Inside Out w/ Turner and Seth
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Inside Out with Turner and Seth (wTnS) Podcast.

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    Checking In w/ Jennifer Hartswick

    A very special episode featuring a quick Check In w/ Jennifer Hartswisk and an exclusive first listen to a track off her new album Nexus. This is the latest solo release from the Trey Anastasio Band trumpeter/vocalist and features contributions from 6-time Grammy Award-winning jazz bassist Christian McBride as well as longtime musical partner Nick Cassarino (The Nth Power).

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    Episode 63: Mimi Naja of Fruition

    Seth and Rob sit down with Mimi Naja of Fruition at the Electric Forest Festival in Michigan and initially talk about what it's like to be playing traditional instruments at a primarily electronic music festival. Mimi ends up explaining the thinking behind the band's decision to bring into the studio the rock feel of their live shows and their decision to go with producer Tucker Martine. Martine taught the band many things, helped them add layers to their sound and he is the chief reason that Mimi decided to play some baritone guitar on the record. The result is by far their greatest record to day, "Watching It All Fall Apart." The trio also discuss how the band's breakup songs contain elements of hope and accountability. We hear a bit about Mimi's days as a Georgia youth and explains her decision to leave Georgia and go to school in Portland. She would leave school and then clicking with a group of musicians while playing Marley and Sublime tunes. These folks would end up becoming Fruition. We learn about the band's the early days, and some of the antics that went on as the band grew (like "song-bombing" Vince Herman). She also talks about how she used to leave pronouns out of her songwriting because of all of the homophobia in the world, but that she has more recently eschewed this approach and been forthcoming with her sexuality. Mimi also explains specific reasons why Atlanta-based musician Janelle Monelle is an inspiration to her, and the fluid nature of sexuality in the music world. Speaking of inspirations, the discussion most certainly gets to stories about Greensky Bluegrass, Elephant Revival, The Infamous Stringdusters and other of Fruition's "Crazy Uncles and Aunts." She also expresses love for her own band's fans, which she calls the "Fruit'y Freaks." Seth and Rob then wrap up the show catching up the listeners on show news during one of the few times they were together last month. Speaking from a coffee shop in Black Mountain, NC they also discuss North Carolina in general, and specifically their day together there. The show ends with more Fruition music including Mimi and band mates Jay Cobb Anderson and Kellen Asebroek sitting in with Railroad Earth and performing Fruition's "Mountain Annie" at the idyllic Red Rocks.

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    Episode 62: Big (Something) & VooDoo (Visionary)

    Seth and Rob give a quick introduction to set the table for a collaborative interview with Mike Wilson of Voodoo Visionary and Nick MacDaniels of Big Something. Voodoo will be performing at the Big Something-hosted-and-curated Big What Festival the weekend after this episode is released. This conversation begins on common ground with a discussion of DJ Logic and Turkuaz as each band has collaborated with each of these artists. The quartet segues neatly into a discussion about selecting and working with producers and then Nick sheds light on the learning curve that goes along with throwing one's own festival and the importance of creating something special with a friendly atmosphere. Nick also opens up about losing his best friend, and one of the chief creative forces behind Big Something, Paul Interdonato....when things get a little heavy Mike steps up and talks about some of Voodoo's biggest non-musician influences. Each of them also speak about the support (and lack thereof) as well as some of their frustrations with local media in each of their markets. The musicians also share a "gig nightmare" story each, and they discuss some of their most recent material (including Nick elaborating on specific songs from their 2018 release The Otherside). Nick also reveals which verse of the brilliant "Sundown Nomad" was written by Mister, who will perform with Big Something at The Big What (Nick also waxes on some of his favorite collaborations over the years). Then we are all treated to solo versions of Big Something songs "UFO's Are Real" and "The Cave" from the 2017 release Tumbleweed delivered by the ever-gracious MacDaniels. Seth and Rob then wrap up the show with some musical world thoughts of their own, including reports about recent shows each has seen (Phish, Patti Griffin, Amanda Shires and others) and Rob's appearance on the Alpharetta version of the Osiris Phish Couch Report.

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    Checking In w/ Robert Walter

    A quick "Check In" w/ Robert Walter about his forthcoming album Spacesuit and an exclusive first listen to the track "Most Of All Of Us."

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    Episode 61: Eddie Roberts of The New Mastersounds

    Rob and Seth return to Terminal West to pick Eddie Roberts’ brain about all things New Mastersounds. However, the conversation kicks off with Eddie explaining how his new band Matador came together, and how he and the other musicians (Alan Evans, Kevin Scott, Chris Spies, Adryon de Leon and Kimberly Dawson) came together and that they plan on making this a permanent band, as opposed to a mere, "project." They also talk about how the most recent New Mastersounds cd Renewable Energy is appropriately-titled, and how it represented a number of firsts for the band. We learn about how some of the songs were inspired and titled, particularly “Chicago Girl” - and how the Chicago Girl suggested a cover with which none of the band members were familiar, yet which still made the record. Eddie also explains how de Leon’s creative input on this record is different from how he expects it will continue to be in Matador, and about why tNM is starting to become more interested in recording records “live” in the studio. We learn how the band’s songwriting has evolved from Eddie being the clear principal source to its current predominantly collaborative nature. Eddie talks about how his picking style comes from his jazz and classical background, and why his playing style is closer to that of a bluegrass player than a rock player. He also relates about how John Scofield almost lost a gig to a storm that happened while Eddie was dining with him, and shares some Sco insight. This leads to a discussion about Miles Davis which in turn leads to Eddie comparing and contrasting one way his approach differs from that of the virtuosic organist, Robert Walter. He also relates some of his experiences with Corrine Bailey Rae as Eddie has known her since she was a bartender and watched her have repeated success starting with her being only the fourth British act in history to have her debut cd debut at Number 1 on the Billboard charts. Eddie also explains some of the ways tNM's early days playing in London impacted the type of players they are today (for more on this, check out Episode 15 with tNM drummer Simon Allen). We also find out what motivated Eddie to start his successful charitable organization, The Payback and about how Eddie felt about getting to work with heroes of his like Ernest Ranglin and The Meters.

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    Episode 60: Jon Stickley

    "Rob and Seth take over the patio at Arden’s Garden in the Little Five Points section of Atlanta to interview, and even enjoy some brief performances from Jon Stickley. This Chapel Hill/Durham-based acoustic musician may very well owe some of his fiery approach to bands indigenous to “The Triangle” (Raleigh/Durham/Chapel Hill) like Polvo and SharkQuest. Stickley talks about their influence, and about his days drumming in punk bands. He would meet Andy “Crawdad” Thorn (Larry Keel Experience, Leftover Salmon) in high school, and when Thorn gave Jon some Bela Fleck and David Grisman cds, Jon’s life was forever changed. Even while playing in punk bands and his own indie rock band (an experience that would ultimately be key in his songwriting development), Jon would become a fervent fan and student of bluegrass and the mandolin. While an opportunity to be an assistant park ranger in Alaska did not allow him to accept Anders Beck’s (Greensky Bluegrass) initial invitation for him to join Broke Mountain, he would eventually join them on guitar. He also revisited the mandolin to tour with North Carolina bands the Biscuit Burners and Town Mountain. However a fellow musician noticed his strong love of the guitar and encouraged Jon to focus on that. Jon agreed and would in turn decide to start his own band. Around this same time Billy Gilmore (Grass Is Dead) introduced Jon to Lyndsay Pruitt. Pruitt had toured with Black Mozart Ensemble, a side project of Flecktones drummer, “Futureman.” Pruitt would join Jon’s trio, and her playing quickly became an immediate influence on Jon’s songwriting. We also learn about the unusual residency their new drummer Hunter “JamChops” Deacon experienced. The band not only does more “off the map” improvisation since Deacon joined, but some of these improvisations have also become seeds for future compositions. During the closing segment, Seth and Rob share some of their experiences at this year’s Electric Forest festival and we are treated to two songs from the Jon Stickley Trio cd, Maybe Believe.

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    Episode 59: Michael League of Snarky Puppy

    Between Snarky Puppy’s recent captivating pair of Atlanta shows, Rob and Seth chatted with its founder (who just won a Grammy for Culcha Vulcha) and co-founder of the GroundUP Music label, Michael League. This label’s truly unique, annual and independent GroundUP Music Festival in Miami Beach, Florida is an extension of the group’s ethos, so it is discussed first. We learn about how they chose to hold the fest in Miami Beach and about the challenges and rewards of running a festival at which shining a light on truly brilliant artists is more important than ticket sales. Michael also talks about how his producing work has become increasingly diverse and he tells stories specifically about working with Eliades Ochoa (Buena Vista Social Club) and David Crosby. Michael talks about how his playing has been influenced by Jaco Pastorius and Wayne Krantz, and he goes on to reveal why he has evidenced such loyalty to musicians and other peers who have been with him and the band for years. We also get a window into his process creating music to execute with Metropole Orkest, collaborating with Jules Buckley (he “plugged the music into the score”) all of which landed the band one of their Grammy’s for Sylva. Michael also touches on the writing process for Snarky Puppy, one which often involves a slew of extremely talented musicians, and he talks about how the band’s live shows remain cohesive despite their rotating line-ups and tendency to improvise. He also touches on his other band, Bokanté, and what the future holds for them. The ever-effusive League elaborates on many other topics and the episode ends with live versions of Snarky Puppy performing “Tarova” and GroundUP’s latest amazing artist Alina Engibaryan singing “We Are,” each from a recent Atlanta show.

    Make sure you head on over to to listen to the band's two-night run in Atlanta and many more available shows!

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    Episode 58: Karl Denson

    Seth and Rob help saxophonist/flautist/composer Karl Denson extend his checkout time at an Atlanta hotel while they chat with him about a variety of topics including his time with the legendary Rolling Stones. However, Karl has his own impressive career as a front man, so the trio starts by discussing this. We learn about how the musicians who would ultimately prove themselves ideal came together for his most recent release “New Ammo,” as well as his forthcoming project. We hear about his excitement to again be working with Zac Najor, someone he has known since the early days of his outstanding band, Greyboy Allstars. We also learn about Chris Stillwell, Kenneth Crouch, Seth Freeman, DJ Williams and other fantastic musicians. Denson also explains how he benefited from the work of Elvert Walltower, who helped fine tune the vocals on “New Ammo.” Then we are taken back to when Karl got “the call” from Lenny Kravitz to tell him his “name was thrown in the hat” to replace Bobby Keys in the Rolling Stones - a call which initially came in while Karl was purchasing his first-ever guitar. Cosmic. Denson tells about how the Skype calls and rehearsals would served as his initial entry into this amazing world. He tells us about the kindness and support of Stones bandmate Tim Ries (who also manages to find side gigs for some of the band members irrespective of where in the world the band is geographically) and about Ries’ own recorded work away from The Stones. Karl comes clean about how some of his own over-playing on one version of “Brown Sugar” earned him a trip to “the principal’s (Mick’s) office.” Karl gives specific examples which evidence how hard The Stones work and how they maintain a healthy combination of joy for, and commitment to what they do. Many more Stones-related subjects are discussed, including how a steak dinner in Chile with Keith Richards and Ron Wood fell together naturally…..and how Keith has a love for reading ship’s logs. Karl is sharing an upcoming festival bill with Stevie Wonder and Kendrick Lamar, and this leads this program into a discussion of each and in turn a digression about “conscious” hip/hop. Karl explains his aversion toward “music that sounds like (it’s created by people who) don’t have mothers.” Rob also goes through a bunch of Denson-related cds made by veteran taper Ira Gross and Karl shares some of his memories of each, including his memories of the themed Halloween shows which were held over a decade a go in this program’s hometown, Atlanta. Karl even explains why, “Bob Weir paid for my house” and how Jon Fishman had a prophetic moment at Hampton70.

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    Episode 57: Erick 'Jesus' Coomes of Lettuce Pt. 2

    This contains the conclusion of Seth and Rob’s chat with Erick “Jesus” Coomes of Lettuce. Coomes talks about the band’s decision to incorporate lasers and even “gets all Kanye” on the hosts at one point. The boys finally jump into the wayback machine and talk about Coomes’ father who was a hugely influential Christian Rock musician and producer who eventually wound up working with legendary musicians like Stevie Wonder and Whitney Houston. We learn about specific experiences Erick and his brother, the accomplished producer/drummer Tyler “Tycoon” Coomes had watching their father work which would greatly impact each of their lives. Adam “Shmeeans” Smirnoff crashes the party and talks about the importance of bringing your best every time you step on the stage, and what it’s like being a new parent while being a member in a full-time touring band. When the focus returns to Coomes, he talks about how his father arranged for a young Erick to be treated to private lessons with legendary bassist John Patitucci. Time forces us to skip forward, but we learn how Jesus found Anthony Hamilton and how that would in turn change his and his brother’s life. Jesus gets candid about how a tip from a friend would ultimately lead to him working with Eminem, Snoop Dogg and 50 Cent. We even get a tiny window into the great Dr. Dre’s creative process, and the power of his two words “keep practicing.” We also learn about some of the workings behind the 2013 Hip/hop Bonnaroo SuperJam with DJ Jazzy Jeff, Method Man, Redman, Ghostface Killah, Wu-Tang Clan and others. Rob and Seth encourage Erick to get Lettuce to record with hip/hop artists in the future. Before bringing the episode to a close, Rob Turner reads the tweets that caused David Crosby to block him. Was this deserved? Email us at and give YOUR opinion.

    Music used for this episode as inspiration and also speaking points can be found on a Spotify playlist here

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