Tim Story found his true calling while enrolled at the University of Toledo in the late Seventies as an English Literature major. Upon graduating in 1980, he began recording ambient music, starting with 1981’s Threads. His collaborations with the German musician Hans-Joachim Röedelius began with 2000’s Persistence of Memory. It continues with their recent installation, The Röedelius Cells, showing at the Figge Art Museum from September 25 through 27. Story cordially consented to explain their project.

Let's put a new twist on an old format – the ubiquitous year-end lists about music. We invited over 50 Quad Citizens who we know contribute to, support, and/or promote the local-music scene to give us their takes on 2017 via a 3-2-1 format. We asked: What are the three top songs they loved listening to this year; the two top live shows they saw in the Quad Cities; and the number-one artist they most want to see perform here live in 2018?

(Author’s note: After this article was published, the opening date of the museum was changed to Thursday, August 3.)

When the Bix Beiderbecke Museum & Archive opens to the public on July 24 in the River Music Experience basement, a major draw will be seeing and being in the presence of artifacts from the legendary jazz cornetist’s life – clothes he wore, instruments he played, reproductions of letters he wrote.

As museum developer Joe Hines said: “An exhibit like this doesn’t offer explanations; it [gives] impressions.”

While that might be typical of a biographical museum, the process of collecting those impressions and putting them under one roof has required extraordinary effort over decades.

It was 2007 when I last spoke to Vince Herman, and he was promoting a show with Great American Taxi. I asked him about some festival dates that Leftover Salmon – the long-running, self-described “polyethnic Cajun slamgrass” jam band that he co-founded – had played that summer.

Herman was clear that, in his view, Leftover Salmon – which went on hiatus in 2005 after soldiering on for three years following the death of bandmate Mark Vann – didn’t have much of a future without its founding banjo player. “As a business entity and as a musical entity, it just didn’t have its old boogie-woogie to it,” he told me. “We did it as long as we could before it was too much.”

That obituary turned out to be premature, as Leftover Salmon over the past seven years has had a remarkably active second act.