For more information go to Clouseaux made me have hope for all the talented well trained music scholars that pour out of American universities. What does one do with all that musical muscle? Mix it with gin and an olive with just a whiff of Vermouth. I didn’t know what to expect, but when they showed up without any PA due to some communications SNAFU , their response was, “We’re professionals. We can do it.” Whether I was up to the task of mixing them was yet to be determined. Game on!

I remember the look of near panic on director Matt Brawley’s face. But Shannon Harrison was grinning, which could be good or bad. As soon as she did her first swoop past Clouseaux’s TV display, everything was alright. The maracas player was a little crestfallen that the University wouldn’t let him breath fire in the studio.

As Audio Specialist at HoustonPBS, it was my honor to broadcast over 140 local Houston bands, mostly doing originals, one per week or so for six 26 episode years. These bands were mixed live to two track. Matt Brawley did the live video direction. Ben Cowpersmith and Frank Castro designed the lighting. with them and Shannon Harrison, Joe Brueggerman and Fujio Watanabe operating cameras. Phillip Williams and Chief Engineer Bill Anderson mixed vision. Gordon Luce ran tape. This was one of our joys. No one was charged. All rights were and are preserved and the bands always got a copy. And yes "connection" was the name of the show and "the beat" was the name of the segment. This would be a selection from the last two years.

More Clouseaux at

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