Play It Like It's Music - TopPodcast.com

View Top 200 Chart

Back to Rankings Page

Music
**Play It Like It’s Music**

Purists may whine that the best days of music are behind us, that capital “M” music has seen its peak and is no longer relevant. But here at Play It Like It’s Music we believe the opposite: not only is the act of musicmaking an essential life skill with a lineage stretching back to the beginnings of human history, but the vocation of the professional musician is more vital today than it ever has been. Once a month, join musician, songwriter and producer Trevor Exter as he drops in on working musicians from every genre.

playitlikeitsmusic.substack.com

Latest Episodes:

no use for a butter knife Jun 12, 2019

Show notes

Back in NYC this week like:

In this edition:

* An oldie but a goodie.

* A comparison of implements.

* A gig for Friday in NYC.

a lumberjack has no use for a butterknife.

I was surrounded by horn players last night. Great ones. Saxes, trumpets… they can play lead or blend into a nice punchy section in a funk band. The sound is loud and faces forward. The horn is always ready to cleave through space and make its sonic dent.

Likewise the electric guitar. The guitar can play lead or rhythm or chords… or all of the above! The guitar is always integral to the band and central to most industrialized music of the last 100 years. Wielding their axes, guitarists are the lumberjacks of our modern musical age, clearing the forest so we can forge our way forward.

(And what are drums but the guns of musical colonization? They’re everywhere.)

But the cello? The cello is more like a butterknife. It requires certain circumstances in order to shine: the sound requires headroom, the player is better off seated. If the butter is soft at room temperature then the butterknife will more than excel at its job. But you’d never use it to cut any trees down.

The cello is refined and begs a refined place, it needs a lot of parameters to be met which the horns, drums and guitars of our modern age do not need. The cello works best in a prepared, climate controlled, echoey space.

Out in the wilderness we are dependent on (and at the mercy of) our drummers, horn players and guitarists. They clear the way and build the world. Respect to that.

But once the world is built? Give yourself the gift of a little cello.

Because you earned it.

This Friday in NYC:

* Friday 6/14 in New York City: gina Breedlove “Naked Soul” at the Rubin Museum

“The potent, powerful medicine of sound can shift and move stuck energy out of the body, creating opportunity for wellness, presence, clarity, and so much more.” —gina Breedlove

Medicine woman gina Breedlove is a singer, songwriter, sound healer, and actor from Brooklyn. gina began performing professionally at age 16, singing background for the inimitable Phyllis Hyman. She went on to tour with legendary artist and activist Harry Belafonte as his featured vocalist. gina created the role of Sarabi in Disney’s The Lion King, and most recently has appeared in two Spike Lee films: Chi-Raq and Living Da Dream. gina tours the world with her music, which she describes as “FolkSoul,” holding sound healing circles in every city she visits.

This Friday the band consists of gina, guitarist Ashley Phillips, percussionist Daniel Sadownick and myself. It’ll be totally acoustic, no mics or anything so come on out!

Otherwise still on the road. I’m living out of a bag for the next little while, visiting the cello siblinghood:

* 6/17-20 in Bellow’s Falls, VT: Creative Cello Workshop with Eugene Friesen

* 6/21-23 in Boston, MA: 25th Annual New Directions Cello Festival

Thank you for reading and subscribing.

I appreciate you.

Big love to your ears,

Trevor

If you appreciate my work, it’s in these other places too. Please help it spread by sharing it:

* Listen to the “Trevor Exter Playlist” on Spotify

* Hear 18 episodes of: "Play It Like It's Music"

* You can hire me to score your piece.

* Or I can produce your podcast.

* Direct support @ Patreon

* Follow: IG \ TW \ FB

* trevorexter.com

Get full access to Play it Like It's Music at playitlikeitsmusic.substack.com/subscribe

adventure lies off the grid Jun 05, 2019

Show notes

Sending love from Eagle Rock!

Overheard:

New Yorkers are not "nice", but we are friendly. Angelenos are not friendly, but they are "nice". [last word spoken through a clenched perma-grin]

In this edition:

* Some happy cello

* A bit o’ moanin

* A podcast I listened to twice

[the Santa Monica beer kundalini is strong. Horchata?]

It's easy to look at the music career landscape these days and feel like we're stuck in quicksand, with the machines taking over and whatnot.

Artificial intelligence may be a slick bit of mythmaking, but artificial music has definitely been dominating the scene for awhile now and the results are debilitating.

I like a lot of the noises made by machines, but I hate the power dynamic.

Where we used to have all these different kinds of bands and orchestras led by all manner of currupt people - with doors nevertheless open everywhere for an enterprising musical human to wend our way to expertise and success - now we all have the “means of production” at our fingertips - but very few places in which to bounce sound around.

A DJ event can feel like the musical version of a fascist rally. Led by the machines, a DJ is merely an operator with the thinnest set of instructions.

What we miss when the instruments are stashed away in closets is the very voice of democracy, of humanity. Forgetting how to play is like forgetting how to speak.

(Folks have forgotten how to dance too, but that's someone else's soapbox.)

Meanwhile, "Jazz" has become like dentistry. There’s only room in there for the most studied, qualified, pedigreed professional players. Slightly less exclusive than the NBA but with 1/1000th the paycheck for the winners.

The folk scene, the rock scene... plenty to complain about: as professional playing opportunities get ever rarer, machines are an outlet which emerged to fill the void of human engagement.

I can now make a record on my phone, as long as I stick to the grid.

But the adventure lies off the grid.

Off the grid is where you'll find friendship, power, delight, freedom, freshness, luxury, respect, romance, tension, strength, sex and the safety brought by full-organism involvement.

The digitized music scene of today has everything and nothing. More sound in it than ever before, but increasingly disintermediated, overpriced and more underpaid than ever.

So make yourself a classic record. If you're truly lucky maybe you'll get sampled by a rapper. Meanwhile the Irish group from the corner bar has long been replaced by a TV and the jukebox sounds like a perpetual beer commercial.

I've written myself into a hole. What's the way forward Trev?

Get your head off the bar and make your noise.

In the meantime, The Dirty Three will save you.

a podcast I listened to twice:

The conversation gets deeply wonky and goes slow as molasses. I started it while doing the dishes and then let it run in the background. Then I tuned out for a bit, but the last half hour really caught me and I found myself rewinding to listen from the beginning.

David Brooks has really been through it, and it changed him. He’s beautifully vulnerable in this wide-ranging interview.

I’ve never been a huge fan, but this one felt like a valuable listen.

https://podcasts.apple.com/us/podcast/the-disillusionment-of-david-brooks/id1081584611?i=1000437042197

gigs this month:

Still on the road! I’m living out of a bag for the next little while:

* Friday 6/7 in Topanga, CA: appearing with Simone Giuliani at Pure Land Farms

* Friday 6/14 in New York City: Gina Breedlove “Naked Soul” at the Rubin Museum

* 6/17-20 in Bellow’s Falls, VT: Creative Cello Workshop with Eugene Friesen

* 6/21-23 in Boston, MA: 25th Annual New Directions Cello Festival

Thank you for reading and subscribing.

I appreciate you.

Big love to your ears,

Trevor

If you appreciate my work, it’s in these other places too. Please help it spread by sharing it:

* Listen to the “Trevor Exter Playlist” on Spotify

* Hear 18 episodes of: "Play It Like It's Music"

* You can hire me to score your piece.

* Or I can produce your podcast.

* Direct support @ Patreon

* Follow: IG \ TW \ FB

* trevorexter.com

Get full access to Play it Like It's Music at playitlikeitsmusic.substack.com/subscribe

Much move, many play May 29, 2019

Show notes

Sending love from Seattle. In this edition:

* A tiny sting [press play].

* A pep talk to go deeper.

* An array of gigs for June.

[tea in the Sahara with you…]

No Giving Up.

People become friends with me for whatever reason, but the meat of our relationship often consists of a shared contention with the musical beast inside ourselves.

I'm blessed with a few world-class friends: violinists, engineers, authors, welders, investors, activists... Living in New York brought me some great connections and gigs, but at the end of the day a gig is just a gig. We are always left with the same situation:

Inwardly facing an unfathomable amount of unexpressed music.

Unplayed, Unwritten.

Songs unsung, audiences unmet.

Not everyone is like this, but most of my friends are, no matter their choice of career or the state of their sound. It has nothing to do whatsoever with worldly success.

Designers gravitate to other designers. Visual artists to other visually-driven people, writers to each other and so forth. But music drives me.

I recognize this drive in others when it appears. We're in this and we hear things, and if I worked as a coach there'd be only one thing I’d say, and that's Don't give up.

This thing inside you is telling you something valuable. Honor it.

Because Marketworld wants you to crave something else, wants to take you away from yourself.

I know because I've tried harder to quit than I ever tried to succeed in music.

You know all the reasons to get "with the program"? I took them deeply to heart:

It's scary.

The music biz can be dicey.

The road is no way to live.

We have oversupply.

Knowing these things I tried many, many times to leave music. Or to at least contain my urges somewhere safe and manageable.

But no such constrained safety exists.

It's in me, and it will eat me alive if I don't move on it.

You may not feel this way, in which case I envy you.

But if you do, it's better to admit it and find ways to engage as the servant you really want to be.

I am a servant to my sound. I've learned that I have no other choice. But I’m happy knowing.

It does not liberate me from the responsibility to make a living, just ask any of the legions of musicians with jobs.

We don't sleep much, it won't let us. And that's fine with me.

It means less time to think about giving up.

I don't have time to give up.

Neither do you, so play.

from a new reader:

"I've recently subscribed to your newsletter and just felt compelled to let you know I think it's amazing. It's simple and thoughtful which I really like. Thanks so much for all of this, it's inspiring and I hope that one day I can contribute to the music world and musical thinking like this."

Thank you. This means so much to me because I’m flying very much by the seat of my pants, totally on faith.

Lately I’ve been riding camels, herding cats, packing up the house for a major move and basically doing everything but my music. My chops are such s**t right now. But I’m feeling the pull because I have five massive gigs coming up:

* Thursday 5/30 (Tomorrow) in Olympia, WA: An Evening with James McBride and Band

* Friday 6/7 in Topanga, CA: appearing with Simone Giuliani at Pure Land Farms

* Friday 6/14 in New York City: Gina Breedlove “Naked Soul” at the Rubin Museum

* 6/17-20 in Bellow’s Falls, VT: Creative Cello Workshop with Eugene Friesen

* 6/21-23 in Boston, MA: 25th Annual New Directions Cello Festival

I would love to connect with you at any of these!

Thank you for reading and subscribing.

I appreciate you.

Big love to your ears,

Trevor

If you appreciate my work, it’s in these other places too. Please help it spread by sharing it:

* Listen to the “Trevor Exter Playlist” on Spotify

* Hear 18 episodes of: "Play It Like It's Music"

* You can hire me to score your piece.

* Or I can produce your podcast.

* Direct support @ Patreon

* Follow: IG \ TW \ FB

* trevorexter.com

Get full access to Play it Like It's Music at playitlikeitsmusic.substack.com/subscribe

¿Que és hip? May 22, 2019

Show notes

Beautiful day in New York today. In this edition:

* A little melody.

* An oldie swipe.

* An awesome invitation for the cellists.

[I promise I’m just keeping an eye on the group here. Not trying to look colonial or anything.]

What is hip?

Classic song, timeless message. Except maybe for the word "hip".

But I propose that the older that word gets, the better (as in hipper) it gets.

Because it was always pointing to the slipperiest, most ephemeral thing.

Hipness has always been for the kids, who think they can hide from their own unexpressed fear of death and obscurity behind an endless string of new words.

I was more lost than hip when I was young. I thought I wanted hipness (maybe by some other name I can’t remember), but it was worthiness, participation and delight I wanted.

Things much less slippery.

Posolutely.

Meet me in Vermont!

This is Eugene Friesen, a hero of mine since childhood and you can see why. The guy burns it down on the cello in all kinds of ways:

I just surprised myself by signing up to attend his Creative Cello Workshop in Vermont next month, and apparently it surprised him too. He wrote, "You're an accomplished solo artist already, what are you hoping to get from the weekend?" and I replied that "with all that I’ve been up to musically and production-wise, I have not been as connected to other cellists as I want to be."

Seriously, I’ve been wanting to tear myself away and come up there for a while. So I'm gonna do it. If you are a cellist, come join in!I didn't bend his ear at length inre my deeper emotional/spiritual reasons for wanting to gather in community with creative cellists, as they are likely similar to all of ours. I've had a lot going on as usual, and the cello remains my steadiest friend through it all.Read more here and sign up if you want to come join us!

Thank you for reading and subscribing.

I appreciate you.

Big love to your ears,

Trevor

If you appreciate my work, it’s in these other places too. Totally ok to share:

* Listen to the “Trevor Exter Playlist” on Spotify

* Hear 18 episodes of: "Play It Like It's Music"

* You can hire me to score your piece.

* Or I can produce your podcast.

* Direct support @ Patreon

* Follow: IG \ TW \ FB

* trevorexter.com

Get full access to Play it Like It's Music at playitlikeitsmusic.substack.com/subscribe

Train Stations May 15, 2019

Show notes

Beautiful day in the Sahara today. In this edition:

* A song called “Train Stations”

* An ostrich

* An underwater show to listen to on your desert island.

[Today’s location: Morocco. More on that in future.]

Ostrich

A friend once compared playing the cello to making out with an ostrich. And I get it, because these things are super awkward.

After decades on the chase, I finally feel somewhat natural with these things, but the life is one of obedience more than affection.

It's not what people see from the outside, though.

Because the sight and sound of a cello usually conjures deep feelings of connection and power. It's all we can do to lighten it up, what with the extreme physical awkwardness of the play.

And the haunting sound a cello makes.

I still just want to have a good time on the thing, and tell the truth.

I am currently bingeing this podcast

And it’s only three episodes, so if you’re squeamish about podcasts then I promise you it won’t take long.

Science Weekly: Oceans of Noise

[Photo by Irina Iriser from Pexels}

The Guardian given us quite a gift. The show, “Science Weekly” is ongoing, but this is a three-part series. A [ahem] deep dive, as it were.

“Contrary to popular belief, or the writings of Jacques Cousteau, life under the ocean surface is not a silent world but in fact a dense and rich sonic environment where sound plays a fundamental role to all known life.”

I am in heaven: listen to Science Weekly: Oceans of Noise.

Thank you for reading and subscribing!

I appreciate you.

Big love to your ears,

Trevor

If you appreciate my work, it’s in these other places too. Totally ok to share:

* Listen to the “Trevor Exter Playlist” on Spotify

* Hear 18 episodes of: "Play It Like It's Music"

* You can hire me to score your piece.

* Or I can produce your podcast.

* Direct support @ Patreon

* Follow: IG \ TW \ FB

* trevorexter.com

Get full access to Play it Like It's Music at playitlikeitsmusic.substack.com/subscribe

A Wreath for Emmett Till May 08, 2019

Show notes

Beautiful day in NYC today. In this edition:

* A quick jam with my friend @digifiddler, who was my guest on Episode 7.

* Nostalgia for the future.

* Some amazing new music from another podcast guest.

[Today’s guest violinist in action. Press play above!]

It is a luxury to listen to music.

But making music is a healthy pursuit. Not luxurious.

From the making and the playing, many benefits flow as long as we don't get caught up in the luxury side of things. We leave that to the listener because it takes work to create luxury listening experiences.

And work is good for the soul.

But it is still work.

We play, but it is work. And the work has to be FOR somebody. Maybe you have an audience. Maybe God is your audience. Maybe you play to retrieve a lost part of yourself.

But one of the big lines that gets blurred when music is "free" and our technology enables all kinds of sharing is this one: the line between frivolity and service.

It's not a supply and demand thing. Music isn't a game. We serve the sound and the sound serves humanity a thousand fold.

Take it seriously. It's real. And some very real music is about to follow below!

A Wreath for Emmet Till

Some of you may remember hearing from Gregg August in episode 15 of my podcast, in which he gave us some rich rememberings of his time in Cuba and growing up between the worlds of jazz, classical and afro-cuban music.

He has some new music, the album isn’t out yet but a few videos are. This is a deep and intricate piece of work, Gregg has put together a beautiful ensemble and given us quite a gift here.

Click here for the more-uptempo other video with the same group.

And here’s a great one with both Greg and Todd in a trio.

It’s some high quality music. For more on Gregg, explore his site.

Thank you for reading and subscribing!

I appreciate you.

Big love to your ears,

Trevor

If you appreciate my work, it’s in these other places too. Totally ok to share:

* Listen to the “Trevor Exter Playlist” on Spotify

* Hear 18 episodes of: "Play It Like It's Music"

* You can hire me to score your piece.

* Or I can produce your podcast.

* Direct support @ Patreon

* Follow: IG \ TW \ FB

* trevorexter.com

Get full access to Play it Like It's Music at playitlikeitsmusic.substack.com/subscribe

With You May 01, 2019

Show notes

Today has been a day of cranking things out. Thus: a bit tardy.

* A new sung song of mine you may not have heard.

* Nostalgia for the future.

* Triplets from Brazil, animated and beautifully sung.

[Cellos must relax! Lie down, little cello.]

Nostalgia

When I hear good gypsy jazz I get flooded with nostalgia for a time I never knew. Good music does that: it makes us time travel.

90’s hip hop will forever be 90’s hiphop, especially for those who experienced it in person. But if the music is made right, you can be from any “time” and still experience nostalgia.

When I hear a good Irish or Argentine musician I get filled with longing, usually for some heartful link to a past that’s foreign to me. But other kinds of music make me feel different things:

Billie Eilish makes me wish I were a lot younger and way more talented and connected.

Bach makes me wish I were more religious.

Louis Armstrong makes me wish I played trumpet.

And all the best, most imaginative music makes me feel one other, totally delightful thing: nostalgia for the future.

For what we’ll be making.

Brazilians don’t play a lot of triplets,

But when they do? Wow. Oh and they sure can animate too:

I’d never heard of Tulipa Ruiz before, but apparently she’s massive on the scene. I now stand informed, and so can you.

Thank you for reading and subscribing.

I appreciate you. Enjoy spring!

Love your ears,

Trevor

If you appreciate my work, it’s in these other places too. Totally ok to share:

* Listen to the “Trevor Exter Playlist” on Spotify

* Hear 18 episodes of: "Play It Like It's Music"

* You can hire me to score your piece.

* Or I can produce your podcast.

* Direct support @ Patreon

* Social: IG \ TW \ FB

* trevorexter.com

Get full access to Play it Like It's Music at playitlikeitsmusic.substack.com/subscribe

Sunnyday Cello Apr 24, 2019

Show notes

Greetings from an LA café. In this edition:

* Some sunny day cello.

* Some freedom of epression.

* A movie to not sleep on.

[Serious-er times with John Kimock]

Freedom Of Expression

The more smart and connected one gets, the more elusive our freedom of expression.

It's a slippery sword we try to wield: as long as the music means little and is heard by few, total freedom is possible. But as it acquires weight, relationships and influences responsibility creeps in and our “freedom” gets clouded.

Here’s what I’ve learned: the freedom of the player has to become the liberation of the listener, else our playing circumstance will start to contract.

I used to be that kid who would find the piano in every building, run to it and start playing. It never occurred to me that I might be driving anyone crazy. My only concern was that there wasn't music before I’d started, and now there was. What could be wrong?

We all start there, discovering the sound and celebrating it. But as our sound expands, so does our awareness. Becoming aware of the room and any potential listeners within it, I inevitably start to hear through their ears and my sound inevitably changes.

But the line between empathy and pandering is invisible.

Before I know it, my “freedom” fades into a stack of new considerations. And that's when the real work begins, because the quest for individuation demands a discipline which will ultimately bring us a greater measure of freedom.

Music is a disciplined journey into deep liberation. In order to play freely we have to create a new space within the wider space.

Especially because when the listeners arrive, the stakes go up.

You never know whose life you might alter or how.

Music is a powerful thing, it works on us in powerful ways. [Cue Stan Lee.]

So we get smart, become connected and our freedom becomes service: we work to free the sound, and the sound frees us in return.

Please see this if you haven’t:

If Beale Street Could Talk

Nicholas Britell’s score is one of the many wonders of this movie. The string writing and production gave me goosebumps throughout, but the film as a whole is a miracle.

Somehow, I felt a throbbing love in my heart from start to finish. For the characters, the filmmakers, James Baldwin… everybody. There’s lots of stuff out there to see, but make the time for this one. Trust me.

Thank you for reading and subscribing.

I appreciate you. Enjoy spring!

Love your ears,

Trevor

If you appreciate my work, it’s in these other places too. Totally ok to share:

* Listen to the “Trevor Exter Playlist” on Spotify

* Hear 18 episodes of: "Play It Like It's Music"

* You can hire me to score your piece.

* Or I can produce your podcast.

* Direct support @ Patreon

* Social: IG \ TW \ FB

* trevorexter.com

Get full access to Play it Like It's Music at playitlikeitsmusic.substack.com/subscribe

Blockbuster Apr 18, 2019

Show notes

A long time ago…

In this edition:

* Fresh music: a Mancini-inspired cello “big band”.

* A single recommendation

* (That’s all. I hope you like it too.)

[John Williams conducting Star Wars]

Big time podcast recommend:

I just fell in love with this thing, so I’m dedicating this week’s email to it. It’s a blockbuster.

Actually, it’s THE blockbuster podcast: It’s immersive, imaginative, a bit campy and fun in all the right ways (for me). An innovative use of the podcast medium as well, I can’t wait to hear the rest.

From the website:

“This series has been painstakingly researched, compiled and referenced from thousands of sources, and many of the events that led to the creation of JAWS, CLOSE ENCOUNTERS, and STAR WARS, which launched the very idea of "the blockbuster" film.

It's a story that took place a half century ago — recreated by voice actors, exquisitely designed by award-winning designers, and scored with original music in the spirit of John Williams. It follows two scruffy 20-something filmmakers who become friends, and in some ways, rivals. It's a story of following dreams, frustration, and failing ... hard. Even flopping.”

It’s immersive, imaginative, a bit campy and fun in all the right ways (for me). An innovative use of the podcast medium as well, I can’t wait to hear the rest.

“BLOCKBUSTER” has done something ambitious, a great idea that was hiding in plain sight. Listen to it and you will see things, something which has always been true of the best audio content but is often lost in the marketing mix.

Music and visual art are marketed in such different ways, and the target fans often have wildly different personality types. Are you a ‘visual’ person? I don’t consider myself one. But the reality in advertising/marketing is sadly (IMO) “eyes first, ears second”.

So it’s especially gratifying to come across an audio product that embraces the visual medium and professes plenty of love for it without also trying to become it.

This thing wouldn’t work the same magic if it were paired with visuals on a screen.

At first I was turned off by the VO/narration. Admittedly it’s bit bro-y, lacking proper hollywood/NPR fidelity and slickness. But therein actually lies the appeal: it’s as if your nerdy cousin loves this story, and the idea of sharing it with you so much that he’s gonna tell it all to you personally. Just to kill time over thanksgiving.

There’s huge heart in it. Enjoy!

[George and Steven]

Thank you for reading and subscribing.

I appreciate you. Enjoy spring!

Love your ears,

Trevor

If you appreciate my work, it’s in these other places too. Totally ok to share:

* Listen to the “Trevor Exter Playlist” on Spotify

* Hear 18 episodes of: "Play It Like It's Music"

* You can hire me to score your piece.

* Or I can produce your podcast.

* Direct support @ Patreon

* Social: IG \ TW \ FB

* trevorexter.com

Get full access to Play it Like It's Music at playitlikeitsmusic.substack.com/subscribe

Headroom Hunting Apr 11, 2019

Show notes

Hot days, cool evenings. Best time of year.

In this edition:

* An instrumental soundtrack.

* A riff on headroom and overtones.

* A beautiful cello video.

Headroom

You could say that a musician has found their "voice" IF their sound feels like home to them AND they can find a circumstance where it can do some good for an audience.

I've owned my sound for a long time and explored a number of places for it, and lately I’ve been tapping into some new energy. I recently played cello on a film soundtrack which premiered at SXSW less than a week later.

Tight deadlines produce surprising results and I was amazed at the work this composer pulled off. (When a proper release happens I’ll tell you about it, of course. )

But the cinema music experience is all about the headroom, much more than performing live. And I love the sound of headroom.

At conservatory I used to create pieces to help me work through my burning musical questions. The practice pieces always led to further questions, which naturally led to more writing.

Convinced that the cello had untapped flavors and looking for ways to let it breathe, I realized early on that it’s not about the cello at all, but the space you create around it.

Life on the road taught me that you can make any sound you want - anywhere, using anything - if you can find the moments where it will enhance people’s experience.

But it’s important to listen from outside.

Because while a melody might live on the canvas or as part of the frame, overtones are the light without which none of our musical ideas can ever matter.

Let the sound breathe.

something curated:

Some cello brilliance by Helen Mountfort. I was mesmerized. “Soliloquy is inspired by and pays homage to the music of extraordinary Armenian composer and duduk player Djivan Gasparyan.” What a sound.

Thank you for reading and subscribing.

I appreciate you. Enjoy spring!

Love your ears,

Trevor

If you appreciate my work, it’s in these other places too. Please share:

* Listen to the “Trevor Exter Playlist” on Spotify

* Hear 18 episodes of: "Play It Like It's Music"

* You can hire me to score your piece.

* Or I can produce your podcast.

* Direct support @ Patreon

* Social: IG \ TW \ FB

* trevorexter.com