#jon hassell

[jt1674]

[lascitasdelashoras]

Jon Hassell, Brian Eno - Fourth World Vol. 1

[rastronomicals]

6:26 AM EST December 1, 2024:

Jon Hassell - "Earthquake Island" From the album Earthquake Island (1978)

Last song scrobbled from iTunes at Last.fm

Hassell's second album, and the one just preceding his breakthrough with Brian Eno on Possible Musics

[musicollage]

Jon Hassell - Power Spot. 1986 : ECM 1327.

! acquire the album ★ attach a coffee !

[dustedmagazine]

Listed: Water Damage

Water Damage plays a thick and noisy variety of drone, favoring looooooong compositions that the band refers to as “Reels”; on Water Damage’s most recent LP, 2 Songs, you get two reels, subtitled “FUCK THIS” and “FUCK THAT” (band’s caps). All those verbal antics feel appealingly playful, but the music is deadly serious stuff — not surprising, given the players involved. Members of this septet also play in Austin-associated bands like USA/Mexico, Marriage and Spray Paint. As the band’s moniker suggests, the music is patient, persistent and often insidious. Here's some music the band has been listening to.

Travis Austin

Surface of the Earth — Surface of the Earth (1994/95, Reissued 2022 Thin Wrist Recordings)

New to me when it was reissued and the record I’ve played most since then. It feels as huge to me as it does microscopic — prehistoric as it does post-apocalyptic.

Jon Hassell — Aka/Darbari/Java: Magic Realism (1983, E.G. Records)

Start to finish, I don’t know of anything else that sounds like this — the hazy atmosphere and way the rhythms tumble. From the liner notes: “a ‘coffee-colored’ classical music for the future.” And the cover is by the same artist who did the cover for Bitches Brew.

Mike Kanin

Archie Shepp — Blasé (1969, BYG/Actuel)

I heard this one for the first time just this past year. I can’t believe I’ve missed it. By turns raw and beautiful, honest and evocative, what’s here transcends genre while highlighting Black experience and struggle. Incredible work.

George Dishner

Clipse — Hell Hath No Fury (2006, Star Trak / Re Up Gang Records)

The most engaging rap record in history as far as I’m concerned. Pusha, Malice, and the Neptunes peaked. Sonically HHNF is minimal and alien sounding, almost nonmusical at times. Lyrically, it’s bleak throughout and incredibly funny at times (some of the best punchlines ever recorded). At 12 songs and 48 minutes with only a few guests and skits, there is no fat whatsoever.

Remarc — Sound Murderer (2003, Planet Mu)

I’m always looking for cheap electronic records at every record store. Mid 1990s Jungle scores are the best. It’s a pretty narrow subgenre but one of my favorites. Remarc checks all my Jungle boxes — chaotic, lo-fi, dubby, rough. It’s devoid of any pretentious jazziness or techy soullessness. His formula is pretty basic — supreme mastery of The Amen and sick ragga Bass shit. This is a comp of some of his best stuff of the era when Jungle was at its best.

Nate Cross

Omertà — Collection Particulière (2022, Standard In-Fi, Zamzamrec)

Not to point out the obvious, but France is a huge influence for Water Damage. I’ve obsessively kept up with everything they’ve done and all their various related projects and their label Standard In-Fi. This is Omertà’s second LP; the group features members of France, Tanz Mein Herz, Societe Etrange and more. The album is a vibe, I can listen to it over and over. Really interesting to hear these folks do something more ‘song oriented’ instead of the normal long-form style in their other groups. Also, you can never go wrong with two bass players.

Bumblebee Unlimited — Sting Like a Bee (1979, RCA Victor)

Always been a huge disco nerd and Patrick Adams was a genius. This one-off LP and group was about as close to perfect as you can get and is a sort of bridge between disco and house music. So much glorious repetition on this album, and the bass lines are minimal brilliance. The chipmunk-esque vocals are ridiculous, but still work so well (similar to another 1979 disco gem — Bryan Adam’s “Let Me Take You Dancing”).

Jeff Piwonka

John Coltrane — Olé Coltrane (1961, Atlantic)

This is one of the first jazz albums I heard that had two bassists on it, Reggie Workman and Art Davis, Davis being a little lesser known I think and a really really amazing bassist. This whole album is great but the first side, 18 minutes of everyone going in and out, and there is space for the bassists to get weird with arco and pizzicato playing. I’ve known this album for a long time, but it’s been played a lot lately because both my 4-year-old and 16-month-old grab this record from the shelf all the time. It’s really strange actually, I put it in a different spot each time and they still grab this record very frequently, it’s a French pressing and Reggie Workman’s name is spelled “Reggie Wokrman” and Eric Dolphy is “George Lane.”

Greg Piwonka

Lungfish — Artificial Horizon (1998, Dischord)

Love this record, and the repetition is something that I often thought about as we were still figuring out Water Damage ideas. I feel like some of the newer songs that we are working on sound like extended Lungfish songs. Much of that has to do with the influence of this band on my drumming. There is a part toward the end of this interview where Daniel Higgs talks about experiencing repetition as a listener, and how there isn’t really a thing such as a repeated passage in time — that it’s unique every time… the listener is creating the pattern. That idea is foundational to me in relation to what we do as a band. Every time we play, I get lost and question how the pattern is even working.

Palace — West Palm Beach/Gulf Shores (1994, Drag City/Palace)

These two songs back-to-back are high on the list of my favorite things ever recorded. The mood here reminds me of all the rundown beach towns around the Gulf. The playing is great, it sounds like they just went in the studio and made it with very little effort. Many other recordings have that same vibe, Neil Young’s Zuma, Songs: Ohia’s Didn’t It Rain, John Coltrane’s A Love Supreme… this list could get long. I guess a technical term for that vibe is magic. I had not listened to this for a few years and returned to it recently and instantly loved it again.

[ozkar-krapo]

Jon HASSELL

"Aka / Darbari / Java - Magic Realism"

(LP. Editions EG. 1983) [US]

[thursdayisbetterthanfriday]

Last Night The Moon Came - Jon Hassell

Concert: JazzOnze+ Festival Lausanne Year: 2009

[a3poify]

Put this on last night when I was very tired and didn't realise when you're slipping in and out of sleep Jon Hassell's trumpet makes you feel like you're dying. Absolute terror

[burlveneer-music]

Jon Hassell - Further Fictions - combined CD/digital release of two archival LPs (actually the first physical release of bonus material originally issued in the digital-only City: Works of Fiction Expanded Edition in 2014)

Part of a series of three new archival releases from Ndeya that showcase Jon Hassell and group in the late 1980s exploring a radical tangent on his Fourth World sensibility. Further Fictions is a double CD anthology of the music on the vinyl editions, with a disc devoted to each album in hardbound book style packaging, and an extensive booklet containing sleevenotes and archival images. The first disc ‘The Living City’ documents a performance at the Winter Garden in New York City on 17 September 1989, mixed live by Brian Eno. The second disc ‘Psychogeography’ sees Jon taking a Teo Macero style scalpel to the original session tapes of the 'City: Works Of Fiction' album and coming up with a situationist inspired alternate version of the City album. Beguilingly different takes and the raw excitement of early demos are skillfully sequenced to concoct a different dimension of sounds from the original release. Comes with 32 page booklet featuring extensive liner notes and photos. JON HASSELL trumpet, keyboards GREGG ARREGUIN guitar JEFF RONA keyboards, sampled percussion ADAM RUDOLPH acoustic and sampled percussion DANIEL SCHWARTZ bass BRIAN ENO live mix on Disc One All compositions written by Jon Hassell, except “Harambe” by Jon Hassell and Adam Rudolph. Jon Hassell published by Warp Publishing on behalf of Nyen Music. Audio edited by Jon Hassell. Mastered by Noel Summerville at 3345. Designed by Peter Salmon-Lomas. Photos by Zhenya Nesterov. Jon Hassell notes written 2014. Other interviews and notes by Jason Gross 2022. Original source material on Disc Two produced by Jon Hassell and co-produced by Arreguin, Rona, Rudolph, Schwartz and Andronis. Studio recordings from Group IV Studios, Hollywood, June 1989, mixed by Harry Andronis. Sampling and programming by Jeff Rona, with additional sampling by Richard Henderson, Bob Bielecki, Connie Kieltyka and Jean-Philippe Rykiel.

[spilladabalia]

Talking Heads - Once In A Lifetime

[jt1674]

[iamlisteningto]

Jon Hassell’s Psychogeography

[rastronomicals]

9:05 PM EDT September 29, 2024:

Jon Hassell - "Blue Period" From the album   Last Night The Moon Came Dropping Its Clothes In The Street (February 10, 2009)

Last song scrobbled from iTunes at Last.fm

[topoet]

Dorothy and Friends

When I say ‘black female jazz performer’, who comes to mind? Vocalists galore, sure, maybe even a few piano players, right. So let me introduce you to Dorothy Ashby. Her niche gets even smaller when I tell you she plays harp, no not harmonica, but an actually harp. Jazz harp! When I say ‘jazz instruments’ you probably think of sax first, piano second. But harp! I ‘discovered’ her while searching…

[zef-zef]

Jon Hassell

source: resident advisor 📸: Roman Koval

[yhancik]

I just found out that David Sylvian posted some raw footage from the Brilliant Trees recording sessions, featuring collaborators such as Sakamoto, Czukay and Hassell <3