this prompted me to give last night... another listen. still fantastic. and the dnb w/o any rhythm track is pretty much spot-on for the more dubby, less fusiony material. but sloooooowed down.
love this album.
― original bgm, Wednesday, 8 July 2009 13:50 (fifteen years ago) link
the new one is indeed sick
― omar little, Tuesday, 29 September 2009 23:39 (fifteen years ago) link
you know which one's good? Sulla Strada, music for a 1982 Italian dance production. I got it when it finally came out in 98, but it felt peripheral at the time, a lot of the fragments are simple looped textures & resampled tracks from Fourth World Vol. 1 & 2, but coming back to it this month, that is precisely why it is so great. a lot more overt in its use of directly appropriative sampling (both of ethno-folk music & self-remixing) than on any other record of his, except Aka Darbari Java (which is the one of his I've been playing most this year)
― Milton Parker, Monday, 21 December 2009 02:43 (fourteen years ago) link
The Washington Post's pop music critic Chris Richards put this in as his tenth fave cd of the year---he described it this way : With his 15th studio album, the esteemed jazz trumpeter evaporated Miles Davis’ cosmic slop into a resplendent sonic mist.
― curmudgeon, Monday, 21 December 2009 03:00 (fourteen years ago) link
I'm talking about the 2009 one “Last Night the Moon Came Dropping Its Clothes in the Street”
Actually I think he's just playing with the same sonic mist as In A Silent Way, but that's one of my favourite kinds of weather so I love it.
― Tim F, Monday, 21 December 2009 03:25 (fourteen years ago) link
I like the new one. It is very distilled.
In the context of this intrepidly experimental environment, Hassell would come to a concept that would affect everything to come. "So I started making little things with tapes and collages," Hassell describes. "I remember one of the first things I ever did was to take a big thick chord sung by the Hi-Lo's, and kind of slice up that chord—we're talking splicing tape here—and making a cubist mash-up of the chord. Call it early sampling, when you're basically just recording a piece of something and with tape manipulation you're playing around [with it].
"So I go off to Europe, where I studied with Stockhausen for a couple of years," Hassell continues. "My wife was a pianist and she falls into that scene of playing Stockhausen at recitals and things like that. In the meantime, someone brings over The Beatles and says, 'Hey, listen to this, this is cool.' One of the scores I did was to take a Schoenberg piece and chop it up and have these little electronic devices—basically mixes that had a little keyboard on it so that the players were playing this sample of altered strings as softly as they could (you couldn't hear them on stage without amplification), so every time somebody plays the keyboard or hits one of the little nodes on the keyboard, then suddenly what they were playing would come to the fore.
"Lamonte Young and I did a performance in Rome and I heard [Indian vocal master Pandit] Pran Nath warming up. He was also doing a concert in the series there. I was warming up, I was playing these patterns; I had been sort of experimenting with a wah-wah pedal and all that, à la Miles from that period [early '70s]. And I was playing these patterns and Pran Nath heard me warming up; and so I heard him and he heard me and he took these patterns and started spinning them off. And I thought, 'Wow! That's cool.' So then I started studying. Raga was just raga to me. It was music from another place and I had no idea of how it was formed and shaped and what the ethos of it was. So then I started studying. I started studying with the trumpet, first singing and then trying to apply it to trumpet. Basically I had to pull away and kind of unlearn everything and start from there."
best career overview interview / article on Hassell I've ever read! his 60's background before getting to new york, the stuff on page 3, hadn't read any description of that in any depth at all before
http://www.allaboutjazz.com/php/article.php?id=32743&pg=1
― Milton Parker, Monday, 21 December 2009 03:32 (fourteen years ago) link
"There was a lot of last-minute touching up," Hassell admits. "And then I threw out the North line that we had glommed on all these things. I had had this big idea about having that—I had made these sort of mega-sessions in Pro Tools with like a hundred tracks and the idea was to like make these wild mixes, like montage. It looked like wild mixes in which there would have been even more than one motif drifting between pieces, which is kind of a grand idea. But eventually only a very small part of that actually wound up on the record.
hope he gets to make this kind of record next time. interesting to hear about Eicher's involvement on the new record from the first sessions, it's so odd how he ends up collaboratively moderating the mood on almost everything on ECM. also interesting to read that Power Spot was one of the rare ECM records that the artist finished on his own clock before bringing it to the label
― Milton Parker, Monday, 21 December 2009 04:38 (fourteen years ago) link
I wanted to like the new one, but I found the bass really really annoying for some reason. It's been too long since I've listened to have much of a sense of why at this point, if I ever did. Basically, his rhythms still sound corny to me lately.
― _Rudipherous_, Monday, 21 December 2009 04:51 (fourteen years ago) link
FWIW, I was DJing at a Matmos gig in Cleveland and dropped "Datu Bintung At Jelong" (as you do), and Matmos' MC Schmidt came racing to the decks to declare that Dream Theory In Malaya is his favorite album of all time. This little anecdote represents the zenith of my DJ "career."
Listening to Dream Theory right now. "Datu Bintung At Jelong"'s AMS/Eventide pitch shifter loop is like ambient crack. "Malay" sounds like the percussionist is performing in a lake. Less background than Possible Musics Vol. 1 and more esoteric in places but a great album.
― Naive Teen Idol, Sunday, 24 July 2011 05:22 (thirteen years ago) link
definitely better than most music
― Milton Parker, Sunday, 24 July 2011 09:03 (thirteen years ago) link
Reading an interview in Electronic Musician from a few years ago w him and he starts saying how so many of his compositions come out of other things he's done and then he says "Charm" is based off of the coda to the title track of Earthquake Island. I've had that record sitting in my iTunes library for years and just listened to it for the first time. And you don't have to wait for the coda to hear the string synth playing the part -- it's as plain as day from the opening note.
― Naive Teen Idol, Monday, 25 July 2011 05:18 (thirteen years ago) link
Fourth World is one of my favorite records ever, something I listen to once a week. I own the entire Hassell catalogue and the only weak ones are Sulla Strada, which is a rehash of earlier stuff and just too harsh to my ears, and Flash of the Spirit. the early ones, Vernal Equinox and Earthquake Island, are superior world-jazz records. I have some of this live Bluescreen stuff and think it's amazing. Dressing for Pleasure is more conventional and very fine. As he went on, he seemed to have referenced Miles Davis' electric stuff more, and while I prefer Miles to Jon Hassell--I prefer Miles' electric music to almost any other music I know--I think Hassell really did the instrumental thing way better than Eno, seems to have more content. Maarifa Street is a very good record from his "later" period and I prefer it to Fascinoma. There's also a cool Sub Rosa thing from '87, Myths 3. La Nouvelle Serenite, that has a great Hassell piece along with stuff by Harold Budd and Gavin Bryars. I find his Ry Cooder/Ronu Majumdar collab Hollow Bamboo to be, well, kinda hollow bamboozle. Dream Theory in Malaya has some nice stuff but some of the repetitions seem annoying to me. In the Eno doc Man Who Fell to Earth, Hassell gives the impression that Eno kinda stole his thunder, and I believe I read something to that effect in this Eno bio I read recently.
― ebbjunior, Tuesday, 26 July 2011 19:34 (thirteen years ago) link
anyone heard this: http://www.discogs.com/Punkt-2-Featuring-Sidsel-Endresen-Jon-Hassell-Live-Remixes-Vol-1/release/2088246
not mentioned on hassell's web discography. saw it in the stores, hesitated, still curious
― Milton Parker, Tuesday, 26 July 2011 21:11 (thirteen years ago) link
No but just realized Jan Bang is his live samplist -- I have his solo record on Samadhi Sound but haven't heard it yet.
Listening to Possible Musics now -- realize I've always had a bit of a confused relationship with it. For me, the biggest issue I have with it is that it's sequenced a bit funny -- as obviously groundbreaking as it is (and I've seen those quotes too -- when you compare it to his first two albums, I feel like Hassell maybe doesn't give Eno enough credit), "Chemistry" is a bit of a sleeper as an opener. For me, a lot of what it does rhythmically and texturally feels a little more deeply explored up thru Flash of the Spirit.
― Naive Teen Idol, Wednesday, 27 July 2011 00:22 (thirteen years ago) link
I made the dreadful music of owning that first David Sylvian record before Possible Musics.
― The Edge of Gloryhole (Alfred, Lord Sotosyn), Wednesday, 27 July 2011 00:32 (thirteen years ago) link
Well, that's only a dreadful mistake of you didn't like it. I love Words w the Shaman. The biggest difference is that it feels distinctly more teleological than most of Hassell's own stuff. Which isn't a bad thing.
― Naive Teen Idol, Wednesday, 27 July 2011 00:36 (thirteen years ago) link
It's such a concerted carbon copy of PM that it's tainted PM for me.
― The Edge of Gloryhole (Alfred, Lord Sotosyn), Wednesday, 27 July 2011 00:41 (thirteen years ago) link
Yes and no. I mean, yes, it's got Hassell's trumpet, atmospherics and "ethnic" percussion. But compositionally it feels pretty different.
― Naive Teen Idol, Wednesday, 27 July 2011 00:50 (thirteen years ago) link
If it hasn't been clear enough, over the last few weeks, I've been borderline obsessed with his 80s records. Even after listening to Hassell for years and reading dozens of Toop/Reynolds/Wire articles and interviews about his compositional process and the theory behind it, there are so many things about the way these records sound and were recorded that remain somewhat of a mystery to me as a musician.
Some of it is the compositional process itself. For instance, Hassell has said that one method he uses is playing older material and using where that goes as the basis of a new composition. But is it the band playing the song live in the studio? Or is it Hassell sampling the original track? Or both? As noted above, while the riff in "Charm" is lifted from the title track of Earthquake Island, it's not clear whether it's a sample (triggered by an AMS delay or whatever) or just Hassell playing a chord progression from his previous record.
But it's also the sounds themselves -- and this is where I think Eno and Lanois come in. Hassell's trumpet is obviously a huge part of it -- with the harmonizer and the way he plays the instrument. But many of the "treatments" are far more subtle, yet add a new dimension to the overall sound. I've heard Possible Musics literally hundreds of times but just recently noticed that a lot of the percussion parts are pitch-shifted to give the drums a bigger, more open, hollow and watery character. In other instances, sounds are processed to the point that they become virtually unrecognizable. According the credits, both Power Spot and The Surgeon of the Nightsky... have Michael Brook playing guitar on them -- but I don't much in the way of guitar, if any. And still other times, parts are processed to sound like completely different or "impossible" instruments -- made possible by the studio.
It makes me think that while there have always been comparisons drawn between Hassell's work and Miles Davis' in the 70s, one that seems particularly appropriate is their use of technology -- specifically, the way they used technology to mutate and blend the sound of the ensemble. And where in Miles' band, the technology of choice was wah-wah pedals (even Mtume used one on his percussion), for Hassell/Eno/Lanois it's running everything through Eventide pitch shifters and early samplers.
I know Eno avoids gear fetish discussions like the plague and understand why -- but I'd be fascinated to read a more in depth piece about the approach he took with these records.
― Naive Teen Idol, Saturday, 30 July 2011 04:45 (thirteen years ago) link
And I still feel that way.
― Naive Teen Idol, Friday, 9 November 2012 04:59 (eleven years ago) link
anyone heard this: http://www.discogs.com/Punkt-2-Featuring-Sidsel-Endresen-Jon-Hassell-Live-Remixes-Vol-1/release/2088246not mentioned on hassell's web discography. saw it in the stores, hesitated, still curious
http://open.spotify.com/album/5Kl0psNsQSWT5d62whDRUN
― Naive Teen Idol, Thursday, 15 November 2012 05:02 (eleven years ago) link
I got this on cd a while ago. (Probably wouldn't have if it'd been on Spotify.) It's good though. About what you'd expect, but good.
― FunkyTonk, Thursday, 15 November 2012 06:53 (eleven years ago) link
Hello.
DISC ONE - CITY: WORKS OF FICTION Original Fictions 1. Voiceprint (Blind From The Facts)2. Pagan3. Mombasa4. Tikal5. In The City Of Red Dust6. Rain7. Ba-Ya D8. Warriors9. Out Of Adedara DISC TWO - THE LIVING CITY Live at Wintergarden 17 September 1989 1. Ituri2. Alchemistry3. Adedara Rising4. Mashujaa5. Paradise Now6. Nightsky DISC THREE - PSYCHOGEOGRAPHY Zones Of Feeling 1. Aerial View2. Neon Night (Rain)3. Red Rose Empire [Bass Clef Remix]4. Streetfaxx5. City Spot6. Brigantes [808 State Remix]7. Cityism Superdub8. Elsewhere Is A Negative Mirror [Some Truths Remix]9. Harambe10. Ba-Ya Dub [No UFOs Remix]11. Freeway12. Cuba Libre13. Metal Fatigue [patten Remix]14. Midnight15. Waterfront District16. Favela17. Emerald City18. Cloud-Shaped Time
Due for release in June.
― Ned Raggett, Thursday, 17 April 2014 17:55 (ten years ago) link
Oh nice, love that record!
The live material sounds interesting.
The new cover looks great but is a real departure from the original and this, the cover to the last reissue
http://img1.bdbphotos.com/images/orig/r/z/rzg66k703xm0zr6x.jpg?djet1p5k
― Brakhage, Friday, 18 April 2014 00:06 (ten years ago) link
well dang hotlink police
― Brakhage, Friday, 18 April 2014 00:07 (ten years ago) link
RFI: can anyone suggest other recent musics with the feel of Maarifa Street and Last Night The Moon Came Dropping Its Clothes In The Street. Slow, dubby, semi-improvisatory, with heavy bass and textural electronics and organics wafting about? Most times I venture into this vicinity the result misses the mark, erring towards ambiance or freneticism.
― Congratulations! And my condolences. (Sanpaku), Tuesday, 29 April 2014 22:05 (ten years ago) link
not too recent anymore, but one of the better hassellish artists: http://www.discogs.com/Paul-Sch%C3%BCtze-Apart/release/175542
recently got Hassell's Fascinoma, which I always put off because I wasn't sure if I was interesting in hearing his 'standards' record, or hearing his horn without technology or effects. I was so wrong, this is one of his weirdest records. City is by far my least favorite Hassell album but the 2nd disc looks like it could be all right
was drawn to Michel Fahres' 'The Tubes' because of Hassell's playing on the 30 min title track but the whole album is good: http://coldbluemusic.com/pages/CB0024.html
Miguel Frasconi posted this to Soundcloud streaming-only the other day, live versions circa Possible Musics --
https://soundcloud.com/frasconimusic/sets/jon-hassell-group-1982Live performance by the Jon Hassell Performance Group, Avignon, France, June 1982. John Hassell: trumpet; Michael Brook: processing, kalimba; J. A. Dino Dean: log drum, percussion; Miguel Frasconi: udu, glass, keyboard
― Milton Parker, Tuesday, 29 April 2014 23:11 (ten years ago) link
Harmonizer (Greg Davis and Toby Aronson) had an EP in 2011 that traversed some of Hassell's fourth world terrains:
http://www.softwarelabel.net/shop/harmonizer-world-complete/
― doug watson, Wednesday, 30 April 2014 01:18 (ten years ago) link
I'll second the Paul Schutze suggestion and recommend his "New Maps Of Hell" album. Also "Bloody Thief" by Shinjuku Thief on the same label - http://www.discogs.com/Shinjuku-Thief-Bloody-Tourist/release/124161
Extreme put out a lot of Fourth World type stuff but as mentioned, it's not recent.
Rapoon sometimes remind me of Hassell but they have a fairly daunting discography.
In related news, All Saints have a Hassell remix EP coming out (featuring Patten, Mordant Music and others). I haven't had time to listen to it yet and confess to being a bit wary. Will report back
― stirmonster, Wednesday, 30 April 2014 02:27 (ten years ago) link
wow that harmonizer ep is shameless, pretty brave fun Greg
http://jadeane.com/blog/wed-04232014-0805
― Milton Parker, Thursday, 1 May 2014 05:34 (ten years ago) link
i was correct to be wary.
― stirmonster, Saturday, 3 May 2014 16:03 (ten years ago) link
I'll second the Paul Schutze suggestion and recommend his "New Maps Of Hell" album.
An absolute favorite of mine, still.
― Ned Raggett, Saturday, 3 May 2014 16:49 (ten years ago) link
My review of the City reissue:
http://www.wonderingsound.com/review/jon-hassell-city-works-fiction/
― Ned Raggett, Monday, 2 June 2014 17:35 (ten years ago) link
new 3 CD City reissue is pretty great. second live disc ebbs and flows along, but the third disc is definitely not the potpourri mess I was expecting -- it's a full 80 minutes but it's been structured beautifully as an album, even the four remixes fit in well.
even the original album sounds better to me this time around; I got this when it came out, and simply couldn't get over hearing the same late 80's drum machine sounds I was hearing everywhere else show up on a Jon Hassell record, but I'm a little less hung up on that decades later and I'm mostly just listening to how structured and tight his playing is, peaking on something
this comes after a few months of addictively listening through Fascinoma, which somehow has become one of my favorite records of his
one of the songs on the 3rd City disc is from a late 90's promo Hassell remix city called Vertical Collection - has anyone heard it / have it? - http://www.discogs.com/Jon-Hassell-The-Vertical-Collection-sketches/release/1796065
― Milton Parker, Wednesday, 16 July 2014 17:38 (ten years ago) link
& it's not online yet but I'll just put this here for now
http://www.kcrw.com/music/shows/morning-becomes-eclectic/jon-hassell-2014-07-16
― Milton Parker, Wednesday, 16 July 2014 20:31 (ten years ago) link
https://www.youtube.com/watch?v=ZKNmQaoza5E
― Milton Parker, Thursday, 17 July 2014 02:36 (ten years ago) link
http://www.spin.com/articles/jon-hassell-goes-below-the-belt-challenges-phillip-glass-to-dance-off/
― ian, Thursday, 17 July 2014 14:15 (ten years ago) link
https://www.youtube.com/watch?v=Q8jnSHZTzs0
― Milton Parker, Thursday, 31 July 2014 18:01 (ten years ago) link
i had slept on "vernal equinox" initially cuz i thought the thing i liked abt jh were the weird electronic textures, but man this is magical
― clouds, Thursday, 14 August 2014 02:33 (ten years ago) link
ahhh that's the same gig on the reissue right?
― Brakhage, Friday, 15 August 2014 16:41 (ten years ago) link
http://www.johncoulthart.com/feuilleton/2014/06/28/power-spot-by-michael-scroggins/
http://continuo-docs.tumblr.com/post/90825135135/jon-hassel-power-spot-1986-michael-scroggins
― Milton Parker, Thursday, 11 September 2014 21:36 (ten years ago) link
daniel lopatin seems to have based a large bit of his aesthetic on that video
― clouds, Thursday, 11 September 2014 23:36 (ten years ago) link
Jammin' some Earthquake Island for the first time this morning. Going down pretty smooth. Yeah.
― Austin, Saturday, 23 January 2016 17:08 (eight years ago) link
such a great and bizarre fusion record. JH hates it apparently!
― clouds, Saturday, 23 January 2016 17:16 (eight years ago) link
Must be the rubberband bass; seems pretty exclusive to this album in his discography.
― Austin, Saturday, 23 January 2016 17:18 (eight years ago) link
[Future Miles Davis bassist and A Tribe Called Quest collaborator] Ron Carter
― experience president sanders (Sparkle Motion), Saturday, 23 January 2016 17:30 (eight years ago) link
True on both accounts.
― Austin, Saturday, 23 January 2016 19:37 (eight years ago) link
no doubt but considering he's essentially the platonic ideal of a jazz bassist it was peculiar
― experience president sanders (Sparkle Motion), Saturday, 23 January 2016 19:46 (eight years ago) link
lol Spin ¯\_(ツ)_/¯
― Austin, Saturday, 23 January 2016 20:05 (eight years ago) link