This Quarter


ere are our weekly listings for the winter months. Watch this list for further details to be filled in and other possible updates.

1/7 John McCutcheon Live: John stops by the KALW studios during his annual pilgrimage to the Bay Area. No doubt he’ll share his thoughts and songs on the recent presidential election. And we’ll remember great musicians who passed away in 2016. Leonard Cohen, Dave Swarbrick, Guy Clark, David Bowie, Fred Hellerman (The Weavers), Oscar Brand, Ralph Stanley, Pete Zorn, Dan Hicks, Sir George Martin, Paul Kantner, Rob Wasserman.
1/14 Dynamic Duos: Mikael and Mia Marin, viola and violin, Rusalnaia (Gillian Chadwick and Sharron Kraus), accordionist Guy Klucevsek and pianist Alan Birn, paired singer-songwriters Steve Tilston and Jez Lowe, more.
1/21 New and Recent Releases: Emmylou Harris tribute, Anna & Elizabeth, Claudia Schmidt & Sally Rogers, Irish fiddler Kevin Burke, dobro master Rob Ickes, The Piedmont Melody Makers, Eric Bibb & Danny Thompson, and uilleann piper John McSherry. Finger-style guitarist Richard Osborn will appear live.
1/28 Songs for St. Brigid: In anticipation of her feast day as well as the Celtic first day of Spring.
2/4 Julie Fowlis: A rebroadcast of the 2009 interview.
2/11 Film Soundtracks: Gaelic Storm (Titanic), Ry Cooder (The Long Riders), Dougie MacLean (The Last of the Mohicans), Capercaillie (Rob Roy), and songs from O Brother Where Art Thou, Songcatcher, and The Commitments.
2/18 Sandy’s Gumbo: Guest host Sandy Miranda stirs up the musical pot.
2/25 Music of the Left Coast: Oregon musician Brian Cutean, Woodland, Wildlight with Ayla Nereo and David Sugalski, Linda Waterfall, Paul Kamm and Eleanore MacDonald.
3/4 Taking Flight: Songs about angels and madonnas by Shawn Colvin, Dar Williams, Mary Chapin Carpenter, the Wailin Jennys, Jonatha Brooke, Laura Nyro, Jane Siberry, Carrie Newcomer, Dead Can Dance.
3/11 Poetry and Music: Emily Dickinson by Susan McKeown and Josephine Foster, Robert Graves by Jay Ansill and Anne Hills, W.H. Auden by Kelly Mullhollan, William Blake by Martha Redbone, W.B. Yeats by various.
3/18 Songs for St. Patrick’s: Some of the best in contemporary and traditional Irish music.
3/25 Songs for Spring: Tim Buckley, Maria del Mar Bonet, Espers, Lorraine Duisit, songs for Nowruz, more.

The music of this [other] dimension exists prior to our feelings, experiences or indeed any of our relationships with anything whatsoever. It is with this music that “our” lives begin and end, and with its sound we pass from the realm of individual existence [to] that of the infinite in each and every moment, usually without being in any way consciously aware of such a cycle. This music does not belong to any given civilization, every sound of it simultaneously contains and transcends all of the civilizations of all peoples, of all places, of all times....
The music being discussed here is not any man’s creation, it is not even the creation of mankind as a whole, rather it is a gift to mankind. Perhaps we don’t really “know” anything about its source, but if ever we hear it, even for a fraction of a second, we want only to go there.
—Ross Daly, notes to An-Ki

Music also occupies the province of all authentic art as a means to connect to a world beyond oneself, to envelop in an “other” sphere, to touch a place of pure ideas with which we resonate and that put the moments of our life in a larger perspective. Schopenhauer—that modern philosopher much obsessed with music—contended that it in particular, above the other arts, has the ability to communicate its meaning directly through a non-dualist, aesthetic experience in which one perceives “the objective essence of things.” The Symbolist Art movement of the 19th Century sought to explore “perceptible surfaces created to represent their esoteric affinities with the primordial Ideals”; in other words, “psychedelic”—as in psychoactive or mind expanding—access points to something spiritual, something beyond the mundane.
I’ll state for myself unabashed (and there are others I know!) that the process of creating music is a “spiritual practice”—an occupation so compelling that it can often eclipse all other earthly concerns. But what is the effect of this art on others? Can this ekstasis be shared or at least communicated? Communication being no small part in the purpose of pursuing this art, even the prim possibility that somewhere, someone “gets it” (and can use the technique as a key to open an imaginal realm glimpsed also by the artist) is enough to goad the artist on, in spite of large difficulties, to the completion of a “Great Work”—a work that can be presented in our collective material sphere.
—B’ee (In Gowan Ring)