The Bandwich Tapes

On this episode of The Bandwich Tapes, I sit down with pianist, composer, improviser, label founder, and educator Kris Davis—one of the most forward-thinking voices in creative music today. Our conversation left me feeling genuinely energized. Kris approaches music with a rare combination of curiosity, discipline, and fearless experimentation, and it was a joy to dig into how all of that shows up in her work.

We start with what’s immediately ahead for her: a trip to Hamburg to premiere a newly expanded big band version of a trio piece with the NDR Big Band. Kris shares the very real “composer panic” that comes with catching an engraving mistake right before rehearsal—one of those behind-the-scenes realities of composing that every musician can relate to.

From there, we talk about festivals—especially Big Ears, which feels like its own musical universe—and dive into two major pillars of her work: prepared piano and large-form composition. Kris reflects on studying with pianist Benoît Delbecq, whose approach to prepared piano emphasized rhythm, individuality, and finding a personal sonic vocabulary.

One of the highlights of our conversation is a deep look at her remarkable Solastalgia Suite, written for the Lutosławski Quartet after a commission through Poland’s Jazz to Pad Festival. Kris talks about learning how to write for strings in real time and how the concept of **solastalgia—the grief you feel for your home while you’re still living in it—**became the emotional core of the piece.

We also zoom out into the bigger picture of her work: her leadership role alongside Terri Lyne Carrington at Berklee’s Institute of Jazz and Gender Justice, and her decade-long journey building Pyroclastic Records, a label dedicated to supporting adventurous music and the artists creating it. At its heart, this conversation is about craft, community, curiosity, and the importance of taking creative risks on purpose.

Key Takeaways
The behind-the-scenes realities of composing for large ensembles—including last-minute engraving panic before a premiere.
Why festivals like Big Ears create a unique ecosystem for creative music.
How studying with Benoît Delbecq shaped Kris Davis’s approach to prepared piano.
The creative challenge of writing for string quartet for the first time.
The emotional meaning of solastalgia and how it shaped the Solastalgia Suite.
Kris’s work at Berklee’s Institute of Jazz and Gender Justice alongside Terri Lyne Carrington.
How Pyroclastic Records has grown into an important platform for adventurous and forward-thinking music.
Music from the Episode
Diatom Ribbons — Kris Davis
Interlude (from the Solastalgia Suite) — Kris Davis
Life on Venus (from the Solastalgia Suite) — Kris Davis
Run the Gauntlet — Kris Davis
About the Podcast

The Bandwich Tapes is a long-form conversation podcast where host Brad Williams sits down with some of the most thoughtful musicians, composers, and artists working today. The show explores the stories behind the music—creative process, collaboration, career paths, and the human experiences that shape the sounds we love.

Connect with the Show

Email: [email protected]

On this episode of The Bandwich Tapes, I sit down with singer, songwriter, and multi-instrumentalist Sarah Jarosz at a remarkable moment in her career, fresh off multiple Grammy wins, including recent recognition with I’m With Her. We talk about what it actually feels like to experience that kind of validation after years of nominations, and why the support she receives from her hometown of Wimberley, Texas, still means so much, especially with music that reflects on family, time, and staying connected to where you come from.

Sarah shares how I’m With Her, her trio with Aoife O’Donovan and Sara Watkins, became a creative counterbalance to the pressures of solo work. What stands out is how naturally the collaboration works: three distinct musical voices, no ego battles, and an instinctive approach to arranging harmonies and deciding who carries each musical moment. It’s a reminder of how powerful true musical trust can be.

We also explore how her perspective on collaboration has evolved over the years. Early in her career, Sarah felt a strong need to protect her artistic voice. But as she gained experience, she realized that once you truly understand what you bring to the table, collaboration becomes less risky and far more rewarding.

One of my favorite parts of the conversation is a deep dive into the next generation of acoustic musicians, artists with deep bluegrass roots who aren’t confined by genre boundaries. Sarah traces that lineage through musicians like Chris Thile, Punch Brothers, David Grisman, Mike Marshall, Béla Fleck, and Edgar Meyer, framing today’s scene not as a sudden movement but as a continuation of a long and evolving acoustic tradition.

We also nerd out about her time at the New England Conservatory, why she chose it over Berklee, and how her early Kodály training gave her a powerful foundation in ear training and musical intuition. We wrap by talking about what’s next: an upcoming I’m With Her live album, summer touring, and a rare pause in her solo career as she finds herself between record contracts for the first time. In a music industry constantly shifting, from streaming economics to AI, the grounded takeaway is simple: the real thing still matters, and people continue to show up for honest music played by real humans.
Key Takeaways
What it actually feels like to win Grammys after years of nominations.
Why Sarah Jarosz still feels deeply connected to her hometown of Wimberley, Texas.
How I’m With Her works creatively—three voices collaborating without ego.
Why collaboration becomes easier once artists understand their own musical identity.
The lineage of modern acoustic music through artists like Chris Thile, David Grisman, Béla Fleck, Edgar Meyer, and Mike Marshall.
How Kodály training and ear development shaped Sarah’s musicianship early on.
Why the “real thing”—human voices and acoustic instruments—still resonates in a rapidly changing music industry.
Music from the Episode
Jealous Moon — Sarah Jarosz
When the Lights Go Out — Sarah Jarosz
Runaway Train — Sarah Jarosz
About the Podcast

The Bandwich Tapes is a long-form conversation podcast where host Brad Williams sits down with some of the most thoughtful musicians, composers, and artists working today. The show explores the stories behind the music—creative process, collaboration, career paths, and the human experiences that shape the sounds we love.
Connect with the Show

Email: [email protected]

On this episode of The Bandwich Tapes, I sit down with drummer and composer Beth Goodfellow, a musician whose touch, curiosity, and musical sensitivity have made her a sought-after collaborator across genres.

We begin with her long musical relationship with Iron & Wine, and how working with Sam Beam has shaped the way she thinks about rhythm and ensemble playing. Beth shares how Sam’s drummer-minded approach to guitar creates a uniquely interactive musical space, and why that dynamic has been such a natural fit for her instincts as a drummer.

We also talk about Beth’s recent move from Los Angeles to Tucson, Arizona, a shift that has reinvigorated her creative life. After spending nearly 350 of 500 days on the road, she made the intentional decision to lower her overhead, slow down, and build space for new creative work. Tucson’s vibrant music community—connected to artists like Calexico and Giant Sand—has quickly become a new source of inspiration.

One of the most fascinating parts of our conversation is Beth’s marimba looping project. What began as a pandemic experiment—exploring Steve Reich–inspired patterns she could sing over—has grown into a fully realized live performance concept. She explains her intentionally simple setup (two SM57s and a Boss looper) and how she’s now expanding the music into a band context.

Along the way, we explore her journey through trad jazz gigs in Northern California, classical percussion studies at San Jose State, touring with the Air Force National Guard Band, restaurant gigs that taught her the art of playing softly, and recording live with pianist Matt Rollings at Valentine Studios. It’s a conversation about nuance, groove, mentorship, loss, and the importance of carving out time and space to build something of your own.
Key Takeaways
Why Beth Goodfellow’s musical chemistry with Iron & Wine works so naturally
How moving from Los Angeles to Tucson reshaped her creative life
The story behind her marimba looping project and minimalist gear setup
Lessons learned from early trad jazz gigs and restaurant performances
Recording live in the room with Matt Rollings at Valentine Studios
What it means to step fully into your own artistic lane after years as a collaborator
People Mentioned
Beth Goodfellow
Sam Beam (Iron & Wine)
Matt Rollings
Steve Reich
Artists connected to Calexico
Artists connected to Giant Sand
Music from the Episode:
Reconnecting the Disconnect (Beth Goodfellow)
Shut Up Moon (Part 2) (Beth Goodfellow)
Travellers Prayer (Beth Goodfellow)
San Joaquin (Beth Goodfellow)
Groove with a View (Matt Rollings)
About the Podcast

The Bandwich Tapes explores the craft of music through thoughtful conversations with the artists who make it. Each episode dives into creative process, collaboration, touring life, and the stories behind the music.

Connect with the Show

If you have questions, feedback, or ideas for future guests, feel free to reach out:
📧 [email protected]

In this episode, I sit down with Taylor Eigsti, and this conversation goes everywhere I hoped it would. We talk about preparation versus spontaneity, writing music that leaves room for the present moment, and why the best ensembles feel more like carefully cast films than perfectly rehearsed machines.

Taylor shares what it’s been like working recently with Michael League, Ben Wendel, Kendrick Scott, Antonio Sánchez, and others, and we get deep into his compositional mindset—why quantity matters, why “bad ideas” are necessary, and how composition is a muscle that has to be exercised. We also talk about his Grammy-winning albums Tree Falls and Plot Armor, the long studio hours behind them, and why recognition doesn’t always translate the way people expect.

Along the way, we hit on collaboration, identity, touring life, teaching, football fandom, and what it really means to show up prepared and fully present for the moment that actually matters—the short window onstage when everything finally comes alive.
Music from the Episode:
Let You Bee (Taylor Eigsti)
Bucket of F's (Taylor Eigsti)
Look Around You (Taylor Eigsti)
Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at [email protected].

I sat down with Janie Barnett, a singer, songwriter, arranger, and educator whose career reflects a steady commitment to saying yes to what fits and no to what does not.

We begin with her roots in the Greater Washington area, where summers at the Smithsonian Folklife Festival and early exposure to roots music shaped her ear. Moving to New York was a shock. The city carried a gritty, post-Patti Smith energy and felt like a long search for a new urban Americana sound. Janie found her footing through community, especially friendships with Robin Batteau and Kenny White. Session work, including jingles, gave her financial stability and the freedom to keep her songwriting honest rather than chasing a paycheck through her own music.

We talk about life behind the scenes and what it taught her about leadership. Janie shares stories from sessions with Linda Ronstadt and a career highlight singing background vocals on Saturday Night Live with Rickie Lee Jones, one of her musical heroes. Being on the team shaped how she leads her own bands, creating rooms where musicians feel respected and invited to contribute.

She also reflects on how becoming a parent changed her artistry. Her songs deepened, her priorities clarified, and the work stopped feeling precious in the face of real life.

We spend time on her project Under My Skin, a reimagining of Cole Porter through an acoustic Americana lens. What began as a guitar idea for I’ve Got You Under My Skin grew into a pandemic-era collaboration with an extraordinary group of musicians, including Carmela Ramsey and Jerry Douglas, many of whom recorded from home studios. The album proves Porter’s writing is timeless, and Janie’s voice brings it all together.

We close with her work at Berklee, where she mentors singer-songwriters and leads ensembles. She speaks candidly about the pressures of constant content and social media, and the importance of building real community and a live musical life. Looking ahead, she is planning a vinyl release of the Cole Porter project, aiming for a show around Porter’s birthday in June, and working toward a new record of original songs with a clearer strategy for getting it into the world.

Music from the Episode:
LIfe Is Long and Then It's Not (Janie Barnett)
Delaware Bridge (Janie Barnett)
If You Were Here (Janie Barnett)
I've Got You Under My Skin (Janie Barnett)
Night and Day  (Janie Barnett with Keith Sewell)
You're the Top (Janie Barnett with Catherine Russell)
Thank you for listening. If you have questions, feedback, or ideas for the show, please email me at [email protected].