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a shameless plug for Nitya...but he will play some good stuff...and that picture show's exactly how he's furnished his house!


http://somafm.com/play/sonicuniverse

Sonic Universe: NuJazz + avant-garde EuroJazz. Transcending the world of jazz with experimental takes on tradition.

Music Director / DJ: Nitya

Jon Hassell

Jon Hassell Has a new album!

Ah, this is big news for me...I love hassells music, and I think Marifa Street is a wonderful band!

To that end..I have purchased all of Hassells work as well as Mr. Rick Cox, a frequent contributor to Hassells projects. I highly recommend Mr. Cox's solo atmospherics as well....

I currently have copies of the following for sale at AMAZON.

Sulla Strada (out of print)
The Million Dollar Hotel
Power Spot
Dressing for pleasure
The Surgeon of the night sky..
OST (score) Trespass


25 YEARS AFTER his last ECM recording, the highly-influential Power Spot (recorded in 1983/84), Jon Hassell returns to the label with a new album—issued to coincide with the trumpeter’s first US tour in two decades.

Last night the moon came dropping its clothes in the street takes its title from a line from a 13th century poem by Jalaluddin Rumi:

Last night the moon came dropping its clothes in the street.
I took it as a sign to start singing.
Falling up into the bowl of sky.

The striking, almost surreally-vivid image (in Coleman Barks’ contemporary translation) seems to speak to Hasssell’s aural re-imaginings. His own ‘singing’ opens up new angles of vision, as his very vocal trumpet lines are reframed in works that contrast, combine, or melt together aspects of ancient and hypermodern idioms in a musical meta-language which can embrace sounds from all the compass points, sounds of the city, sounds of the natural world. In the past Hassell’s termed his personal genre Fourth World: by any name inspirational, its implications have registered with pop and rap and jazz artists as well as classical chamber musicians and filmmakers... And purely as an instrumentalist, Hassell’s influence has been widely felt, too. Nils Petter Molvaer , Arve Henriksen and Paolo Fresu are but three ECM-associated trumpeters who acknowledge a debt to the liquid tone and weightless, floating quality of Jon Hassell’s trumpet improvisations, and to his pioneering use of electronics in tandem with his horn.

Hassell describes the music of Last night the moon as “a continuous piece, almost symphonic, with a cinematic construction” and drifting “clouds made out of many motifs”. Core material is drawn from a session at Studios La Buisonne near Avignon in April 2008, with detail added in Los Angeles in November and December. Live recordings from Courtrais, Belgium and London, as well as a remix of a piece originally created for a Wim Wenders movie, are also integrated into the atmospheric, filmic flow, along with short samples snared throughout 2008.

Jon Hassell: “The word ‘montage’ pops out of my memory bank...Not only does it describe the little montages that serve as transitions between longer pieces (themselves montages of motifs that keep reappearing in new contexts) but the music presented here is a montage of the last years of concerts and the changing cast of the group I call Maarifa Street—all musicians who have contributed their personalities—the way an actor does to a film—to this living, morphing process that occasionally gets set down as a ‘record’.”

Jon Hassell was born in Memphis, Tennessee, and grew up with ears alert to divergent aspects of the jazz tradition, one early influence including Maynard Ferguson’s “stratospheric” trumpeting with the Stan Kenton Orchestra. While studying at the Eastman School of Music Hassell became increasingly interested in serial music and more experimental expressions of the new music avant-garde, in the mid-60s travelling to Cologne to study with Karlheinz Stockhausen. Returning to New York in 1967 he met and befriended Terry Riley. Hassell played on Riley’s landmark recording In C, and was introduced by him to La Monte Young with whose Dream House project he toured through the 1970s. An encounter with the music of Indian singer Pandit Pran Nath proved pivotal. Hassell studied extensively with Pran Nath, subsequently incorporating vocal inflections of raga into his trumpet playing, developing a new style for his instrument and his music as a whole. Vernal Equinox (1977) laid down the matrix of the idiosyncratic yet wide-open idiom Hassell has continued to develop and redefine over the last three decades: “My aim was to make a music that was vertically integrated in such a way that at any cross-sectional moment you were not able to pick a single element out as being from a particular country or genre of music.”

In 1986 Brian Eno, a frequent collaborator, would observe that “Jon Hassell is an inventor of new forms of music—of new ideas of what music could be and how it might be made. His work is drawn from his whole cultural experience without fear or prejudice. It is an optimistic, global vision that suggests not only possible musics but possible futures.” An enticing proposal for the most diverse musicians, Hassell’s collaborators over the years have ranged from Peter Gabriel to the Kronos Quartet, Ry Cooder and Bono, and his trumpet performances have featured on recordings with Björk, Baaba Maal, Ibrahim Ferrer, Ani di Franco, David Sylvian, the Talking Heads and many others.

Additionally his playing and/or music has been heard in numerous films including The Last Temptation of Christ, Trespass, Wild Side, Greenwich Mean Time, Angel Eyes, Owning Mahowny, Million Dollar Hotel and more.

Jon Hassell’s albums as a leader are Vernal Equinox (1977), Earthquake Island (1978), Fourth World Vol 1: Possible Musics (1980), Fourth World Vol. 2 : Dream Theory In Malaya (1981), Aka-Darbari-Java / Magic Realism (1983), Power Spot (1986), The Surgeon Of The Nightsky Restores Dead Things By The Power Of Sound (1987), Flash Of The Spirit (1988), City: Works Of Fiction (1990), Dressing For Pleasure (1994), Sulla Strada (1995), The Vertical Collection (1997), Fascinoma (1999), Maarifa Street / Magic Realism 2 (2005), Last Night The Moon Came Dropping Its Clothes In The Street (2009).

Since 2005 he has led the collective Maarifa Street, with whom he will perform on his February 2009 tour. Dates are:

February 5: Columbus, OH (Wexner Center)
February 6: Knoxville, TN (Bijou Theater)
February 8: Philadelphia, PA (World Cafe Live)
February 10: New York, NY (Zankel Hall)
February 12: Minneapolis, MN (Walker Arts Center)
February 13: Los Angeles, CA (Royce Hall)
February 14: Vancouver Jazz Festival (Chan Center for Performing Arts)

http://www.jonhassell.com/


http://en.wikipedia.org/wiki/Jon_Hassell


Jon Hassell
From Wikipedia, the free encyclopedia

Jon Hassell
Born March 22, 1937 (1937-03-22) (age 71)
Memphis, Tennessee, U.S.
Genre(s) World music
Instrument(s) Trumpet

Website www.jonhassell.com

Jon Hassell (born March 22, 1937) is an American trumpet player and composer. He is known for his influence in the world music scene and his unusual electronic manipulation of the trumpet sound.




Life and career

Born in Memphis, Tennessee, Hassell received his Master's degree from the Eastman School of Music in Rochester, New York. During this time he became involved in European serial music, especially the work of Karlheinz Stockhausen, and so after finishing his studies at Eastman, he enrolled in the Cologne Course for New Music for two years (founded and directed by Stockhausen). Hassell returned to the U.S. in 1967, where he met Terry Riley in Buffalo, New York and performed on the first recording of Riley's seminal work In C in 1968. He pursued his PhD in musicology in Buffalo and performed in La Monte Young's "Dream House" (aka Theatre of Eternal Music) in New York City.

On his return to Buffalo in the early 1970s, Hassell was introduced to the music of Indian Pandit Pran Nath, a specialist in the Kiranic style of singing. Hassell, Young, Marian Zazeela (Young's wife) and Riley went together to India to study with Nath. His work with Nath awoke his appetite for world music, and on the album Vernal Equinox, he used his trumpet to imitate the vocal techniques of Nath (treated with various electronic effects) where he stated:

"From 1973 up until then I was totally immersed in playing raga on the trumpet. I wanted the physical dexterity to be able to come into a room and be able to do something that nobody else in the world could do. My aim was to make a music that was vertically integrated in such a way that at any cross-sectional moment you were not able to pick a single element out as being from a particular country or genre of music."

In 1980, he collaborated with Brian Eno on the album Fourth World, Vol. 1: Possible Musics. Hassell's 1981 release, Dream Theory in Malaya, led to a performance at the first World of Music, Arts and Dance (WOMAD) Festival, organized by Peter Gabriel. In the late 1980s, Hassell contributed to Gabriel's Passion: Music for The Last Temptation of Christ, the soundtrack album for Martin Scorsese's film, The Last Temptation of Christ. Hassell and Pete Scaturro composed the electronic theme music for the television show The Practice.

Style

Hassell coined the term "Fourth World" to describe his musical style, as expressed both in his trumpet playing and in his approach to composition. This musical conception combines the philosophy and techniques of minimalism with Asian and African styles, and relies heavily on the use of electronic instruments. Critics of Hassell's style have noted its incorporation of New Age and world music styles, but have also detected the influence of Miles Davis, particularly Davis' use of electronics, modal harmony and understated lyricism.[1] Both on record and during live performances, Hassell makes use of traditional western instruments--keyboards, bass, electric guitar, and percussion--to create modal, hypnotic grooves, over which he plays microtonally-inflected trumpet phrases in the style of Nath's Kiranic vocals.[2]



Jon Hassell
Last night the moon came dropping its clothes in the street



Jon Hassell trumpet, keyboard
Peter Freeman bass, percussion, guitar
Jan Bang live sampling
Jamie Muhoberac keyboard, drums
Rick Cox guitar
Jon Hassell violin
Eivind Aarset guitar
Helge Andreas Norbakken drums
Pete Lockett drums
J. A. Deane live sampling
Steve Shehan percussion

Aurora
Time And Place
Abu Gil
Last Night The Moon Came
Clairvoyance
Courtrais
Scintilla
Northline
Blue Period
Light On Water

Recorded November 2008
ECM 2077

25 years after his highly influential “Power Spot” album, Jon Hassell returns to ECM with his collective Maarifa Street and some spacious Fourth World dub-montage music, his uniquely vocal trumpet sailing forth into mysterious soundscapes. Jon Hassell describes “Last night the moon” as “a continuous piece, almost symphonic, with a cinematic construction” and drifting “clouds made out of many motifs”. Core material is drawn from a session at Studios La Buissonne near Avignon in April 2008, with detail added in Los Angeles in November and December. Live recordings from Courtrais, Belgium and London, as well as a remix of a piece originally created for a Wim Wenders movie, are also integrated into the atmospheric, filmic flow, along with short samples snared throughout 2008.

This album can be ordered in the USA from February 10th and via the ECM webshop from March 20th

ECM Last night the moon came dropping its clothes in the street PAGE

http://www.ecmrecords.com/Catalogue/ECM/2000/2077.php?cat=&we_start=0&acat=Artists%2FHassell+Jon%23%23Jon+Hassell

ECM power spot page

http://www.ecmrecords.com/Catalogue/ECM/1300/1327.php

Terje Rypdal His first ECM efforts.

Terje Rypdal

Terje Rypdal guitar, flute
Inger Lise Rypdal voice
Ekkehard Fintl oboe, English horn
Jan Garbarek tenor saxophone, flute, clarinet
Bobo Stenson electric piano
Tom Halversen electric piano
Arild Andersen electric bass, double-bass
Bjørnar Andresen electric bass
Jon Christensen percussion

I've been listening too some of my 70's stuff (as always) and often times I get drawn to my early ECM catalog.
Another thing that I frankly have Too much time for is my Amazon store. (I'd rather have a job to go too) Amazon has that clever software that try's to track where you go and select (and propose to you) thing you might want to buy in the future. So...I get a lot of advertising for groups like Chick Corea's Return to Forever, Mahavishnu Orchestra, Herbie Hancock's Mwandishi (wow, they never pushed this before)
Miles, Heck they even sent me a link to Arve Henriksen.

BUT NO RYPDAL...AND NO EARLY ECM'S

I remember when I was a young, teenage jazz fan, I loved Miles bitches brew and Larry young/Tony Williams. The first time I saw Miles it blew me away! It was too much, went literally over my head.
But I came to love mile's stuff and he became my favorite.
This was when record companies limited what was released, no bonus stuff..or box sets. Just the album and you waited for the next to come out. I was a hendrix nut too, and there was plenty of weird releases and bootlegs...just a lot! But with Miles
No bootlegs, no weird releases. I ran out of stuff, and it seemed like nobody
"brewed" like miles.

Then I discovered the ECM label.The covers were exquisite, just great art and nice concise credits too. The production was cool too, literally! Icy and clean. "The ECM sound"was a selling point all by itself. ECM covered and released some American jazz artist's but what I really enjoyed was hearing european artist's.
My first Non-US artist I really went for was Terje Rypdal, again since I was looking for more "brew" type music I quickly grabbed both Rydal LP's that were out at the time. Rypdal "Terje Rypdal" ECM 1016 and "What Come's after" ECM 1031. Notice, I had Missed Rypdal's first release for over a year.
I think, actually what really grabbed me was Gateway's first release too.
I had seen Abercrombie with Gato barbieri's band and right away knew
he was a favorite!
But, In this period ECM, along with Impulse! Muse, Cobblestone,
was putting out just amazing ground breaking music. See The list I provided.under the review of Rypdals sessions.











Keep It Like That - Tight open's the LP with a funky electric bass beat,
slow and solid, Rypdal joins in and comps choppy electrified licks.
Its a slow burbling brew. Finally Jan Garbarek's burning tenor
takes over with various honks and beeps. Next (briefly)
Bobo Stenson shows off his funky side with a short clavinet/
electric piano solo and finally Terje Rypdal plays a solo
over the entire ensembles sound. Here he shows what the talk
back in 72 (oh..BoB Seger there!) anyway, what guitar heads
(like me) were mumbling about.It aint Bitches Brew..
but its a nice brew all the same.

Rainbow opens very quiet, with Garabreks soprano over and around what
sounds like possibly bowed guitar. Its almost orchestral, yet limited
instrumentation. Rypdal doubles on flute, showing nice
feel for this new instument.


Electric Fantasy Opens quietly as well, with a dreamy feel
Albeit briefly, somehow Ekkehard Fintl, Garbarek and Rypdal manage
to double and make their instruments sound like an orchestra.
Inger Lise Rypdal's voice makes its session debut here,
adding another dreamlike texture, the master Jon Christensen
lays a subtle background on his cymbals as Rypdal and mates create
a sonic palate for Lise's vocals to cover. Just beautiful.
And for my crew, between National Healths Amanda Parson's
and Inger Lise it open up our ears to a new possibility.



Lontano II Is again very quiet, and it was a new thing at the time
to hear a "guitar- hero" who understood the value of space and silence.
Nice tricks by Rypdal here, stretching and bending.

Tough Enough Opens with a rypdal "announcement" that hes going to be heard this time, Its interesting...his tone is almost telecaster-country. As he knocks off riffs,
in the back you can hear a second level of axe-strangulation.
Then it all kicks in, really ala Miles "right-off" I not
even sure Rypdal had heard "right-off, it was released February 24, 1971 in
the United States and probably later in Europe. I just
think good minds work along the same lines.

Recorded August 1971
ECM 1016






Terje Rypdal What Comes After...




Terje Rypdal guitars, flute
Barre Phillips basses
Jon Christensen percussion, organ
Erik Niord Larsen oboe, English horn
Sveinung Hovensjø electric bass

Bend It

Opens with a repeating electric bass line with Rypdal's great tone electric guitars soloing over and around.Clearly, from the start we hear that Mr. Rypdal has been
doing some serious "woodshedding".
His tone and attack have improved greatly since the first release.
"Bend it" comes clearly through the Miles/Mahavishnu filter but Rydal has his own
thing going on.


Yearning features the first extended solo acoustic guitar that I can recall
from rypdal. Its mostly a duet with Erik Niord Larsen's oboe.
Its a delicate interlude and again reminds us that Rypdal (like any good
composer) recognizes the value of "quiet time".


Icing is the music from a dream.Rypdal's touch here is light as is drummer Christensen,who wisely lays off providid bells and a light touch backbeat.Barre Phillips on acoustic bass weave into the mix, which also features
an other worldly oboe, the tune builds to a subdued crescendo then lays off..into..

What Comes After where Rypdals electric guitar is more powerful. He trades off Larsen's oboe while Christensen pushes the combo forward and Hovensjø comes into the mix.The tempo is slow, but with restrained power.Layers of guitars blend off solo's by other members.This, to me is basically early Odyssey music, a taste of where rypdal is moving forward to.

Séjours Opens with bowed bass and oboe, (think hendrix electric church). Here rydal picks up the flute showing off his mixed talents. Sejours is lovely, spacy, storybok music.

Back Of J. Ah yes J. I like to think this is for me. (not!) Barre Phillip and Rypdal play acoustic ( rypdal on spanish guitar) over cymbal washes.Its a laid back ending to a session that shows off many musical ideas.


After listening to "What Comes After" I was left waiting for more. Fortunately Rypdal's
"Whenever I Seem To Be Far Away" and "Odyssey" came fairly soon after, providing
more wonderful sounds to enjoy.






Recorded August 1973
ECM 1031


Here are some other early releases from ECM that I loved.


ECM 1012
Bobo Stenson
Underwear
℗1971 Recorded May 18 & 19, 1971 at the Bendiksen Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher





ECM 1015
Jan Garbarek Quintet
SART
℗1971 Recorded April 14 & 15, 1971 at the Arne Bendiksen Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher
Also reissued on CD as part of a box set ECM 2146/48



ECM 1016
Terje Rypdal
℗1971 Recorded August 12 & 13, 1971, Bendiksen Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher







ECM 1022
Chick Corea
Return To Forever
℗1972 Recorded February 2 and 3, 1972 at A & R Studios New York City
Engineer: Tony May
Produced by Manfred Eicher






ECM 1024
Gary Burton / Chick Corea
Crystal Silence
℗1973 Recorded November 6, 1972 at Arne Bendiksen Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher
Also reissued on CD as part of a box set ECM 2036/39







ECM 1028
Paul Motian
Conception Vessel
℗1973 Recorded November 25, 26, 1972 at Butterfly and Sound Ideas Studios, New York
Engineer: Kurt ... / George Klabin
Produced by Manfred Eicher
This album is part of the ECM Touchstones series.




ECM 1031
Terje Rypdal
What Comes After
℗1974 Recorded August 7 and 8, 1973 at Arne Bendiksen Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher





ECM 1039
Dave Liebman
Lookout Farm
℗1974 Recorded October 10 & 11, 1973
Generation Sound Studios
Engineer: Tony May
Produced by Manfred Eicher





ECM 1042
Eberhard Weber

When I first heard Weber..I was AMAZED!
The Colours of Chloë
℗1973 Recorded March 1975 at Tonstudio Bauer, Ludwigsburg
Engineer: K. Rapp, M. Wieland
Produced by Manfred Eicher





ECM 1043
Bennie Maupin

really, More Mwandishi ( a very good thing)

The Jewel In The Lotus
℗1974 Recorded March 1974, Record Plant, New York
Engineer: Dennis Ferrante
Produced by Manfred Eicher
Remastered by Manfred Eicher with Jan Erik Kongshaug in Oslo in February 2007.
Released on CD by ECM in August 2007.





ECM 1044
Julian Priester Pepo Mtoto

really, More Mwandishi
Love, Love
℗1974 Recorded June 28 & September 12, 1973 at Different Fur Music, San Francisco
Engineer: John Viera and Dane Butcher
Produced by Julian Priester and Pat Gleeson


















ECM 1045
Terje Rypdal

Just wonderful music

Whenever I Seem To Be Far Away
?1974 Recorded 1974 in Oslo and Ludwigsburg
Engineer: Kongshaug and Wieland
Produced by Manfred Eicher
Also reissued on CD as part of a box set ECM 2136/39





ECM 1046
Dave Liebman
Drum Ode
?1975 Recorded May 1974, Record Plant, New York
Engineer: Jay Messina
Produced by Manfred Eicher
Available as a digital download from Amazon.com.








ECM 1047
John Abercrombie

Here is Abercrombie LET LOOSE!
Timeless
?1975 Recorded June 11 & 12, 1974, Generation Sound Studios, New York
Engineer: Tony May, Jan Erik Kongshaug
Produced by Manfred Eicher







ECM 1048
Paul Motian
Tribute
?1975 Recorded May 1974, Generation Sound Studios, New York
Engineer: Tony May, Martin Wieland
Produced by Manfred Eicher












ECM 1050
Keith Jarrett
Belonging
?1974 Recorded April 24 and 25, 1974 at Arne Bendiksen Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher

Released in Japan as UCCU-5213









ECM 1051
Gary Burton Quintet w/ Eberhard Weber

What a great band
Ring
?1974 Recorded July 23 and 24, 1974 at Tonstudio Bauer, Ludwigsburg
Engineer: Martin Wieland
Produced by Manfred Eicher










ECM 1054
Richard Beirach
Eon
?1975 Recorded November 1974 at Generation Sound Studios, New York
Engineer: Tony May
Produced by Manfred Eicher







ECM 1057
Bill Connors
Theme To The Gaurdian
?1975 Recorded November 1974 at Arne Bendiksen Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher










ECM 1059
Arild Andersen
Clouds In My Head

My first taste of this great bassist
?1975 Recorded February 1975 at Arne Bendiksen Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher








ECM 1060
Ralph Towner
Solstice
?1975 Recorded December 1974 at Arne Bendiksen Studio, Oslo
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher






ECM 1061
John Abercrombie / David Holland / Jack DeJohnette

Incredible, a desert island disk!
Gateway
Recorded March 1975 at Tonstudio Bauer, Ludwigsburg
Engineer: Martin Wieland
Produced by Manfred Eicher



ECM 1062
Collin Walcott
Cloud Dance

Abercrombie is all over this!! A wonderful session.
Recorded March 1975 at Tonstudio Bauer, Ludwigsburg
Engineer: Martin Wieland
Produced by Manfred Eicher




ECM 1063
Enrico Rava
The Pilgrim And The Stars

a great session...where I first heard Ravas playing...Abercrombie is all over this!!

Recorded June 1975 at Tonstudio Bauer, Ludwigsburg
Engineer: Martin Wieland
Produced by Manfred Eicher
This album is part of the ECM Touchstones series.