​solo works

​fascinoma

​Cover design by

Neil Kellerhouse

Cover design by

Neil Kellerhouse

​atmospherics

19​99

​stories in
words and pictures

stories in words and pictures

​Water Lily Acoustics

1999 • 60:30

Water Lily Acoustics

1999 • 60:30


Nature Boy (Ahbez) 2:45

Datura (Hassell) 4:31

Caravanesque (Ellington/Tizol) 7:18

Wide Sky

(Hassell/Cooder/Cox/Majumdar) 6:35

Mevlana Duke (Hassell) 6:16

Secretly Happy

(Hassell/Majumdar/Muhoberac) 6:33

Poinciana (Bernier/Simon) 4:28

Sensuendo (Hassell/Majumdar) 5:15

Suite de Caravan (Ellington/Tizol) 12:09

10  Estate (Summer) (Brighetti/Martino) 4:40​

1  Nature Boy (Ahbez) 2:45

2  Datura (Hassell) 4:31

3  Caravanesque (Ellington/Tizol) 7:18

4  Wide Sky

(Hassell/Cooder/Cox/Majumdar) 6:35

5  Mevlana Duke (Hassell) 6:16

6  Secretly Happy

(Hassell/Majumdar/Muhoberac) 6:33

7  Poinciana (Bernier/Simon) 4:28

8  Sensuendo (Hassell/Majumdar) 5:15

9  Suite de Caravan (Ellington/Tizol) 12:09

10  Estate (Summer) (Brighetti/Martino) 4:40

​Jon Hassell—trumpet

Ry Cooder—guitar

Jacky Terrason—piano

Ronu Majumdar—bansuri

Rick Cox—guitar, bass clarinet, samples

Jamie Muhoberac—zendrum

Joachim Cooder—drums

Rick Masterson—tambura

Rose Okada—tambura

Jon Hassell—trumpet

Ry Cooder—guitar

Jacky Terrason—piano

Ronu Majumdar—bansuri

Rick Cox—guitar, bass clarinet, samples

Jamie Muhoberac—zendrum

Joachim Cooder—drums

Rick Masterson—tambura

Rose Okada—tambura


​Produced by Ry Cooder

Produced by Ry Cooder
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

After twenty-some years of recordings and performances, this is the first time I've ever played someone else's song.

With this recording I locate myself squarely within that aspect of music which is fundamental and irreducible: the beauty of the sound. This is what Dane Rudyar calls "tone-magic"—a concept derived from ancient practice wherein the quality of the tone itself communicates meaning quite apart from any further arrangement of an "artifice" of music.

At the same time I celebrate here my first contacts with musical exotica in the form of certain songs and melodies heard as a child on the radio or in movie scores. This music created a kind of permanent technicolor oasis in my spirit—a place where I always want to stop for a cool refreshing drink, whether from Duke Ellington and Juan Tizol's 'Caravan', or Ravel or raga or gamelan or Gil, or João or Joujouka—and a place which became the underlying spring from which flowed my "fourth world" musical paradigm.

– jon hassell

album notes

After twentysome years of recordings and performances, this is the first time I've ever played someone else's song.

With this recording I locate myself squarely within that aspect of music which is fundamental and irreducible: the beauty of the sound. This is what Dane Rudyar calls "tone-magic"—a concept derived from ancient practice wherein the quality of the tone itself communicates meaning quite apart from any further arrangement of an "artifice" of music.

At the same time I celebrate here my first contacts with musical exotica in the form of certain songs and melodies heard as a child on the radio or in movie scores. This music created a kind of permanent technicolor oasis in my spirit—a place where I always want to stop for a cool refreshing drink, whether from Duke Ellington and Juan Tizol's 'Caravan', or Ravel or raga or gamelan or Gil, or João or Joujouka—and a place which became the underlying spring from which flowed my "fourth world" musical paradigm.


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."