​solo works

​maarifa street | magic realism

​Cover design by
John Coulthart

Inset painting by
Mati Klarwein

Cover design by

John Coulthart

Inset painting by

Mati Klarwein

​Buy at iTunes  

Jon Hassell - Maarifa Street

​Label Bleu / Nyen LBLC 6674
2005 • 61:41

Label Bleu / Nyen LBLC 6674

2005 • 61:41

Divine S.O.S. (Hassell/Freeman) 7:14

Maarifa Street (Hassell) 7:08

Warm Shift (Hassell) 4:22

Open Secret (Paris) (Hassell) 11:47

New Gods (Hassell) 7:55

Darbari Bridge (Hassell) 11:33

7  Open Secret (Milano) (Hassell) 11:42


​Jon Hassell—trumpet, keyboards

Peter Freeman—bass, programming, percussion

Rick Cox—guitar

John Beasley—keyboards

Dhafer Youssef—voice, oud

Paolo Fresu—trumpet and effects

Abdou Mboup—original source drum performance on 'Darbari Bridge'

Jon Hassell—trumpet, keyboards

Peter Freeman—bass, programming, percussion

Rick Cox—guitar

John Beasley—keyboards

Dhafer Youssef—voice, oud

Paolo Fresu—trumpet and effects

Abdou Mboup—original source drum performance on 'Darbari Bridge'

​Produced by Jon Hassell

Co-produced by Peter Freeman

Produced by Jon Hassell

Co-produced by Peter Freeman
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

​BEGINNING with three live concerts, each recorded in four instrumental layers, some performances (notably, trumpet) were kept intact, other layers were either re-performed or invented anew while some layers migrated from one performance to another. Some completely new tracks were made by cannibalizing parts from previous works and reshaping them. My hope is that, by weaving together the spontaneity and "imperfections" of a live concert with the "detailing" of a studio recording, something distinctive results.

I almost subtitled this record "Improved Concerts", after Mati Klarwein's "Improved Paintings" series in which ordinary flea market paintings were miraculously transformed by painting into and out of the original. But one track—which exists only as a stereo recording—has been left untouched: the "encore" at the end, 'Open Secret (Milano)'.


—Jon Hassell—

​thanks to

Peter Freeman for his drive and focus while combing through every detail of these performances, for his great musicality onstage and off, for his invaluable contribution in the formation of this record...Peter, Rick and John for being the core of all this and for all the extra hours of rehearsal...Paolo Fresu for showing me what a beautiful conversation could happen by whispering in the dark with another trumpet...Dhafer Youssef for the music that pours out of him like water, keeping the ecstatic spirit of Rumi alive...Abdou Mboup for the ongoing spell of his Bugurubu drumming in that Paris club some twenty years ago...Stefan Betke for that eccentric dub feeling that is the root of track two...Daniel Lanois for his production work on the first Magic Realism recording, Aka-Darbari-Java...Brian Eno for keeping the secret...Jean-Michel Reusser for decades of deep friendship and for his steady guidance and selfless dedication to this project...Petra Gehrmann for her warm and wise counsel in and out of the office where the mysteries of "publishing" are plumbed...Loy Ehrlich for giving this record its first nudge into reality... Pierre Walfisz of Label Bleu for his extraordinary support just when it was needed most... Serafine Klarwein and the rest of the Klarwein family for their kind consent for the use of Mati's magnificent painting...Robert Walsh, my patron saint of lost causes, for always being in the front row for me...John Coulthart for his brilliant design work.

Nicolas "Link" Lacoumette and Steve Duda for the invention of Devine Machine and for making themselves so available. Michel Geiss for his valuable mastering consultation. Rickio Woods. Ray Maxwell at Eventide. Mark Jeffery at Digidesign. Cameron Allan. Jeff Rona. Jamie Muhoberac.

Montreal Jazz Festival: Johanne Bougie, artistic director Stephane Morency, concert mix. Paris, Trabendo: Fabien Lherisson, director; Steve Hernandez-Martinez, concert mix. Milano: Walter Prati and Enzo Gentile Suoni e Visioni Festival directors, Fabio Marchese, concert mix.

(c)+(p) 2005 Nyen Music

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."