Faux Doom - 3/12/02
This is the playlist for a substitution pickup show
broadcast on KZSU on March 12th, 2001
at 3pm. I was taking over for Fo that week, hence my
attempt at doing some kind of Jazz/World focus here.
preamble
Okay, so for my first move, I conned Fo into letting me sub
for him by promising to play Sun Ra, Don Cherry, Yusuf
Lateef. That's a line I've been following in my
explorations of late, tracing the fire backwards and
sideways from the blazing Ra.
The trouble, of course, is that I regard it as a point of
honor to avoid doing a radio show working the vein of just
one single genre. So, I started thinking about pairs of
tracks, leading with some sort of colorful/experimental
instrumental jazz, and closing with some sort of slower,
moody, vocally oriented track, preferably from another
genre. And in additon to the Ra/Cherry/Lateef triptych,
I would use some more recent, roughly analogus music from the
Bay Area Improv scene: each set woud alternately focus on a
historical track and a recent/local track.
Then I ran into a mental hang-up: I usually think in
terms of three song sets. I had some middle, focal pieces
selected, I had some closing pieces in mind, what do I use
in the introductory spot? I thought about some
possibilities like using overlays of spoken word and
electronic music... but I was somewhat suprised to see how
limited KZSU's current selection of spoken word disks
looks. The good stuff there mostly dates at least five
years back, and I've already used and reused a lot of it
in sound mixes. (But I did notice the Howard Zinn disks
I hadn't played before...).
Anyway, I finally resolved this hangup in the simplest
way possible: I had a bunch of pairs of tracks in mind.
Some of the "jazz" pieces I was thinking about were quite
long... why not do two-song sets with the long pieces, and
fuse together two pairs of the shorter pieces into four song
sets. (Does that seem obvious? Ah, perhaps, but few things
are obvious if you think about them hard enough).
sound beds
Throughout much of the show, I used the Panicsville/Rubber
Cement split 12". Unless otherwise noted, that's
probably what was playing.
This was from the the
A-file
the playlist
set the first
- Yusuf Lateef
- off of "Nocturnes"
- The opening sound bed.
- Philip Gelb - "Cargohold Number Nine"
- off of The Artship Recordings
track 1 - 20:00
- One of a series of 3" CD put out by Hugh Livingstons
"Artship Recordings", a 20 minute improvisation, recorded
on a mothballed oceanliner in a location selected by the
artist.
- Slow, sparse solo shakuhachi (japanese flute).
Philip Gelb displays his usual fluent command of extended
techniques on the shakuhachi.
- Billie Holiday - "Yesterdays"
- off of Fine and Mellow
track 3 - 3:19
set the second
- Yusuf Lateef - "Mahaba"
- off of Other Sounds
side B, track 3 - ~ 4:00
- Did a needle drop on this one in a hurry, selected it
on the basis of the cool flute sounds, played it on the air,
and realized it's actually totally dominated by this
slightly cheesy psuedo-african chanting (which I'm sure was
pretty strange in it's day, but still...). Not quite the
mood I was going for on this show.
- 80 Mile Beach - "That Modest Prize"
- off of inclement weather
track 10 - 4:50
- This on, the other hand, definitely is the mood I
wanted: slow, somber, contemplative. Lyrics about mortality
and the "modest prize" we fight for in the meantime.
- This is a Beth Custer project from a few years back...
like most Beth Custer work, it's somewhere in the eminently listenable
to great range, and lately this track has been haunting my
thoughts. Too bad I didn't pick a better Lateef track to
pair it with.
- Goodhart Allen Powell Trio - "Hand Count"
- off of I can climb a tree, I can tie a knot, I can
have a conversation
track 1 - 2:37
- Local Bay Area Improv trio.
- Angular, abrupt, slightly sparse.
- Faith & the Muse - "The Silver Circle (remix)"
- off of Vena Causa
disk NIGHT track 10 - 5:18
- An old gothic favorite of mine, remixed
on this new release, to give it a very electrofied
sound.
- "Come a- live!";
set the third
- Don Cherry - "In a Geodetic Dome"
- off of Brotherhood Suite
track 3 - 4:07
- slow, somber horn, light gong punctuations
- The Angels of Light - "His Entropic Highness"
- off of New Mother
track 16 - 5:33
- An M.Gira (formerly of the Swans) project
set the fourth
- William Hooker - "An Unknown Feeling"
- off of Black Mask
track 8 - 16:43
- with Roy Nathanson on Sax
- An energetic, noisy, 60s free jazz style piece.
- Some depth to the sax.
- From the the
A-file
- Richard Lainhart - "2 Mirrors Face One Another"
- off of Ten Thousand Shades of Blue
Disk I, track 2 - 40:10
- Deep, beautiful tones, like tibetan temple bells
- From the the
A-file
- Played at the same time as:
- Leonard Cohen - "Land of Plenty"
- off of Ten New Songs
track - 10
- "May the light in the land of plenty/shine on the truth
some day"
- Dirty Three - "Some things I just don't want to know"
- off of Whatever You Love, You Are
track 4 - 6:06
- Repetetive, deep slow sad strings.
- This band was one of Jennie Kermode's picks for ten
best of all time, so I gave it a play...
- Partly overlapped this with the Leonard Cohen, then
used it as a sound bed for the next Mic break.
set the fifth
- Sun Ra - "The Adventures of Bugs Hunter"
- off of The Solar Myth Approach Vol 1
side B, track 4 - 6:36
- A piece focusing on the percussion of Bugs Hunter,
an arkestra member I have a certain fascination with these
days. He came up with the tape echo reverb that makes some
of the Cosmic Tones/Art Forms tracks so distinctive.
- And this re-release of the Solar Myth Approach is my
current favorite Sun Ra recording, displacing Cosmic Tones,
though possibly only temporarily.
- Phil Ochs - "The Crucifixion"
- off of Pleasures of the Harbor
side B, track 3 - 8:45
- Beautifully strange lyrics, and sound production (with
some very spooky, echoy dissoant strings). One of my
candidates for inclusion in the classic, mythical genre of
"Industrial Folk Music".
set the sixth
- President's Breakfest - "What if..."
- off of IIIC
track 11 - 2:36
- Angular jazzy piece that incorporates Mumia Abu Jamal spoken vox.
- From the the
A-file
- June Tabor - "Roses of Picardy"
- off of Rosa Mundi
track 1 - 4:08
- slow, somber, WWI song plus piano & strings.
- played overlapped with:
- From the the
A-file
- Pauline Oliveros - "No Mo"
- off of No Mo
track 1 - 32:30
- CD release of some of her early 60s electronic
(tape and oscillator) works. This one is fairly sparse,
but unusually noisey. Sudden bursts of static.
- From the the
A-file
set the seventh
- Kobeity - "Notre Lune"
- off of Coll: New Music From Central & Eastern Europe
Vol. 2
track 9 - 7:32
- lead: military drums. Brings in deep bass, turns into
fast secret agent music, with way cool sax.
- From the the
A-file
- Paul Smiff, The Foolish Mortal - "Season of the Zebra"
- off of Season of the Zebra, 12"
side 1, track 1 - ~ 4:30
- Features female vocals in Cambodian by Chom Nimol, who
also fronts the band Dengue Fever, which was just written up
in Giant Robot, issue #24.
- Slow, mildly goofy beats.
- From the the
A-file
- Howard Zinn - "Objectivity/Making Choices"
- off of A People's History of the United States
track 5 - 2:51, track 6 - 3:32
- Spoken word piece, where Zinn, the author of the well
known book of the same title of this CD, denies value of objectivity (sorta)
- Played this overlapped with:
- ICE - "Human Behavior"
- off of String Tribute to Bjork
track 9 - 4:10
- Instrumental classical versions of Bjork tunes. A cut
above muzak, but only just. More evidence, if any were
needed, that the "classical" music field is completely tapped
out and desperate for ideas.
- Mildly goofy, boogieing along sound, that I though went
fairly well with Zinn's Wry Humor.
- Iva Bittova' & Cikory - "The Strength of Ants"
- off of Coll: New Music From Central & Eastern Europe
Vol. 2
track 10 - 3:21
- jazzy pop and whispery french vox.
set the eight
- Phil Ranelin - "Vibes from the Tribe"
- off of Hefty Records Sampler
track 6 - 3:45
- leads with spooky metal sounds, adds trombone (?). Boogieish
beat with horns.
- This is one of the almost uniformly excellent CDs
shipped out with the almost universally excellent magazine
"The Wire" to subscribers.
- Sinead O'Conner - "On Raglan Road"
- off of Mondo Celtic Compilation
track 14 - 6:04
- From the the
A-file
- Played overlapped with:
- Controlled Bleeding - "Red Hand's Waiting"
- off of Can You Smell the Rain Between
track 1 - 6:50
- Played at roughly 25% volume
- From the the
A-file
set the ninth
- Funker Vogt - "Maschine Zeit (Maschinen Mix)"
- off of T
track 6
- Some nice, deep sounding, repetetive pounding beats,
on this industrial dance track. Part of a ticket giveaway
for the DNA Lounge, where they were about to perform.
- Karen Stackpole - ""
- off of Metal Work, Music for Gongs
- Karen Stackpole is a local musician with an impressive
collection of exotic percussion instruments. Here on this
disk on the Limited Sedition label, she's focusing solely on
metal gong sounds. Excellent, spacey mood music...
- Played overlapped with:
- Jon Raskin - "Gym"
- off of The Artship Recordings
track 1 - ~ 20:00
- 3 inch CD
- Another disk in the same series as the Philip Gelb
piece the show led off with.
- The well-known local saxophonist.
- Susan McKeown - "Bushes & Briars"
- off of the Mondo Celtic Compilation
track 8 - 3:53
- slow, traditional mournful female vocals
- From the the
A-file
- Played overlapped with:
- Bob Falesch & Bob Marsh - "2 1/2 by 4 1/4"
- off of co-lage
track 2 - 7:46
- sparse, with tweaked high voice and piano
- Excellent local improvisational muscians.
last track
- D.Barret & DJ Snooty - "Diedre Chalet"
- off of Une Fois Mais Pas Deux 12"
side two, track 2 - ~ 3:00
- slow, space, sci-fi ambient sound
- From the the
A-file
Autopsy
Did it all work? Probably not very well. The show had it's moments,
but there were continual problems with rough segues. While
I'd often previewed the music to refresh my memory of
what it sounded like before making a note of it,
the notes alone weren't always good enough to recall the sound.
My "post-it note" method of piecing together
sets from notes about the tracks failed me a number of times.
The high point of the show was probably in the Howard
Zinn/Ice set. Certainly that generated the most listener
comments.
Appendix
KZSU
That is to say, KZSU, the Stanford radio station,
available at 90.1 FM in the SF Bay Area and at
realaudio.stanford.edu everywhere there's
a sound card. More about that over at
kzsu.stanford.edu
-
More Doom:
- http://kzsu.stanford.edu/~doom
- Feedback:
- doom@kzsu.stanford.edu