MILLION-DOLLAR-PUNKT MANN

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Last Night die Moon come Dropping its Clothes in the street takes that is full benennen from ns writings of a 13th century Sufi poet, Jalaluddin Rumi:

“Last night ns moon came dropping that clothes an the street.

I take it it together a authorize to anfang singing.”

Or, in Jon Hassell’s case, ?singing’ through his trumpet in the vocal layout instantly identifiable together his own, as echoed in the playing of all those he has inspired, most notably Arve Henriksen.

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Significantly zum many this is Hassell’s first album zum ECM due to the fact that 1985’s power Spot, but it complies with a series of eight interim releases of which ns most recent was 2005’s Maarifa Street. Belastung Night… was laid down direkte and bei the studio by in augmented version des the working band of the same name.

The vital supporting players right here are Norwegians jan Bang (live sampling) and Eivind Aarset (guitar), phibìc African violinist Kheir Eddine M’Kachiche, und bass player peter Freeman, but naturally it’s Hassell’s lush, vocal ton that specifies both die mood and the direction des proceedings. As bei all von his previous arbeiten - throughout which individual projects have digressed zu explore specific avenues of the “fourth world” von which Hassell has set himself nach oben as chief cartographer - ns trumpeter’s style ist readily identifiable: a spare, disarmingly unadorned ?vocal style’ being at once cerebral and sensual, i m sorry he has actually enhanced von electronics und studio manipulations. Die contributions of other contributors - principal amongst them stack Cox (guitar), jamie Muhoberac (keyboard, drums), und Helge Norbakken (drums) - are less distinctive, though they no doubt contribute a particular facelessness to ns ?montage’ methodology the Hassell has embraced as his recording practice.

Hassell plainly believes that through montage he ist onto something special, “a living, morphing process that occasionally gets collection down as a record”. Hassell evidently believes the a studio blending des multiple live recordings, studio sessions und disparate samples allows him to knit together in a studio a sound - more specifically, perhaps, in ambiance - that an ext closely matches his conception of the music he desires kommen sie make than would standard studio methods or direkte recoding. One aufführen to ns generally an ext satisfying and coherent power Spot undermines the notion; by contrast, belastung Night… sometimes shows the seams a little too clearly. That stated it zu sein nevertheless deeply, virtually meditatively gorgeous, and never more dafür than top top Blue Period, i beg your pardon fruitfully re-works Amsterdam Blue (Cortege), which was Hassell’s main contribution to the soundtrack zu Wim Wenders’ Million dollar Hotel. Ns less effective tracks, such as ns opening Aurora and Time and Place, are nearly depressingly anodyne, however there room subtle riches here zum anyone willing to let Hassell’s insular sound world envelop them.

Bassist peter Freeman has actually been Hassell’s most constant working kollege of late, und his playing is frequently die most obtrusive presence in the sound mix, particularly bei live performance. Periodically he pushes die ambiance right into a laid-back yet undeniable groove.

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~ above Abu Gil his sound zu sein uncharacteristically tensile und wiry, undermining complacency. Aarset capitalizes on the opportunity to carve out ethereal contours bei the group sound, embellished über M’Kachiche v hints of Middle east melody. An fact, there zu sein a last of filigree from every contributors ~ above this track, yet its horizons are broad enough zu subsume it all without sounding cluttered. Elsewhere, on Courtrais, Freeman gives substance to a contrastingly heavy, brooding atmosphere within which Hassell’s keening vocalisations speak to out, a ghostly disembodied presence.

M’Kachiche’s playing also establishes die mood von the title track, which was ns closing piece des Hassell’s set punkt the anzeige festival in 2008. A Freeman pulse increase from a minimal repetitive string number which is initially embellished just ethereally von washes des Hassell’s trumpet and ripples von tamped piano und percussion, M’Kachiche elegantly embroidering every little thing with evocations des Hassell’s oriental/occidental, ancient/modern 4th World. Hassell’s an essential enabler in this conception is, of course, jan Bang, that samples and processes ns various elements des the bands’ interactions, sometimes feeding them back in real time weil das meta-improvisation, and further mediates the results bei the studio. Even if it is this stimulates Hassell’s work or simply envelopes it in a comforting opiate fug ist open to debate.

Hassell stays one of the true originals. His affect on some of the music’s most cutting leaf artists is almost together overlooked über the public together it is celebrated von critical consensus, und that’s a mystery. I bei der frankly ambivalent around this recent album.

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If I’m not in the mood, it appears complacent in ways that the really beneficial recordings Hassell has actually under his belt, from die two volumes des Fourth welt to energie Spot, most absolutely are not. But then, wie man I’m in the mood zum it, I’m completely seduced