, I always take the time to name the instrument and give a brief description. I sometimes wish people would focus on the music rather than the instrument. The instrument is but a tool. It serves as a means for the performer to express himself / herself. If you close your eyes and do not hear anything compelling, then it doesn't matter how exotic the instrument looks, the player is not worth a darn.

It's a bit of a dual edged sword. Sometimes playing a unique instrument opens doors, other times people do not want to play with you (either in a band context or have you open for them) because they cannot get over how different it is.

I've been lucky. Most people I met have been very encouraging and accepting.

SSR Tell us about HAMM and how your involvement has helped you career.

HAAM: Houston Area Acoustic Musicians was started by some friends of mine as a way to network, build clout with radio stations and hiring venues. It has been quite successful, and I am glad to be a member. It largely caters to the singer/songwriter community.

As a Stickist, I am of course not an acoustic musician, but that doesn't seem to bother anybody. I am somewhat shy among strangers, so this has really been very good for me to get to know other players about town. Plus, I have gotten gigs that I might otherwise not know about.

HAAM has it's own radio show. A live ½ hour weekly radio show on Public Radio that is hosted by Chris Collins (HAAM president) and features a different member every week. It's a great way to get exposure and some airplay.

SSR Congratulations on your new new album "Jimmy Nobody"! Tell us a little about the music and your recording process.

"Jimmy Nobody" is a 5 cut EP made largely as a demo that I can hand out to club owners as part of a press kit with which to get gigs. Plus, it's nice to be able to sell a recording at gigs.

As far as recording, I tried doing it at home by myself, but did not have much success. I eventually went to independent producer Mike Thompson of Ivory Tower Realizations for help in the process. As we were only doing Stick and vocals, there was no need to book time at the larger studios that he often works in. We did the recording in his home (Mac Pro-Tools based) studio. Thus we were able to keep the costs down. He gave me a package deal which was reasonably priced, so that it did not matter how much time it took. We continued on till I got weary, and it sounded half way decent.

Since it was primarily meant as a demo, I had several goals. I did not want to do anything that I couldn't do live. Hence, no instrumental overdubs. That does not mean that we did not do punch ins. We did. Unlike Greg Howard's most excellent "Stick Figures", none of the tracks were done in a single take. Actually, the vocals were recorded after the instrumental, so there were obviously overdubs. Also, a sampled drone was added to "Remembering Allison" so I guess it is technically not a "Stick only" CD either.

Mike was able to give me great feedback on where it worked, and where it didn't. I deferred to his judgment often, and am so glad I did. He has impeccable taste and a great ear. It is hard to be objective with your own efforts. Consequently he helped my refine my material. The choice of material was dictated by the goals of the project. I wanted to have some originals, but also tunes that the intended audience might be familiar with.

6. You seem to stay pretty busy around the Houston area. Where are your favorite places to perform?

I like 'em all, especially the ones that pay. Seriously, the venues that I play at are all good, and I am always grateful to be able to perform for an audience. My favorite event is the annual Spring "Craw Jam" in Anderson,Texas that I have played at for the last 4 years. It is a hoot! There are generally at least 300 people there at any one time, and music goes on fromnoontill the wee hours. It's a party that has grown to be an annual event that an awful lot of people look forward to. There is lots of barbecue and crawfish. People bring their families and pets as well. It is a total blast! It is held on a 75 acre spread about 60 miles out of Houston. I generally get to do a 45 minute set.

SSR What is your gear setup these days?

My stage setup is kept pretty simple. My Stick is a 10 string graphite model (PASV4 pickups) tuned in matched reciprocal with medium gauge strings. For amplification I use a Bose PAS. I use a Raven Labs PMB II as a preamp for both Stick channels. The preamp mixes the Stick to mono. From the preamp, it goes via an XLR cable to one channel of the Bose. A Shure 58 microphone for vocals goes into the 2nd channel. I generally do not use any effects. I find the tone of the Stick through the Bose rich and expressive enough that it needs no further embellishment.

For tuning, I use a Boss TU-2 chromatic tuner. The great thing about the Bose PAS is that I can load all my stuff onto a dolly and make it from the car in one trip. I can generally set up and be ready for sound check in under 15 minutes. That would never happen when I was using a conventional PA. The Bose sounds wonderful with a Stick. I don't think that there is a better way to go for a solo Stick player.

On small gigs where I am just providing instrumental background music with no vocals required, I will use my SWR California Blonde. It's a great little amp suitable for smaller coffee house type gigs. Again, I do not use any effects other than the built in reverb.

I own a RANE SP13 as well, but don't take it to gigs much because it means that I would have to bring my rack. Since I don't use other effects, there is little point in hauling the rack around. I did use it throughout in recording my CD.

My Stick was retrofitted with a midi pickup, and I do own a Roland GI-20 midi interface and an XV5050 synthesizer module. I am quite fond of, but currently do not use them very much, and almost never in a live context. It doesn't fit well with my material. Perhaps if I got a looping setup, I might be more inclined to do more with synthesized sound. Right now, more gear acquisition is on a very low priority. I'd rather improve my chops than get distracted with new toys.

SSR I see you are a big fan of the "D" (Tenacious D,for the uninitiated).Very cool! I like their music and Jack Black is a genius! They need some Stick in their music.Do ya ever cover any of their tunes?

I first saw the "D" on HBO years ago. That happened to coincide with when I first started going to open mikes, so it resonated with me. Plus they are so dang funny. Since then I have become an avid fan of Jack Black who reminds me of a young (and smarter) John Belushi. My kids like him too.

I once covered "Kyle Quite the Band" on a request. It was a hoot.

SSR What's next for Jim Kam?

Who knows? I am glad to be playing music, and somewhat relieved that I don't have to make a living doing it. It makes it fun, without the stresses that the full time pros inevitably have to face. At some point, I would like to do a full length project of originals. However this time, I likely will not set limits on instrumentation. In other words, I don't necessarily want to do a Stick only project. Plus, I have no particular need to go it alone. So I will likely have other musicians sit in.

SSR Ahh... the 10TH Question! Are ya ready?
Election Year! What presidential candidate do you think would make a better Stickist and why?

I am not particularly impressed with the Republocrats, and it would be just as well if neither of the major party candidates picked up the Stick. One less thing for me to be PO'd about. On the other hand, I think Ralph Nader would make a great Stickist since is smart and ready to look at alternatives.

SSR Thanx Jim.By the way,your site is fantastic!

Thanks Juan. And thanks for doing this. I am indeed honored to be the subject of your interview.

SSR Interview with Wayne Leechford

stradasphereradio@gmail.com (Juan R Leon) — Sat, 14 Oct 2017 00:45:00 -0400

This installment of the Strada-Sphere Interview features the multi-talented Wayne Leechford.A musician on saxophone,flute,bass guitar,guitar,clarinet,and Chapman Stick,Wayne has visited every corner of the musical realm.He has been involved with many commercial recordings including soundtracks (The Whole Nine Yards),live television,radio broadcasts.The list goes on and on.He even performed on saxaphone at the White House for President Bill Clinton.

Wayne records and performs with an impressive and diverse list of groups and organizations such as Ozone Quartet,Samecumba,Raleigh Saxophone Quartet,Wayne Leechford Trio,and the North Carolina Wind Orchestra,to name a few. And,believe it or not,he also finds time to teach sax,clarinet,bass, and Stick.Oh,and by the way,he is also a web designer and manages his own web design firm,Leechford Media.Talk about a Jack of all Trades!

Wayne was kind enough to take some time out of his obviously busy schedule to answer some questions for Strada-Sphere Radio.

SSR Wayne, last year's tour with Ozone Quartet culminated with the successful release of the band's live album, "Live at Local 506". The album is racking up some great reviews. What are the band's goals for 2004?

We are hoping to record a new studio CD. We have laid the groundwork over the last several months by doing improv sessions. We are working on arrangements now and plan to start recording over the summer.

SRR What did you do during the 3-year break?

I continued to play and teach music. I am a full-time musician. I also had a chance to start working on some new Stick projects, Polydactyl and The Real Killers. Both are on a very part-time basis. They are side projects for other members of the band, so we get together when we have spare time. Unfortunately, neither one has produced any recordings yet. We have recoded material, but it remains unfinished.

SSR How on earth do you balance your time between Ozone, Polydactyl, The Real Killers, your Trio, etc, and your teaching?

It's hard. Sometimes I am pulled more in one direction or the other out of necessity. Since the bands aren't working full time, I have more flexibility to do other things.

SSR You appear to be very passionate about teaching. How many students do you have on Stick? Tell us a little about it.

Currently, I don't have any Stick students. I've found that most Stick players, including myself, are self-taught. I took a couple lessons with a couple different players, but that was more of a "check and make sure I'm doing this right" kind of thing. Most of the people that have called me for lessons are the same way. They take one or two lessons and then I never see them again. And, most of them are from out of town. There just aren't enough Stick students to go around. That is, unless you travel the world doing seminars!

SSR How is the Latin band Samecumba coming along?

Very well. Latin music is becoming more popular all the time. I play my main instrument, the saxophone. We have a lot of bookings and the music is really fun to play with opportunities for soloing.

SSR You are also a web designer. How did you get into that?

I started designing web sites back in 1996 because Ozone Quartet needed one. I taught myself how to do it and later took some classes. I work mostly with other musicians.

SSR Being a multi-instrumentalist has its obvious advantages. What would you say would be a disadvantage, if there are any? Do you prefer any one instrument to the other?

The main advantage to being a multi-instrumentalist is that music never gets stale. There are constantly new challenges. Also, as a full-time musician, it makes your talent more marketable. However, there are not enough hours in the day to be a "master" of every instrument. Sometimes you have to make sacrifices on one instrument for another. And, the expense of owning and maintaining all those instruments! Since my main instrument is saxophone, I feel more comfortable when I perform. But, the Stick is a very enjoyable instrument to play and I like it very much too. I like them all!

SSR Any plans for a solo release?

Not yet. I've done some sequencing in my home studio and have a few unfinished solo pieces lying around. I am very into electronica and would love to do a solo CD that incorporates electronic drums and synths, Stick, and saxes.

SSR Alright,now that you have our readers chomping at the bit to hear ya in action,where can future fans catch up with you?

Most of my performing at the moment is with Samecumba. So, that means I'm not playing Stick much right now. Ozone Quartet is planning to do some shows over the summer 2004, but nothing has been booked yet. Check our web site, www.ozonequartet.com. My full schedule can be found at my web site, www.wayneleechford.com.

SSR Well I usually have something silly lined up for the final question,but I am stumped! So,let's see...ah yes! How was playing for President Clinton? Did ya get to talk to Mr. Clinton about the Stick?How was the food?

Playing for President Clinton was an opportunity of a lifetime. Despite all the controversy, I think Clinton was a great President. America has never seen such prosperity across the board. I don't think Clinton knows much about the Stick, but he is a sax player! He told us about his personal sax collection. Apparently, the Selmer company custom-made a "Presidential Edition" saxophone for him. I wonder how he plays the sax without inhaling??

Thanx for taking time out from your busy schedule to answer a few questions Wayne.I really do appreciate it!

With this installment of the Strada-Sphere Interview,we are introducing the "Toy Bin".A list of our interviewees gear.So,without further adieu, here's is Wayne's very own "Toy Bin".

Warning:The following list is very "Drool-worthy",please have a bib handy!

Chapman Stick XG with PASV-4 and GK-2AH MIDI pickups

10-string Classic tuning, Fret Rails and Flaps Dual Nut

David Eden WT-400 Traveler Plus

David Eden D-115 1x15 bass cabinet

SWR Goliath Jr. III 2x10w/tweeter bass cabinet

Behringer KX1200 Keyboard amp (for MIDI)

Peavey Classic 50 2x12 combo

Hughes & Kettner Rotosphere

Zoom 505 II Guitar Multi-Effects Pedal

Zoom 506 Bass Multi-Effects Pedal

SansAmp Bass Driver DI

Roland GR-33 Guitar Synthesizer

Roland JV-1010 Synth Module

SSR Interview with Steve Adelson

stradasphereradio@gmail.com (Juan R Leon) — Sat, 14 Oct 2017 00:41:00 -0400

Welcome to our SSR Interview with Stickist/guitarist Steve Adelson.Steve has been a Stickist since 1984,but his musical career started out as a guitarist.He has performed with legendary jazz guitarists Joe Pass,Jack Wilkins and Jimmy Ponder.He started his own music school in Brooklyn, N.Y., The Guitar Workshop,in 1977 and has made numerous recording,festival,seminar, and television appearances both as a guitarist and Stickist.He is a columnist and contributor for
20th Century Guitar and has interviewed his share of guitar virtuosos such as Joe Satriani.Quite a busy man indeed!
Steve's music is steeped in Jazz traditions and his use of MIDI with the Stick within these settings is brilliant.One listen to Steve's latest CD,"The Answer's Inside" will find you sitting in a smokey,New York club,sipping warm Cognac and enjoying some of the best jazz the industry has to offer.His passion for his art and mastery of the Stick is evident throughout as every note and phrase brings on a bigger smile than the last.

SSR Thanx for taking the time to answer a few questions Steve,I appreciate it immensely!
2003 appeared to be a vary active year for you with the NAMM shows,various Jazz festivals, and Stick events as
well.Did you manage to get into the studio during that busy year?

Actually I only did some minor studio sessions this year. I have intentions of recording a new CD and DVD combo this year of some new music. It will have to wait until all the musicians that I want are available. I'm also networking with some good record labels and this might take the project in another direction. We'll see.
It was a very varied year, being on both sides of the production process. Besides performing at some festivals, teaching at seminars and demonstrating at NAMM, I produced a jazz festival in my home town of Long Beach, NY. Quite interesting wearing this other hat. Dealing with 60 musicians, logistics, finances, publicity and all aspects of bringing this together was very educational and rewarding. I think in the long run, it will help my approach to my own career. I look forward to the 2004 version of the Long beach Jazz Festival and some high profile performances.

SSR Your last recording,"The Answer's Inside", offered up the Stick in a
variety of jazz/fusion/be-bop-esque settings.I hear a lot of Joe
Zawinal (Weather Report era) sensibilities. It seems as though you
approach the Stick from a keyboardist's perspective rather than a
guitarist's on the tune "The Answer is Free".Am I off base here?

There's some truth to this observation. Listeners didn't realize how many of the sounds on "The Answer's Free" are Stick derived. The opening instrument that sounds almost like vibes, is MIDI Stick as well is the electric piano sound and the last solo which was influenced by Pat Metheny's synth guitar. I think of the Stick as part orchestra, part guitar, part bass. Juggling these possibilities in a musical way is the main goal. Arranging and orchestrating in a creative way is extremely challenging. The Stick offers so many possibilities. "Tap Dance" is pretty much Wes Montgomery inspired and emphasizes the guitar aspect with groovin' Paul Chambers walkin' bass lines all from the Stick. Contrasting, is "Woodstick Suite" with Tony Levin where we tried to explore the electric processing aspects. I think each of the eight tunes has a unique flavor.

SSR You settle into more of a guitarist's role on "Nadda Chants".Who are
some of your influences; Guitar or otherwise?

That was natural, since I had Larry Coryell guest on that tune. I had to write something that was guitar based and find that guitar duo chemistry. The title refers to Larry's lifestyle that incorporates chanting on a regular basis. It was very enjoyable to do those solo interplays in the second half of the tune. Trading phrases with Larry and then doing improvised counterpoint was very stimulating.
The first part of that tune featured pianist Dennis Moorman playing a fantastically developed solo that to me is the highlight of the entire CD. Very strong playing. Dennis' piano playing brought all my ideas together and fit into the music wonderfully. It was a distinct pleasure to record with him. Unfortunately, Dennis past away last year. He'll be deeply missed as musician and friend.
Now referring to my guitar influences, there are many. At the top of the list would have to be Wes Montgomery for his beautiful tone and unbelievable ideas. A totally natural musician. Django Reinhardt's spirit and swingin' energy are a part of my consciousness. Pat Metheny is a major, major influence for his perception of the "big picture". Not just a great guitarist, as composer, arranger and performer, he's the best. Here's a partial list of other guitarists that I pay attention to: Michael Hedges, Stanley Jordan, Tuck Andress, John Fahey, Jimmy Raney, Jeff Beck, Allan Holdsworth and Ben Lacey. Ben's new to the scene but his musicaianship and technique blow me away.

SSR Being a guitarist as well,did you find the transition to Stick a
smooth one and what did you bring to the Stick from your Jazz guitar
experience?

It sure helped to come from a guitar background. Strings is strings. Frets is frets. Yeah, I now have twice as many strings and huge frets, but my approach is definitely connected.
The Stick offers many, many more voicing possibilities and has really opened up my creative ideas, be it compositionally or from an improv standpoint. The main transition benefit was the ease of application of music theory. The Stick's tuning is ingenious and makes it extremely easy to navigate. The geometry and shapes of chords and scales are actually simpler than guitar.

SSR You're a veteran Stickist of 20 years now.How has the Stick changed
you as a musician with regards to composition?

As I mentioned previously, the palette of possibilities on the Stick is very inspirational. So many variables and every creative variation is there for the player to explore. There's no doubt that the tone range, the string set up, the tapping technique and other less obvious properties steer the player toward creative horizons. It's been very inspiring.

SSR You use MIDI to great effect and never abuse it.Your implementation
always serves the music.When did you first experiment with it?

I probably first used MIDI in the late '90's. It's easy to over use the system. I was very aware of this and limited the synth sounds to 2 or 3 tunes. I knew I was successful when listeners couldn't tell who was playing what. I think the MIDI instrument shouldn't draw attention to itself but only contribute like any other instrument.

SSR I live in the central Florida area and I am aware that you made an
appearance at the 1st ever Southeast Stick Seminar last year ( I missed
it! ). How was that?

Lotsa' fun. Thanks to Steve Lemke for organizing the event and making it run smoothly. It should be pointed out that these seminars universally bring out some very nice people. I've done probably around ten of these seminars, and it's always a pleasure to meet the students, share information and socialize. In 2003 I did the Southeast Seminar, The Montreal Seminar (organized by Mitch Polgar) and the big World Stick Conference in San Jose (organized by Bob Culbertson). Hats off to all the organizers and the students who made them work so smoothly. I've always said that a successful teaching experience, teaches the instructor as well as the student. I've been teaching for 33 years and I always enjoy the Stick Seminar experience. I'm looking forward to 2004's seminars.

SSR Tell us about your school,The Guitar Workshop.

I started teaching in 1971 on guitar of course. Teaching in my house and at small studios. Within about 4-5 years I opened up a store front music school. Nothing big, just a place to teach private students and have small jazz concerts. At times I've had some other instructors, but right now I do all the teaching. My students are varied in level, style, age, personality and all. This keeps it interesting. I usually have a 10 to 1 ratio of guitar to Stick students.

SSR What can a student expect from your lessons?

Whatever they want. I don't teach one style. Each student brings a manuscript book and I develop a story line of information as we go along. Each student ends up with their own unique guitar instruction manual over a period of time. I teach every aspect, theory, technique, repertoire, improv, whatever. I also expose the student to music that maybe they never would have heard. If they like it great. If not..... it's back to Nirvanna tunes.

SSR O.K. Steve,you are aware of our "10th Question" are you not?It's a
silly, if not revealing, query. Part whimsy, part psychology,and all in
fun.Here goes...

Who,from the following list, would make a fantastic Stickist and why?
Why not (carefull! )?

1. Joe Satriani
2. Charlie "Bird" Parker
3. Shroeder (from "Peanuts")
4. Pablo Picasso
5. C.S. Lewis (author, "The Screwtape Letters","The Chronicles of
Narnia")

Probably Satch. I interviewed him for Twentieth Century Guitar magazine last year. He plays some of that tapping style on guitar already, so he would easily acclimate. And I think he's very musical and melodic. Of course so was Bird, but blowing into a Stick rarely gets positive results. Shroeder, was that the dirty kid? Too small. Picasso? Too dead. For your information, there is a Pikasso Guitar built by Linda Manzer in Toronto. It has 42 strings. C.S. Lewis? Not familiar with his writings. Maybe Jerry Lewis.
Thanks. The interview was fun.

SSR Interview with Diego Souto

stradasphereradio@gmail.com (Juan R Leon) — Sat, 14 Oct 2017 00:39:00 -0400

Diego Souto is our featured SSR Interview this time around.Diego hails from Buenos Aires and is a former chemist.One listen to the uncanny blend of grace and violence in his music and you will quickly realize the connection between his musical visions and his alchemist sensibilities.But don't let these terms pigeon-hole his art; Diego's musical journeys invite us all to explore the wonder and beauty of life and truth.And ,like Diego's music,they are often filled with unsuspected surprises...

SSR: What made you pick up the Stick in the first place?

DS: Music made me do it, I believe... She makes a requests and sees which one of us is ready to respond.More than one musician playing together in perfect communion becomes possible within one single body... The ying and the yang united by a purpose.... That is the reason for The Stick to exist and that is the reason I picked up this particular instrument.

SSR: Have you studied music theory?

DS: Yes, I've studied lots of music theory, only to let it go afterwards... but I didn't get my instruction thru the usual academic channels. My basic need since I was a child was to overcome my own ignorance, but for some reason music academies were never able to provide me the answers I was looking for. Afterwards, I realized that I was not asking about music, but using music for asking about life itself. I am an authentic seeker of the truth!

SSR: Your music is a mixture of everything and anything imaginable.It is at once haunting and beautiful,violent and peaceful. What influences your art and where do you see it going?

DS: Tools I work with influenced me more than anything. Even using a different Stick, or a different recording system, influences the result of my work. For example: During the 90s I bought an old sampler module to use it with the first GK2A controller I had put on my Stick. If you listen to those recordings I made before buying such device, you will find that I used to use technology in a more standard way: drum machines, sinths, and so on... but once I discovered that sampled sounds not only change their pitch but also their speed when transposed (a simple fact that everybody knows now)...the shock was immediate, and my style, when I am using electronics, was becoming increasingly ...fractal... I would say.

SSR: On your release "Stick'nSouto", you fuse the beautiful melodies of Argentinean Folk music with modern and abstract Electronica. Where did the idea for this project come from?

DS: Retro-futuristic, as a newspaper said about one of the projects I was working on....
More than just an "idea" for a certain release, this is a quality I always carried with me, even during my extremely electronic periods, like for example Ojos amnióticos -Amniotic Eyes-.
I am a post -internet guy, so I can get my "spiritual food" from anywhere in the world, but the voice of my land is omnipresent. Tradition is in the air of every culture, you can sense its scent it if you pay enough attention. I am sure this is the same in Alabama, Buenos Aires or Rio de Janeiro: folk music is the voice of your culture, it tells who you are in so many ways.
It is a mistake to think that traditional music is something fixed, rigid something that does not evolve, or cannot be improved. What is rigid and unable to evolve is many people who plays this music.... of course they would die before considering me one their own :-).... For me, it is just another beautiful color in the palette I chosen to hold.
Curiously, a newest wave, "New tango" (a mix of tango and European techno) is becoming a huge success in Argentina. I am looking forward to see how it reflects in young generation's clothes.

SSR: Tell us about a typical day in the studio with Diego.

DS: It depends of which project is taking place. First of all, I do not have a specific place for making music. Of course there are places in my residence where the "concentration of toys" increases... but since I am a big fan of practice, you can find me practicing in the kitchen, while I am watching TV, in the patio...
If Ars Cottolengo -a bandoneon, drums and Stick trio - is recording, I become the "orchestra-man", for I am the only one who knows how all these machines work.
If it's me working alone, oh it's so good. I love even when everything goes wrong, this simple act of voluntary effort is something I am so fond of. Spending all night recording a simple track....
I hate professional recoding studios. For an independent artist like me, it is like taking a cab: you cannot avoid looking at the clock and calculating beforehand how long your money will take you this time...

SSR: Samples are a big part of your sound. How easy (or difficult) is it to re-produce your music live?

DS: I do not even care about it. Studio work and Performance are totally different situations, where I can use different resources and where I aim different results. I do not see performance as the place where I show what I have done at studio. I see performance as the moment I become the nexus in that magical connection between people and music. During this particular mass called performance, the musician is the monk, the music is God, and the stage is a pulpit. But this does not mean that I take my role too solemnly at all, it only means that I am aware of my responsibilities.
Studio work is playful fun, especially for someone like me who like to spend hours and hours working alone or with friends at a little studio of my own. A great opportunity to get in touch with our real essence, which is waiting to appear under our personality's mask.

SSR: You get an incredibly deep and fat bass growl out of your Stick,especially on your tune "Deceptive Revelations". What gear do you use?

DS: Everything that comes to my hands. At home I have a considerable amount of both -very- old and new equipment at my disposition, so that I can choose which of them I will use at a certain moment.
I am kind of collector of any trash that sounds... A really old Dynachord echo lies at the same room with a PC computer, waiting for its opportunity. Recently I was using a speaker I made with an old phone to use it as a microphone in order to record some voices.
Performance is a different thing, I prefer equipment which is light, small, and quick for real-time controlling. During the recent shows of Ars Cottolengo in Capital Federal I used various multi-fxs chained, like a Lexicon processor, an old Alesis Quadraverb GT, a Lexicon morphing processor, and even a small Zoom 505II pedal, which I like a lot because it provides me loads of very low-fi effects. If performance requires samples, I still have an old portable Yamaha sampler module chained to midi.
Regarding amplification, I am not a fan of guitar and bass amplifiers, for they use to have strong personalities, I prefer a good mixer/PA/Speakers combo. But if the situation demands it, I prefer the Peavey Mark III for the bass, and a Marshall Stereo Chorus for the melody.

SSR: It seems that groups like King Crimson and the Residents enjoy a great level of popularity and success in South American countries. Do you find that your style of music is largely accepted in your country?

DS: Argentineans are quite fond of contemporary tonalities; just listen to tango and you will see what I mean. .
And Brazilian middle class loves industrial and noise music, just check Brazilian labels like Nemo Hipocampo, Noage, Umbigo Group...etc.
I don't know about the rest of South America. Entirely different and distant countries...

SSR: What's next for you and are you planning on coming to the states?

DS: The next step is to tour with Ars Cottolengo and see where music take us, and to record a solo album with compositions and arrangements for a particular tuning I am using since 1998. Iam deeply involved with what I use to call NSST: new standard Stick tuning, it is an adaptation to Stick from guitar's new standard tuning. So I am writing etudes and also arranging compositions for this particular tuning. And the results of this work are being recorded in order to release new material. This is barely related to technology, as you can see. But simplicity is something that any musician should not forget. If you cannot turn off the machines and be happy just playing an acoustic guitar, or plugging your Stick directly to a small amplifier... you missed something. Of course technology will reappear in my life soon, as I can stand too much time without playing with my toys...

And I plan to go to USA as soon as a manager-representative makes me a decent offer...

SSR: OK Diego,here's that 1 question in the SSR Interview that is just plain silly but may reveal something to all of our readers...

Which one of the following cartoon/comic book characters would make a better Stickist and why?

A. The Incredible Hulk
B. Thor
C. Snoopy
D. The Pink Panther

DE: Well, I had to do some mind research on this one, my friend, for these characters do not belong to my culture.

Pink Panther would be the best, because his music would be as mind-blowing & psychedelic as his episodes... this would be a marvelous thing to listen to.

Thor would be the worst, this guy seems to hide his lack of sexual organs behind muscles.... so as a musician he would be an useless, virtuouso Stickist...

The Increible Hulk would be an excellent customer of Stick enterprises, having to buy a new Stick episode after episode, for he would destroy them every time he becomes big and green. SE would love him.

Snoopy would not play Stick, only thinking of playing it.

SSR Interview with Don Schiff

stradasphereradio@gmail.com (Juan R Leon) — Sat, 14 Oct 2017 00:31:00 -0400

The featured interviewee for this installment of the SSR Interview is none other than Don Schiff.A true veteran of the Chapman Stick,premier exponent of the NS/Stick,an incredible bassist,and in-demand session and touring artist.His albums "Timeless" and "Wait by the River" are jaw dropping forays into the many sides of the Stick and NS/Stick.His work with Lana Lane and Eric Norlander are no less exemplary.His "resume" reads like a who's who of Rock 'n' Roll (Elvis Presley,Tina Turner,Sheryl Crow) and an "A" List of stage and screen's elite ( Bob Hope,The Muppets,Rachel Welch,Sammy Davis). Don has even managed squeeze in a little acting,and is a contributor to NS/Stickist.com,the Stickist.com companion site.But, let's let the man speak for himself.Brace yourselves!I am sure Don has had his coffee today....

SSR Howdy Don! Hope that the Holidays went well for you and that your
family is doing fantastic. Manny Tau from Stickist.com feels that Greg
Howard is the ambassador of the Stick, and it seems that you have become
the ambassador for the NS/Stick.I would love to get my hands on one!
When did you first pick it up and what drew you to it?

Don
Emmett Chapman and Ned Steinberger first came out with the two prototypes back in late '99 early 2000. And over the course of a few months, a few of us where asked to "C'mon down to Stick Enterprises" and try them out, give our opinions, make suggestions. If I recall correctly (and that's where the danger lies... lots of different realities spinning all at once in my head) a few people checkin' it out were, Vance Gloster, Tom Greisgaber, Greg Howard, Tony Levin, The Incredible Hulk... "hey, wait, one of those isn't right?! (gol darn spinning realities)

ANYWAY, lots of cool suggestion where made, I even had a few. And like I said, (remember spinning realities in my head) SE was clever enough to ignore some of my "gems". How's this one... "I think... (First warning) it should be 'heavier! It's only 8 and 1/2 pounds and incredibly comfortable even over long periods of wearing... like 2 hour concerts or ALL DAY sessions!!! What was I thinkin'? I had a session the other month where I had to play bass for a couple hours and my back hurt... "Yeah, I'm older and apt to get grumpy and complain a little BUT I sure appreciated the rest of the session when I could put back on the "Mighty Sound" at only 8 1/2 pounds.

Sooooo then, Tony Levin and myself where given the two proto types to take with us for more "test pilot" playing. For me, I discovered that though it was originally designed to be a "tap" instrument I not only could tap it but 'pluck the strings or pick them as well!"... "Well now THAT's a Horse of a different color" I said to myself. (Okay, I didn't really say that to myself but I'm tryin' to tell a story here).

The more I played this instrument the more intriguing it became. It just "kept on giving"... Engineers in the studios would RAVE about the great recording tone; live performing was just as great a sound and fun to play. That would have pretty much done it for me right there BUT then I discovered it could do what no other instrument I've played could do! - Dramatic pause - .... Tick tock...
... Wait for it...

Okay, okay I could 'at the same time' incorporate more than one technique at a time... "huh? what am I talkin' about... I hear me ask myself - pretending I'm the reader listening to myself... (gol darn multiple realities again) .... SILENCE IN MY HEAD I'm tryin' to write an article.... very important stuff here, shhhhhhhh!
(that's better), now where was I...

Oh yes, that means that I could not only have separate right and left hand taping parts but I found I could also 'pluck' the high strings like an arpeggiated guitar part and at the same time 'tap' a bass line OR pluck a bass line (just like my electric bass) and then reach over and strum out a chord... YAHooooo, was I excited. I had done so many sessions with my Grand Stick over the years prior to the NS and the only thing missing in my "Stick" speaking voice was plucking... "And then... there it was" "ALL in one and one for ALL!" just like the 3 Musketeers, the 3 Stooges, the... "Silence in my head!... Im babbling things that don't make sense again...!" Okay then hows this, All techniques at once - and at once all techniques! Whoa one of these realities is NUTS! -who said that?! -I heard that- shhhh SILENCE!.

Alright then, to make the first question even longer all that, is what drew me to the instrument. And it still keeps on givin . I find new techniques and combinations all the time. Hey, just ask me about Slide NS/Stick. AVALANCHE of WORDS take cover!!! Well, its self explanatory but yes, there is the technique combo of tap and slide together, simultaneously and all at once too! (warning one of us in here is not playing with a full deck, his marbles are loose and scattered all over the place! Run away, stop reading before its too late arrghhhhh!) - hey, I can hear me! Its not like Im talkin behind my back, more like behind the inside of my back deep within my head sort of thing hey lets keep it down in here, one of us is trying to THINK. SILENCE!

SSR Besides the obvious differences, what would you say makes the N/S
Stick unique from the Stick or other touch instruments?

Don
Well, I kind of covered that in the above novel, but its the taping/plucking ability that sets it apart for me. I havent tried all the tap and touch instruments there are out there and surely you could combine everything I described on any stringed instrument. However for me the tap, slide, pluck, picking and any combination there in at the same time all came together naturally, expressively and most easily on the NS/Stick.

3.You're obviously a gearhead and everyone knows about your famous "Mac Rack". How did you come about putting that together?

Don
Ah excellent question and I have an answer. When I was in the studio one day working with Lance Matthew (hell be famous then we wont question why did he name drop someone weve never heard of) Anyway, he was putting together a Pro Tools set up for us to go on the road and tour with for an artist we were both working for. We marveled at how great the plug ins sounded but were taken back by how much of an investment this system cost to put together. Even if it wasnt our money, ya still say whoa at $20,000. We discovered Digital Performer could be installed in my laptop now so can
Protools, (see Don Schiff.com and click on the Musings link/MacRack for the comparisons and variations) and at around $1000.00, AND I could have some of the same plug ins that I was lovin with Pro Tools. Klang a light went off in my head! (hmmm sounded more like a gong! shhhh who asked methose voices again.. SILENCE!)

At that time DP (Digital Performer) had a single space thing (Motu 828) that allowed 8 ins and outs. So I built a sliding padded single space shelf that would seat my ibook G3, combined with my single space Motu 828 (thing) and I had all the cool sounding (expensive and heavy as hardware) effects and outboard gear inside my laptop as software. Very economical too. For example, the classic Fairchild compressor weighs 100 pounds and costs $35,000 dollars and you get ONE. As a plug in its around $350.00 and weighs nothing but wait theres more you can make a bunch of em. And thats true with plug ins in general find one you like and use as many as you need. For Stick and NS/Stick where you need two of everything its fantastic and if youre like me and have both Grand Stick and NS/Stick its Doubly fantastic.

SSR Mac users seem to have a kinship with one another much like
Stickists do. It's never about "My Mac is better than yours!" or "My
Stick has the new Nut Flap and your stuck with the Nut Screws!" Why do
you suppose that is?

Don
For me its like this, I never feel like I know what Im doin, I get an idea and go with it. If Ive got a thing-a-ma-bob-swizzle Ill be creative with it and make it work magic. If I see someone with a bob-a-ma-thing-swizzle and it works great, I can appreciate what it took to make that thing swizzle and Ill rejoice. I imagine in our Stick community we all share that sense of excitement and adventure while appreciating the talent it takes to be a Stick player and talent it took to invent such a thing thank you! Emmett (Emmett Chapman/Stick Enterprises ) And you too NED! (Ned Steinberger- iNSpirations and Steinberger guitars/basses ). There are some video and sound files of me at the Ned Steinberger site, click artists and scroll down youll see me. I have some nice pictures on the Stick site too. (Whoa again, dont I ever get tired of yakkin about myselfand then I and then I gol darn voices again - SILENCE!!- )

SSR I see that the 2003 World Stick Seminar in San Jose was a great
success. How was the experience for you on a personal level?

Don
(oh wow, more about myself this will make me happy how longs this saga gonna be? again with the voices?- SILENCE!
Inner voices today, I tell ya! Settle down in there!!

Being involved as one of 8 teachers at the San Jose seminar was truly a great experience. The enthusiasm of the students to learn matched with equal enthusiasm of the teachers to share what they - know, developed and discovered - over the years. It was amazing to be a part of. In my head (oh really, internalize much do ya?) I kind of saw the teachers as super comic book heroes each with his or her own super power Each teacher -though each all around incredibly skilled- had something special and unique to them that they could do that stood apart from the rest. VERY cool to see and hear. Wait til the DVD of the concert comes out; youll see and hear what I mean. A truly phenomenal group of players and Ill name names too.
Emmett Chapman (California)
Steve Adelson (New York)Ron Baggerman (Netherlands)Tom Griesgraber (California)Greg Howard (Virginia)Jim Lampi (England)Andre Pelat (France) Virna Splendore (Italy)

One of the funnier moments was at the end of the concert when all of us teachers with instruments in hand (live ammo watch out) began to play. Ahhhhhh I think all of our super powers combined must have had some sort of phase cancellation effect as the improvisational group moment droned on and on and on which made it very funny in itself. We all watched the rough video later that night and laughed and somehow I ended up with the nickname Jumbo shrimp from having the announcer mispronounce my name. He put a lot into just moments before- memorizing and getting Tom Greisgrabers name right and then stumbled all over mine, try as he may, many times. Hence when we saw the video late that night and listened and laughed. Jumbo Shrimp was born. What a night I tell ya! Theres no business like show business.

SSR Have there been any discussions with regards to an NS/Stick seminar
or an NS/Stick Book/Video?

Don
Yes, Im going on my third year of trying to have the NS book out. Im getting closer. What started out as simple became But wait, theres this technique and what about and so as I discovered new incredible things this instrument does, I then had to go out and field test it. Works great at home but does it fly in concert? Will the different techniques make a difference in the studio? So, it is taking time to compile, observe and actually learn it myself to the point of it all being second nature. The techniques must be an actual speaking voice of the instrument for me to say its a technique. If its not a voice then its more like a side show trick like playing guitar with your teeth. Fun to watch, great for the Dental business, but for me, not a useful technique. Its soon to be finished, I have more than enough techniques and experiences behind the techniques to give book 1 its debut.

I tend to teach by giving a lot of visual information by showing two-handed exercises that requires a bit of coordination. Partly because I like to dive in and get people playing right off the bat and partly because I have done it for so long, I tend to forget what it was like to be a beginner.

At the San Jose seminar I met Barry Silverman and Patrick Bagacina. They were two of my NS/Stick students. As we got to hang out and know each other we developed a great group collaboration. Having them accomplish an exercise, then discuss what it took for them to learn it from how I showed it... is wonderful information that will be a great advantage to this book. Plus they are both incredibly smart men and well organized and I (talk to myself a lot and hide behind dessert tables at parties wondering if I should talk to anyone..other than myself) So thanks to them, this book will be incredibly informative with useful information about learning the NS, be very organizedget done a lot sooner and Ill throw in a few Party tips on eating donuts, balancing a drink and lookin like your having a great time at the party while pretending to talk to someone.... Hey, if I had a third hand, I could pretend to talk on the cell phone and then Id look normal

SSR Your last album "Wait by the River" featured you on NS/Stick. Will
you be picking up your trusty Grand for the next recording?

Don
Trusty Grand is in hand and will appear with the NS in an upcoming release from our friends at Think Tank Media ( ). It will release early in 2004 and will be an instrumental solo CD. I havent even picked out a title, as Im still writing and recording it. As a matter of fact part of today will be turning in four songs for the producer (Erik Norlander) to hear.

Its a lot of fun combining Grand Stick and NS/Stick. As Ive always said, each instrument is incredible and can do something special the other cant.

SSR Speaking of your 12 string Grand,who did the inlay work on it and
does it have any special meaning,or is it purely decorative?

Don
The amazing Danny Ferrington did the inlay work. Hes got the magic guitar making, inlay doing touch. When I was at his shop he showed me examples of work he did for so many celebrities. I had it done some years ago and back then Danny says, George Harrisons coming in this week to pick up his guitar. Ohhhh yes, I hung around way to long trying to decide what I wanted in hopes that THAT would be the day he picks up his guitar. No luck that day, or the next or the next. A loooong visit, that was.

Sometimes youre put in a situation where (usually monies involved) and your asked to team up with a band or artist to write a song with, however, they dont know much about writing so you have to lead the way with words like, Hey, what do you like to talk about, what moves you, what kind of melodies do you like, what interests you about the world etc, And so little by little you pull teeth and etch something wonderful out and a job well done, happens. So, Danny asks me, What shape inlays would you like? AND so standing there like the aforementioned inexperienced song writers did, I gave him the all knowing Deer in headlights look of enlightenment answer I dont know but I thought about it a lot.

So being the pro he is, he said in essence, Hey, what do you like to talk about, what moves you but when he said, (Oh by the way this story has to do with what the inlays on my Grand Stick mean) Tell me about your family history Ahhaaa that did it. Suddenly I had opinions and ideas.

My Stick has Stars, Crescent moons, (No, Lucky Charms had nothin to do with it!) and the number 8 turned sideways plus a Star of David and my wife and sons name all in pearl inlays. The family history goes like this, One day my son Aaron (maybe 10 at the time) and I were driving in the car at night. I looked up at the sky and saw a bright star next to a thin Crescent Moon. I said, lets both look at it together and remember this day for the rest of our lives. Well we looked and hes now 22 years old and when asked about the Star and Moon hell tell ya! I have no idea what hes babbling about! Just kidding, I just checked and he remembers. Ah, a nice moment.

Eights my lucky number no mysticism, I just say so and to help my reasoning along Aaron was born 8-8-81. Then you turn the eight sideways and its the symbol for infinity, which is a long time. Okay, continuing on, keep up - please dont fall behind the group. The Star of David is the Star of David, my background is Jewish. I dont practice any organized faith closely other than my own experiences with God but I feel akin to the culture and religion and the need to explain myself regarding religion and culture and I love Delicatessens. Puttin the wife and sons name in, well that just really made it become my Stick.

SSR Did ya make any New Year's resolutions regarding the NS/Stick/music?

Don
Yes, its the same one every year and every year I get closer.
I resolute: To be acknowledged for and play all the music my heart desires and make all the money my wife wants.

SSR And now the portion of the interview where we dig deep into the
soul of our SSR interview-ees and find what makes them tick (Or tock,in
Don's case). It's the off-beat question that will reveal a bit about
their inner child to us all...or not...I don't know...but here goes!

O.K. Don, who do you think would make a better Stickist out of the 3
listed below?

A) Steve Jobs: Co inventer (along with
Steve Wozniak) of the first
true personal computer,CEO of
Apple Computer and Pixar Animation,and
all around hip dude
B) Bill Gates : Founder and CEO of Microsoft,richest nerd in the
world, and all around geek
C) Linus Travolds: Finnish software guru,CEO of Transmeta Corp.,and
Creator of the Linux OS.

Don
Hmmmm. I say, Hmmmmm. Well if STEVE could get JOBS BILLding GATES then maybe and I say just maybe (here it comes folks) they could both play the LINUS and Lucy peanuts theme touring and TRAVOLDS to exotic and far away places!!!!! (Going, going gone and the ball flies out of the park!)

Thanks Juan for the interview and askin such fine and fun questions. Good luck to you and Strada-Sphere Radio. Goodbye all, thanks for havin a look and a listen. I hope to see you all on tour in 2004.

SSR: I told you to brace yourselves,did I not?

SSR Interview with Manny Tau

stradasphereradio@gmail.com (Juan R Leon) — Sat, 14 Oct 2017 00:28:00 -0400

Originally published circa 2005

Welcome to our first ever Strada-Sphere Radio Interview.We have chosen Stickist.com webmaster and all around cool guy Manny Tau for our maiden voyage.His Authorized Stickist.com site is the busiest Stick related site on the web (after Stick.com) and he has done it all without any sponsorship and completely profit free. Those of you who may not know Manny outside of his Stickist.com activities will enjoy his personable candor and humble attitude.

SSR: Tell us a little about yourself.

**MT: Hi Juan.Let's see, a little about myself. I'm Chinese,born in Queens, New York City. I actually spoke Mandarin with a Yiddish accent until about age 12, losing the accent after moving to Southern California around age 7. I'm married to a wonderful wife, Ann, and we currently live in San Clemente, CA. For the "serious" stuff, I'm a clinical and forensic psychologist specialized in threat assessments and active threat management (NoThreat.com), with the majority of my clientele in the private, corporate and government arenas throughout the United States. Some of my interests involve various information technologies, especially with the Internet, and of course, with music. I started out playing electric bass in high school, and had dabbled with guitar and keyboards that eventually lead me to the Chapman Stick! I remember well my old college roommate back in the '80's who played a Stick in his band, and I was totally fascinated with it. I didn't have the time or resources then to pursue this any further, and had even stopped playing the bass due to all the college activities. Some years ago, I saw Tony Levin playing the Stick, and it re-sparked an interest. Then ran into Daniel Kane in San Francisco, up close and personal, playing his Stick in the popular Pier 39 area. That was it. I started to seriously research the Chapman Stick and Stick playing artists.

Well, to make a long story short, on April 12, 2002, I picked up my Stick (#1991 Padauk, 10-string, standard tuning) at Emmett's place, then later that night with Ann and friends, saw Tom Griesgraber/Agent 22 and the Tony Levin Band at the Coach House in San Juan Capistrano ... that was a memorable Friday!

SSR: Stickist.com has such a fluid feel and it is very well put together. It is clearly a labor of love and it shows. It's my homepage and has been for a while. What inspired you to start a website devoted to the Chapman Stick and all of it's players and how much time would you say you spend on it each month?

**MT: Geez, when I started researching about the Stick and had all sorts of notes, URL's, graphics, sound files, etc, I wanted to organize it all along with having access to these when I'm out of town on a forensic case. So I created a single web page for myself on 4-22-02 with the accumulated info. I posted onto the Stickwire listserve (Vance Gloster's labor of love) about this page of Stick info,and asked folks to pitch in if they'd like. Well, in a week, the amount of new info grew tremendously, so I scooped up the domain Stickist.com and the site was born. Stickist.com has had and continues to receive a lot of visitors, with lots of great contributions from Stickists worldwide. It's been great corresponding with Stickists along with maintaining a site that continues to be a pleasure to grow. Maintaining the site became a really great way of clearing my head from my forensic work. So I guess Stickist.com was my way of having a public repository of my notes about Sticks and Stickists. How much time have I spent and continue to spend on the site? Way too much and not enough! Stickist.com started out as simple html pages. But content from my research and contributions from others grew so rapidly, that it became a navigational and maintenance nightmare. I was also having problems with my webhost and wasn't able to add various features to enhance the site, so I decided to get my own webserver! I ended up purchasing a Sun server running Linux OS and Apache webserver, dedicated a high-speed line to it, and finally had the features and "root" access I wanted to take the site to the next level. Oh yeah, it's located in my house, none of this co-location stuff. I wanted immediate 24/7 access, along with the abilities to install various apps and security measures to enhance the features and integrity of the server. I do all of my own tech support on the server, along with having a paid expert on-hand to take care of things over my head that I can't troubleshoot myself. An expensive way to go, but it has been definitely well worth it to have my own private "digital playground."

To deal with the rapidly growing site, I ended up starting over from scratch (over 40 web pages of info!) and implemented a content management system (Post Nuke) utilizing the PHP scripting language. This site rebuild took about a week, but well worth it since now adding graphics, content and expanding its navigation became tons easier and a real time saver. And the big plus, I was able to implement various user features like a forum, links to websites, and articles so Stickists can contribute directly onto the site. Being such a gearhead, like many of the Stickists out there, this was a natural progression for me.

The next project, when I've got time, is to work out video/music streaming so I can use all of the videos and music files I've created and obtained from Stickists, to be available on this site. Many of my video files are huge in size, and trying to figure out the best way to stream it on the web without bogging down the resources of my webserver (even though its got a Pentium III 1.26 GHz processor with 1 GB of RAM) and hitting the upper limits of the dedicated DSL line's up speed. I couldn't justify having a full blown T1 line (over $1000/month) coming into my house, so I've got a fractional T1 with 256-384K up speed at $65/month, which has worked out well so far. I am looking into the benefits of upgrading to a 384-416K up speed line for $100/month, as I prepare for video streaming. Remember, this is all a labor of love, and expenses are all out-of-pocket. On the other end of things, I see that 83% of the site visitors have broadband connections according the poll on the site. I was worried about the site being so graphic intensive and slow to download, but this is clearly not an issue with the large majority of visitors. Geez, I would hate to visit my site with a dial-up connection.

SSR: Your site is "authorized" by Stick Enterprises. How much input have Emmett and Yuta Chapman had?

**MT: As I started my Stick playing learning curve and continual development of Stickist.com, I stayed in contact with Emmett and Yuta. They were both really tickled with my site and with NSStickist.com (I started to also become very interested in the NS/Stick). Emmett viewed my site as a welcomed addition to the Stick community since it focused solely on this community. The spirit and intent of Stickist.com (and NSStickist.com) was to have a web-based playground for Chapman Stick afficionados, and never to make the site a business venture by selling products or have banner advertisers to offset its costs. This is still the mission of site. Though I have added a link to an account I set up at CafeShops.com which sells Stickist.com apparel at my cost, thinking it would be a value-add for those inclined.Emmett and I viewed my site as a companion to his site; Stick.com encompassing the professional aspects of his business, and Stickist.com being the playground for the Stick community; it was a natural pair. I discussed with Emmett about being an authorized Chapman Stick site, wanting to keep it homogeneous to the Stick and not have any banner advertising, and especially not generating any revenues and taking away from his business, as this was important to me to not negatively affect his business since I am anavid supporter of Stick Enterprises and all of Emmett and Yuta's unceasing efforts and support of the Stick community.So after lots of sweat equity and having a time proven site, Emmett and I embarked on setting up an agreement on becoming authorized. This was awesome! We worked together on how best to keep my site homogenous to the Stick, use of his trademarks and copyrighted materials to maintain their integrity, and keeping in contact for any quality assurance issues. I highly welcomed his thoughts and approaches, since we were on the same page with all of the issues. Emmett had entrusted me to continue on with my approaches as I seem fit since he was 100% supportive of what I had created and had accomplished. There are some informational overlaps with his Stick.com site,and I was extremely pleased in being able to use his material/content (with Glenn Poorman as his fantastic webmaster) freely and with authorization to create an overlap between our sites since they take different approaches about his Stick, mine being more "grass roots." Emmett and Yuta have been absolutely wonderful in their support of Stickist.com. The site continues to be only about the Stick and related topics, and does not nor ever will have any banner advertisers or sponsors, or generate revenues. I love having a "clean" site and being able to provide a vehicle for Stickists to share thoughts, promote their music and websites, and especially showcase their graphics. I believe there are over 500 photos/graphics on the site, many from Stickists, and it keeps on growing! The Humor area of the Gallery is filled with some interesting graphics, especially those from Paul Symanski and his versions with some of the "classics."

SSR: How long have you been playing Stick?

**MT: I've been learning to play the Stick since April 2002, and try to put in at least an hour a day ... which unfortunately is typically now just a few hours a week if I'm lucky. My work and various professional activitieskeep me extremely busy. The Stick and its related activities are a much-needed solace from my forensic work. The FBI's Behavioral Sciences Unitkeeps in mind a quote from Nietzsche, "Whoever fights monsters should see toit that in the process he does not become a monster. And when you look long into the abyss, the abyss also looks into you." On a lighter note, I see myself having a lifelong passion with the Stick and learning how to play it in a manner it deserves.

SSR: Who are your favorite Stickists?

**MT: I've been fortunate to have attended a Stick seminar (2002 Southern CA Stick Seminar, Oceanside) taught by Greg Howard and Tom Griesgraber. They were awesome and I learned a lot, and they continue to be some of my favorite Stickists. Tony Levin is also a favorite, which he gave me permission to include on my site his story, "In the Beginning" from his funny book of anecdotes, "Beyond the Bass Clef." I've also had the fortune to meet other Stickists and watch them perform live and check out their style and approaches, which has also been a learning experience! And of course, I have to mention my all time favorite Stickist and friend, Don Schiff !

Let's see, to be a little more specific about these favorite Stickists:

Greg Howard: He is a passionate Stickist and it comes across in his style and music. In my eyes, he's a true master of the Stick, and is humble,friendly and always willing to help out fellow Stickists. I consider him the Ambassador of the Stick.

Tom Griesgraber: I consider him an expert technician on the Stick. His playing style is unique, incorporates the use of ALL 10 fingers, and produces soundscapes that are haunting, alluring, and melodic. His expertise with bass really comes across in his playing, which is really attractive to me since bass was my first love. Tom is a very friendly and humble person,and his music and techniques are astounding!

Don Schiff: A wonderful person and awesome NS/Stick and Stick player! I've had the fortune to befriend Don, who has a long history as a professional session musician. His stories and musings are hilarious! Don is amazing on the NS/Stick and is constantly expanding its boundaries. It is amazing to watch him tap, pluck, pick, strum, slide (with a keychain fob!), and dual chord on the NS! His grooves are powerful and it is amazing to hear the music and sounds he produces from his NS. Don is simply a great musician that many know and love; I can't say enough great things about him.

SSR: Do you get out to play often?

**MT: Not at all. I still consider myself a beginner and don't feel I have anything yet to offer, but working on it. I do have a fantasy to play at a local bistro for kicks and grins when I have a couple of sets I can competently offer. I still have a long ways to go, but loving the process.

SSR: What's your setup like?

**MT: Hehe, I had a little portable Pignose from the old days when I was tinkering with the guitar. I plugged my Stick into it when I brought it home from Emmett's, and it sounded terrible. Within 24 hours, I picked up a small 30 watt Crate bass amp that had 2 channels. This was a start, but I quickly grew out of this (remember, gearhead). Now I have a 200 watt SWR Workingman's 15 bass amp with an additional 15" woofer/tweeter cabinet. Feeding into the amp: Furman power strip, Rane SP13 Stick preamp, Boss VF-1 synth (melody side), Boss SE-70 synth (bass side), and a SansAmp Bass Driver DI (bass side) for when I want a warm tube sound on the bass. I've included a before and after photo. My current rig was heavily influenced by posts on Stickwire, and especially info from Glenn Poorman's site at DetroitStick.com. I'm really happy with rig, though my skills don't do it justice. Future plans include incorporating MIDI, along with getting aMIDI'd NS/Stick. Though I do have my eyes on the newer StickXBL ...

SSR: Given the tremendous response to your site, have 'ya thought about putting together a CD featuring Stickist.com members?

**MT: I've thought about this, but this is over my head (for now) in mastering and producing a compilation CD of Stickists. Tom Cram has done this, so I'll defer to the experts and Emmett at Stick.com. Besides, I wantto keep the mission of Stickist.com to be non-revenues generating so I can maintain a site "clean" from any commercial activities.

SSR: Christmas is right around the corner. What Stick goodies would you like to find under your tree from Santa this year?

**MT: Actually, I don't have any Stick related goodies on my Christmas list. I'm set for now, with skills being my limitation with my equipment. Lots to learn! But, I do have a strong inkling for a NS/Stick ... I have convinced my wife that this all is still cheaper and safer than a Harley ;) But if I were to have something Stick for Christmas, I'd love to have "a solid week of private Stick tutoring from Tom Griesgraber." OK, now that you got me seriously thinking about this, I would love to find a quality looper under the Xmas tree. LoopersDelight.com and the Stickwire listserve have been excellent resources for me about looping.

SSR: And now the final and perhaps the most revealing question of them all:

What song from the following list would you like to hear Greg Howard cover on his next album and why?

A) I Will Survive by Gloria Gaynor

B) I Write the Songs by Barry Manilow

C) It's Not Unusual by Tom Jones

D) Danke Schoen by Wayne Newton

**MT:It's gotta be "It's Not Unusual." It's got some riffs that I believe Greg can really go off on with a "jazz" rendition and some "enhanced" bass grooves. What a kick it would be! I don't think I could handle "I Will Survive" or anything disco on the Stick =:-0 I might be able to handle "I Write the Songs" or "Danke Schoen," but only if Greg had a highly progressive rendition with some ethereal looping to make them palatable.

On a final note with this interview, I just want to say thank you for this opportunity in being able to contribute to your site and your efforts, in reciprocation of your ongoing contributions to Stickist.com. The Chapman Stick continues to amaze me, surpassed only by the wonderful Stick community! Stickist.com continues to be fueled by the passion and intelligence of the Stick community, and my heartfelt appreciation goes out to the Chapman Stick aficionados!

CD Reviews

stradasphereradio@gmail.com (Juan R Leon) — Sat, 14 Oct 2017 00:23:00 -0400

"Stickistas:A compilation of the art of Hispanic Chapman Stick players and composers"

Various artists/The Stick Center

In a recent e-mail correspondence with Emmett ,we discussed the Stick Center release of the compilation CD "Stickistsas". This is a collection of 22 compositions by various Stickists from the Hispanic/Latin/Chicano community. I will quote directly from the e-mail and also add a bit more "spice" here and there and lend this "re-review" a bit of journalistic flair.
Guillermo Cides' Stick Center in Spain has done much to promote the Stick and it's artists in the Spanish speaking countries of all continents and the release of "Stickistas" is just on facet of proof on a diamond of passionate evidence.

The "Stickistas" CD is outstanding! The variety and scope of styles is what I like about great compilations,and this is no exception.I am particularly interested in what the Stick Bassists are up to.I,being a bassist of 25 years,am seriously thinking about adding the Stick Bass to my arsenal so these pieces get a lot of play!The SB8 finds it's niche well among some of the more Spanish sounding tunes.

To quote Emmett:

"Exactly! The SB8 comes through like an acoustic Spanish guitar."

There are a few Stick Bassists on the CD:
"Crónica" by Andreas Guenther of Brasil (Stick Bass) is wonderful in it's simple melody and beautiful refrain.Has almost a slow tango feel.Very cosmopolitan.
"Gauchito" by Argentinean Miguel Lopez (Stick Bass) is another tune with a great theme which moves along at a convincing pace with a flamencoesque flair..Giutarists M. Torres sits in on this one.
Gustavo Vidal, from Argentina as well, (Stick Bass) gets a fretless sound on his "Los Recuerdos". I am not sure if perhaps he has a fretless Stick Bass or it's in his technique,but it imparts a serene quality to this lovely solo.The ocean waves transport you right away to a magical memory.Emmett informed me that there are " no fretless SB8s out there,yet.". Anyone feel adventurous?
There is a beautiful and understated piece in "Stick Duo" by Mexican 10 string Stickists Maurecio Sotelo and Hugo Santos.Check out the great interplay in the bass as these artists weave a tapestry as intricate and colorful as a Zapotec wall hanging.
Bernardo Dominguez of Argentina (10 string) teams up with drummer E. Dominguez in a jazz fusion workout. A great bass line propels the melodic chordal progressions (which has and Andy Summers feel) as the solos glide in and out of the harmonic structure. This is another on of my favorites on the CD. E's drumming is superb and in the pocket with enough pause for effect.A well recorded and performed tune.
There is always a Stickists willing to push the boundries of processing and come out shinning.Argentenean Matias Betti (10 string) breaks out all the stops on "El sostenido y veriginoso avance del tiempo". Loops are used to great advantage here as are what sounds like a heavily squeezed envelope filter,wah,distortion,chorus, and delay.No abuse here,just music...
Linda Cushma and Guillermo Cides team up on "Amor de Badoneón" where Linda gets to flex some bilingual vocals.Very melodic bass marks this entry with Guillermo's signature "Stickscapes".
"Soul Cycle" by Miguel Menocal (10 string,Spain) delivers a gitano infused melody and dreamy tectures. Here is a wonderful solo with deep orchestration and sincere understanding for harmony.One of my favs.
"Alrededor del Chapman Stick" is on fire with a Gypsy passion! Gualberto (10 string,Spain) has captured the feel of the streets of Madrid of yesteryear.There are even tinges of Mid-Eastern melodies (an influence on the Spanish/French gypsy music,listen to any "Gypsy Kings" albums) in the addition of sitar and other Indian stringed instruments.
The opener,"Concerto for Stick" by Juan Serna (10 string,Spain) caught my attention right away.I know that this is an arrangement of a classical piece of which the name and composer escape me at the moment.However,I also recognize the tune from the soundtrack to "Napoleon Dynamite",only that version is done on guitar. This version is such a pleasant and tranquil moment that one forgets the complexity involved here must have had Juan's fingers in a knot!
There is of course the album closer and bonus track "Gonnawannaland". Guillermo Cides once again teams up with another Stickist.This time Emmett Chapman takes the lead role with conviction.Emmett has the flair and soulful grace that makes the Stick sing like no other.Now here is a tune that is infused with the spirit of Segovia and the fire of Santana! Guillermos loops have a Fripp like quality which adds the right amount of "meloncholy" to Emmett Chapman's soloing.This is a great piece.Tremendo!
One thing I noticed about the Hispanic Stick community is their penchant for ballads and minor key compositions,especially those from South America.Maybe it's just me,but I like it.
There are so many great tracks here that to try and express my feeling on every single artists would tax this review as ego stroking to this reviewer's attempts at journalism!.The truth is that I find this CD to be an inspirational tool as much as it is entertainment.After a good listen,I am apt to reach for my Stick and just play.Man,I need to get my rear in gear and submit a piece for the next volume.Perhaps Stick and Native American Flute?We'll see...

As Emmett himself said,

"See, that's the best reaction an artist can hope for. I've done it myself - walk off before the set ends, muttering, "I've got to practice." "

"Stickistsas" inspires.Period.

Juan R Leon
Strada-Sphere Radio

The Artists

1 Diego Blanco (Argentina)
2 Gustavo Vidal (Argentina)
3 Matias Betti (Argentina)
4 Xavi Oro (Spain)
5 Dirseus (Argentina)
6 José Albarracín (Argentina)
7 Andreas Guenther (Brasil)
8 Miguel Menocal (Spain)
9 Teddy Baxter (Spain)
10 Silvio Paredes (Chile)
11 Juan Serna (Spain)
12 Zecharies-Boismenu (Uruguay)
13 Gualberto (Spain)
14 Germán Fas (Spain)
15 Mauricio Manchón (Argentina)
16 Sotelo-Santos (Mexico)
17 Pablo Gigliotti (Argentina)
18 Bernardo Dominguez (Argentina)
19 Pat Benadón (Spain)
20 Cides-Cuhsma-Alexander (preview future album)
21 and 22 Cides and Emmett Chapman (Bonus track)

"The Spaghetti String System" by X-Ray-Simon

This review is long overdue since I received this disc back in July. So my apologies to X-Ray for the long delay.

The Spaghetti String System is an extremely polished and well produced album sporting 16 tracks of Stick,percussion,and "noises". X-Ray Simon plays all of the instruments and recorded the album "@ various nice places around the world and Headbeat Studio,Frankfurt,Germany". The mix is superb and the CD packaging is slick and appealing.

The album opens with "Driving in a Noisy Bus". A driving tune with a subtle yet commanding bass line and ostinato punctuations. The melody kicks in along with the drums and holds the tune together like an industrial epoxy. You can hear a slight envelope filter/Mutron in the midrange which imparts a subdued yet convincing funkiness to the movement of the piece.

"Jeff is in the House" is the album's sophomore offering. Another funky beat accompanies this melodic,spy-like composition as a reggae counter point is offered in the mid register ala Andy Sommers.

"Spaceway to Mars" finds X-Ray using some overt yet well administered effects. This may possibly be my favorite tune of the lot. It's a relaxing and melodic tune with a beautiful atmosphere. My only quip? It's too short!The shortest on the CD at only 2:28. Good things come in small packages...

Back to the funk and more convincing grooves as the first chords of "Herbie's Funky Kitchen" opens with some serious distorted and filtered bass lines. Somewhere Bootsy Collins smiles...

"Tony's Birthdayparty" is a Trey Gunn-ish tune with a dark,almost ethereal feeling.The drums are solid and compliment the bass-line's percussive attack with accurate precision.

Another slow and funky tune is awaiting us in "The Green Coated Frog". The melody here reminds me of an excursion into an Oriental Disco. Indeed the tune has a 70's vibe to it. At times it is reminiscent of the Brothers Johnson or even Chuck Mangione. Very laid back and easy on the senses.

"Spaghetti Strings" is the 7th song on the disc,and is a mellow interlude which joins both halves of the album in an understated fashion. Here's a composition which relies on a strong rhythmic drive to propel and accent the sparse chords and new age-like melody.

The 2nd half of the album starts on a percussive note as X-Ray provides a Max Roach like intro to "A Night in the Desert". Here's a track which could be suited to any movie's soundtrack. With it's legato-like melody and dark bass, I found myself imagining a dark, rain soaked alley in an old gum-shoe murder mystery.

X-Ray's strong sense of melody and uncluttered composition shines in "Rainbow Speedlimit". Not a busy riff or wasted note on this tune, just solid Stick and drum work.

"Timeless Move" sounds like a track which Allan Holdsworth might have included in his 1980's, Synth-Axe heavy, "Sand". A sparse tune which reflects the versatility of the Stick in an ambient setting.

"Comfort Class" sets X-Ray's Stick against a pallet of electronic percussion and moves along at a relaxed pace. The Stick's tone really shines here as every note is well executed and every chord rings with the clarity of a brass bell.

"Shaking the Strings" finds X-Ray executing some dark Stick bass from the Tony Levin school. There's even some string popping going on here! The tune graduates into a quickened pace and finds the Stick's bass lines dancing around some Gunn-ish melody before descending into darker regions only to reestablish the original melody and rhythm.

More dark and eerie melodies creep into your ears as "Scary Soapbubbles" attaches itself to your lobes.

"Waka Waka" and "Subway to the City" find X-Ray returning to the funky theme of the album.

"Digging in the Dust" pays homage to track fives cool bass lines. More finely executed melodies and chords abound as the albums closer draws the curtain on this collection well thought out tunes.

X-Ray Simon has brought together a fine collection of Stick and percussion tunes. There is nary a "solo" on the CD but one really does not need them. After-all, the whole album is a solo project.This is an effort which focuses on composition,harmony, and melody rather than on mere shredding and mindless soloing. I give it 3 1/2 Sticks out of 5.

"Live The Music" by Irene Orleansky

I have a little program installed on my Mac called "Clutter". It finds CD covers and displays them in a floating window/player.You can drag the album cover to the desktop from the window and leave it there.When ya want to listen to an album you just click the cover and Clutter will play the album using i-Tunes.I have about 35 album covers "cluttering" my desktop.This is a rather prestigious honor as I hate desktop messiness (Windows,anyone?) but I find album art to be,well,artistic.I just added Irene Orleansky's album "Live the Music" to my beautiful mess.
Irene Orleansky is a musician with the heart of a gypsy.Ever searching,ever passionate,and ever inspiring,Irene has a lot to say when it comes to music.She is at once a complex person who paints images in a simple way.Her use of the Stick as a true artistic tool is evident in her 1st solo recording "Live the Music".
Recorded in various places around the globe such as Russia,Isreal,and Spain,A studio and internet project,"Live the Music" transcends genres and avoids all of the clichés that plague many debuts.No over the top "Hey,check me out!" showboating,this is an artistic statement of pure art and deep passion with a generous amount of joy thrown in.
Irene's Stick playing is confident and inspired.Not only is she an accomplished player,but her sense of harmony is integral to why this album can be described as having a dream-like quality.He own voice leaves no room for second guesses as she sews her own tapestry of sweet and melodious vocal arrangements.Gentlemen,this lady can sing!
The production is lush and represents Irene's Stick tone with deep regard.The mix is tight with just the right amount of compression to really make every nuance transcend the average listening experience.
Irene employs the talents of some highly regarded musicians for this project.Vocalist/programmer Kirill Malahov lends his Gabriel-eque voice to several tunes.The Russian musician shines on "Deep Within My Soul",imparting a deep and confident tonality that compliments Irene's own silk-like voice.The compliment works well and is never trite or abused.
Guillermo Cides lends his unique Stick voice to "The Child of Music" and "Karev Yom (Come the Day)".The latter being a traditional Jewish Passover Song in which Cides' processed Stick adds the right amount of color.
Fellow Israeli and renowned DJ Asi Kojak works his "House" magic on a club remix of "Dance With the Music of Your Heart (club remix)".From the opening four on the floor House beats to his reworks of Irene's vocals,the Club Remix is sure to get your heart racing and body moving.
Don Shiff's "Deep Within' My Soul" gets a beautiful rework by Irene and Kirill.
There is a solo piece in "Meditation". A beautiful and atmospheric Stick arrangement by Irene that allows her to step into the spotlight as a musician with a unique voice all her own.
In her debut,Irene has lit a fire that burns with grace and spirit."Live the Music" is a collection of luminous passages that allow us to navigate her world of expression and passion.Irene has been know to say that the Stick helped her find her voice as a musician.Her 1st album should have most of us being inspired into finding our own voices and yearning to "Live the Music"

Juan R Leõn
April,2006

"Jimmy Nobody"

Jim Kam

Jim Kam has released his first CD of all Stick music. "Jimmy Nobody" features 5 pieces of finely executed and wonderfully recorded compositions. Jim's Stick is faithfully reproduced ( without overdubs) and his voice is sonorous and passionate.

"Daydream" opens the album with a tranquil mood.Jim's tone is deep and rich with a clear,bell-like quality.His melody lines weave in and out of chord progressions with ease and never detract from the harmonic flow of the piece. No rapid fire,machine gun licks here folks. Just a deep sense of melody and a delicate touch.

"Tender is the Night" features Jim's haunting yet gentle voice. There is almost a reverent quality to his vocals which immediately puts the listener at ease.Once again the Stick comes through with shining posture.

"Summertime" is Jim's version of the classic Gershwin/Heyword jazz standard.Jim's firm grasp and understanding of melody and harmony are apparent as he executes each line with masterful aplomb.My only quip is that it is too short!

"She Moved Through the Fair" once again features Jim's vocals on this interpretation of a traditional arrangement.But the Stick is not far behind.Jim delivers on demand with beautiful,deep bass and and his signature clear melodies.His voice is somewhat reminiscent of Gordon Lightfoot as he sings with the conviction of a passionate troubadour.

"Remembering Allison" is by far my favorite offering from Jim. The sustaining volume swell of the intro reminds me of a lone cello which firmly fixes itself in the background as Jim carries out a sorrowful melody as strong and gentle as an eagle in flight.The liner notes describe this song as "a lament,an expression of one parents grief over the lost of a child".Indeed,the composition moved me into a place of contemplation over the tragedy of such loss. A wonderful closer to a wonderful album.

"Jim Nobody" is a collection of dreamful states of consciousness,of music that is almost "sacred and worshipful" if I may be allowed such bold a statement.It is also a portrait of an artist who is not afraid to follow the calling of his own muse.A calling which has led him to express his art with the Chapman Stick.I look forward to a full leangth album from Jim as this E.P. left me wanting for more.I only hope he doesn't make us wait too long!Way to go Jim. Highly recommended.5 out of 5 Sticks for an incredibly lush production and heartfelt performance.

The Archived Shows

stradasphereradio@gmail.com (Juan R Leon) — Sun, 4 Jul 2010 17:05:00 -0400

The complete podcast archives can be accessed individually from the list down below.

You can also listen via the embedded Spreaker players.
Please note that the Debut Show SSR001 is not available on Spreaker, only here on the Archives page complete with it's own player and show notes below.

Listen to "Strada Sphere Radio Archives Vol 1" on Spreaker.

Listen to "Strada Sphere Radio Archives Vol 2" on Spreaker.
Thank you to Archive.org for providing server space!

SSR #001 The Debut Show

SSR #002

SSR #003

SSR #004

SSR #005

SSR #006

SSR #007

SSR #008

SSR #008.5 Juan Rants: The Gig Show

SSR #009

SSR #010

SSR #011

SSR #012

SSR #013

SSR #014
SSR #015
We are currently unable to provide the above 2 shows.Sorry!

SSR #016 Guest hosted by Shane Carey

SSR #017 Guest hosted by Shane Carey

The Spanish Editions

SSRS #001

SSRS #002

Another Stick podcast?

stradasphereradio@gmail.com (Juan R Leon) — Tue, 25 Dec 2007 12:24:00 -0500

Hello folks!

Got a tip that another podcaster will be doing a special episode about the Stick.The all bass content podcast is called Bass Cast and you can find them on the web at Myspace.

New url for our old site!

stradasphereradio@gmail.com (Juan R Leon) — Tue, 25 Dec 2007 12:13:00 -0500

We have a new url for our original site:

Strada-Sphere Radio

We have a new look with the same content which includes the original Strada-Stream.Please bear with us as we migrate all of our content (interviews,reviews,etc.) over to the new site.

The old address was too long and confusing to remember!
Of course you may still visit this blog and our Myspace site to get any up to date news and the latest episodes as well.

Thanx!

Shane and Juan

Strada-Sphere Radio Podcast #017 Myspace® Edition

stradasphereradio@gmail.com (Juan R Leon) — Tue, 4 Dec 2007 19:29:00 -0500

Strada-Sphere Radio Podcast #017 for December 4, 2007

It's a Special Edition of the show as we bring you the Stickists of Myspace®!!! Join host Shane Carey of Nascent Music as he presents the best of Myspace's vast array of Stickists.

You can find all of our participating Stickists by visiting our very own Myspace page at the Official Strada-Sphere Radio Myspace® Page.You can listen to the show,sign our map,check out some Youtube Stick® videos,etc.And while you are there,please put in a freind request so you can leave comments about the show.

We hope you enjoy the show and as Greg Howard would most certainly say "Happy Tapping!"

Shane and Juan

Pod Show Test

stradasphereradio@gmail.com (Juan R Leon) — Sat, 29 Sep 2007 10:22:00 -0400

Podshow PDN {podshow-0cedcf8a027c0985f762dce4c5384c1f}

Strada-Sphere Radio Podcast #016

stradasphereradio@gmail.com (Juan R Leon) — Sun, 23 Sep 2007 15:57:00 -0400

Strada-Sphere Radio Podcast #016 for September 23, 2007

Welcome to show #016 of the Strada-Sphere Radio Podcast once again hosted by Shane Carey of Nascent Music.This is a short but very sweet show with great music from...

Dave Wiens

Max DG (Massimo Del Genio)

Nima & Merge

Animal Time

Hope you enjoy the music and we hope to have another episode up in the near future.

Thanx!

Shane and Juan

Fransesco Puddu:Winner of our theme song contest!

stradasphereradio@gmail.com (Juan R Leon) — Sun, 20 May 2007 21:08:00 -0400

As you may all know by now,Fransesco Puddu won the Strada-Sphere Radio Theme Song Contest.Well,here he is with his prizes,a Stickist.com hat and Steve Adelson's latest CD.Fransesco's tune will be featured for the next 12 installments of the podcast (roughly one year).

Way to go Fransesco and congrats!

Shane and Juan

Strada-Sphere Radio Podcast #015

stradasphereradio@gmail.com (Juan R Leon) — Sun, 22 Apr 2007 09:04:00 -0400

Strada-Sphere Radio Podcast #015 for April 22, 2007

OK folks! The results are in! Check out the latest episode and find out who won the theme song contest!
Shane has put together yet another fabulous show with great music from...

Guy Mauffait

Tom Prasada Rao (feat. Fergus Marsh)

Armin Düpmeier

Jeff Pearce

Japhlet Bire Attias

Ollin

We hope you enjoy the show!!!

Shane and Juan

New show by the end of the month...

stradasphereradio@gmail.com (Juan R Leon) — Wed, 11 Apr 2007 12:41:00 -0400

Hello listeners!

There will be a new episode of Strada-Sphere Radio (show # 015) and it will be hosted by Shane Carey once again.Shane will have some new and exciting Stick music for everyone and the winning entry of the theme song contest will open up the show!
So,please extend us a little more patience,you won't be dissapointed!

Keep tappin',

Juan and Shane

Strada-Sphere Radio Podcast #014

stradasphereradio@gmail.com (Juan R Leon) — Sun, 4 Feb 2007 09:46:00 -0500

Strada-Sphere Radio #014 for Febuary,2007.The Contest Show!

Here it is! The
Shane Carey produced and hosted installment of the Strada-Sphere Radio Podcast.
I would like to take this oppurtunity to extend my deepest gratitude to Shane for his wonderful job with the show.What a great community of Stickists and Stick fans we are a part of!

So,listen and enjoy the show.Pay particular attention to the Theme Song entries that Shane plays for you as we are asking you to vote for your favorites!You will find a link to the voting below in the show notes.

Once again,thanx for your patience and both Shane and I hope you enjoy the show!

Blue Universe

Ollin

Jeff Pearce

John Edmonds

Theme Song Contest Voting Poll

Your Silver-Tongued Host

Theme Song Voters Poll

stradasphereradio@gmail.com (Juan R Leon) — Wed, 31 Jan 2007 20:24:00 -0500

Hello everyone,

Shane is working on the next episode of the show.He has all of the contest entries and will be playing some new music as well.After you check out the show and hear the contest entries,head on over to Stickist.com and cast your votes.
Here is the link to the contest voter poll:

Strada-Sphere Radio Theme Song Voter Poll

Vote as often as you like! And yes,Japhlett did submit more than one tune so that is not a typo.
So,the contest entry deadline has now been reached.Good luck to all of the participants!

Juan and Shane

Test

stradasphereradio@gmail.com (Juan R Leon) — Sun, 28 Jan 2007 05:43:00 -0500

My Podcast Alley feed! {pca-9583eba372eb0571fd49cdb9eaec4679}

Shane Carey to host next show/Contest thread at Stickist.com Forums

stradasphereradio@gmail.com (Juan R Leon) — Wed, 24 Jan 2007 19:49:00 -0500

Alright folks!
I am proud to announce that Shane Carey will be producing and hosting the next episode of the Strada-Sphere Radio Podcast! I will be sending along the contest files to Shane in the next week or so and he will be producing the show for a Febuary release.

I have created a thread for the contest at
Stickist.com and will soon be adding a poll where you will be able to cast your votes for the theme song contest winner.

Here is the thread post:

Strada-Sphere Radio Podcast Theme Song Contest Forum Thread

The contest episode will post in the 1st half of Febuary featuring all contest entries.Listen to the show then head on over to the thread to cast your vote.The poll will be open until the night before the announcement show is ready for download.We will open the show with the winning entry.Not even the winner will know the results of the contest untill the show!
Will I host the announcment show or will Shane? How about both of us? Well, we will have to wait and see.Hopefully I will have my new Mac by then and we could do a "Scype" show.
That's all for now.Thanx for stopping by and please visit to forum and leave any comments!

Take care!

Juan

Guest host?

stradasphereradio@gmail.com (Juan R Leon) — Sat, 20 Jan 2007 21:31:00 -0500

Hello folks!

I wanted to share this e-mail with you all....

Hi Juan,

Sorry to hear about your Mac difficulties. I don't know how practical
it would be, with the contest going on and all that, but the offer still
stands to guest-host, or anything else I can do to help keep the
momentum going.
-shane

That was sent to me by Shane Carey,podcast host for the Nascent Music Podcast.

We are working out the details....

Stay tuned!

Juan