I put together a playlist featuring great music from around the world, new experimental rock, and Classical, and Beethoven. And Cumbias! It was fun and I further developed my program format for a specialized show focusing on a canon created from Western Classical music and indigenous music of all cultures. I learned some things. Check out the streams below.
Lonnie Holley
Hour 1: Starts at 9:55 so you get a few minutes of Fox Populi. Then psychedelic shaman songs, Lonnie Holley, Burma, Benin, Luc Ferrari.
Lord Invader
Hour 2: African funk, calypso, Sonny Simmons power drone.
Cambodian Rock and Roll
Hour 3: Gipsy songs, Sahara blues, Cambodian rock, Cumbia!!
I’m trying to figure out a way to combine western classical music with international music and from that structure a 4-hour program. I like playing classical music. It’s up in the farthest uppermost corner of the library. Most of it isn’t registered in the library. It seems neglected. I dust it off and try to learn about it. I like the sound of classical music, and the great performances, and I find much of the same qualities in the music of other cultures. I like hearing them together.
Christa Ludwig
Hour 1: Starts at 9:55 so you get a few minutes of Fox Populi. The first hour’s program starts in Greece, then Irish Violin, Indian violin, Schubert songs, Burmese songs, and Turkish songs.
Group Doueh
Hour 2: Terry Riley, LaMonte Young, African songs.
This was the first daytime Stone Cold Lampin’. It was 10a-2p on Thursday, November 5th. I played all jazz. I’ve got jazz on my mind. My last show was the Jazz Collective, and the next show I’m signed up for is another Jazz Collective, on November 20th. I’ve been reviewing a lot of jazz recently. I stayed far out for most of the show. I played several records from the excellent improvising beings record label. I spent almost and hour and a half digging into the works of bandleading bassist Joelle Leandre.
Hour 1: Starts at 1:55 so you get a few minutes of Sally Goodin. I break right into free improvisation and stay there wallowing.
Hour 2: Starts out vocal, then ensemble improv, then I start playing Joelle Leandre.
Hour 3: Joelle Leandre for the hour.
Hour 4: More free improvisation, often with amplified instrumentation.
This show marks a milestone. I’ve completed 13 graveyard shifts, and I can move on to daytime shifts. I’ve had a good time working the graveyard shifts and I will miss it. My family won’t. I’d go to bed around 7 PM the night before, wake up by alarm at 12:20 AM, and head in to the studio. Nami left me a banana, some granola, and a pot of coffee in a thermos. It worked pretty well. I didn’t get tired and I was often able to get calm enough to really contemplate the sound. I played some spaced-out music. I told my friend that I felt like a man holding a torch next to a vast ocean, surrounded by the dark night. I let the sound ring out into the darkness. Embers fell from my torch. When I got home, I napped for an hour or two right after breakfast.
For my last shift, I tried to find out something about contemporary composers. I played music of stringed instruments. I took a trip around the world.
Hour 1: Starts at 1:55 so you get a few minutes of Goodwrench. After a short stop at Norcal Noisefest 2000, the hour is bookended by Ligeti, older and younger. In between, traditional sounds from Korea, North America, Japan, Morocco, and Mexico.
Hour 2: Twentieth- and twenty-first-century sounds, the results of an inquiry into contemporary western classical music.
Hour 3: Sun Ra and Voicehandler set the tone for the second hour of inquiry about a contemporary.
Hour 4: I just had to figure it out, “What does classical music sound like now?” No conclusion.
Started out on a jazz trip, into a mix of international sounds from Japan, Mali, and South America. Western classical music rears its pretty head, Agnes Martin On Not Thinking, wrapping up strangely.
Hour 1: Starts at 1:55 so you get a few minutes of Goodwrench. Then it’s a Jazz trip for the first hour.
Hour 2: Jazz rolls on for twenty odd minutes, then Acid Mothers Temple guitarist Makoto Kawabata, then Tibetan exorcist chant.
Hour 3: Blues-pop from Mali. South American guitar instruments, blues, gospel, Schubert played by Peter Serkin.
Hour 4: Satie played slowly by Philip Corner, Agnes Martin speaks, Robert Crouch, Sibelius
Starting out digging in the reggae library, the show takes a left turn at the new William Parker CD, spends some time with Hector Villalobos and Henry Brant, ending up with some international vocal music and long-form Robert Crouch.
Hour 1: Starts at 1:55 so you get a few minutes of Goodwrench. Then it’s a reggae vibe for forty minutes
Hour 2: Villalobos, Wet Hair, Kyoto Nohgaku Kai.
Hour 3: Villalobos, Henry Brant.
Hour 4: Jazz, international vocal, ambient.
Each mp3 is 70 minutes long and starts a few minutes before the hour, and ends a few minutes after.
Streams will be available until September 26.
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