Courtney Carmichael and Nikki St. Pierre discuss signing to Paper Bag Records, moving from rural Manitoba to Winnipeg, and turning pandemic isolation into sundayclub’s self-titled debut album.

Saxophonist and composer Alden Hellmuth discusses growing up in Hartford’s Jackie McLean tradition, her mentorship under Herbie Hancock, and the double-bass lineup behind her new album, ‘Tether.’

On their fourth album, ‘Escrito en agua,’ the Mexico City band Diles que no me maten build songs from Mahmoud Darwish’s poetry, funerary music from Oaxaca, and their own festival organizing, all filtered through loose, unresolved improvisation.

Filmmaker Matt Hinton speaks about the technical resurrection of ‘Awake, My Soul’, the expanding world of Sacred Harp singing, and the difference between hearing this music on a recording, hearing it in a room, and standing in the middle of the square.

On the occasion of ‘Julius Eastman Vol. 5: Gay Guerrilla’, Wild Up conductor Chris Rountree discusses the hybrid written-and-oral tradition of Eastman’s scores, the ensemble’s rehearsal practice of triangulating meaning, and the Black, gay minimalist’s enduring claim on the present.

Trumpeter Steven Bernstein on his chordless trio ResoNation Trio, Scotty Hard’s dub reinvention Ultra Resonance, and why he still plays Levon Helm’s music.

Saxophonist Alden Hellmuth talks about her album Tether, writing for two bassists, studying with Herbie Hancock, and trusting her band to be free.

Trumpeter Dave Douglas on his album Transcend, Booker Little, Jack Whitten, and the creative discipline of not knowing.

Ora Cogan discusses her Sacred Bones debut, protest music, collective activism, and the shifting meaning of “Katie Cruel” over a decade.

VP Records engineer Billy Polo on restoring reggae’s rarest tapes, archiving Jamaican music history, and the art of mastering for digital.