The Glass Sho ~ Ecouter Ensemble (Preview of their Spectrum concert, 11/21)

The Glass Sho features an interview with the flute/cello (and sometimes piano as well) trio Ecouter (Above, from L to R: Amelie Brodeur, flute and piano; Nikola Ragusa, flute; Natalie Spehar, cello). They discuss their all-new music and visual arts project titled Project “Three”, which will be released as a recording and toured in several locations, launching at Spectrum in NYC on 11/21, and features pieces commissioned from composers such as Rebecca Brandt, Cristina Spinei, Luci Holland, Clio Montrey, and several others.

A few minutes of the forthcoming recording (Luci Holland’s “Ash”) are previewed in this episode.
More details on the premiere and the tour here:
Introducing Project “Three” for 2014-2015

Friday, November 21st, 7 PM
121 Ludlow Street, 2nd Flr
New York, NY 10002

Click here for tickets

Ecouter is featured in the first half of this episode

The Glass Sho: Episode 22 (Ecouter Ensemble/David Donnelly on His Documentary ‘Maestro’)

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The Glass Shō ~ Rebecca Brandt Discusses Her Album Remixed


Composer Rebecca Brandt sat down with me to discuss her new CD Numbers & Shapes: Revisited. It’s really a collection of remixed takes on the pieces from her first full-length CD simply titled Numbers & Shapes, but this was a different kind of project–while not involving Rebecca’s full-on expertise as an artist/composer (at least in real time), her focus was on the initial stems of the pieces and working in tandem with the mixing artists.
Below is an excerpt from our interview for The Glass Sho, which, by the way, can be heard in its entirety when you click on the link on the bottom or on The Glass Sho link on the top right.

“It was actually not originally my idea, it was a friend that came to me with the idea. I was actually looking to start a new project at the numbers&shapesrevisitedtime, and I kind of wasn’t really sure if I wanted to do another full album by myself, or what I wanted to do, so, when this was presented to me, I thought it was a pretty neat idea. After we went over the logistics, and how we were actually going to go about doing it, it just seemed like it would be really fun! He knew lots of people that were interested, so it kind of worked out!

First, I had to be involved with the initial production when I had to get the stems together, and we did get to talk creatively about what we were looking for and the concept of the record, but really, we just kind of let the artists do their own thing and bring their own styles, and as you may have heard, a lot of the remixes don’t follow my songs at all, and some of them don’t even sound like they were taken from my stems, which I think is a really cool interpretation! Someone took these stems and these masters and manipulated them in such a way it made them unrecognizable, but used the same building blocks, and some of the other songs follow the stems more closely. I thought the interplay between the two modes was pretty neat!”

The Glass Shō: Episode 1–Rebecca Brandt discusses Numbers and Shapes: Revisited

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Click here to purchase Numbers & Shapes: Revisited

Rebecca Brandt (

Rebecca Brandt


NY-based composer Rebecca Brandt, who has a very fascinating homepage on her website as you probably know from the links I’ve provided (I just hope you can tear yourself away long enough to read this interview), had a few minutes to talk about her recently-released album Numbers and Shapes as well as stuff related to it.

CM: How did you get started as a musician/composer?

Rebecca: I started doing the piano when I was 4, and immediately after that, I started composing. That was kind of the reason I wanted to play the piano was to start writing music, so the really basic songs started around 4 and they had titles like “Dunkaroo”! [laughs]
When I was in college at NYU, I started to take composing a lot more seriously, so, it was kind of from then until now, and right after I left, I kind of wanted to do a really big project for myself, so I was kind of taking a lot of the methods and the theories that I learned in college and applying them to more practical composing for today. That’s kind of where a lot of the inspiration was, taking different parts of music theory, and writing around that. Continue reading