The Bandwich Tapes

On this episode of The Bandwich Tapes, I sit down with bassist Tim Lefebvre for a conversation about groove, adaptability, tone, and what it really means to serve the music. Tim has built one of the most distinctive and wide-ranging careers in modern bass playing, with credits spanning jazz, rock, pop, experimental music, and singer-songwriter projects. From David Bowie’s Blackstar to Tedeschi Trucks Band, Wayne Krantz, and countless sessions in between, Tim has become one of those rare players whose sound is unmistakable yet fits almost anywhere.

We begin by talking about his 2026 so far, which includes recording work, short touring runs, a date with Nate Smith and Jason Lindner, upcoming shows in Italy with Tiziano Ferro, and a tour with Melissa Etheridge. From there, we get into one of the central tensions of a working musician’s life: how to bring your own identity to a project while still honoring the artist, the songs, and the original recordings. Tim has strong instincts here, and he speaks with great clarity about choosing simplicity, resisting overplaying, and understanding what the music actually needs.

One of my favorite parts of this conversation is hearing Tim talk about some of the landmark experiences in his career. We discuss the Bryan Adams tour, the joy of playing huge songs in front of large crowds, and then spend time on David Bowie’s Blackstar, including how Tim approached the sessions, how much of the rhythmic language was already implied in Bowie’s demos, and how some of the bass textures on songs like “Lazarus” emerged naturally in the room. Tim also reflects on the creative freedom and trust inside Tedeschi Trucks Band, and what it felt like to be part of a band that could take real improvisational chances in front of thousands of people.

Along the way, we talk gear, compression, pedals, picks, strings, remote recording, favorite drummers, the differences between New York and Los Angeles, sobriety, and some of the bass players who shaped his ear early on, including James Jamerson, Paul McCartney, Darryl Jones, Marcus Miller, Victor Bailey, Jaco Pastorius, and Tony Levin. This is a conversation about craft, but also about judgment, restraint, and learning to make the right choice in the moment.

Key Takeaways
Tim Lefebvre talks about balancing personal identity with the responsibility of serving the artist, the arrangement, and the song.
He shares stories from the making of David Bowie’s Blackstar, including how parts of “Lazarus” developed in the studio.
Tim reflects on the musical and emotional intensity of playing with Tedeschi Trucks Band and the freedom that the group allowed onstage.
He discusses his early path from saxophone to bass, his father’s influence, and learning on real gigs at a young age.
The conversation explores how bass playing varies with the drummer and what Tim listens for when locking in with someone new.
Tim also gets into gear, including pick playing, flats versus rounds, bass compression, distortion, reverb, and how pedals can shape creative ideas.
We talk openly about sobriety, professional growth, and how life experience changes the way a musician shows up on and off the bandstand.
Music from the Episode
Anyhow - Tedeschi Trucks Band
Shake Loose - Donny McCaslin
It's No Fun Not to Like Pop - Krantz/Carlock/Lefebvre
Hanging On - Knower
Blackstar - David Bowie
About the Podcast
The Bandwich Tapes is a podcast where I sit down with musicians, songwriters, producers, and creative people for thoughtful conversations about craft, collaboration, career, and the experiences that shape a life in music. It is a show about process, perspective, and the human side of making art.

Connect with the Show
contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with the extraordinary Wendy Moten for a conversation about longevity, versatility, professionalism, and the many different ways a singer can build a meaningful life in music. Wendy has one of those careers that musicians know and revere: a major-label artist in the 1990s, a world-class touring vocalist, a sought-after session singer, a member of the Grammy-winning Time Jumpers, a regular performer on the Grand Ole Opry, and, more recently, a powerful presence for a new generation of listeners through The Voice. What struck me most in this conversation is how clearly she understands her craft, her purpose, and the discipline required to sustain both.

We begin by talking about the busy season she is in now, balancing solo work, sessions, weekly performances with the Time Jumpers, and another major tour with Vince Gill. Wendy shares the story of how Vince first called her out of the blue after her run with Martina McBride had ended, and how that invitation opened an entirely new chapter in her career. From there, we get into what she calls her “version of country music,” and how she found it not by imitating the genre, but by studying its history, listening closely, and finding an authentic way to bring herself into the tradition.

One of my favorite parts of the conversation centers on harmony singing and what it really means to support another artist. Wendy talks beautifully about what she learned during 15 years as Julio Iglesias’s duet partner, including how to listen, how to match breath and phrasing, how to stay out of the way, and how to make someone else sound even better. She says she was “getting paid for self-control,” which is one of the best descriptions of professional background singing I have ever heard. That whole section of the conversation is full of insight for anyone who cares about what it means to serve the music at a very high level.

We also talk about church, family, and the support system that made her life in music possible. Wendy reflects on growing up in Memphis, singing in church, and learning early how to stand in front of people, even when she was shy and uncomfortable. She shares how much her parents sacrificed to create opportunities for her and her siblings, and how much those sacrifices still mean to her now. We also spend time talking about her Grand Ole Opry appearances, including the emotion of making her Opry debut without her parents there to see it, and the significance of standing on that stage as a Black woman in a space where history has not always made room for everyone.

Along the way, we get into her years at EMI, the pressure to be shaped into whatever version of success the label wanted at the time, and the freedom she eventually found by building a career outside the usual boxes. Wendy talks openly about not needing fame in the conventional sense, about loving the role of underdog, and about continuing to surprise people. This is a conversation about singing, certainly, but also about resilience, humility, excellence, and how to remain generous and grounded across four decades in music.

Key Takeaways
Wendy Moten reflects on building a career across pop, country, jazz, Americana, sessions, television, and touring without being confined to one lane.
She shares how 15 years with Julio Iglesias taught her phrasing, breath, dynamics, communication, and the art of listening more deeply.
Wendy talks about singing with Vince Gill and the Time Jumpers, and how she developed her own authentic relationship to country music.
She offers a sharp and memorable perspective on background vocals: great harmony singing requires self-control, consistency, and leaving your ego at home.
The conversation explores how the church shaped her confidence, artistry, and ability to recover from mistakes in front of an audience.
Wendy also reflects on The Voice, why she chose to do it, and how it introduced her to a new audience without diminishing everything that came before it.
We discuss the Grand Ole Opry, the emotional weight of her debut, and the significance of taking up space in a tradition that has not always been inclusive.
Music from the Episode
Ode to Billy Joe - Wendy Moten
Don't Touch Me - Wendy Moten
Driving Nails in My Coffin - Wendy Moten
Faithless Love - Wendy Moten (with Vince Gill)
About the Podcast
The Bandwich Tapes is a podcast where I sit down with musicians, singers, songwriters, producers, and creative people for thoughtful conversations about craft, career, collaboration, and the life experiences that shape the music. It is a show about artistry, process, and the human side of a life in music.

Connect with the Show
contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with legendary percussionist Luis Conte for a conversation that goes far beyond music, into life, freedom, faith, and the deep roots of rhythm.  Luis has played with just about everyone, from James Taylor to Pat Metheny, and has been a defining voice in modern percussion for decades. But what struck me most in this conversation is not just what he’s played, it’s how he thinks about music and where it comes from.

We begin with where he is today, working out of his home studio and navigating the modern recording world. Luis strikes a balance between convenience and connection, the trade-off between recording alone and the magic that happens when musicians are in the same room together.  From there, we get into one of my favorite parts of the conversation: the relationship between drummer and percussionist. Luis has such a simple and powerful philosophy: don’t overthink it. Listen. Let the music tell you what to play. It’s a reminder that great musicianship is often about awareness, not complexity.

Luis then shares his incredible personal story, growing up in Cuba, being immersed in music from an early age, and eventually leaving the country as a teenager. What follows is a story of sacrifice, resilience, and ultimately freedom. His reflections on that experience are deeply moving and provide valuable context for the way he approaches music and life.

We also talk about his journey into the Los Angeles music scene, the importance of relationships, and what it really takes to build a career: not just playing well, but being someone people want to be around. Along the way, he shares stories about working with some of the greats, including the late Carlos Vega, whose impact on musicians runs deep.  Toward the end, we get into his work with Pat Metheny and the idea of trusting great musicians to bring their own voice to the music. It’s a theme that runs throughout the entire conversation. Music isn’t something you force; it’s something you respond to.

This is a conversation about feel, about listening, and about the life experiences that shape the way we play.

Key Takeaways
Luis Conte explains why listening, not thinking, is the foundation of great percussion playing.
He shares the nuanced role of a percussionist alongside a drummer and how to complement the music.
Luis reflects on his journey leaving Cuba and the profound meaning of freedom in his life and career.
We discuss how early musical exposure shaped his instincts long before formal training.
Luis emphasizes that relationships, attitude, and reliability are just as important as musicianship.
He shares stories about Carlos Vega and what made him such a special musician.
Luis talks about working with Pat Metheny and the importance of trusting artists to bring their own voice.
Music from the Episode
Santiaguero - Ropa Vieja ft. Luis Conte & San Miguel
La Aguita - Ropa Vieja ft. Luis Conte & San Miguel
America Undefined - Pat Metheny
About the Podcast

The Bandwich Tapes is my chance to sit down with musicians, composers, songwriters, and creative artists I admire for honest conversations about craft, collaboration, career, and the deeper musical ideas that shape their work. It’s a show about process, perspective, and the stories behind a life in music.

Connect with the Show

Email: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down with conductor, composer, and longtime contemporary music advocate Brad Lubman for a wide-ranging conversation about interpretation, rehearsal, composition, and the deeper responsibilities of making music with other people.

Brad first came onto my radar through his work conducting Steve Reich's music, but this conversation quickly opened into something much larger. He talks about the way audiences often associate him with Reich’s music, while reminding us that he had already built a substantial life in new music long before that connection began. From there, we get into a fascinating discussion about what conductors actually do, and why he resists the idea that great conducting is about imposing personality on a score. For Brad, the work begins with the composer’s intentions and the discipline of bringing those intentions to life as clearly and honestly as possible.

We also spend time on Brad’s path as both a percussionist and a conductor, including how his early love of drums and rock music, and later of orchestral music, shaped the musician he became. He reflects on what percussion taught him about immediacy, time, and gesture, and how those lessons still inform the way he teaches conductors today. His thoughts on rehearsal are especially compelling: the idea that a conductor’s role is not to dominate but to create conditions in which musicians can play with confidence, clarity, and artistry.

A particularly rewarding part of this conversation centers on Brad’s own music, especially his powerful piece Tangents for two pianos and two percussionists. He shares the origin of that work, how it emerged during a moment when he was considering stepping away from composition, and why it marked the beginning of a new phase in his musical language. We also talk about his long association with Steve Reich, Ensemble Signal, and the kinds of life-changing moments that can come from simply doing your work well and being ready when the right people are listening.

By the end of the conversation, what comes through most clearly is Brad’s seriousness of purpose and his belief in music as a communal act. Whether he is conducting, composing, teaching at the Eastman School of Music, or building programs with Ensemble Signal and major orchestras around the world, he approaches music with precision, humility, and an unwavering sense of service to the score and the people making it.

Key Takeaways
Brad Lubman offers a thoughtful distinction between “interpretation” and serving the composer’s intentions, arguing that great conducting begins with fidelity to the score rather than ego.
He explains why so much of what audiences hear as a conductor’s influence is actually shaped in rehearsal, not just in performance.
Brad reflects on how his background as a drummer and percussionist sharpened his sense of time, touch, and physical gesture.
We talk in depth about his piece Tangents and why that work marked a turning point in his life as a composer.
Brad shares how key moments in his career — including his connection to Steve Reich and the New York premiere of City Life — came through preparation, reputation, and musical trust.
He discusses the communal nature of orchestral music-making and his belief that an ensemble can model cooperation at the highest level.
The conversation concludes with a look at his current work as a teacher, conductor, composer, and advocate for contemporary music worldwide.
Music from the Episode
Music for 18 Musicians (Pulse) - Steve Reich (Ensemble Signal - Brad Lubman, Conductor)
Radio Rewrite (I. Fast) - Steve Reich (Ensemble Signal - Brad Lubman, Conductor)
Double Sextet (I. Fast) - Steve Reich (Ensemble Signal - Brad Lubman, Conductor)
Tangents - Brad Lubman (Icaras Quartet)
About the Podcast

The Bandwich Tapes is my chance to sit down with musicians, composers, songwriters, conductors, and creative artists I admire for honest conversations about craft, collaboration, career, and the deeper ideas that shape their work. It’s a show about process, perspective, and the stories behind a life in music.

Connect with the Show

Email: contact@thebandwichtapes.com

On this episode of The Bandwich Tapes, I sit down in person with drummer Joe Dyson, the first in-person conversation I’ve recorded for the show, and it couldn’t have been with a better musician or person.  Joe is currently on the road with Pat Metheny, and we talk about the experience of being inside that music night after night, how the band continues to grow, how chemistry develops on the road, and what it truly means to live inside the music.

We begin at the very beginning, Joe’s earliest connection to the drums, growing up in church, watching his family play, and learning through imitation long before formal instruction. That foundation, playing with purpose, listening deeply, and serving something larger than yourself, continues to shape everything he does today.  From there, we dive into the cultural impact of growing up in New Orleans and the moment Joe realized just how unique that musical environment is. His reflections on culture, identity, and the preservation of tradition are powerful and deeply personal.

One of the most meaningful parts of this conversation centers around mentorship, specifically his relationships with Alvin Batiste and Donald Harrison. Joe shares incredible stories about how these mentors shaped him, not just musically, but philosophically, and how their lessons continue to reveal themselves years later.  We also spend time talking about listening, not just as a musical skill, but as a life skill. Joe makes a compelling case that listening is at the center of everything: collaboration, groove, communication, and even being a better human being.

We get into his artistic philosophy, how he balances honoring the lineage of great drummers like Elvin Jones, Roy Haynes, and Philly Joe Jones while still pushing forward creatively. His perspective on imitation, emulation, and innovation is something every musician can learn from.

Joe also shares the incredible (and almost missed!) story of how he connected with Pat Metheny, starting with an email he nearly ignored, and what it’s like working with an artist of that level in both live and studio settings.

We wrap up by talking about his debut album, Look Within, and how stepping into the role of a bandleader changed his perspective, not just musically, but also in how he approaches collaboration and supports other artists.

This is a conversation about growth, humility, and the lifelong process of becoming a musician.
Key Takeaways
Joe Dyson explains why listening is the most important skill a musician can develop—on and off the stage.
He shares how growing up in church shaped his sense of purpose and connection to music.
Joe reflects on the unique cultural identity of New Orleans and its lasting influence on his playing.
He discusses the profound impact of mentorship from Alvin Batiste and Donald Harrison.
Joe breaks down the process of musical growth: imitation → emulation → innovation.
He tells the story of nearly ignoring the email that led to working with Pat Metheny.
Leading his own band gave him a deeper respect for collaboration and the responsibilities of being a bandleader.
Music from the Episode
Pious Walk - Joe Dyson
Forward - Joe Dyson
Fleeting Faith - Joe Dyson
In On It - Pat Metheny Side Eye III
Naysayers - Joe Dyson
About the Podcast

The Bandwich Tapes is my chance to sit down with musicians, composers, songwriters, and creative artists I admire for honest conversations about craft, collaboration, and the deeper musical ideas that shape their work. It’s a space to explore process, perspective, and the human side of a life in music.

Connect with the Show

Email: contact@thebandwichtapes.com