Jedd Beaudoin


Jedd Beaudoin is an award-winning writer and broadcaster who has been with KMUW since 2007. He is the host and producer of Strange Currency, a two-hour music show, which airs Monday-Saturday from 8 to 10 p.m. He is also the producer of the bi-weekly trends commentary “A Musical Life,” as well as “Musical Space.” He received his MFA in creative writing (fiction) from Wichita State University in 2001 (where he was a Creative Writing Fellow) and holds a B.A. in English (with an emphasis in writing) from the University of Wisconsin-Whitewater.

Beaudoin hosts Wichita Sessions on KPTS Channel 8. The show, which features local and regional music acts in performance, is now in its third season. Since 1999 he has worked as a freelance journalist. He served as music critic and editor for two Wichita alternative newspapers, F5 (2003-06) and Wichita City Paper (of which he was also managing editor, 2006-07). He currently contributes music, film, and book reviews to, where he also pens (alternating with two other writers) commentary on country music for the site’s “Kickin’ Up Dust” column.

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Richard X. Heyman’s latest album, Incognito, reaffirms the veteran artist’s place in the pantheon of great American songwriters. OK, not the songwriters who are part of the (yawn) Great American Songbook, but the guys (and women) who have inspired others to take up their pens, cheap notebooks, weathered pack of Gitanes and start strumming their own hits. The garage heroes and heroines whose limited run singles we hold tight to our breasts or place on shelves so that they sit higher than all others.

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Monday, September 25 

Released in December, 1971 Wild Life was the third post-Beatles release from Paul McCartney and the first from his band, Wings. We’ll hear music from that recording on this episode plus selections from the brand-new album by Portland, Oregon-based singer-songwriter Anna Tivel, Small Believer.

Tuesday, September 26

Treasures Untold is the recent live LP from singer-songwriter Tom Brosseau. Listen for music from that recording on this episode of Strange Currency plus selections from the latest by Gov’t Mule, Revolution Come … Revolution Go.

Wednesday, September 27

Released in 1977, Linda Rondstadt’s Simple Dreams was notable for its inclusion of songs by Warren Zevon, the Rolling Stones and others. We’ll hear selections from this recently reissued recording plus new music from Phish bassist Mike Gordon.

Thursday, September 28

We’ll hear new music from Joey Henry’s Dirty Sunshine Club plus music from the second full-length release by Carrie Nation and The Speakeasy, Hatchetations.

Friday, September 29

We team up with Global Village and Crossroads to celebrate International Coffee Day. Strange Currency will feature selections from Prince, Squeeze, Bob Dylan, Paul Westerberg and John Hiatt, among others.

Saturday, September 30

Black Country Communion features former Black Sabbath/Deep Purple vocalist Glenn Hughes, contemporary blues artist Joe Bonamassa, ex-Dream Theater keyboardist Derek Sherinian and drummer Jason Bonham. The band recently reunited for its fourth album, simply titled BCCIV. Listen for music from that recording on this episode plus music from Glenn Hughes’ 2016 effort, Resonate.

Blister Steel is the latest release from Portland, Oregon’s Roselit Bone. With founding member Joshua McCaslin further cementing his place as a lyricist/songwriter of the first order, the material conjures images of broken world, one that Cormac McCarthy might find one mark over the line of disturbing, one that Nick Cave might categorize as bleak. No doubt either/both man would find some semblance of catharsis in these songs. It’s more than darkness for darkness’s sake and McCaslin proves that there’s a separation between his often harrowing images and the man friends and strangers encounter on the street.

McCaslin adopted Portland as his hometown a decade ago, starting Roselit Bone as a duo circa 2013. The unit expanded to the nine-person mark with flute, trumpet, pedal steel, accordion and violin finding their place in the mix. Influenced by Mexican music and disparate Americana strains, the music on Blister Steel eludes easy categorization but one suspects its creator and executors wouldn’t have it any other way.

Though there are lyrical and musical threads that find their way through the songs on Blister Steel, some of the material reaches back to this album’s predecessor, 2014’s Blacken & Curl. “I sit on songs,” McCaslin says. Songs such as “Leech Child” and “By the Glint of Your Horns” were already in live rotation for a few years before the group committed them to tape. What is markedly different this time is that Roselit Bone has become a far more collaborative endeavor.

“With the first album it was mostly me alone in my warehouse space,” he recalls. “I would just layer things on my own. This time, I had nine or 10 different members who all had input. Generally, I write the songs so that they work all on their own as solo acoustic pieces. I’ll do trumpet arrangements and a lot of that stuff before I even bring it to the rest of the band. When I bring it to the band, I always make sure to leave room for the people who like to improvise and add atmospheric stuff, so they usually have space set aside for them in the compositions.”

Despite an expansive lineup, the material heard across Blister Steel and its predecessor rely on open spaces. The eeriness and emptiness of the world McCaslin has conjured into being crackles across the latest record’s 10 cuts. “It was never my intention to have such a big band,” he says. “It was a little more raw, aggressive and based in the Delta blues at first. As I got more into Western music and Mexican music, I started adding people.”

Valerie Osterberg (flute) and Barry A. Walker (pedal steel) came into the band as a couple. “I never thought of having pedal steel in the band until I heard Barry,” McCaslin recalls. “When I saw them, I just thought I should have them both in the band. But I wasn’t looking for them. A lot of times, I’ll see someone who’s a pretty great musician and then find a place for them. But I think I’m done,” he adds. “I’m capping it at 10.”

The roots of Roselit Bone’s sound can be traced to The Gun Club which led him to Son House and Skip James as well as Dave Von Ronk. “I really loved the Ragtime players,” he says. “I still love that sound and play like that quite a bit. When we were just a two-piece, that guitar style was the most prominent.”

He formed an early appreciation of Scott Joplin-style piano playing as well as the country music his grandparents loved. “Some of it was pretty bad but they did listen to Marty Robbins and a lot of old hillbilly music,” he says. Odetta came into the picture later but left a lasting impression. “I think she was the first folk artist that really embraced what I’d consider a Western sound,” he notes. “She had those operatic vocals and that minor key style of guitar playing that I loved.”

Within her music, he says, he found something akin to a lack of an internal dialogue. “It’s like reading a Cormac McCarthy novel or something,” he says. “If there’s violence described, it’s just part of the landscape and I think you can find some Odetta songs that are deeply like that.”

Though he can understand that some will draw comparisons between his own music and Americana, he’s not eager to segregate the music. “I think it has traditional elements without being hardcore traditional,” he says. “I’m not crazy about dividing up genres like some people. I grew up as a punk and goth kid. I get it. We’re obviously not making authentic Mexican music but there are people who see us showing respect to ranchero music and trying to work it into something new. They seem to like that. It’s not a novelty band for us, it’s another tool.”

As for the lyrical content and manner in which violence is represented in his songs, McCaslin chuckles slightly, hinting that it’s a question which comes up often.

“For a lot of the stuff that’s on this record, it wasn’t experienced firsthand, so there is a distance from it that I think allows me to safely write about it. But I’m not doing it out of novelty. A lot of this is drawn from people I know,” he says. “I feel like I’m privileged in that I can write about the things I do. I think that’s why you don’t see a lot of lyricists that go that deep, because it might hit a little too close to home.”

KMUW Music is celebrating the first day of autumn with three hours of music! Tune in to Global Village and Strange Currency on Friday, September 22 from 7:00 p.m. to 10:00 p.m.

Global Village welcomes in the first day of Fall with songs of the season from a wide array of artists and styles of music, including Astor Piazzolla, Bob Dorough, Ralph Towner (with and without Oregon), Ahmad Jamal, and more.

Scott Oakes is principal bassoonist with the Wichita Symphony Orchestra. He also serves as Senior Systems Administrator at Juniper Payments LLC, a banking services provider.

“If you’re looking toward the middle or the back of the middle of the orchestra, you’ll see a bassoon. The bassoon is the lowest voice of the woodwind choir, so you’ll hear us often playing things that really sound like a bassline. A lot of the orchestral music of Brahms or Beethoven, you’ll hear us playing a lot of little melodic lines and then, every now and then, a short little melodic solo.

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Monday, September 18

Hippopotamus is the 23rd album from the band Sparks. Formed as Halfnelson in Southern California in 1968, the band has only achieved cult status in its native country while maintaining a loyal and appreciative following in Europe and the UK. We’ll hear selections from this latest effort from the band plus selections from Queen’s 1980 release, The Game. We'll also remember Grant Hart, co-founding member of the St. Paul, Minnesota band Husker Du. That trio, along with acts such as Soul Asylum and The Replacements, was central to the Minneapolis-St.Paul music scene of the 1980s. We'll hear some of Hart's key songs from Husker Du's nine-year run as well material from his solo career and from his William S. Burroughs-inspired group Nova Mob.  

Tuesday, September 19:

We celebrate Talk Like A Pirate Day with selections from the band Tempest, Ye Banished Privateers and others.

Wednesday, September 20

Recorded on a single night in 1976 Neil Young’s Hitchhiker has remained unreleased until now. Several songs from that one-day session have emerged on albums such as Rust Never Sleeps and Hawks & Doves but this new release provides listeners the first chance to hear the material in its proper context. Listen for selections from Hitchhiker as well as music from Mike Keneally’s 2001 effort, Wooden Smoke.

Thursday, September 21

There and Back Again is a 2002 release from the Grateful Dead’s Phil Lesh, featuring contributions from Gov’t Mule guitarist and vocalist Warren Haynes. We’ll hear selections from that recording on this episode of the show plus music from the Grateful Dead’s archival Rockin’ The Rhein, recorded in Dusseldorf, Germany during the Dead’s legendary 1972 tour.

Friday, September 22

Since the second breakup of The Replacements in 2015, the group’s former vocalist and primary songwriter Paul Westerberg has been largely silent. That changed late in the summer of 2017 when he began releasing new songs via a Soundcloud account, referencing the material as Dry Wood Garage. Westerberg has recently released a new batch of songs, including the ballad “Mrs. Beethoven,” which some are calling his best song in more than 20 years. We’ll hear music from Dry Wood Garage on this episode plus selections from Westerberg’s former Replacements bandmate Tommy Stinson in the band Bash & Pop.

Saturday, September 23

Gizmodrome is a new band featuring Stewart Copeland (The Police), Adrian Belew (King Crimson, David Bowie) and Mark King (Level 42) along with Italian musician Vitorria Cosma. We’ll hear selections from the quartet’s debut album as well as music from the latest by Living Colour, Shade. 

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Monday, September 11

Southern Blood is the latest album from Gregg Allman, the singer and former Allman Brothers Band vocalist had completed the record before his death earlier in 2017. We’ll hear selections from that release on this episode of the show plus selections from Robert Cray and Hi Rhythm’s collaborative LP, also released this year.

Tuesday, September 12

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Will Erickson has played drums in bands such as The Travel Guide, Spirit of the Stairs and Bridegeist, but a few years ago he wanted to see if he could return to another musical love, guitar, and write songs for a project that, at least at first, existed only at his home. That project would eventually become the band Team Tremolo.

KMUW Music is celebrating Brazilian Independence Day with five hours of music! Tune in to Global Village, Strange Currency, and Night Train on Thursday, September 7 from 7:00 p.m. to midnight.

Corners of the rock ‘n’ roll landscape are populated by the corpses of bands that pride themselves on being literary, enough that comparisons to Wallace Stegner, Cormac McCarthy and Flannery O’ Connor have become standard issue for any band that can whip out polysyllabic lyrics and cook up a reasonably strong metaphor. There are exceptions. Slim Cessna’s Auto Club, a cornerstone of the Denver, Colorado music scene is one. The band’s 2008 effort, Cipher, reissued earlier this year, provides listeners with all they’d want to know about smart, multi-layered gothic Americana.