Few modern acoustic ensembles are attempting to bridge the worlds of bluegrass, jazz, classical music, and acoustic improvisation quite like the New Acoustic Collective.
On Episode 316 of the Mandolins and Beer Podcast, Daniel Patrick sits down with guitarist, mandolinist, composer, and bandleader Jason Kaiser to discuss the group’s new album Double Course, a collection of original compositions inspired by the legacy of David Grisman, Tony Rice, jazz improvisation, flamenco, and contemporary acoustic music.
The result is one of the most ambitious and genre-defying acoustic releases of the year.
Jason’s Links:
New Acoustic Collective Website
Songs featured in this episode:
All songs from this episode are available on the NAC release “Double Course” available HERE.
Things discussed during the episode:
Concerto for Mandolin in C major, RV 425 by SJSU Collegium Musicum
Fiddler’s Dram / Whiskey Before Breakfast
The Book “The Practice of Practice”
As Always a HUGE thank you to all of my sponsor’s that make this podcast possible each week!
Peghead Nation promo code mandolinbeer
String Joy Strings promo code mandolinbeer
Who is Jason Kaiser?
Jason Kaiser is a California-based guitarist, mandolinist, composer, educator, and founder of the New Acoustic Collective, blending jazz, bluegrass, classical, and improvisational music.
What is Dawg Music?
Dawg Music is the acoustic genre pioneered by David Grisman that combines bluegrass, jazz, swing, Latin, and world music influences into a unique instrumental style.
What is the New Acoustic Collective?
The New Acoustic Collective is a Bay Area ensemble founded by Jason Kaiser that explores original acoustic compositions influenced by jazz, bluegrass, and chamber music traditions.
What is Double Course?
Double Course is the newest album from the New Acoustic Collective featuring original compositions and acoustic improvisation inspired by David Grisman and the Tony Rice Unit.
Where can I buy Double Course?
The album is available through Odd Europa Records and Bandcamp.
Transcript of Episode:
Speaker A:
Hey everybody, this is Daniel here. Before we start the podcast, just a heads up on some gigs I’ve got coming up. I’ve got my Tom Petty tribute August 1st in Columbia, South Carolina at Prohibition. Super stoked for that one. The band The Letter Show, some friends of mine who are opening up. Small fact, George, the singer and mandolin player and guitar player sometimes in that band, has got my old Gibson mandolin. Kind of fun. And then October 16th, we’re back at the Charleston Poorhouse. Oh my gosh, one of the best venues in the country to see live acoustic music, 6 to 9 PM. Let’s get into the episode. Hey everybody, this is Daniel Patrick and this is episode number 316 of the Mandolins and Beer podcast, brought to you in part by my favorite website, the Mandolin Cafe. How is everybody doing? Hope you’re doing well. Uh, hopefully I’m still in Ireland if you’re listening to this, and, uh, hopefully the gigs all went well. I should be now hopefully just relaxing and spending a couple days doing nothing but maybe doing some hikes and burning off some, uh, Smidtcks, Guinness, and Jamesons. So, so if you’re at the shows, thank you. My guest this week, Jason Kaiser from the New Acoustic Collective. Uh, they have a brand new album out. It’s available everywhere today. It’s called Double Course, and man, it is some good stuff. There’s some incredible playing on it, compositional improvisation. It’s, it’s, it’s excellent. I’m sure you’re gonna dig it. Super nice guy. It was really great to, uh, to get to know Jason a bit. So Uh, I think you’re gonna be excited for the album, and I think you’re gonna enjoy this conversation. Uh, let me get into my sponsors real quick, and then we will jump into this episode. Oh, by the way, thank you to everybody who’s been buying all the merch. Um, I, I did a post before I left for Ireland and shipped a bunch out, uh, before then. So thank you so much. I appreciate it. The MTV-style shirts seem to be a big hit. Okay, now Peghead Nation. With Peghead Nation streaming video courses in mandolin, guitar, banjo, fiddle, dobro, ukulele, and bass, you learn bluegrass, old-time, and other styles from some of the most talented players and instructors in roots music. People like Sharon Gilchrist, Joe K. Walsh, Mike Compton, John Reichman, Aaron Weinstein, Marla Fibisch, and Chad Manning, Ian Corrie, and Ethan Satyawan. Oh my gosh, they have got them all. And the best part is the courses include high-quality multi-angle video lessons, downloadable notation and tab, play-along tracks, and plenty of tunes and songs to play. Join any of Peghead Nation’s video courses now and you get your first month for free. Just go to pegheadnation.com and use the promo code mandolinbeer, all one word, at checkout. Northfield Mandolins— let’s build more than a mandolin together. Check out their website at northfieldmandolins.com. Download their app at mandosummit.app for lots of special performance recordings, demonstrations, and special workshops. Tone Slabs Holy cow, they have a new material. They’re calling it the Fonz. I got my hands on one. Unbelievable. Unbelievable. Now, I’m not sure the material, but they’re the only people I believe right now that have this material. And I love the Torlorn. I mean, I’ve been using that like crazy lately. And, um, I got the Fonz. They— David dropped me a couple in the mail when he sent me some to take to Ireland. And I’m like, oh my gosh, this thing’s incredible. But they’ve got all the shapes and sizes. They have a bunch of materials. They have the best picks in the biz, in my opinion. I love them. toneslabs.com. Go over there, get yourself a slab of tone. Dedicated to building for the impassioned player. Paavo Mandolins out of Austin, Texas. And Elderly Instruments. Elderly Instruments is your trusted source for new, used, and vintage fretted and stringed instruments. For the experienced to the beginner player, the vast selection of mandolins, guitars, banjos, ukuleles— and did I say mandolins? Includes all of the accessories and books to go with them. All instruments are inspected and set up for easy playability, and their down-to-earth, award-winning, and knowledgeable staff are there to help. They’re in their 54th year. They’re family-owned and operated. They ship worldwide, and you can visit them anytime at elderlead.com. All right, let’s get into this episode with Jason Kaiser. Again, the album available everywhere today, Double Course. You can go to Agaropa’s website, you can go to Bandcamp. Support your favorite mandolin player.Speaker B:
Cheers, everybody.Speaker A:
All right, well, it’s my pleasure to welcome my next guest to the podcast here. He has got an incredible new album called Double Course coming out on the 24th of July, and, uh, it is— whoo, it is a ride, man. It is, uh, great stuff. Uh, welcome Jason Kaiser. How’s it going, buddy?Speaker B:
Hey man, it’s going well. Thanks for having me, Daniel.Speaker A:
Dude, thank you for, for coming on and, and keeping in touch with me too over the course of these years. This album’s like a perfect, a perfect way to to introduce you onto the podcast here. I mean, it’s got a picture of Mayalynn and it’s called Double Course.Speaker B:
So yeah, thank you, man. Thanks for having me. Glad to be here.Speaker A:
For sure, buddy. Well, let’s— before we dive into too much stuff, I want to have you kind of describe the New Acoustic Collective, which is under, um, you know, we’re talking to Jason, but the, the project is called the New Acoustic Collective. And I think it’d be cool for people to understand, uh, what that’s about before we dig into you.Speaker B:
Yeah, yeah. So the, uh, the NAC, uh, I formed it back in 2017. So man, it’s been almost 10 years that I’ve been leading this group of crazy musicians. And over the, over the years, we’ve, we’ve— at one point, I believe we had like 9 to 12 musicians, right, with the percussion section and horns and stuff. And now at this point, we are a string quintet, and that’s kind of been the formation since we recorded our first record in 2020. But yeah, man, it’s the main premise is just bringing together you know, bluegrass, jazz, and classical musicians that want to play these different styles. Some of our biggest influences are obviously Tony Rice and the Tony Rice Unit and David Grisman and the David Grisman Quintet. So it’s kind of like trying to— I don’t know if I am, but one of my big goals is just trying to continue that amazing music that they created, man. You know, and we’re from the Bay Area, which is Uh, a big area where all that music was, you know, created. So that’s kind of what we’re trying to do is just keep that stuff going.Speaker A:
It blows my mind, this record. Again, like, I, you know, I usually have an idea of a lot of Mandolin stuff, like if it’s a bluegrass-based sort of ensemble. I’m not saying they all sound the same by any means, but, you know, you had like— can have an idea of what to expect. Yeah, man, this thing, man, this thing kicks off with Tune for RM and I’m like, whoa, I better, uh, I need to pay attention here. This is And you can hear that, that space grass and that dog in through it. But what’s really beautiful is you can hear all sorts of influences in it. Like, um, it’s, it’s, it’s, it’s really impressive. We were talking about this before we recorded, you know, when you hear like electric music, it’s really easy, especially nowadays with like modelers where you can say, I want to sound like Eddie Van Halen, and it’ll give you a preset and you can send— you— people be like, oh, that guy sounds like Eddie Van Halen. But like acoustic instruments, You don’t have the accent. You have to put some work in and learn styles and, and to make it convincing, which you have. You can hear the hours and hours and hours of work that you’ve put in to studying and practicing and composing. And I mean, I— it’s, it’s a breathtaking album, buddy.Speaker B:
Oh, thanks, man. Appreciate it. Yeah, I hope everyone digs it. And, and, uh, yeah, like I said, man, we’re just trying to continue what Grisman and Tony did and, and also do it in our own way and Yeah, continue this, this fun music and give musicians a chance to work together and improvise and push boundaries. You know, that’s like the big thing for me is we got to be taking risks. If we’re not taking risks, what are we doing? You know?Speaker A:
Yeah. Well, that’s one of the things I really like about the album is like, it sounds like these are all pretty, I would say, raw takes in the sense of like you guys are going for it. And even if there’s a note or two that like people would say like, oh, we got to fix that. I love that. There’s some things in there where you’re like, no way, dude. This is, this is somebody who’s going for it. And that’s what makes this magical to me.Speaker B:
Yeah. Yeah, I totally agree with that. It’s, you know, mistakes are going to happen. And, and I don’t know, man, I’ve learned to, you know, I mean, when you can fix it, you fix it. But at the same time, you, you also just can learn to live with it, you know, depending on if it feels good.Speaker A:
Yeah, well, exactly. And that’s the thing. It’s not anything like what’s like, whoa, or anything like that. It was just kind of like, Gosh, you could just, um, just feel like the momentum of tracks building, and you can feel the, you know, it’s like being in a jam or when you’re in a great session and you’re like, I’m going for it, I’m going for it. And you’re like, man, yeah, I’m glad I did good. Yeah, yeah. So that’s this whole album feels like that to me.Speaker B:
Oh, awesome, man. Well, I’m glad.Speaker A:
Yeah. So, so let’s talk a little bit about you first. So how did you get into this style of music, man?Speaker B:
So I, uh, I started with jazz. And so I was studying jazz here in the Bay Area. And then, you know, I was given a banjo and one of my buddies had a mandolin. And so I just started getting into bluegrass and old-time music and stuff. And it was just kind of sort of at the same time that I was studying and learning jazz that I started getting into bluegrass and stuff. And I ended up deciding to move to Tennessee and study with Wyatt Rice. And I got my bachelor’s degree in bluegrass, old-time, and country music studies from ETSU and, and, uh, but was still doing jazz, you know what I mean? So after I, uh, completed that degree, I, I ended up getting my master’s in jazz. And so that’s kind of my thing, man, is just both of those styles and love, love playing them both and love trying to reimagine them together, you know.Speaker A:
What kind of stuff— but before you decided to go to ETSU, what was the stuff that you were kind of really diving into that helped you make that decision to go there?Speaker B:
Well, you know, before I even found Tony and Wyatt and all that spacegrass music and dog music too, I was really into Norman Blake and Doc Watson, just like more traditional, like bluegrass and old-time music, and was just trying to learn some of those fiddle tunes and those things. And then when I discovered Tony and Wyatt Rice, I was— my head just blew up, you know? It was insane.Speaker A:
Yeah, I know.Speaker B:
And then dog music, and I was just like, oh man, Yeah. So I tried to— my big thing has always been trying to get to the source of the music, so to speak. So studying with Wyatt, I studied with John Carlini, who’s a dear mentor of mine, and just tried to get close to the source. It’s like, if I couldn’t study with Griezmann, who else could I learn from and really try to learn this music?Speaker A:
What was it like studying with Wyatt Rice? That’s got to be pretty mind-bending to hear because, like, I, I mean, obviously Tony’s the GOAT. I mean, you can’t— but so I think sometimes maybe Wyatt gets slightly overlooked because his brother, you know, if he wasn’t in a band with Tony Rice, you’d be talking about Wyatt Rice as well, you know. But I think, you know, he kind of gets a little bit overlooked. But boy, oh boy, he’s a monster. Unbelievable.Speaker B:
Yeah, and a great composer too. I mean, you know, like some of the tunes that he’s written, like on his first record, New Market Gap, There’s a tune of his called Dave’s Place that’s just awesome, man. He’s just such a great writer too. But no, it was really fun. I mean, it was just— it was kind of an incredible experience getting to study with, you know, one of, one of my heroes, you know what I mean? It was just a mind-blowing experience that ended up turning into us kind of just hanging out. And then I’d go back to his house and we’d start doing some sessions. And like I said, I did jazz, so he would sort of ask me jazz questions and how do I How do I revoice this chord? And you know what I mean? So we just connected, man. It was a lot of fun.Speaker A:
That’s cool. Now, is that, is that where you met Thomas Castle? Yes, it is. Okay, cool.Speaker B:
Yeah, yeah, yeah.Speaker A:
Who else, who else would have gone? ETSU puts out a bunch of great players, man.Speaker B:
They do. Uh, Alex Genova, great banjo player. Um, there’s so many, man. But yeah, Alex, Thomas. I’m trying to remember who else I’ve met over the years. Josiah Nelson, he went in right after me and now he’s playing with— he’s been with Mountain Grass Unit for a while. But yeah, man, I mean, they’re doing really great things with the program. And since I’ve been there, now they have a spacegrass band. At the time, they didn’t really— I was kind of the one trying to push to include more of that music, which was fun. But now they actually have a band that Wyatt leads. And so it’s really cool, man. They’re doing some great stuff.Speaker A:
So was so Steffi was there then too at the same time, right?Speaker B:
Yes.Speaker A:
Yep.Speaker B:
Yeah. And I had some lessons with him. That was a lot of fun too.Speaker A:
God, I miss that guy’s playing. I wish he was. I wish he was putting out stuff. I get it. You know, got a family and figure stuff out. Music business is tougher than ever. But yeah, boy oh boy, I would I would be so stoked to hear a new Adam Steffi album at any point.Speaker B:
I know. So good, man.Speaker A:
Yeah.Speaker B:
Such a nice guy too. That’s like the other thing is just. Some of the best musicians that I’ve met have also just been like the nicest people, and that’s something I try and remember too, you know?Speaker A:
Yeah, yeah, that’s— man, that’s the thing. I just had, um, the, the last week’s episode that came out before we were recording this was with Alan Bybee, and we were talking about, um, Herschel Sizemore and how, you know, Herschel was like a hero of him. And to me, that’s like— that encapsulates what this style of music is about, is just the kindness of all these incredible players and their willingness to, you know, pull back the curtain and be like, I’ll show you everything I know.Speaker B:
You know?Speaker A:
Exactly.Speaker B:
Keep this music going. Yeah, pushing that, pushing that forward and moving the lineage. And yeah, man, it’s really cool. It’s really cool.Speaker A:
Where did you end up getting your master’s at?Speaker B:
I got my master’s at San Jose State in jazz guitar, and I did Latin music, Latin jazz. And then I also prepared a mandolin concerto as well.Speaker A:
Oh, get out of here. Awesome.Speaker B:
Yeah, yeah.Speaker A:
Vivaldi, man. It was— that was—Speaker B:
that really kicked my ass. He would write me— like, like I said, he wrote this mandolin concerto, and, and I— there was this chamber orchestra at the school, and I was just like, you know what, I’m gonna, I’m gonna try and prepare that. And it’s on YouTube, man.Speaker A:
Oh, is it really? Yeah, please send me that. I’ll post the link in the description so people can check it out too. Holy cow. Who were some of your, uh, jazz guitar players that you were listening to?Speaker B:
Um, you know, it’s funny, man. I try not to listen to too much jazz. Well, that sounds funny, but I, I listen to jazz guitar But some of my favorite jazz musicians are actually horn players.Speaker A:
Yeah, yeah, that’s, that seems to be a, that seems to be a thing with a lot of the musicians that play string instruments that I talk to.Speaker B:
Try not to sound too— I, I don’t want to sound too much like a guitar. I don’t know how to explain it, man.Speaker A:
It’s—Speaker B:
but yeah, I mean, Joe, Joe Pass is probably like number 1 or number 2. Um, who else do I really like? Jimmy Rainey, Doug Rainey, his son. I mean, some of those guys are Awesome. Herb Ellis. Yeah, but, you know, my big, my big thing is horn players. So like, probably my favorite trumpet player is Woody Shaw, and then Kenny Wheeler I’m also a big fan of. And I’ve— that’s kind of— while I do the NAC stuff, I also do my jazz, kind of more straight ahead or maybe more modern jazz records. So I’ve done some of their music and reimagined it with a sextet and a quintet. And so yeah, I love, I love horn players.Speaker A:
Yeah.Speaker B:
Didn’t I—Speaker A:
one of the songs on this album is Wasn’t it influenced by Woody Shaw?Speaker B:
Yeah, so it was influenced by Woody Shaw and his— one of his pianists, Ronnie Matthews.Speaker A:
Yeah, the first track, right?Speaker B:
Yeah, the first track is, uh, yeah, it borrows changes from one of Ronnie’s tunes called Jean Marie. And, uh, yeah, man, and it features a great horn player from here in the Bay. His name’s Eric Jacobson, and he’s toured with, you know, John Mayer and played with Galactic and all these amazing players. And it was so cool to have him on the track.Speaker A:
Oh yeah, it sounds great. Well, Matt, Let’s talk about this album, man.Speaker B:
It’s—Speaker A:
I mean, so what’s the influence? The album’s called Double Course. So let’s talk a little bit about the influence behind the album.Speaker B:
Yeah, so I mean, the main theme or the idea was, as so many other great bands and musicians have done, was thinking about like a duet sort of themed record. So, so the main— yeah, the main idea was just trying to, um, have musicians playing in duets and just different combinations of instrument instruments, you know. It’s really fun. You can just like put different instruments together and, and, and, you know, as the record kind of progressed, I was just like, you know what, I think it’s just going to be all original music. So that was the— that was kind of the main— the other main requirement or the thing was just like, let’s just try and include original music mostly in duets. And then we wanted to do a few kind of fuller band groups. takes. So we did a few of those. And another great mandolinist that originally was potentially going to be on it was Andy Statman, you know, and Andy and I, Andy and I were talking about doing a recording and I wrote this tune called Hayride in Brooklyn. Which is the last track on the record, and originally that was going to feature Andy, but logistically when I was in New York, we just hard to get together, you know, but we still ended up recording the tune as a band, you know.Speaker A:
And so, dude, it is a— Hayride is— that song is a ride. It is wild. Yeah, in the best way, by the way. I say that.Speaker B:
Yeah, yeah. No, it was like, I was like, well, Andy’s probably gonna play on this, so I need to write something that, you know, when I’m writing, I try to like write in mind with the players that I’m working with, you know, and try to like feature their strengths and, and also challenge them. So that was kind of the thing, was trying to write something that’s kind of klezmer influenced but also has some like modal and jazz elements to it.Speaker A:
And of course, my— our mutual buddy Thomas Castle is on a couple tracks as well.Speaker B:
Yeah, that’s right. Thomas is on— Thomas is on a duet that I did. I wrote a tune for The late, great Enrique Correa, who was, uh, Griezmann’s guitarist for a long time. It’s a tango. It’s called a milonga. Uh, so we did a milonga duet, and then I did a We did one of the tunes that I’ve written, uh, kind of a spacegrass tune called Howie’s Breakdown. It’s really fun.Speaker A:
Dude, that one’s a banger.Speaker B:
Thanks, man. That’s fun. Thomas sounds great.Speaker A:
Uh, you both sound great. I mean, what’s the— um, now, did you record these in the same studio, or did you travel around and record these?Speaker B:
No, no. So these have been recorded— man, this record’s been like 3 or 4 years in the making because it’s been 4 years since the NAC has released a studio record. So we recorded those duets actually at our guitarist Elijah’s house in his garage.Speaker A:
Whoa. No way. Yeah.Speaker B:
And my engineer had a mobile recording unit, and so he captured the milonga and Howie’s breakdown beautifully with these mics and his mobile unit. And then we also recorded some of the tracks at his studio called Tone Freak Recording Studio in San Jose. And, and, uh, my engineer Steve Blaze is just awesome. So we recorded some of those there. And then our mandolinist has a studio in New Almaden, California. So we also recorded— yeah, so we recorded it at Cactus House Recording as well.Speaker A:
And that mandolinist, his name is Trevor?Speaker B:
Trevor Gabriel. Yeah, yeah. And his mandolin, he, he bought this awesome Gibson mandolin recently, and it’s— that’s the COVID of the record, is his mandolin.Speaker A:
Oh, no kidding.Speaker B:
Yeah, yeah.Speaker A:
Nice. Now, how did you meet him?Speaker B:
Well, man, Trevor and I had been in touch. I mean, we, we have like other, other folks that we know that play in different groups, and we, uh, he had contacted me at some point, um, and, uh, wanted to play in the group and Yeah, at some point we just auditioned him and, and just, uh, just hit it off. And a phenomenal player and phenomenal composer too. His tunes are not on this record, but man, he’s got some tunes that he’s written that we’re playing right now that can’t wait for everyone to hear, man. They’re incredible.Speaker A:
Uh, also speaking of incredible, you’re an incredible mandolin player, dude. You play on— is it— am I— I’m gonna say this wrong— Aptos?Speaker B:
Yeah, Aptos.Speaker A:
I knew I was gonna say it wrong. I’m gonna leave it in. I’m gonna leave it in. I’m not gonna edit it out in the spirit of this Thanks, man.Speaker B:
I appreciate it. I was just trying to fake it. You know, guitar is my main instrument, but I would say mandolin is like my secondary, you know.Speaker A:
Yeah, dude, you have some dog-style chops for sure.Speaker B:
Yeah, yeah, yeah. I love— Grisman’s like my guy, you know what I mean? So it’s as a player and as a composer, he’s like my favorite.Speaker A:
So, um, how, how long— let’s talk a little bit about your experience with playing mandolin. When you know, you mentioned you had gotten one early. Did you ever do like a deep dive? And I only asked that because you’re such a great guitar player. Like, um, it, you know, it seems— I would always just think like, that’s all this guy just plays guitar from the minute he wakes up till the minute he goes to bed. You’re like that good, you know? But like, where— at what point did you spend like some time playing mandolin?Speaker B:
Yeah, well, I had, you know, like I said, I’d been given a banjo and then One of my buddies at the time had a mandolin, and I found out that it was just sitting in his garage, and I was just like, dude, like, can I borrow it? And then I never, never gave it back, you know? So yeah, I mean, I started learning it. Let’s see, I started learning mandolin, I want to say it was like 2011 or 2012, right? So it’s been a little while, and I’ve been playing, playing on and off since then. And I think a lot of— and I tell my students this too, man, but a lot of like the learning I think comes from listening, you know what I mean? Because music is a language and it’s, you know, how bluegrass and a lot of this music is learned is by ear, you know? So I’ve just done a lot of listening over the years and, you know, some obviously some practice, you know what I mean? And, you know, Yeah, man, I don’t know about an exact deep dive. When I was at ETSU, I studied with Adam Steffi for like 6 months, and that, that was definitely helpful. But I think a lot of the listening, you know, and then just trying to make music, different musical, musical situations I was in, you know, trying to incorporate it in some way. Like on our, on our first record, Buckwild, I recorded mandolin on that. So trying to find ways to like feature the mandolin and still like make sure I’m working my chops, you know.Speaker A:
Well, yeah, they sound great.Speaker B:
Thanks, man.Speaker A:
What’s, what’s one of your— I love asking people their process of like learning tunes. I mean, you’ve got some pretty complex music here, and you know, like if you were to sit down, I know you— we talked a little bit about Al Di Meola before we started here too. Yeah, I’m a big fan of, you know, like when you discovered him, like what was your, what was your process of kind of like, I want to kind of pick up some of his stuff?Speaker B:
You know, I think a lot of it was, you know, just listening. Like, I mean, I know it probably sounds redundant, but just listening to the music. I mean, I still do, man. I’ll put on Mediterranean Sundance. He played with Paco de Lucía, who’s my favorite flamenco guitarist. And it’s just listening to their rhythms and their lines and their articulation and their right hand and their left hand and just trying to like, I don’t know, in some ways emulate some of that. Like one of the tunes that I feel like is kind of like that is Puesta del Sol, which is— was— is the latest single release that came out last week, you know. And features Trevor on the mandolin, and it’s just like one of those tunes that it’s like Eastern and It’s got 2 chords and it’s just— you’re just grooving and, and you’re just trying to play in that kind of a sound. But I mean, at the time when I was listening to some of this flamenco and other things, uh, over the years, I would reference tab and, and that kind of thing. But I would, you know, mostly just try and listen and see if I could like transcribe it, you know what I mean? Yeah, try and just pick it up.Speaker A:
Well, that’s why I think a really great thing about like finding music is, especially with old jazz tunes or people who went through and transcribed, like I I, you know, I love listening to old jazz trumpet players.Speaker B:
Yeah.Speaker A:
And, you know, sometimes those recordings are like, you know, even if you slow it down, it’s, you know, those weren’t the best recordings ever done.Speaker B:
Right.Speaker A:
Yeah. And so like to be able to reference tab or sheet music and look at like, oh, okay, that’s what that is, is like the— that’s, for me, that has become the optimal way for me to learn, to sit down and try to do it without anything. And then when I get stuck, see if somebody else did a deep dive, you know, who was maybe better than me.Speaker B:
That’s true.Speaker A:
And, you know, and then pick up and then you’re like, oh, it, it kind of, You know, kind of, and it’s also kind of motivating to be like, oh, whoo, that’s what it is. Got it. And the rest of this looks all right. I’m gonna keep on trucking, you know?Speaker B:
Yeah, yeah, definitely, man. Yeah. You know, it’s always by ear. It’s good to try and do it by ear to try and be able to like, like, I’ll tell my students like in different situations, but like this, it’s like, if you can’t sing it, like if they’re transcribing something and they think that transcribing is on the instrument, it’s like, no, like, let’s transcribe it and sing it back first. And then let’s put it on our instrument.Speaker A:
Yeah. Was there, was there a moment for you when this new Acoustic Collective idea came about? Like, was there like an aha sort of thing where you’re like, oh my gosh, I think I’ve got an idea for a song? Because this is like such a— it’s a very unique project to me in the mandolin, you know, coming from the mandolin world especially. Like, I’m listening to this going like, wow, this is like— I don’t even think like this. Like, how does this, how does this happen? Yeah.Speaker B:
Oh man, I don’t know. I mean, it, you know, like for me, I was at the time, I was, I was back in, in California on a, on a break between semesters studying with Wyatt. And, and I just wanted to be able to, you know, it’s, it’s like you learn something in a lesson, but you don’t really understand it until you put it into the context of music, right? You know, so it was like I, I wanted to be able to try and make an opportunity or something and play some of this music with other people.Speaker A:
Yeah.Speaker B:
And we had played at a jazz club here in town and it was so well received. And at the time it was a club that was bringing in players like David Krakowski and Jonathan Kreisberg from New York and they booked us and it was just like, oh man, there’s— okay, it was motivating and we got a good response and that was kind of it. I was like, all right, I got to just keep doing this and try and bring musicians together. and play this music. And, and then as the years went by, I just started writing more and more, you know, just trying to— it’s like, man, like, one of my favorite composers besides Amanda Lind is Dave Grisman. Well, how do I, how do I find that in my own way? Like, how do I write these awesome tunes? And you know what I mean? Just trying to, trying to do it in some way.Speaker A:
And I love the fact that it seems like With talking with you and with listening to this is you’ve kind of got like an outline of a tune and you’re really letting everybody find their own way in the recording.Speaker B:
That’s right. You know, and let them be themselves, you know what I mean? Let them like— let these players shine, you know what I mean? That was like another big thing for me is, is bringing in these musicians and, and, you know, finding ways to, to feature their strengths. But yeah, man, let them, let them shine like another great You mentioned Aptos, right? That features a great young flatpicker here in the Bay Area. His name’s Elijah Chen and plays in a bluegrass band here called Bay Area Special. Like, man, he started writing some music and, and I was just like, dude, we gotta— I gotta find a way to feature you on this. And there was another great flatpicker, his name’s Goll Klein. He wrote this tune called Buzz, and that’s the third— I think that’s the third track on the record. I was, you know, it’s— I think about like my kind of approach too is potentially like Grisman, where it’s like you try and bring in these younger great players and, you know, find a way to feature them and let them shine, you know.Speaker A:
Well, it raises the bar for everybody too. When you let everybody shine and let everybody do their thing, you’re gonna automatically become a better player if you’re playing with people who are out there They’re, you know, they’re giving 110%. You’re thinking like, well, I wrote it, I can kind of phone this one in. And then all of a sudden you’re like, oh boy, yeah, maybe not.Speaker B:
Yeah, yeah, definitely. It’s one of my processes too, is— I mean, I try and do this too— is like, how do I be the worst player in the room? If I can do that, you know, that’d be cool.Speaker A:
There’s nothing like playing with people that are better than you to make you play better.Speaker B:
That’s right, exactly, because you have to like rise to the occasion.Speaker A:
Now the song The Field, in the, in the notes that you sent me, um, it was inspired by a photograph.Speaker B:
Yeah.Speaker A:
How do you, in your process— everybody’s is different, but I think that’s pretty cool that you included the picture. And then I’m like, oh wow, so now I gotta listen to it with, with the concept of this picture. What was your approach to that? Looking at that inspired you to write a song. How do you write a song about a picture and convey that, you know?Speaker B:
Yeah, yeah, it was just the picture, you know, it just evoked, like, to me, it It evoked like this kind of— it might sound cheesy or cliché, but like this— I love— and by the way, I love Westerns, you know, I’m a big Western guy, you know. And so it— the picture kind of evoked to me this, this old Western, Old West kind of quality. And it was kind of my first approach, definitely my first approach at looking at a picture and trying to write music. But But for me, man, the picture was so inspiring that the melodies just started to kind of come out. Like, I feel like I— with some of my best work, I don’t have to work too hard. You know, the music kind of comes out and I write it pretty fast. And that was a tune where I basically kind of came up with this melody. And it’s probably the only tune that I have that is one super long as far as a melody goes. kind of like tells a story in that way. And so I tried to evoke, evoke that Old West sound, and, and then I wrote some jazz parts and a flamenco part, and I don’t know, you know, that kind of thing.Speaker A:
Yeah, no, I love it. I, I thought it was really cool because again, like, I’m the same. I’ve got like a tune that I’ve written where I just saw a picture of an old— it was like a black and white picture of like an old fair, like a car— well, yeah, no, I guess it’d be like a fair, like they would set them up in towns, you know what I mean? Like, that used to be— yeah, man, that used to be a thing. Like, that would be be a first date for somebody, you know what I mean? That used to be something special. And it kind of made me think of like, I wonder if that would like inspire— if somebody like in their later stages of life saw that picture and like it would just be like, I remember, I remember our first date or whatever, you know? And like, it’s just crazy how things of like that— you can look at a photo and it can inspire anything, a song, a movie, a story, you know?Speaker B:
That’s right, it’s right. And sometimes it doesn’t even have— like, you just look at it And you start to hear something. And I think that’s what The Field kind of was, was looking at that Soto and just evoking that old sound and kind of like a cowboy story or something, you know, just evoking something, I guess.Speaker A:
Now, you studied with 2— I mean, you probably studied with a ton of great players, but 2 players I think that would probably resonate a lot with this podcast, with Wyatt and Adam. Can you think of one thing from each of them that they— it might have been advice, it might have been jamming, it might have been just something they said that really inspired you, or that you took and like still kind of hang on to as an influence?Speaker B:
Yeah, man. I mean, with, with, uh, with Adam, man, it was the importance of not practicing too fast. Like, really, like, he was— and he was so methodical about it, like Practicing slow and just like moving the BPMs like every 5 BPMs up, just really like making sure that you’re, you’re being diligent and not practicing too fast and just being aware and making sure it sounds clean. And you know what I mean? Like, just really like, yeah, doing— putting in that work, you know what I mean? Being mindful and, and that kind of a thing. With Wyatt, the big thing I think, and I think to a certain extent it was sometimes unsaid, But it was just trying to find your own sound, you know? And Tony’s talked about that too, right? Where, you know, it’s like we don’t— I don’t think anyone wants more clones, you know what I mean?Speaker A:
Right.Speaker B:
So the big thing was just trying to find your own sound. Don’t listen to guitar players. And yeah, trying to keep trying to find your own sound. And that was like, I think that was the big takeaway with Wyatt, you know, it’s just doing that. And that’s what I’m still trying to do, is trying to find my sound and, and keep going with it.Speaker A:
That’s what I love about the album, man. You’re really doing that. I mean, you can hear, like, you could hear the influences. You can hear the Dog influences. You can hear the Tony influences. You can hear the flamenco influences. But not once during this recording did I ever think like, this guy sounds exactly like this. I just thought like, wow, you can tell who this guy’s listened to. Which to me, dude, is the hardest thing in the world to do.Speaker B:
It is hard. Yeah, it is, for sure.Speaker A:
I mean, I’d love to play like Sam Bush, but I don’t ever want anybody to say like, wow, he sounds just like Sam Bush, because I’d be like, oh, that— well, I mean, that’s not what I wanted. I mean, I would take it as a bit of a compliment, but I would also be like, I’ve spent too much time trying to be somebody else.Speaker B:
Yeah, yeah, totally. And it’s like we’re each different individuals and we have different influences and experiences and How do we, how do we bring that out? Like a big one for me, like one that really helped was like listening to Woody Shaw, man, because he also sounds very unique. And at the time he was doing a lot of, a lot of boundary-pushing jazz that was not always well received. And I like that idea of just like doing what feels right to you and trying to find your own sound.Speaker A:
Yeah.Speaker B:
And, uh, yeah, listening to horn players, I feel like, really helped get me out of my own way a little bit.Speaker A:
Me too, man. I really love, um, Clifford Brown.Speaker B:
Clifford Brown’s great too.Speaker A:
And I’ve just started listening to, um, I, uh, started listening to early, early, early Louis Armstrong. Like the—Speaker B:
Oh, nice.Speaker A:
And, um, you like, you know, everybody thinks of like Louis Armstrong and just think like, what a wonderful world, but That guy was a awesome killer player, man.Speaker B:
Like, yeah, with some of that New Orleans, like, second line kind of stuff. Killer stuff.Speaker A:
I’m like, gosh. And then, you know, you just work on that. And obviously I’m never gonna sound like that, but I— nothing is more rewarding to me than when I play, you know, whatever gig I’m playing these, these days, and one of those licks finds its way. I’m like, yes, got— finally. Yeah.Speaker B:
And it’s like channeling, right? Like, I think about it like channeling. Like, I’m not gonna play like Paco. I don’t have that right-hand picado kind of technique that he played with, but can I channel him in some way, or can I channel Woody Shaw? And if— like, I remember reading this quote, man, like Tony was playing with Peter Rowe, and he wrote this thing where he basically— and I’m paraphrasing, but he was like, he was like, if McCoy Tyner was playing piano in this group, what would he play? Like, I like that idea.Speaker A:
Yeah, yeah. Well, it’s just helps you think outside the box, I think. And that’s— and again, like, you know, in acoustic music, it’s tough to— it’s— I think it’s tough to find your own identity because again, you’re— I don’t say limited, but you have less tools than a rock guitar player or somebody who can rely on like different effects or distortion. Or a clean song.Speaker B:
Even sustain, right? Even sustain, dude. It’s like Like, like the guitar in our group, it’s like, it’s like, man, like, okay, I can’t hear the guitar anymore, you know?Speaker A:
Yeah. Yes, trust me, I know.Speaker B:
You know, it’s one of those things. But it’s, yeah, it’s interesting. It’s interesting to hear. And again, it’s, you know, a big, a big thing is like the quintet, Grisman’s quintet. It’s like they were doing music that just, I mean, it still blows everybody away. And so it’s It’s crazy to hear acoustic instruments playing like a jazz group or playing a Latin groove, or, you know what I mean? It’s just awesome.Speaker A:
Absolutely. Like, I remember just seeing, you know, when I first bought a mandolin and started falling into these— all these things and hear Tony Rice’s name, and then, you know, My Favorite Things is on a record. I’m like, what?Speaker B:
Yeah, I know, right?Speaker A:
What is this now?Speaker B:
You know, I love that record, man. Backwaters is probably my That’s probably my favorite Tony and Tony Rice Unit record.Speaker A:
Let’s talk a little bit about your gear. What’s your— what was your main axe on this recording?Speaker B:
Yeah, so I use my 1977 Ovation Legend. Yes, I’m that guy.Speaker A:
Yeah, dude.Speaker B:
It actually was one of Wyatt’s Ovations that he sold to me. And yeah, man, I love it. That’s my main axe. So that’s mostly what I use on all my stuff. And I really like it because, you know, I feel like when you close your eyes, it could sound like a dreadnought and it could sound like a Spanish guitar and a jazz guitar.Speaker A:
And, you know, for people who might be like, whoa, Novation, I don’t know if everybody knows what Tony Rice played on Manzanita, but—Speaker B:
That’s right.Speaker A:
It wasn’t the bone. No.Speaker B:
And that’s— so that’s kind of a cool thing. And this is me nerding out for everybody. But the Ovation that I use that Wyatt sold me is the same make, model, and year that Tony used on Backwaters and Manzanita.Speaker A:
Unbelievable.Speaker B:
Yeah. So he had found— and, you know, he had, he had gone looking for these and he had found the exact, like, the exact type that Tony used. So that’s what I use.Speaker A:
Yeah. What type of picks?Speaker B:
Yeah, so right now I’ve got a nice shell pick that, uh, uh, a buddy, uh, made for me. And so that’s what I’ve been using. I mean, over the years I’ve used Apollo picks. I love Nick’s picks that he has. Like, I’ve got a really cool Kason pick that he made. And, um, I’ve used Blue Chip before. But yeah, man, I’ve been really digging this, this tortoiseshell. So that’s been kind of my, my thing.Speaker A:
That’s awesome. Yeah, I— you must be comfortable shaping them. I’ve, I’ve had some people give me some shell ones before, and I just— dude, I just— once they’re wore out, I just ruin them. I am on— I try to shape them, I’m like, well, this— yeah, I screwed that up again.Speaker B:
It’s— yeah, it takes a little getting used to, and I just love the sound. I also love, like, this pick. It’s interesting. Like, I’m used to playing, like, a bigger— I guess you would say, like, kind of a mandolin-sized right pick, a tri-pick, but this one’s like a little smaller and it’s like 1.5 millimeters and it just, it feels really good in my hand. It’s not too big, you know? Yeah, so that’s what I’ve been using, using recently. We’ll see, that changes, man. Every like 2 or 3 months I’m like, ah, let’s check something else out, right?Speaker A:
I’ve been using these Tone Slabs. I haven’t used anything but Tone Slabs, and, uh, but I, whenever they But like, whenever they have a new material, I’m like, uh, can I check one of those out?Speaker B:
Yeah, yeah, exactly. I know. I’m like, each one is slightly different, man. It’s like a microphone, right?Speaker A:
Exactly.Speaker B:
Subtle. It’s very subtle, but it’s— it is different.Speaker A:
I’ve been using a 0.9 larger triangle pick recently. David Benedict had got one made. He was telling me last time I interviewed him, because he was trying to get into some more like Irish mandolin and it’s— the thin is good for those.Speaker B:
Yeah, yeah, man.Speaker A:
But what I found it does for me, I holler at Tone Slabs like, hey, can you make me one of those David Benedict to my shape? And, um, and, uh, it helps me because I sometimes my technique live just stinks, I’ll be honest. You know, I play too hard.Speaker B:
Yeah.Speaker A:
And with that thin pick, it really is kind of like, uh, it’s kind of like, well, you can play hard, but it’s not gonna help. You might want to soften up a little bit because Exactly. And it’s really helped me kind of, you know, slowly I’m making my right-hand technique a little bit better. I’m still a work in progress, I hope.Speaker B:
Me too, man. We all are. It’s like we’re always, always trying to get better. I, I can agree with you, man. It’s— I, I play really hard and I try to— I try not to, but sometimes— like, we played a gig a few days ago and we were playing on a— we were playing in a wrestling ring.Speaker A:
Whoa. Yeah, dude.Speaker B:
And like, it was It was like, you know, the ground was like, if you moved at all, it like bounced a little bit. And I remember in my hands, man, I don’t know what happened in the gig, but my hands started to like tense up. And I’m not sure if it’s because I was tense or the ground was like kind of like moving or—Speaker A:
Yeah, it was like Hulkamania, brother.Speaker B:
Yeah, it was cool, man. Yeah. But yeah, I know what you mean. I mean, it’s trying to find the balance, not play too hard because then it’s too harsh, right?Speaker A:
Yeah, yeah, for sure. Well, what kind of gig were you playing in a wrestling ring? Was it a wrestling match?Speaker B:
Yes, it was. No, I’m just kidding. Right? Do acoustic music in a wrestling ring. We were competing in a battle of bands, man, in San Francisco, which is the first time we’ve ever done something like that. But I’m trying to just stay open, stay open to the gigs and the different opportunities. You know what I mean? And so, yeah, man, we just were competing in this battle of the bands thing. Most of the other groups were like punk and rock, and so we were the only acoustic and only instrumental group, but it was fun.Speaker A:
Yeah, that’s awesome. How’d you guys do? I mean, did they—Speaker B:
I mean, I think we still kicked ass. We didn’t win, but, you know, you’re playing against rock bands.Speaker A:
Yeah, it’s a different thing, right?Speaker B:
But I mean, it’s cool, man. It’s just cool to give, give people some bluegrass and acoustic music and show them that this music is still out there. And, you know, people always— there’s people that always turn their heads and they’re like, what the hell is that?Speaker A:
It’s so virtuosic in its— yeah, like, in its just natural form. That’s what really caught me, you know, was just being like, well, there’s this whole nother level of musicians that can just sit in front of a microphone with nothing else and and absolutely melt my face, you know, like, and have feel, you know what I mean? Like, it’s just like, yeah, man. Oh, it, it changed my life discovering, yeah, mandolin and all the, all the types of music that it’s been used in.Speaker B:
Yeah, definitely.Speaker A:
What type of mandolin did you use on the song?Speaker B:
I was using an Eastman A, so it’s— yeah, man, I’m forgetting the exact Forgetting the exact one, but, but yeah, I was using an Eastman A. It’s like an AD, AD something, you know. It’s good. I like it.Speaker A:
Yeah, it sounds great.Speaker B:
Yeah, yeah, I like it. And then I’ve got, uh, I’ve got this— I’ve got like an F-style mandolin tattoo actually. So I’ve got—Speaker A:
nice.Speaker B:
You know, the mandolin, man, is like— it’s, it’s right, it’s right near and dear to my heart with the guitar, you know.Speaker A:
Yeah, yeah, it’s, it’s the best.Speaker B:
Yeah, I love it. And all the different styles, right? Like, it’s really such a versatile instrument.Speaker A:
Well, that’s what I love, like, listening to this album. It’s just like, this is— it’s like, here’s another world that this instrument lives in that, like, you know, I’m so surrounded with, like, a lot of the stuff because of what I play and, you know, what I’m trying to, to get better at. But I hear something like this, I’m like, okay, I got some other things to work on here.Speaker B:
Yeah, isn’t that kind of a cool thing? I love that. To me, you know, it’s just being like, oh man, like there’s— wow, this person did this. Oh, that’s cool. I’ll have to dig into that a little bit.Speaker A:
Yeah. Well, again, I love the just the uniqueness of this album and the different influences and everything. It’s just like, it’s, it’s especially now in, in with however many years music has existed to, to find any sort of thing and, and be like, whoa, that’s— whoa, this is different. I didn’t expect this. That’s like a wonderful surprise.Speaker B:
Yeah, yeah, definitely. Did you have a favorite track? That might be a hard question.Speaker A:
That’s a tough question. I mean, um, I want to say like I, I listened to Howie’s Breakdown most because I just love Thomas’s playing.Speaker B:
Yeah, me too, man.Speaker A:
Good lord, that just that track too just sounds it also sounds just incredible to me. But I would say too is that um is it number nine the uh uh Puesta de Sol like you mentioned kind of yeah because again it’s just like It’s like, what, what, what? You know what I mean? It’s like, it’s like watching a movie. It’s like watching a movie where you’re like, oh yeah, I did not see that coming at all.Speaker B:
Yeah, man. You know? Yeah.Speaker A:
Awesome, dude.Speaker B:
That’s Trevor, man. Trevor’s— Trevor plays just incredible. He has a, he has a big classical guitar background and he understands, having studied that stuff, he, he just understands like those little Eastern qualities and those articulations and And, and, uh, yeah, I mean, I’ve written that tune years ago, man. I wrote that like probably 2019, 2020, and I’ve been, I’ve been thinking about recording it, and, and now it’s, now it’s finally captured. And it was also kind of cool. I haven’t done this a lot, but with the production, right, we, we put like a vinyl filter on the beginning to make it sound kind of like old.Speaker A:
So yeah, so you’re a teacher as well. You’ve studied with some of the best. This is the time where I like to ask, if you only had 10 minutes a day to work on something, what would you recommend somebody working on? And that’s again, again, with a— I guess, you know, I just, I, I just know everybody can get better. I just want everybody to pick up the mandolin and be like, I can play mandolin, I enjoy it, no matter how much time they have to dedicate to it.Speaker B:
Yeah, yeah. I would, you know, uh, 10 minutes a day, let’s say, you know. I would say, um, I mean, it’s like one day you could be practicing just like scales and arpeggios slowly Like with legato, as slow as possible, being mindful of like the tone and your picking direction and the fingers that you’re using. I think that could be one. But I think one of the most important things is listening to the music, but actively listening. So it’s, you know, like, I think, I think listening, listening intently for 10 minutes a day to mandolin or Or it could be any music, but, you know, really like actively listening and trying to pull apart and be like, oh, what key are they in? Or what, you know, you have your instrument nearby and doing that kind of study, I think, is really helpful too.Speaker A:
There’s nothing better than recognizing— I mean, to me, that’s still like a magic trick that I forgot that I know is like when you hear a song and you’re like, I know what key this is in. Or, you know what I mean?Speaker B:
Yeah.Speaker A:
Or like, you’re like, Oh yeah, I know, I know exactly how he just played that lick, you know. I know that exactly.Speaker B:
Yeah.Speaker A:
So it’s just like, to me, I’m always just like, it’s like, yeah, it’s goofy, I know, but every time it happens, I’m like, yeah, I got that. And that doesn’t mean I can play it, by the way, but I have an idea where he’s getting to, where they’re doing it.Speaker B:
Yeah, yeah. It’s, it’s an interesting question, right? Because it’s like, sometimes when I’m teaching, I’ll tell my students about this like deliberate practice. There’s this really great book book that kind of dives into it more. It’s called The Practice of Practice.Speaker A:
Oh, great. I have it. Great book.Speaker B:
Oh, great. Yeah. You know, and it’s just talking about like with deliberate practice, it’s maybe 10 to 18 minutes, but it’s just 1 to 2 really focused tasks. So, you know, that’s, that’s a good one to do too. You know, it’s just 1 to 2 tasks and you’re really honed in and then take a break.Speaker A:
Now, the final question, I’m going to do it a 2-parter. Because you are— yeah, you drink non-alcoholic beer. So I’m gonna ask what your favorite non-alcoholic beer is, because every now and again I’m also like, yeah, I just need to, you know, it looks like I might be putting on some weight. And so I’m like, but I still like the taste of beer. So do you have a— do you have a favorite non-alcoholic beer?Speaker B:
Yeah, I’m looking at one right now. It’s called Easy Pale. Uh, it’s, um, let me see, it’s, it’s a product of Canada. There you go.Speaker A:
Really? Wow.Speaker B:
Yeah, yeah, man. North Vancouver. It’s brewed, so it’s called Easy Pale. It’s brewed by Wild Eye Brewing. It’s really good, man. It’s really good. And some of the other ones that I like are Athletic. I really like Athletic non-alcoholic beer. I actually like Budweiser non-alcoholic beer. Yeah, man. I kind of go through phases.Speaker A:
And then since, since I always ask people who like, don’t drink any longer, I mean, you still drink NAs, but do you have a favorite fiddle tune to play?Speaker B:
Oh, man. Favorite fiddle tune. Yeah. Well, you know, I think recently it’s been, it’s been Fiddler’s, you know, it’s maybe not as popular, but it’s been like, kind of like Norman’s style of Fiddler’s Dram into whiskey, man. Whiskey before breakfast. I think that’s been like my recent, my recent one, and I’m trying to get as close to how Norman plays it as possible, you know.Speaker A:
Big fan. I tried to get him on the podcast before, but, uh, he’s not a big interview guy.Speaker B:
Oh, I gotcha. Hey man, it’s cool that you tried. I mean, I love this podcast, Daniel. I love what you’re doing.Speaker A:
Oh, thanks, man.Speaker B:
I’ve been following it for years, man. It means a lot that you’re bringing me on.Speaker A:
Oh man, well, I appreciate you doing it and, and letting me know about this new album as There’s just so much music. And yeah, it’s just like a—Speaker B:
thank you.Speaker A:
Yeah, such a great one, man. And so where’s the best place this comes out? Where’s the, you know, what’s the best place to buy it? Where’s the best place to find you?Speaker B:
Yeah, so, um, it’s coming out on Odd Europa Records, and you know, it’s cool, man. You and I are label mates.Speaker A:
Exactly.Speaker B:
Yeah, so it’s coming out with Odd Europa Records. You guys can order it from odd-europa-records.com or go to their Bandcamp, Odd Europa Records. And yeah, everyone can, you know, follow the New Acoustic Collective, you know, on Instagram @newacousticcollective. We have our website, it’s just thenewacousticcollective.com. And, you know, I’m Jason Kaiser. You can find my stuff as well if you want. But yeah, that’s kind of where you can find us. And yeah, stay tuned. We’ve already— we’re already thinking about another record because we’ve got so much original material that it’s just like there’s just too many tunes, man.Speaker A:
That’s right, man. Well, this is a good time for me then to just say, people, buy, buy a record. Support the artists, you know. If you wanted people to keep putting original music out there, we gotta, we gotta buy these records when we can. I know times are tough. Times is tough. But, you know, if you got the extra money, go out, support your favorite musicians. That’s, uh, it’s tougher and tougher every year, you know. These things These things aren’t inexpensive to record. It’s a lot of work and heart, and I want to hear another album from you.Speaker B:
So yeah, man. Well, I’m sure some of them will be coming together, you know.Speaker A:
Well, congratulations, Jason. I’ll post all the links in the description below. I, I love the album, and I’m stoked to hear the next one too.Speaker B:
Yeah, thank you for having me, man. Thank you so much.Speaker A:
All right, thank you so much to Jason for doing the podcast. Thank you so much for listening. I truly appreciate it. Again, go out there and pick up a copy of this album. Links are below to where you can find Jason and the New Acoustic Collective. Come and see me August 1st in Columbia, South Carolina, doing my Tom Petty tribute band Broken Skyline at Prohibition, or October 16th back at the Charleston Poorhouse. Have a fantastic week. Cheers, everybody!Speaker B:
Cheers!