In episode 3 of The Pluck, Dr. Jonathan Smith sits down with guitarist and composer Michael Kramer for a wide-ranging conversation about listening, practice, creativity, and the deeper forces that shape musical life. Michael reflects on early lessons from his uncle, formative guitar teachers, the importance of taking the blues seriously, and the path that led him from rock and jazz discovery into a broader philosophy of sound rooted in body, structure, and spirit.

The conversation moves through ear training, groove, harmonic thinking, flow states, and the role of serious listening in artistic development. Along the way, Michael shares insights from his work as a performer, composer, and bandleader, including how he thinks about time, feel, organization, and presence in both practice and performance.

This episode is for guitarists, composers, improvisers, and anyone drawn to the mystery of how music works on us from the inside out.

Chapters

00:00 Intro: Welcome to The Pluck
01:06 Meet Michael Kramer
02:05 Routines, family life, and starting the week
03:08 Piano practice, Mahler, and memory
06:45 First guitar and early encouragement
09:46 Taking the blues seriously
14:20 Blues, classical guitar, and early influences
17:30 Hendrix, Dylan, Elmore James, and listening deeper
22:10 The teachers who changed everything
27:30 Learning tunes by ear and understanding shapes
32:00 Discovering jazz and getting serious about music
37:00 Listening as practice
43:00 Flow states and music as presence
50:20 Listening for joy vs. listening for analysis
56:30 Breaking out of rigid listening rules
1:00:30 Music, timelessness, and attention
1:06:00 The three dimensions of listening
1:13:30 Coltrane, perception, and changing lenses
1:20:00 Beginner's mind and analytical mind
1:25:10 Performance as body, intellect, and spirit
1:32:00 Guitar practice through shapes and symmetry
1:40:00 From physical motion to harmonic form
1:47:00 Time-feel, rubato, and articulation
1:55:00 Why the physical dimension still carries meaning
2:02:00 Writing, arranging, and composing for players
2:07:00 The future of The Pluck
2:12:00 Closing thoughts

If this conversation resonated with your own musical path, visit thepluck.studio for more episodes, ideas, and resources from The Pluck.

You can also explore Michael’s work at michaelkramerguitar.com and stay connected with his latest music and projects.

Watch this episode on YouTube for the full visual experience, or listen on any podcast platform wherever you get your shows.

To join the conversation more directly, come hang with The Pluck community on Discord.

Subscribe, share the episode, and help us grow a deeper community around plucked string music, creative practice, and meaningful listening.

On this episode of The Pluck, Jonathan sits down with Mississippi banjo man Anthony Howell, a national champion known for his hard‑driving Scruggs‑based style, modern twists, and viral social media videos.​

They talk about growing up homeschooled with Mel Bay mandolin DVDs, finding the banjo through Alan Sibley, and putting in eight-hour practice days to win the Winfield National Banjo Championship. Anthony breaks down rolls, right‑hand tone, Keith tuners and that 1929 Gibson TB‑3, and where he draws the line between straight-ahead bluegrass, “newgrass,” and going too far out. He also previews his upcoming album Banjo Aficionado, plays his new single “End of the Line,” and shares how he’s building a DIY career with session work, house-band gigs, Patreon, and a new ToneSlabs thumbpick model.​

If you pick, sing, or just love hard-driving bluegrass banjo, you’ll feel right at home in this one.

The Pluck

Learn more at thepluck.studio.

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Credits

This podcast contains recordings of “End of the Line” and “Highway 19,” used with permission from Anthony Howell.

Chapters

0:00 Intro & Anthony’s Background
1:20 Social Media Consistency & Algorithm
3:05 Keith Tuners Demo
6:10 Banjo Anatomy (Flathead vs Archtop)
12:20 How Anthony Got His 1929 Gibson TB-3
14:35 Early Music: Mandolin, Guitar, Banjo
17:00 Alan Sibley Lessons & Support System
20:10 Homeschooled Practice Grind
22:35 Banjo Rolls Explained (Forward, Backward, Thumb)
26:40 Weaving Melody & Rolls
29:20 Special Effects (Palm Mute, Whammy Bar)
34:00 8‑Hour Practice Days
37:30 Bluegrass Tradition vs Newgrass Line
40:55 “End of the Line” Live
48:35 DIY Career: Sessions, Patreon, ToneSlabs Pick
52:40 “Ground Speed” Contest Arrangement Live
58:20 Self‑Criticism as a Performer
1:01:30 Ground Speed Breakdown
1:10:05 Right‑Hand Technique & Fingerpick Angle
1:15:20 Tabs vs Ear Learning
1:18:40 Banjo Practice Advice
1:23:45 Highway 19 Live
1:33:25 Highway 19 Writing Story
1:36:00 Band Listening Dynamics
1:39:00 Outro & Album Preview

In this inaugural episode, Grammy‑winning classical guitarist Jason Vieaux shares how curiosity and structure have shaped his career: managing rapid repertoire shifts, collaborating with top composers, and balancing performance with innovative recording projects. You’ll hear his approach to intentional practice and scheduling, working with non‑guitarist composers on challenging pieces, and the often‑overlooked skill of sight‑reading that accelerates learning.

Perfect for classical guitarists, composers, educators, and serious students, this conversation offers clear, actionable insights to build a sustainable guitar career that’s both creatively adventurous and structurally sound.

Chapters

00:00:06 Opening — The Philosophy of The Pluck
00:01:50 Touring Life & Maintaining Major Series
00:02:42 Calendar Discipline & Practicing Early
00:04:34 Preparing for First Rehearsals
00:08:40 Recording vs. Performing
00:17:44 Working with Non-Guitarist Composers
00:38:12 Early Training & Chamber Music Foundations
00:46:05 “Your Technique Sucks” — Mechanics vs. Facility
00:58:46 Sight Reading as a Career Multiplier
01:13:21 The Pat Metheny Record & Arranging by Ear
01:30:53 Pandemic, Family, & Career Shock
01:44:32 Upcoming Concerts in Sarasota and Naples
01:46:40 Closing Remarks

Learn More

Explore more about The Pluck and Jason Vieaux:

• The Pluck – thepluck.studio
• Jason Vieaux – jasonvieaux.com

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Credits

This podcast contains an excerpt of ‘Letter from Home,’ composed by Pat Metheny and performed by Jason Vieaux, used with written permission from Azica Records.