​solo works

​city:
works of fiction

​Cover design: Wordsalad and Jon Hassell

Cover design: Wordsalad and Jon Hassell

​Buy at iTunes  

Jon Hassell - City: Works of Fiction

atmospherics

1990

​All Saints​ ​WASTDL008

​2014 • 3CD 55:57  |    |

All Saints/Hannibal/Ryko HNCD 1483

1990 • 55:57


​Original Fictions

Voiceprint (Blind From The Facts) 5:48
Pagan 6:27
Mombasa 8:07
Tikal 3:07
In The City Of Red Dust 5:38
Rain 6:31
Ba-Ya D 6:03
Warriors 9:23
Out Of Adedara 5:06

The Living City

Ituri 10:45
Alchemistry 9:43
Adedara Rising 10:14
Mashujaa 13:32
Paradise Now 5:01
Nightsky 18:38

Psychogeography

Aerial View 2:33
Neon Night (Rain) 5:20
Red Rose Empire (Bass Clef Version) 5:13
Streetfaxx 3:10
City Spot 2:03
Brigantes (808 State Version) 3:44
Cityism Superdub 4:34
Elsewhere Is A Negative Mirror (Some Truths Version) 5:09
Harambe 3:46
Ba-Ya Dub (No UFO's Version) 5:13
Freeway 4:49
Cuba Libre 3:28
Metal Fatigue (patten Version) 5:37
Midnight 0:29
Waterfront District 5:22
Favela 5:55
Emerald City 5:08
Cloud-Shaped Time 6:19

1  Voiceprint (Blind from the Facts)

(Hassell/Rona) 5:46

2  Pagan (Hassell) 6:26

3  Mombasa (Hassell/Rudolph) 8:03

4  Tikal (Arreguin/Hassell) 3:06

5  In the City of Red Dust (Hassell) 5:37

6  Rain (Hassell) 6:28

7  Ba-Ya D (Hassell) 6:02

8  Warriors (Hassell) 9:22

9  Out of Adedara (Hassell) 5:07

​Jon Hassell—trumpet, keyboards

Gregg Arreguin—guitar

Jeff Rona—keyboards, sampled percussion

Adam Rudolph—acoustic and sampled percussion

Daniel Schwartz—bass

Jon Hassell—trumpet, keyboards

Gregg Arreguin—guitar

Jeff Rona—keyboards, sampled percussion

Adam Rudolph—acoustic and sampled percussion

Daniel Schwartz—bass

​Produced by Jon Hassell

Lovely Music 1021

1977 • 51:19

 

1  Toucan Ocean 3:50

2  Viva Shona 7:03

3  Hex 6:23

4  Blues Nile 9:54

5  Vernal Equinox 21:58

6  Caracas Night, September 11, 1975 2:11

 

Jon Hassell—trumpet, Fender Rhodes (specially tuned and altered by Buchla and Arp Synthesizers)

Nana Vasconçelos—congas, shakers, ocean, talking drum, bells, tropical birds

David Rosenboom—mbira, rattles, tabla, dumbek

Miguel Frasconi—claves, bells

Nicolas Kilbourn—talking drum, mbira

William Winant—kanjira, rattles

Drone—Serge Synthesizer, Motorola Scalatron

Night Creatures of Altamira

Perrasita—distant barking

 

All titles by Jon Hassell

Produced by Jon Hassell

​album notes

  • ​Spirit: not only in the forest but in the carwash, too. Exotic culture forms highlight pop culture forms and vice-versa...

    "...and the end of all our exploring will be to arrive where we started and know the place for the first time." —T.S. Eliot

  • Expanding sonic menu made possible by continuing inquiry into what's the baby and what's the bathwater, i.e., relationship of surface features (recognizable to most) to structural sophistication (recognizable by few).

    "...to change our way of reading (listening), to be attuned simultaneously to flashing surfaces and structural intricacies ... both televisual and poetic, and to alter consciousness toward a future mode of perception." —Mark Edmundson

  • Spontaneous combustion of rap, hip-hop as urban folkloric forms. "Folkloric" in the sense that it arises out of sentiments and materials at hand.

  • Compare African tribal style: dance, poetic storytelling (in-jokes, ironic boasting mixed with traditional wisdom), local instruments. Hip-hop style: same, except that local instruments are not skin and wood but samplers and turntables and drum machines with TV tempos.

  • Funny idea: that parts of CITY are like "classical" hip-hop ...What rappers might tune into as an exotic extension of their vocabulary.

  • Desire to reinvent, redefine possibilities of Fourth World ...To poke air holes in the enclosing bubble of the inevitable banalization and orthodoxy of the "World Music" idea.

  • Nigerian writer Ben Okri's "Brave New Africa" images: City of Red Dust... bizarre ailments... conmen selling Power Drug... A continent dreamed up by Bosch and Borges.

  • The polyglot L.A. of the near future in Ridley Scott's Blade Runner.

  • Jean Baudrillard: America as "the primitive society of the future."

  • Italo Calvino's Invisible Cities: A poetic fantasy conjugation (past, present, future) of "city". "And from the mixture of those two cities a third emerged, which might be called San Francisco ... and which might blossom as capital of the Pacific a millennium hence, after the long siege of three hundred years that would lead the races of the yellow and the black and the red to fuse with the surviving descendants of the whites in an empire more vast than the Great Khan's."

  • Fellini's "Reggiolo": a custom designed film town ...It could be Bombay, Beirut, Brasilia."

  • Surrealists' idea: "Odd things meet in full light." (Or: ordinary things in odd light?) "Surrealist music".

  • ​Rushdie's image of a tropicalized London: "... institution of a national siesta... vivid and expansive patterns of behaviour among the populace, higher-quality popular music, new birds in the trees... improved street life, outrageously colored flowers (magenta, vermilion, neon green), spider monkeys in the oaks... hotwater bottles banished forever, replaced in the foetid nights by the making of slow and odorous love... friends dropping in on one another without making appointments, closure of old folks' homes, emphasis on the extended family..."

– jon hassell

album notes

• Spirit: not only in the forest but in the carwash, too. Exotic culture forms highlight pop culture forms and vice-versa...

"...and the end of all our exploring will be to arrive where we started and know the place for the first time."—T.S. Eliot

• Expanding sonic menu made possible by continuing inquiry into what's the baby and what's the bathwater, i.e., relationship of surface features (recognizable to most) to structural sophistication (recognizable by few).

"...to change our way of reading (listening), to be attuned simultaneously to flashing surfaces and structural intricacies ... both televisual and poetic, and to alter consciousness toward a future mode of perception."—Mark Edmundson

• Spontaneous combustion of rap, hip-hop as urban folkloric forms. "Folkloric" in the sense that it arises out of sentiments and materials at hand.

• Compare African tribal style: dance, poetic storytelling (in-jokes, ironic boasting mixed with traditional wisdom), local instruments. Hip-hop style: same, except that local instruments are not skin and wood but samplers and turntables and drum machines with TV tempos.

• Funny idea: that parts of CITY are like "classical" hip-hop ...What rappers might tune into as an exotic extension of their vocabulary.

• Desire to reinvent, redefine possibilities of Fourth World ...To poke air holes in the enclosing bubble of the inevitable banalization and orthodoxy of the "World Music" idea.

• Nigerian writer Ben Okri's "Brave New Africa" images: City of Red Dust... bizarre ailments... conmen selling Power Drug... A continent dreamed up by Bosch and Borges.

• The polyglot L.A. of the near future in Ridley Scott's Blade Runner.

• Jean Baudrillard: America as "the primitive society of the future."

• Italo Calvino's Invisible Cities: A poetic fantasy conjugation (past, present, future) of "city". "And from the mixture of those two cities a third emerged, which might be called San Francisco ... and which might blossom as capital of the Pacific a millennium hence, after the long siege of three hundred years that would lead the races of the yellow and the black and the red to fuse with the surviving descendants of the whites in an empire more vast than the Great Khan's."

• Fellini's "Reggiolo": a custom designed film town ...It could be Bombay, Beirut, Brasilia."

• Surrealists' idea: "Odd things meet in full light." (Or: ordinary things in odd light?) "Surrealist music".

• Rushdie's image of a tropicalized London: "... institution of a national siesta... vivid and expansive patterns of behaviour among the populace, higher-quality popular music, new birds in the trees... improved street life, outrageously colored flowers (magenta, vermilion, neon green), spider monkeys in the oaks... hotwater bottles banished forever, replaced in the foetid nights by the making of slow and odorous love... friends dropping in on one another without making appointments, closure of old folks' homes, emphasis on the extended family..."

jon hassell


All text, images and sound not otherwise attributed are protected by
copyright © 2017 Nyen Music.
All paintings by Mati Klarwein © 2017 Klarwein-Archives.
Used by permission of the Klarwein family.

A childhood in Memphis, a classical conservatory education, composition and electronic music study with Stockhausen in Cologne; a passage through the New York minimalist sphere with Terry Riley, Reich, Glass; having a window opened onto the world's music and a new approach to the trumpet via vocal master Pandit Pran Nath; a questioning and deconstruction of the European dichotomy between classical and popular, sacred and sensual; a pioneer of digital transformation and sampling—all of this led to Fourth World—the unique blend which Jon has described as "worldly music" to underline a more subtle equation at work and discourage the simplistic labeling of "world," "jazz," "classical," "minimal," or "ambient."