jon hassell | atmospherics | earthquake island
Jon Hassell atmospherics : stories in words and pictures

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earthquake island

 I | II

After a Steve Lacey concert at The Kitchen, I met an exotic woman, a friend of his who connected me with Mati Klarwein, whose painting had always signaled a unified theory of life that I felt complete resonance with and who allowed me to use the magical painting, 'Flight to Egypt (Benares)' for the cover. Of course, I kinda fell in love with his beautiful Brazilian girlfriend. Come to think of it, I fell in love with him, too, and we remained lifelong friends. Musically, this record went too far into a jazz/fusion thing which, thank god, I was neither up to, nor ready for, or I might have been tempted to go down that road further. Miles and Weather Report already existed. So did Philip Glass. This was not the hard-to-define, in-between place which my best work became. Like a first-time director with a starpower cast, I suppose I got a little bedazzled by all the musical firepower I had assembled and it got out from under me. I needed to come up out of something, gradually, note-by-note like the slow "alap" section of a raga—not have something dumped on top of me which demanded a known response. But 'Baliá' has a nice texture. And I have a lingering fondness for 'Tribal Secret's' spooky synth chords with Nana's harmonized cuica meshing with Badal's tabla. And Earthquake Island finally winds up to something nice before settling into the long coda—a piece of which was looped and became the 'Burundi Cloud' background over which 'Charm' unfurls in the next record, Possible Musics. Thus the full title: 'Charm (Over Burundi Cloud)'.