Robert Dillon and Peter Martin

Recorded June 15, 2021 Archived June 15, 2021 39:43 minutes
0:00 / 0:00
Id: chi003570


Musicians and colleagues, Robert Dillon (41), and Peter Martin (41), talk about their percussion ensemble, Third Coast Percussion. They talk about their mentors over the years and the Chicago music scene.

Subject Log / Time Code

PM talks about their rehearsal space.
They talk about why Chicago gave rise to Third Coast Percussion and similar groups.
RD talks about how they started out at the Percussion program at Northwestern.
They talk about the mentorship of Augusta Read Thomas, her impact on the percussion scene in Chicago, and how Ear Taxi started.
They talk about their record coming out during the Pandemic.
They talk about all of the places they've had the opportunity to perform virtually because of COVID.
PM talks about the hunger to go see live music now, post-COVID.
They talk about how they became serious about being percussionists.


  • Robert Dillon
  • Peter Martin

Recording Location

Virtual Recording

Venue / Recording Kit

Partnership Type



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00:02 Hey, my name is Peter Martin. I am 41 years old. It's June 15th. 2021. I'm here at the location of a Third Coast. Percussion the rehearsal Studio which is in Chicago. 4045 North Rockwell Street in the North Center neighborhood. And I'm here with my partner in crime, not in crime, my partner, a musician by Rob Dylan and yeah, he's a band member. My my band member, my bandmates. I should probably in Third Coast percussion.

00:35 My name is Robert Dillon. I am 41 years old. Today is June 15th, 2021 and we're recording in Chicago. I'm here. Chatting with Peter Martin. Who is one of my fellow musicians in Third Coast percussion.

00:52 Peter were talking today in our rehearsal, space of this percussion. Quartet Third Coast percussion that we both play in. And we've had this rehearsal space where we keep all of our many instruments. And mercy got there, since 2008, and it has changed a lot in that time. The space between a lot of the building has changed a lot. You want to remember, like what it was like, when we moved in here? Yeah. Yeah. So this this building and it's in a very small set of Industrial Strip in North Center, Chicago, right next to the Chicago River. Actually, but it's on Industrial Strip that nobody would ever drive through unless you were needing to come here for a reason and it was all like manufacturing. When we first moved in the building that we're and used to be a photo album,. And it was for many years. I want to say. It started actually don't know. So, I shouldn't even say it. But I know that it's like the height of their business. They had about a hundred and twenty employees here.

01:53 When we moved into the building, we started leasing out somewhere top floor storage space to use as a rehearsal Studio. We moved in there still may be 20 or 25 employees left with the company of the companies that a family business has been a family business. Business old time. I'm going to have course, physical photo albums have become less and less of a thing. And so after about five or six years of us being in your company, ended up folding, but what they've been doing now, is actually building out at least seen a lot of different spaces in this building is building is like, you know, that three-story factory warehouse style, building, big, huge floating, dock, everything. You think of with a factory warehouse and now, they've been leasing it out to a bunch of people. So we are one of the first people in here. It's, it's, there's a lot of silk screen artists that are people are familiar with six silkscreen. Art would probably recognize the names and the artwork Balada, people that we share our third floor with year chirp radio.

02:53 I go independent radio project a broadcast out of here. We've got so many things. There is a lot of Visual Arts. There used to be a Taekwondo Dojo just directly below us with little kids yelling at all hours of the day and that was really fun. We used to have a winemaker in here. Would have been a little bit more questionable in industrial space, but hey, they made it work. Yeah, and it's been really exciting. You no more recently over the past handful of years. Some other musicians have been moving in and we occupy this

03:27 Sweet octopus little niche of the musical world, I guess you would say the classical music world called new music for contemporary music. And in Chicago, there is a really thriving contemporary music, scene and a black bird has another really amazing chamber Ensemble that specializes in this newer contemporary classical music. They also have the rehearsal studios directly below us, and there's another amazing group called Aliante, and that's just down the hall from us. So, in addition, to being a really amazing silkscreen and visual art Hub in Chicago, it's also become a hub for any music, gas money. Like thinking about, you know, that we are in this Niche, space artistically, but also like physically, I Aspire. I think we found the space pretty early on like we don't have been doing this as a group for about three years that we needed somewhere to rehearse as their living spaces in any time. We like thought about whether we would ever move anywhere else. It's sort of like well what other space?

04:27 Have a percussion quartet in. It were like too loud to just share space with like painters and sculptors, but we're like not as loud as a metal band. So like those couple of like Band Rehearsal spaces with us. That's all these Bandz, you know that play all night. Maybe wouldn't be inappropriate space for us to to work in so it's cool, but it's like become the sort of hard but we moved in it was so like Bare Bones by. Yeah. I remember there's all this equipment all over the building and we're sort of like part of a small group of people who are all renting from one artist to rented, like one corner of the building. Yeah, and it was just the sort of thing. I think there was like, an idea. I was going to become sort of, like, asking for, like, an Arts colony and now it's money. It feels very much. Like, everyone's just like, coming to work here, you know, like we all know the other people in the building were friendly with them, but it doesn't feel like I kind of feel like everyone's heard of offices.

05:26 It's interesting. That way. I think the weights are transformed into like a really I guess, I don't know. It's serious work space and that way of like everybody's coming here to. Yeah. Yeah. Yeah, it means just a whole culture and I don't leave the building. But even like the street has really changed, you know, it was all like manufacturing and then now in addition to all these artists spaces in our specific building, you know first there was like the doggy day care that opened up down the street, on that expanded into all different, sort of forms of a Pet Care, & Pet Adoption and what not, but then, no more recently than a real people daycare open. We got a bunch of other at like massage, like like place and personal training down the street Brewery Brewery just opened up, which is actually a more. If I got a stereotypical like story storefront where people coming congregate, you know, so that the whole feeling of the street has really changed and

06:26 It's something that we as artists. And I talked about it a lot with some of the other artists that live in this building. We're just sort of wandering. And we, we've we've been fortunate to sort of adopt this building as an answer to create this wonderful artistic spaces for people working in so many different genres in so many different mediums, and we just hope that we can continue to do so, but you know, how these things go in the city with all these industrial spaces? No transitioning into lost in one hour. Also, kind of wondering how, how, how much longer we can do it. Yeah. Yeah, I think like, it is cool that there's a sort of sense of community are place. That's like a little bit of a hub for for the music that we're making. And then for other artists like us, I think it's interesting. We've always been based in Chicago, even though the various times, some of the members of the group moved other places you were teaching in Virginia for a while. And

07:26 Chicago was always the home with the group and I think it was always a very Roots were here. You know, like we all met because we all are the four of us their coasts. All went to school Northwestern, how we met and developed an interest in playing percussion quartet music. And it's just been interesting to think about over the years like the way in which all these other Chicago institution, really, contribute to like what we are as an organization why we even exist, why were in Chicago and not some other place and I wonder like early on we we named our self Third Coast percussion and even knows maybe some folks on the Gulf Coast would disagree out of that bike makes us very much rooted in Chicago and Midwest. Like we can't take our group and move to Seattle or New York without maybe changing her name. So I don't know, like what do you feel like

08:22 You know, why did Chicago give rise to us? And that's if that's what I got. The groups like us. I think it's, it's coming. I mean, it fundamentally, it's it is about the city, but it's also about like a specific sort of a group of people and at least my own experience, My Own Story, which I think is very similar to your story. And of course, has the story of Third Coast percussion that I should have been like the the mid-aughts and we were all young young musicians that were either in school or studying music in school. Like, in the conservatory environment. We are either in school. We were just a graduating, you know, at the time and the coast percussion. We were all students at Northwestern University. Just just north of Chicago. In Evanston. We all lived in Chicago and you know, the type of music that we were making as a group was also something that we studied a lot as soon to get amazing Mentor there Michael. Barret,

09:21 Who are really focused on chamber music for percussion as a Pacific Coast, the fundamental way that he taught percussion and talk musicians to be musicians. That was really great. So it didn't still like a certain like love for us or I love love for that music within us and then we were in this amazing cultural center of Chicago and like the only problem that we saw was that, you know, we were only playing this music inside of University or inside a conservatory and like there are very few people that we're seeing it as a result. And there weren't really a lot of professional models out there. But, you know, having this amazing City, we took advantage of just all the amazing performance spaces and so the same performance spaces that all focus on presenting, you know, like really experimental popular music rock and roll or hip hop, you know, you take places like The Hideout or take place is like the empty bottle and

10:21 They're always showcasing Progressive and newer contemporary music and whatever the sort of the johnra, you know is I mean, you can look at hideout in like being a big tub for old country music, you know, it's a semi again. Whatever the genre is. It's always like at like sort of like the the bleeding edge of it. And then it was really awesome. I would say, you know, maybe another thing about it with all the other groups that were coming out around, the same time, is Third Coast, percussion McAllen. The end. Today is one of them to pass Ensemble is another. And you know, many of times different players. Sometimes there's some overlap definitely different instruments and whatnot. But we are all aware of everything that we everybody was doing. I think everybody also have the same soda, DIY Spirit. Like we were all students in University. We love playing this particular brand of Music. We didn't see any professional models for being able to do it outside of just being a student.

11:21 You know, and so we were interested in like what it would take to develop a career and doing something, where there are no models for that career. And so, we all sort of did the same thing. We just started self presenting. There weren't any concert presenters that were hiring anybody to play some of this newer music. So, we just created those opportunities for ourselves and we were seeking out a variety of different venues all throughout the city of some of them were just your typical, you know, clubs like The Empty Bottle Subterranean, Hideout, all those places. And then there was also a cultural center of Chicago, kind enough to also to like sort of opened its doors. And allow us to do some really wacky stuff in very public spaces. And I think that was awesome. There was other like City of Chicago organization Department of cultural Affairs, that did some programming at the pritzker Pavilion that like, let us do some really wacky crazy stuff at pritzker Pavilion. In this huge, you know, outdoor.

12:21 Public like space that I think was just really important to the development of everything. Yeah, I mean, going back to Northwestern like it was a really, I know, when I arrive there, I transferred into the sophomore and I I I was really struck at like this is a special program with the percussion program's if that was a great music school. But like Mike Breton build a really special situation in the percussion program in terms of the way that we were all learning from each other and that the sort of support that in the sphere and also like a really wide range of musical interests. Like there are people who are awesome drumset player, through people who are interested in super experimental things and we're writing a lot of their own music. There were people who were like a virtuoso solo marimba players there people who went on to play in our people that we were in school with now are like principal percussionist in San Francisco Symphony st. Louis Symphony and other places and it was amazing group of musicians. And this

13:21 Like precaution chamber. Music was one of those things. That was those really a big Focus. But also I think just a general culture among the studio is really important. And so I tend to feel like our group probably wouldn't exist. If it were not for that particular vibin and that's for the mentorship and the sense of like collaborative energy. Yeah, for sure. And it in the studio, I mean, and it wasn't even just like Northwest Mets Pacific University. They were, I mean there other universities. Do you like to Paul was another program that there is a lot of other musicians that we were performing with inside and outside of our own life group that I think really important. And there were, there were just these other, like, just big Mentor figures.

14:05 That were in Chicago the one that comes to mind. So I guess three Thomas who's kind of like this huge driving force at the time. She was

14:14 Choose that me composer-in-residence. I think it's still called me back that night composer-in-residence the Chicago Symphony, Orchestra, obviously Chicago Symphony Orchestra, like, you know, one of the top five boxes not only in the country but in the world and she was a composer in Residence there and just an amazing prolific, talented voice in classical music, in general written music for like all the major orchestras and ensembles throughout the world. And I think a unique thing about her, only thing about the situation to was that she was always so open and so giving and so

14:53 Yeah, so willing to give advice. So willing to be a mentor, like I was like one of the first people that we reached out to when were like, all right, we're a great band. We're going to do great things and we need to figure out how to do great things. Since we asked, I got three times. Do we do this, like, a little bits of advice? And I know she did the same for a lot of these early ensembles, you know, we took a lot. We took a lot of advice from her. She also just introduced us. I want to say to a lot of other, just so different players within that sphere of classical music bothan in the city as well as outside. And then maybe you want to like, you know, all the stuff is, like, happening it. And it took like, I want to say it would probably end up taking what 10, or 15 years until it felt like,

15:43 Things are really blowing up or boiling over. I would say it like, you know, they were sort of like reaching a moment where I

15:50 All of these ensembles and it started as just like kids, you know, just like college students and now become in many cases like our own likes full-time jobs, you know for us. And so now we can we spend a hundred fifty days a year, you know touring on the road according all these albums and all this other stuff in and so we we've all kind of like reached so they like this point and there is that point in time to where I felt like a Walt Walt like Augusta read. Thomas also kind of realize that and wanted to be able to celebrate that a little bit more. She again is like somebody who identifies as a Chicago in that is identifies, you know, with the city itself and wanted to make Chicago more of a hub, more of a world-renowned hub. For this new music, this contemporary music, the style of music that we had. Um,

16:40 That we were doing and so she created your taxi. I don't know that your taxi Festival which is coming back for a second. Iteration this year the first iteration something that really just came about primarily through sheer force of will and Powerful network of Augusta read Thomas and the mobilizing the whole Chicago new music scene. And that was a really we performed on FS1 is really important performance for us. That was 2016. I believe and you know, there were so many different groups performing. We we made some appearances on a couple other sets but our main sort of performance that we played a piece that Augusta had written for us along with string quartet. He's called Celine which is on but we also on that Festival. We premiered the first piece of the four of us in Third Coast percussion Co composed ever. That was like

17:40 A thing, you know, like where percussion quartet, where in the store, the classical music tradition in the in a lot of ways, but you know, there's not like Beethoven or Mozart for custom quartets. Like it's all very new music. We commissioned a lot of works. But we also all of us in a group right music and we've done a lot of writing individually and then we Commission because of a collaborative process with the composer we working with, but this is the first time and this is something that has really inspired by and made possible. A lot of ways by Augusta and buy her mentor. And I was the first of the four of us, like Coke and post a piece, and sort of figured out. How do we write music together as a group? I know we've done that in a couple occasions that felt like that was really a landmark for the moment for us. Yeah. Yeah. It was also like I think for the new music Community to is also a landmark moment of being able to be presented in some like the more prestigious locations in Chicago, not that like all these other places that we've performed.

18:40 Are not amazing and prestigious in their own right but there's a difference in like playing a show at an amazing local then you like constellation, which is awesome, but I can't see as many good things or can't say enough good things about. There's a difference between playing to show constellation and playing a show at the Harris Theater. Those are like two different venues design for a like

19:01 Two different types of audience, you know, one being a very large public, you know, facing audience in the other being, maybe a little bit more.

19:09 You know, we really more focused than the people who are already active, you know, or are knowledgeable in like the community are? Yeah, just like party like the new music community. So and then, you know, you got a lot of attention to. There was a lot of press that that came as a result of that. I think a lot, particularly, a lot of younger new music groups, that might have been really well known within the local community, but not necessarily really well known outside of that Community had an opportunity and a platform that they never had before both on the stage as well as like through press and critical review. And I think I was just like a really important thing is an important thing, not only for our city and recognizing the place of contemporary music and you music in Chicago, but also even on a broader scale like that. Place for a contemporary music in particular. Like this ehrlichman DIY aesthetic of new music and that place. And what it could do if it was given the chance to have like a bigger platform.

20:09 Yeah, nice. And something else really cool project came out of that festival for us. Long-term that really has come to fruition more recently, Clarice Assad and Sergio, are both amazing musicians. Also based in Chicago, saw our performance there and then reach out to sort of initiate a conversation about some collaboration with put together. This

20:31 Really exciting project that we from here to in what January of 2020 and we had big plans for all the places. We're going to play it later in 2028 that were put on hold but the project is still going. We're able to finally do a live performance of it. Just a couple weeks ago, was one of our kind of our first live performance again, as as pandemic is, receding a bit and you lost be able to get on stage with him again today. And usually saw that your taxi again, like one of those moments where I think if we had not had that platform events in front of that audience at that moment. Maybe they wouldn't have to have seen if they aren't wouldn't have launched this this new project. Totally. Sure. Yeah. I mean, it's like amazing. I mean again just a tribute to like the city of Chicago which is like a hub for so many different genres, send Statics and musicians and let you know any visuals. It's great in like, you know, Teresa said this amazing singer songwriter and Sergio Sade. Just this world-renowned.

21:31 Guitarist that has toured around the world for, you know, well over 50, you know, and just like so accomplished and they both happened to be in Chicago, you know, for a variety of reasons, but but, you know, to be able again, to have that

21:48 The only reason that that project came to be was because of like us both having to be in city of Chicago. I mean us both having to be involved in this year taxi Festival, you know, and that just shows like, yeah. All these other, all these other amazing artistic opportunities that can happen as result of being in Chicago. And as a result of having some like, the ear taxi has Festival, which is a result of amazing mentors. Like I got three times. I mean, you know, there were these lines at like so they draw. You can draw all these orders through lines there. But yeah, I mean, that was, that was an amazing program. It's interesting thing you talking about? Yeah. I like to rain in a couple times, and then the pandemic, shut everything down and it was like, when we recorded it to actually. Right. Before the pandemic, I remember, is being in the studio and talking with the engineer. And everybody's like

22:38 You know, this is in the really early stage of like, you know, like armchair epidemiologist and we're all thinking that we've got this all figured out and, you know, this co-ed thing and I like, I like the flu probably. So it's like really not a lot to worry about it. I mean, you know, I got the flu and, you know, I'll always be fine. No big deal, middle a couple weeks later. Everything's going to shut down, but that was a, that project has been interesting and we've been, you know, the record came out during the pandemic, we were supposed to wear it at so many places that we did not have the opportunity to do, but then at the tail end of everything when I like the first taurine opportunities that we do have at the very end of this pandemic end up being that and I normally end up being that program, but also just the experience of being able to tour with these other. Fantastic musicians was also I really sort of special experience.

23:38 I think if you look over the last year, that project in particular, you'd sort of shows all the different, like, variations of ways that we could possibly continue getting aren't out there like during the pandemic. Like, we took one of the movements of that piece of a 12 movement for the collection of pieces called archetypes. Nice ones, based on like a different character type that reoccurs throughout literature and storytelling in the end. I know all these different Traditions, Sergio Campos for the movements, Clarice composed, for the movements, in each of us in 3rd Coast from Pokemon the movements and they're generally written for almost for all six of us. At one point on the way. We made an arrangement of one of the pieces that Clarice had written that, just the four of us and Third Coast could play on our own. So we could do it in our studio, you know, by ourselves, when it wasn't safe to have anyone else in here playing with us, but also when we go on tour and maybe we're not on tour with them, but we just want to still like, let folks know about the project. It was nice to have that. So we made that version of

24:38 Give me the version of a couple of the movement's where we like pre-recorded are parts of it. And then we sent the recording to Sergio and Clarice and they recorded their two parts over the top of it. And they send it back to us and we edited together. We played live with their recording for like a live stream concerts. We could be together in our studio with all six of us version with the six Studio together and present that through, like I'm sending organization where we were supposed to play live and then finally died a couple weeks ago. We did it live in front yard, but still like reduced capacity in the audience, all wearing masks and the stuff. So I sort of feel like it's we're just each of the increments is in there. As you watch that the progression of this. I mean, all the music has been written and recorded for a year-and-a-half. I'll just, you can see. These are the ways of like, how can we prevent music this month as things continue to evolve a lot of stuff that project I think that's been like

25:38 Is it is, it's it's, it's been a situation and I know nobody ever wants to use, like the term like the Silver Lining, you know, of coed. Because like it was it was not a good situation ever. But like it has when you reflect on it, like it like his Force, like, basically everybody to innovate in, whatever, whatever career there in like whatever and like artists like 2 and its innovative ways that like maybe not even necessarily affect the art itself, but just like, how I would like the delivery of it. I don't know. It's a, it's, it's interesting to think about all that. Yeah, all the iterations of archetypes over this year. And it really, every start a tear of like, you know, figuring out what can we do next or what can, what can we do to make it a little bit better than what we did before, you know, by means of like, having like whatever platform they were using sweet condensed to a live, or in person.

26:32 Yeah, yeah. Archetypes cuz I think we've already so in the before times, we tore that unlike Third Coast percussion was on the road, maybe a hundred fifty days out of the Year generally and it's pretty good chance. Can you go back to something like that? Maybe during 2022 or thereabouts? Things are starting to happen, more. But, but there was always a question of like, how much are we should cago organization? How much are we a national or International Organization? Like how do we balance those things? And I think, you know what? We've been talking about it. Like the roots of the organization. It's I think we couldn't have. We wouldn't have really started Anywhere But Here at least not in the way that we did an addition to all of the like

27:18 Formative parts of what you do Northwestern and the mentorship of someone like Augusta, read Thomas, and then other organizations against the platform early on like Rush Hour concerts. At first. I think I first paid gig ever made a year or so into having this group is actually paid us to play in front of an audience, rather than us having to rent a venue and commence our friends to come. And then they, you know, they were great partners for so long and in helping us develop our education work. And also it's about the things or Urban Gateway, is known as a shin, that that gave us a lot of opportunities for young audiences in Chicago, for many years and Partnerships who had since then with people's music school or Civic Orchestra Chicago to sort of part of our. Our formation story also has gone back to play. Concerto with, that would work with some of the budding musicians were in that organization now, and things like that, but also, I think something we realized during the completely virtual existence.

28:18 Since the last 15 months is because we tore so much, we have all these, we have fans and friends and supporters everywhere now. And so when we could do live stream concerts marstudio to wait, we managed to get our whole situation set up to be able to do that. We were connecting with all these folks all over the world even in places that we never played before which was pretty awesome. Like it was cool that we did a couple like online fundraisers and it was is really successful. I think more than we thought they would be even because people were toony is Mall of the place and where is I think we usually thought of so much of our core being really in Chicago when we could get just like a couple of loyal fans each City we've ever visited that really adds up, and I think it's something we're going to keep figuring out of her time, but it's nice, at least that the technology has allowed us to connect with folks on that level and end in a large scale.

29:16 New Hampshire.

29:23 Cool. Anything else? I had one question. I'm curious be having a good thoughts about this one Peter. And then? Yeah, you know, we talked too much about all these sort of different organizations, Chicago institutions and traditions that were connected to was ever anything that you feel like or even in retrospect feel like, oh it's weird that I never knew about this thing in Chicago. A weird that as a an artist or musician. I was not more connected to this. I think that happens. I mean, it's not, it's not necessarily. I'm I'm sure it is because there's so many things that I don't know. It's not necessarily an issue of like not knowing that something exists in Chicago, but it's like not having the opportunity to either experience it or collaborate with it in terms of our Ensemble that you know, part of our identity is that we would you collaborate with people, we create programs with other musicians, and other composers and music. Creator is in what I think.

30:22 I think, you know, we've was afraid with all these like crazy people from Chicago. We we can talk in about, you know, Sarah's you aside, and Clarice Assad, who are these amazing. Brazilian musicians know a living and working in Chicago? And you know, we've collaborated with this Amazing Augusta read Thomas. I was just amazing. Classical music composer that resides in Chicago, we've collaborated with like Glenn Kochi, the drummer from Wilco who's like, this amazing, you know, like Chicago rock and roll band.

30:55 I think some of the things that I'm really interested in having more opportunities to collaborate with or some of the other genres with in Chicago that we don't always find these like sort of point of intersection, you know, in. And there's like some other organizations that. I mean, I I think about the louder than the bomb like organization is here and like,

31:18 How much work in collaboration and how much development of like young hip hop artist, that that comes to that organization? And I just think that's an awesome and awesome place an awesome organization. Be interesting if there was ever going to be an opportunity, you know, for a group like ours, not in the group like ours, but maybe even more like a genre like ours that even using with no throwing around this word, new music or contemporary music which is always always understood within like the context of classical music but the idea but, you know, clearly we're not, the only people that create a new music can actually turn the classical, music is Andy music actually kind of, its kind of hard to wrap your brain around that little bit of an oxymoron. But like, you know, there's so many new music creators in the city. And

32:13 Be more interesting to start seeing more collaboration with in a variety of these Minnesota was different genres. Many of them. You know, how, like a home in An Origin story, you know? Right here in the city of Chicago. We've been working with some other like, creators in, like the genre footwork and that's been really interesting. Which is something that has like a, you know, a tie to the city of Chicago. And there's there's just so many other

32:40 Yeah, there's so many opportunities opportunities in the right word. I think they're just like so many other incredible artistic voices and I'm, I'm interested in like, you know, the next five to ten years, not even what we do as musicians, but seeing what other

32:57 Sort of, you know art comes from the fact that like Chicago's, it's amazing. What a bubble and hub for just amazing art and amazing our creators possibilities and people are becoming more aware of like how big the city is and how many things exist things that we saw the things that we immediately thought of, and we are starting the group. And so the way we pursued, it are very much shaped by like, you know, where do we go to school? And who are we surrounded by and what is the community of people? We are connected to through our life up to that point, you know, yeah. Yeah. Yeah. And just now to just with the opening up of everything. I think everybody, I know myself just like hungry to go see more live music and more hungry than ever before to see stuff.

33:50 That I would have passed on before 4 actually 4, not now because I was less interest in the music, but more, like I'm bored. I'm going to stay and watch Netflix. And now you reflect on that stupid. Let me know what I mean. There's just so much music. There's so much live performance opportunities, you know, to go witness in the city of Chicago and being able to appreciate that. All again, just add the consumer is going to be a great. And I, I think it's probably the same for most other artists like in here. And so I imagine, I am just interested in the art is going to be created as a result of that as a result of all the artists. Also being able to interact with other artists more, you know, being able to see you more and more just because we've been so starved for it, you know, everything like very much in our own, very small bubbles more than ever before, become very much of these, like, soda siloed things because that's all you can do, you know, like, right now,

34:50 It's situation. So it's like, okay, so hopefully the sort of reaction to that as things open up as people really stretching and then finding some new connections and getting further outside of their District open. They might have otherwise. Yeah for sure.

35:08 Cool. Well, thanks for chatting with me. Peter.

35:11 No problem, Rob.

35:22 Nice. One more try, one more thing. Maybe just this is relevant everything. We talked about, we talked about how the group got started there. Just precaution. And we started about 2005, 16 years ago, now is pretty wild, but in terms of each of us has percussionists. When did you when did you start being a percussionist Peter? I guess. I got a little bit late. I was always a musician to start music for young at the age of four with the piano and I think around us a couple instruments. I guess. I got towards like the drum set when I hit my teenage rebellious years and from that led me to all the other should have one or two instruments of percussion. But yeah, always been playing music and questions. Really fantastic instrument. We like to say this because, you know, you're not defined by a single instrument and there's so many different instruments. Now, it's Rob. I think a lot of us, think of a sort of similar. But I, I started playing when I was 9 years old and percussion was my first in

36:21 The only answer when I've ever played all, but like you said, it's so many different instruments, but I started in my Elementary School band, which, at the time, thankfully started in fourth grade. I think later it probably cut back in and starts always 5th grade. But but I have two older brothers. They both played the saxophone. So I think I just decided I was not going to play the saxophone what you got, a choice, like, they didn't just like, and you're not force us to play an instrument, which is amazing and they didn't. And my parents didn't just force me to play saxophone. I could like, you know, take my brother's old instruments or anything. I was just good. I got to choose. I'll bet there might have been some sort of a triaging process. I wonder there's probably like most Elementary School bands. There's like a two-week period where every kid wants to play drums. Yeah, and then they have to like, you know, figure out how many them are actually willing to practice or maybe they force themselves a little Belk. It was like the first instrument and if I'll actually practiced that then they get to be percussionist. Yeah.

37:21 I don't, I don't remember that part of it. But I remember right from the get-go. I was like, really excited about it. And I had no idea what I was doing that. I was like, I would like play on my own practice pads for many, many to me now, seems like many hours, maybe one of the committee was like, 25 minutes, and I felt like that was an eternity. I have my back like I got really into it and practiced it a lot. And yeah, that was, that was sort of the beginnings of it and in high schools. When I got like more really serious about it. You're a friend of mine. Encouraged me to join the local Youth Orchestra and it really was something that was made with me. And yeah, I think I'm the same way. I can start identifying as musician in middle school, maybe like high school, something like that since you. And I can't stop thinking about how people end up on these instruments and not to be like a rocket or eat it like the ceiling. But like you like how does somebody become like a suit bassoon player that somebody something that like somebody chooses? It's just such like a super challenging instrument often strongly encourage.

38:20 Current. Yeah, exactly. Exactly. Yeah, it's just interesting to think about how like, somebody becomes like, a euphonium player that such like an odd and odd ball instrument. Again. Not that, it's a bad instrument. It's just, it's funny now to think funny now to think about it, and what would your life look like today? If you had chosen the trumpet, instead of drums, seriously, consider when I was in my grade school, or maybe it was Middle School in? There are, there are, you know, talking about different instruments. You can play and accept the time. I played sax from by the, I was always curious about the trumpet and percussion and I didn't. I came to progression to jump said he wishes, you know, outside the context of like the school band and whatnot. But yeah, I definitely seriously considered wanting to play the trumpet before trumpet and drums were like the cool insta really, I don't know. I'm not sure why I think that but I don't think like anybody who is Mike middle school or high school band would consider them.

39:20 Sounds like the cool kid will share, Colorado to all relative.

39:31 Cool puzzle. Been fine. Thanks for thanks for chatting. All the stuff Peter and keep playing for music. Yeah.