​solo works

​sulla strada

​Art direction and design
by Ernest Thornton
from set designs
by Tanino Liberatore

Art direction and design by Ernest Thornton from set designs by Tanino Liberatore

atmospherics

1995

​Jon Hassell | i Magazzini

Materiali Sonori 90066

1995 • 60:05

Hassell/i Magazzini

Materiali Sonori 90066

1995 • 60:05


​1  Sotto il cielo, in un punto qualsiasi del pianeta
     (Beneath the sky, in a point of the planet) 1:19

2  Passaggio a nord-ovest
     (North-west passage) 7:05

3  Ho avuto una visione, anch'io!
     (I had a vision, me too!) 1:16

4  Temperature variabili
     (Variable temperatures) 7:00

5  Camminavo nella sera piena di lilla
     (I walked in the lily-filled evening) 0:55

6  Tenera e la notte
     (Tender is the night) 13:28

7  Frontiera a sud-est
     (South-east frontier) 11:26

8  Tramonto. Caldo umido
     (Sunset. Hot and humid) 22:22

9  Notte. Umidita crescente
     (Night. Increasing humidity) 0:27

1  Sotto il cielo, in un punto qualsiasi del pianeta (Beneath the sky, in a point of the planet) 1:19

2  Passaggio a nord-ovest

(North-west passage) 7:05

3  Ho avuto una visione, anch'io!

(I had a vision, me too!) 1:16

4  Temperature variabili

(Variable temperatures) 7:00

5  Camminavo nella sera piena di lilla

(I walked in the lily-filled evening) 0:55

6  Tenera e la notte (Tender is the night) 13:28

7  Frontiera a sud-est (South-east frontier) 11:26

8  Tramonto. Caldo umido

(Sunset. Hot and humid) 22:22

9  Notte. Umidita crescente

(Night. Increasing humidity) 0:27

​Jon Hassell—trumpet, synth, tapes

Nana Vasconçelos—Udu drum

Miguel Frasconi—percussion

Michael Brook—guitar

Julie Ann Anzilotti—narrator

Marion D'Amburgo—narrator

Sandro Lombardi—narrator

Federico Tiezzi—narrator

Jon Hassell—trumpet, synth, tapes

Nana Vasconçelos—Udu drum

Miguel Frasconi—percussion

Michael Brook—guitar

Julie Ann Anzilotti—narrator

Marion D'Amburgo—narrator

Sandro Lombardi—narrator

Federico Tiezzi—narrator

All titles by Jon Hassell
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

The style of music which I call "Fourth World" is a continual exploration of ways in which exotic musics from the tribal cultures of the Southern hemisphere might be fused with the technological possibilities of the Western World (primitive/future). It is an attempt to create music which dissolves the dichotomy between the structural and the sensual (classical and popular in western terms).

The music for Sulla Strada is partially inspired by ceremonial music of the Beti and Bemileke of Cameroon. This is blended with other compositional and less geographically-specific elements in an attempt to create a kind of musical scenery which is not entirely "primitive", not entirely "future" but someplace impossible to locate either chronologically or geographically. In the stage production one musical section gradually evolves into another over long stretches of time.

The aim is to create a dense, ritualized sound atmosphere in which the stage action might take place and be formed within, in the same way that the density of water can be said to form the movements of a swimmer.

– jon hassell, April 1992, Florence

album notes

The style of music which I call "Fourth World" is a continual exploration of ways in which exotic musics from the tribal cultures of the Southern hemisphere might be fused with the technological possibilities of the Western World (primitive/future). It is an attempt to create music which dissolves the dichotomy between the structural and the sensual (classical and popular in western terms).

The music for Sulla Strada is partially inspired by ceremonial music of the Beti and Bemileke of Cameroon. This is blended with other compositional and less geographically-specific elements in an attempt to create a kind of musical scenery which is not entirely "primitive", not entirely "future" but someplace impossible to locate either chronologically or geographically. In the stage production one musical section gradually evolves into another over long stretches of time.

The aim is to create a dense, ritualized sound atmosphere in which the stage action might take place and be formed within, in the same way that the density of water can be said to form the movements of a swimmer.

jon hassell, April 1992, Florence


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."