BeBop Posted June 3, 2009 Report Share Posted June 3, 2009 Comments on this one, anyone? hatOLOGY 668 Lee Konitz & Martial Solal: Star Eyes 1983 (remastered reissiue of hatOLOGY 518) Lee Konitz –alto saxophone Martial Solal –piano Total Time DDD 67:40 Barcode 752156066826 Quote Link to comment Share on other sites More sharing options...
Adam Posted July 1, 2009 Report Share Posted July 1, 2009 I like the Solal-Konitz very much. Just received this: Horace Tapscott's The Dark Tree will be ready on July 10th, 2009. hatOLOGY 2-630 Horace Tapscott : The Dark Tree Horace Tapscott –piano John Carter – clarinet Cecil McBee – double bass Andrew Cyrille – drums CD 1 Total Time DDD 59:39 CD 2 Total Time DDD 67:44 Barcode 752156063025 Reviews for the last edition: **** + "crown" Penguin Guide to Jazz Recordings, 9th edition ***** All Music Guide to Jazz, 4th edition Recorded live in Hollywood on December 14-17, 1989. This was an important, revealing release when it was first issued in 1991. Now, with both Horace Tapscott and John Carter having passed on, it takes on even more significance with our knowing that they are beyond the vagaries of man and Fate, and cannot contribute any more to our lives. On The Dark Tree they created music of power and drama, beauty and spirit. It's a shame we had to wait so long to hear it, and now we should treasure it. – Art Lange Enregistrement life à Hollywood du 14-17 décembre 1989. Ce fut un album important et une révélation à sa première sortie en 1991. Maintenant que Horace Tapscott et John Carter ont tous deux disparu, il revêt une signification plus grande encore puisque nous savons qu'ils ne sont plus confrontésaux aléas de l’humanité et du destin, et qu’ils ne peuvent plus contribuer à nos vies. Dans « The Dark Tree », ils ont créé une musique de la puissance et du drame, de la beauté et de l'esprit. Il est fort dommage que nous ayons dû attendre si longtemps pour l’entendre, et nous devons aujourd’hui la chérir. – Art Lange Dieses 1991 veröffentlichte Album war wichtig und aufschlussreich. Der Tod von Horace Tapscott wie auch von John Carter verleiht ihm nur noch mehr Bedeutung, wissen wir doch nun, dass die beiden den Launen des Menschen und des Schicksals entzogen sind und keinen weiteren Beitrag mehr zu unserem Leben leisten können. Auf The Dark Tree schufen sie kraftvolle, dramatische, schöne und beseelte Musik. Schade nur, dass wir so lange darauf warten mussten – wir sollten sie dafür jetzt wie einen Schatz hüten. – Art Lange Quote Link to comment Share on other sites More sharing options...
Niko Posted July 1, 2009 Report Share Posted July 1, 2009 Quote Link to comment Share on other sites More sharing options...
Hoppy T. Frog Posted July 10, 2009 Report Share Posted July 10, 2009 "The Dark Tree" is just amazing. Compelling like a steamroller, and the version(s) on this album are by far the best. Good on yer, John Carter. Quote Link to comment Share on other sites More sharing options...
save0904 Posted July 11, 2009 Report Share Posted July 11, 2009 Hope to see The Dark Tree soon in my local record store. Does anyone know if the 10th July is the European or US release date ? Quote Link to comment Share on other sites More sharing options...
Swinger Posted July 12, 2009 Report Share Posted July 12, 2009 Oh yeah! at last I will get a copy of The Dark Tree. I'd like to know about July 10th date as (European/USA release date) well. Quote Link to comment Share on other sites More sharing options...
Adam Posted July 12, 2009 Report Share Posted July 12, 2009 I think it's a global release date, but it takes a few days longer for it to get to the US. I'll check with Werner though. Quote Link to comment Share on other sites More sharing options...
Adam Posted July 12, 2009 Report Share Posted July 12, 2009 Already received a reply: "July 10th is the day the CD can be shipped ou the CD-factory. Alan Lawrence of Jazz Loft has ordered the CD together with the reissue of Roach/Shepp and should be able to offer it from his mail order service end of this month." he also sent this: "Horace Tapscott's The Dark Tree (2-630) will be ready on July 10th, 2009. Max Roach & Archie Shepp's The Long March (2-640) earlier ready on July 16th, 2009. Anthony Braxton's Creative Orchestra (Koeln) 1978 (2-644) will be ready on September 4th, 2009." Quote Link to comment Share on other sites More sharing options...
jlhoots Posted July 13, 2009 Report Share Posted July 13, 2009 Already received a reply: "July 10th is the day the CD can be shipped ou the CD-factory. Alan Lawrence of Jazz Loft has ordered the CD together with the reissue of Roach/Shepp and should be able to offer it from his mail order service end of this month." he also sent this: "Horace Tapscott's The Dark Tree (2-630) will be ready on July 10th, 2009. Max Roach & Archie Shepp's The Long March (2-640) earlier ready on July 16th, 2009. Anthony Braxton's Creative Orchestra (Koeln) 1978 (2-644) will be ready on September 4th, 2009." Finally - The Long March!! Quote Link to comment Share on other sites More sharing options...
BeBop Posted August 1, 2009 Report Share Posted August 1, 2009 Archie Shepp + Max Roach = The Long March Quote Link to comment Share on other sites More sharing options...
jlhoots Posted August 2, 2009 Report Share Posted August 2, 2009 Archie Shepp + Max Roach = The Long March Ordered & SHIPPED from Jazz Loft. Quote Link to comment Share on other sites More sharing options...
BeBop Posted August 2, 2009 Report Share Posted August 2, 2009 Archie Shepp + Max Roach = The Long March Ordered & SHIPPED from Jazz Loft. More than two weeks after release date, this is still only one of two places I've seen it, the other being Downtown Music Gallery. Quote Link to comment Share on other sites More sharing options...
Adam Posted September 2, 2009 Report Share Posted September 2, 2009 Dear Friend, Anthony Braxton : Creative Orchestra (Koeln) 1978, hatOLOGY 2-644 is on the way to the distributors. hatOLOGY 2-644 Anthony Braxton : Creative Orchestra (Koeln) 1978 5 musicians on reeds, 4 musicians on trumpets & flugelhorn, 3 musicians on trombones and tuba, piano, accordion, vibraphone, electric quitar, 2 musicans on double bass, percussion and marimba, synthesizer, Anthony Braxton –composer and conductor. CD 1 Total Time ADD 52:25 CD 2 Total Time ADD 52:00 Barcode 752156064428 Recorded in concert in Koeln on May 12th, 1978 The Koeln concert shows us these positive vibrations marching through "the complete continuance of creative music," and on towards the next millennium. The "success of the future" is not a lost cause as long as there is music like this in the air. – Graham Lock Enregistrement life à Cologne le 12 mai 1978. Le concert de Cologne témoigne de ces vibrations positives en marche à travers«la continuité parfaite de la musique créative», et vers le prochain. Le «succès de l'avenir» n'est pas une cause perdue tant qu’existera une telle musique. – Graham Lock Live-Aufnahme in Koeln vom 12. Mai 1978. Das Koelner Konzert beweist, dass sich diese positiven Schwingungen durch „die ganze kreative Musik“ hindurch und ins naechste Jahrtausend weiter fortpflanzen. Der „Erfolg der Zukunft“ ist keine aussichtslose Sache, solange Musik wie diese in der Luft liegt. – Graham Lock Best regards, Werner X. Uehlinger  Hat Hut Records LTD. Box 521 4020 Basel, Switzerland wxu.hathut.com@bluewin.ch Phone +41.61.373.0773 http://www.hathut.com The Journey Continues the 35th Year too! Since 1975, an ear to the future Depuis 1975, une oreille vers le futur Seit 1975, ein Ohr in die Zukunft Quote Link to comment Share on other sites More sharing options...
David Ayers Posted September 2, 2009 Report Share Posted September 2, 2009 (edited) Oldies but goldies. Go for it! Dear Friend, Anthony Braxton : Creative Orchestra (Koeln) 1978, hatOLOGY 2-644 is on the way to the distributors. hatOLOGY 2-644 Anthony Braxton : Creative Orchestra (Koeln) 1978 5 musicians on reeds, 4 musicians on trumpets & flugelhorn, 3 musicians on trombones and tuba, piano, accordion, vibraphone, electric quitar, 2 musicans on double bass, percussion and marimba, synthesizer, Anthony Braxton –composer and conductor. CD 1 Total Time ADD 52:25 CD 2 Total Time ADD 52:00 Barcode 752156064428 Recorded in concert in Koeln on May 12th, 1978 Edited September 4, 2009 by David Ayers Quote Link to comment Share on other sites More sharing options...
Adam Posted September 3, 2009 Report Share Posted September 3, 2009 And more... Dear Friend, End of September 2009, two new recordings will be available. L a c y P o o l Uwe Oberg -piano Christof Thewes -trombone Michael Griener -drums hatOLOGY 677 Barcode 752156.068426 Total Time 50:14 DDD At every step, Lacy Pool finds new expressive possibilities in Lacy’s innate, albeit curiously tailored, logic. Their personalities replace Lacy’s and change the way we hear this music, which is as it should be. The song may have inspired the players, but the players have become the song. – Art Lange A chaque mesure, Lacy Pool trouve de nouvelles possibilités expressives dans la logique innée, quoiqu’étrangement bien ajustée, de Lacy. Leurs personnalités remplacent celle de Lacy et modifient, comme il se doit, la manière dont nous percevons cette musique. La mélodie peut avoir inspiré les musiciens, mais les musiciens sont eux-mêmes devenus cette mélodie. – Art Lange  Manuel Mengis Gruppe 6 : Dulcet Crush Manuel Mengis -trumpet Reto Suhner -alto saxophone & alto clarinet Roland von Flüe - tenor saxophone & bass clarinet Flo Stoffner -electric quitar Marcel Stalder -electric bass Lionel Friedli -drums hatOLOGY 684 Barcode 752156.067726 Total Time 52:02 DDD Manuel Mengis Gruppe 6 is also available on: hatOLOGY 627 Into The Barn hatOLOGY 659 The Pond Is three the magic number? For many jazz musicians it’s an important one. Every record is of course significant, but the third is often more closely scrutinised. In this sense, it’s both a great opportunity and a niggling pressure: the chance to really begin cementing a good name, with a little weight of added expectation. Manuel Mengis, however, did not feel any of this. He even identifies a more relaxed approach than his two previous releases, partially due to shifting priorities in life. An atmosphere of light, easy contentment shines through the music – Mengis and the Gruppe 6 are really enjoying themselves, free of any kind of external strain. And the pleasure is contagious.– Frederick Bernas Serait-ce 3, le nombre magique? Pour de nombreux musiciens de jazz, il s’agit sans aucun doute d’un chiffre important. Chaque enregistrement est évidemment déterminant, mais le troisième est souvent minutieusement considéré. En ce sens, il représente tant une magnifique opportunité qu’une pression exacerbée: la chance de commencer à cimenter un nom porteur tout en assumant le poids d'une attente accrue. Manuel Mengis, pourtant, n’a pas connu ce ressenti. Il a même identifié une approche plus détendue que celle de ses deux enregistrements précédents, imputable en partie à l'évolution des priorités dans sa vie. Une atmosphère de lumière et de simple contentement rayonne à travers la musique - Mengis et Group 6 prennent vraiment du plaisir à jouer, libres de toute forme de tension externe. Et le plaisir est contagieux. – Frederick Bernas Followed by two remastered reissues on October 20th, 2009: hatOLOGY 666 : Dave Douglas' Tiny Bell Trio, Constellations hatOLOGY 687 : Ran Blake & Anthony Braxton, Memories Of Vienna Best regards, Werner X. Uehlinger Hat Hut Records LTD. Box 521 4020 Basel, Switzerland wxu.hathut.com@bluewin.ch Phone +41.61.373.0773 http://www.hathut.com The Journey Continues the 35th Year too! Since 1975, an ear to the future Depuis 1975, une oreille vers le futur Seit 1975, ein Ohr in die Zukunft Quote Link to comment Share on other sites More sharing options...
jlhoots Posted September 3, 2009 Report Share Posted September 3, 2009 Now I'm waiting for More News For Lulu!! Quote Link to comment Share on other sites More sharing options...
Adam Posted September 18, 2009 Report Share Posted September 18, 2009 Dear Friend, End of September 2009, two new recordings will be available. L a c y P o o l Uwe Oberg -piano Christof Thewes -trombone Michael Griener -drums hatOLOGY 677 Barcode 752156.068426 Total Time 50:14 DDD At every step, Lacy Pool finds new expressive possibilities in Lacy’s innate, albeit curiously tailored, logic. Their personalities replace Lacy’s and change the way we hear this music, which is as it should be. The song may have inspired the players, but the players have become the song. – Art Lange A chaque mesure, Lacy Pool trouve de nouvelles possibilités expressives dans la logique innée, quoiqu’étrangement bien ajustée, de Lacy. Leurs personnalités remplacent celle de Lacy et modifient, comme il se doit, la manière dont nous percevons cette musique. La mélodie peut avoir inspiré les musiciens, mais les musiciens sont eux-mêmes devenus cette mélodie. – Art Lange Manuel Mengis Gruppe 6 : Dulcet Crush Manuel Mengis -trumpet Reto Suhner -alto saxophone & alto clarinet Roland von Flüe - tenor saxophone & bass clarinet Flo Stoffner -electric quitar Marcel Stalder -electric bass Lionel Friedli -drums hatOLOGY 684 Barcode 752156.067726 Total Time 52:02 DDD Manuel Mengis Gruppe 6 is also available on: hatOLOGY 627 Into The Barn hatOLOGY 659 The Pond Is three the magic number? For many jazz musicians it’s an important one. Every record is of course significant, but the third is often more closely scrutinised. In this sense, it’s both a great opportunity and a niggling pressure: the chance to really begin cementing a good name, with a little weight of added expectation. Manuel Mengis, however, did not feel any of this. He even identifies a more relaxed approach than his two previous releases, partially due to shifting priorities in life. An atmosphere of light, easy contentment shines through the music – Mengis and the Gruppe 6 are really enjoying themselves, free of any kind of external strain. And the pleasure is contagious.– Frederick Bernas Serait-ce 3, le nombre magique? Pour de nombreux musiciens de jazz, il s’agit sans aucun doute d’un chiffre important. Chaque enregistrement est évidemment déterminant, mais le troisième est souvent minutieusement considéré. En ce sens, il représente tant une magnifique opportunité qu’une pression exacerbée: la chance de commencer à cimenter un nom porteur tout en assumant le poids d'une attente accrue. Manuel Mengis, pourtant, n’a pas connu ce ressenti. Il a même identifié une approche plus détendue que celle de ses deux enregistrements précédents, imputable en partie à l'évolution des priorités dans sa vie. Une atmosphère de lumière et de simple contentement rayonne à travers la musique - Mengis et Group 6 prennent vraiment du plaisir à jouer, libres de toute forme de tension externe. Et le plaisir est contagieux. – Frederick Bernas  Followed by two remastered reissues on October 20th, 2009: hatOLOGY 666 : Dave Douglas' Tiny Bell Trio, Constellations hatOLOGY 687 : Ran Blake & Anthony Braxton, Memories Of Vienna Best regards, Werner X. Uehlinger Hat Hut Records LTD. Box 521 4020 Basel, Switzerland wxu.hathut.com@bluewin.ch Phone +41.61.373.0773 http://www.hathut.com Quote Link to comment Share on other sites More sharing options...
Adam Posted September 25, 2009 Report Share Posted September 25, 2009 Dear Friend, Anthony Braxton : Creative Orchestra (Koeln) 1978, hatOLOGY 2-644 has reached the distributors. hatOLOGY 2-644 Dwight Andrews, Marty Ehrlich, Vinny Golia, J.D. Parran, Ned Rothenberg (saxophones, clarinets, flutes, piccolo, nagaswaram, ocarina); Rob Howard, Michael Mossman, Leo Smith, Kenny Wheeler (trumpets, flugelhorn); Ray Anderson, George Lewis, James King Roosa (trombones, tuba); Marilyn Crispell (piano): Birgin Taubhorn (accordion); Bobby Naughton (vibraphone); James Emery (electric guitar); John Lindberg, Brian Smith (basses); Thurman Barker (percussion, marimba); Bob Ostertag (synthesizer); Anthony Braxton (composer, conductor) CD 1 Total Time ADD 52:25 CD 2 Total Time ADD 52:00 Barcode 752156064428 Recorded in concert in Koeln on May 12th, 1978 The Koeln concert shows us these positive vibrations marching through "the complete continuance of creative music," and on towards the next millennium. The "success of the future" is not a lost cause as long as there is music like this in the air. – Graham Lock Best regards, Werner X. Uehlinger Quite a line-up, no? Quote Link to comment Share on other sites More sharing options...
B. Clugston Posted September 25, 2009 Report Share Posted September 25, 2009 Dear Friend, Anthony Braxton : Creative Orchestra (Koeln) 1978, hatOLOGY 2-644 has reached the distributors. hatOLOGY 2-644 Dwight Andrews, Marty Ehrlich, Vinny Golia, J.D. Parran, Ned Rothenberg (saxophones, clarinets, flutes, piccolo, nagaswaram, ocarina); Rob Howard, Michael Mossman, Leo Smith, Kenny Wheeler (trumpets, flugelhorn); Ray Anderson, George Lewis, James King Roosa (trombones, tuba); Marilyn Crispell (piano): Birgin Taubhorn (accordion); Bobby Naughton (vibraphone); James Emery (electric guitar); John Lindberg, Brian Smith (basses); Thurman Barker (percussion, marimba); Bob Ostertag (synthesizer); Anthony Braxton (composer, conductor) CD 1 Total Time ADD 52:25 CD 2 Total Time ADD 52:00 Barcode 752156064428 Recorded in concert in Koeln on May 12th, 1978 The Koeln concert shows us these positive vibrations marching through "the complete continuance of creative music," and on towards the next millennium. The "success of the future" is not a lost cause as long as there is music like this in the air. – Graham Lock Best regards, Werner X. Uehlinger Quite a line-up, no? Essential purchase. One of Braxton's best. Quote Link to comment Share on other sites More sharing options...
Adam Posted October 7, 2009 Report Share Posted October 7, 2009 Dear Friend, The CDs 677 and 784 will be shipped o the distributors this week. L a c y P o o l Uwe Oberg -piano Christof Thewes -trombone Michael Griener -drums hatOLOGY 677 Barcode 752156.068426 Total Time 50:14 DDD At every step, Lacy Pool finds new expressive possibilities in Lacy’s innate, albeit curiously tailored, logic. Their personalities replace Lacy’s and change the way we hear this music, which is as it should be. The song may have inspired the players, but the players have become the song. – Art Lange A chaque mesure, Lacy Pool trouve de nouvelles possibilités expressives dans la logique innée, quoiqu’étrangement bien ajustée, de Lacy. Leurs personnalités remplacent celle de Lacy et modifient, comme il se doit, la manière dont nous percevons cette musique. La mélodie peut avoir inspiré les musiciens, mais les musiciens sont eux-mêmes devenus cette mélodie. – Art Lange Manuel Mengis Gruppe 6 : Dulcet Crush Manuel Mengis -trumpet Reto Suhner -alto saxophone & alto clarinet Roland von Flüe - tenor saxophone & bass clarinet Flo Stoffner -electric quitar Marcel Stalder -electric bass Lionel Friedli -drums hatOLOGY 684 Barcode 752156.067726 Total Time 52:02 DDD Manuel Mengis Gruppe 6 is also available on: hatOLOGY 627 Into The Barn hatOLOGY 659 The Pond Is three the magic number? For many jazz musicians it’s an important one. Every record is of course significant, but the third is often more closely scrutinised. In this sense, it’s both a great opportunity and a niggling pressure: the chance to really begin cementing a good name, with a little weight of added expectation. Manuel Mengis, however, did not feel any of this. He even identifies a more relaxed approach than his two previous releases, partially due to shifting priorities in life. An atmosphere of light, easy contentment shines through the music – Mengis and the Gruppe 6 are really enjoying themselves, free of any kind of external strain. And the pleasure is contagious.– Frederick Bernas Serait-ce 3, le nombre magique? Pour de nombreux musiciens de jazz, il s’agit sans aucun doute d’un chiffre important. Chaque enregistrement est évidemment déterminant, mais le troisième est souvent minutieusement considéré. En ce sens, il représente tant une magnifique opportunité qu’une pression exacerbée: la chance de commencer à cimenter un nom porteur tout en assumant le poids d'une attente accrue. Manuel Mengis, pourtant, n’a pas connu ce ressenti. Il a même identifié une approche plus détendue que celle de ses deux enregistrements précédents, imputable en partie à l'évolution des priorités dans sa vie. Une atmosphère de lumière et de simple contentement rayonne à travers la musique - Mengis et Group 6 prennent vraiment du plaisir à jouer, libres de toute forme de tension externe. Et le plaisir est contagieux. – Frederick Bernas Followed by two remastered reissues end of October, 2009: hatOLOGY 666 : Dave Douglas' Tiny Bell Trio, Constellations hatOLOGY 687 : Ran Blake & Anthony Braxton, Memories Of Vienna Best regards, Werner X. Uehlinger Hat Hut Records LTD. Box 521 4020 Basel, Switzerland wxu.hathut.com@bluewin.ch Phone +41.61.373.0773 http://www.hathut.com The Journey Continues the 35th Year too! Since 1975, an ear to the future Depuis 1975, une oreille vers le futur Seit 1975, ein Ohr in die Zukunft Quote Link to comment Share on other sites More sharing options...
king ubu Posted October 9, 2009 Report Share Posted October 9, 2009 I find it a bit weird that these reissues of earlier hatOLOGY releases get new catalogue numbers... it usually says either "2nd edition" or "2009 edition" of so-and-so-many copies on the back, so why assign them a new number? And why re-do the covers (such was the case with Matthew Shipp's "Multiplicator Table", at least, the other ones I've had the older hatOLOGY versions or in case of the Shepp/Roach the Hat Art versions). The Oberg might be interesting. I have one of his discs on Leo Records and it's pretty good. It's been a long time since I played it though. Quote Link to comment Share on other sites More sharing options...
Adam Posted May 9, 2010 Report Share Posted May 9, 2010 (edited) Just got this: Dear Friend, The following two CDs are on the way to the distributors: hatOLOGY 686 Loren Connors & Jim O'Rourke Are You Going To Stop...In Bern? Remastered and redesigned Barcode 752156068624 In fact, the art of O'Rourke and Connors lies in letting one feel the immobility within movement, and in instilling movement right at the heart of immobility. It's almost superfluous to say that this music belongs to the realm of dreams, it's music for the mind, abstract and yet wholly present to itself and therefore totally concrete too. The two guitarists set off in search of sound. Their quest is wildly raging now and then, but only for a brief moment, most of the time it's contemplative. Just as the meditative mode can suffice unto itself, so O'Rourke and Connors let the sound come to them, thus giving it all the time and space it needs to unfurl in suc cessive waves, all alike and yet all different. This music, figurative and non-figurative, almost oriental in its sparseness yet eternally rooted in the American landscape, invites the following thought – if John Cage had ever composed any country music, it would certainly have sounded like this … –Thierry Jousse En fait, tout l'art de Connors et O'Rourke consiste à nous laisser percevoir l'immobilité à l'intérieur même du mouvement… et à instiller le mouvement au cœur de l'immobilité. Il est presque superflu de dire que cette musique appartient au royaume des rêves, que c'est une musique pour l'esprit, abstraite mais complètement présente à elle-même et donc totalement concrète aussi. Les deux guitaristes partent à la recherche du son. Leur recherche se déchaîne parfois avec frénésie, mais seulement pour un bref instant ; elle reste le plus souvent contemplative. Tout comme le mode méditatif peut se suffire à lui-même, Connors et O'Rourke laissent le son venir à eux, lui laissant ainsi tout le temps et l'espace dont il a besoin pour déferler en vagues successives, toutes similaires et au final toutes dissemblables. Cette musique, figurative autant que non-figurative, presque orientale dans sa faible densité et pourtant enracinée pour l'éternité dans le paysage américain, amène à la pensée suivante - si John Cage avait composé de la musique country, elle aurait certainement ressemblé à celle-ci… – Thierry Jousse Tatsächlich liegt die Kunst von O'Rourke und Connors darin, uns die Bewegungslosigkeit in der Bewegung spüren zu lassen und Bewegung mitten ins Zentrum der Bewegungslosigkeit zu bringen. Es braucht nicht extra gesagt zu werden, dass diese Musik dem Reich der Träume angehört, Musik für den Geist ist, abstrakt und dennoch ganz präsent und somit auch ganz konkret. Die beiden Gitarristen begeben sich auf die Suche nach dem Klang, wüten dabei mitunter recht heftig, doch nie länger als einen kurzen Augenblick, die meiste Zeit verläuft die Reise kontemplativ. So wie meditative Praktiken das Hier und Jetzt fokussieren, lassen auch O'Rourke und Connors den Klang sich einfach ereignen und geben ihm dadurch all die Zeit und den Raum, den er braucht, um sich zu entfalten, Welle auf Welle, eine wie die andere und doch alle verschieden. Figurativ und nicht-figurativ, geradezu asiatisch in ihrer Reduziertheit, und doch tief und fest in der amerikanischen Landschaft verwurzelt, inspiriert diese Musik auch zu folgendem Gedanken: Hätte John Cage jemals Country-Musik komponiert, sie hätte bestimmt so geklungen … – Thierry Jousse Review: The music here is sparse and certainly experimental, but it's melodic and easy to listen to, as well -- a concept not encountered in most contemporary avantgarde music. At times, it's easy to get lost in the guitar drones, but this is a record well worth waiting for. – Marc Gilman, All Music Guide, 2000 hatOLOGY 690 Marc Copland Trio Haunted Heart with Drew Gress, double bass and Rochen Rueckert, drums Remastered and redesigned Barcode 752156069027 Playing ballads is, in many ways, the ultimate musical challenge. A ballad is like a window into the soul of the artist. From the first note, it must be approached with true and honest feeling, and a sense of openness. At the beginning of a musician's journey, one tends to believe that playing fast is difficult; as that journey progresses, one realizes that playing slowly is much more difficult. Musical values that are important elsewhere, are here absolutely essential: sensitivity, color, dynamics, economy, and clarity. We hope that in opening our hearts, we have touched yours. – Marc Coplan Interpréter des ballades est, par bien des côtés, le défi musical par excellence. Une ballade est comme une fenêtre ouverte sur l'âme de l'artiste : elle doit être approchée dès la première note avec un sentiment vrai et honnête, un sens de la franchise. Au début de son parcours, le musicien tend à croire que le plus difficile est de jouer avec rapidité; au fil de ce parcours, il réalise que jouer lentement est un bien plus grand défi. Les valeurs musicales qui sont importantes ailleurs, sont là absolument essentielles : sensibilité, couleur, nuance, sobriété et limpidité. Nous espérons qu'en ouvrant nos cœurs, nous auront touché le vôtre. – Marc Copland Balladen zu spielen ist in vieler Hinsicht die größte musikalische Herausforderung. Eine Ballade ist wie ein Fenster, das in die Seele des Künstlers blicken lässt. Von der ersten Note an muss man sich ihr mit wahrhaftigen, aufrichtigen Gefühlen und offenen Sinnes nähern. Wenn man seine Reise als Musiker antritt, neigt man dazu, zu glauben, dass es schwer ist, schnell zu spielen; im Verlaufe dieser Reise erkennt man allerdings, dass es noch viel schwerer ist, langsam zu spielen. Musikalische Werte, die anderwärts wichtig sind, sind hier absolut essentiell: Sensitivität, Farbe, Dynamik, Sparsamkeit und Klarheit. Indem wir unsere Herzen geöffnet haben, hoffen wir, die Ihren zu berühren. – Marc Copland Reviews: The poet of the piano....................................Repertoire A quiet giant.......the stuff of legend..............allaboutjazz.com The discovery of the year..............................Die Zeit Best regards, Werner X. Uehlinger Hat Hut Records LTD. Box 521 4020 Basel, Switzerland wxu.hathut.com@bluewin.ch <mailto:wxu.hathut.com@bluewin.ch> Phone +41.61.373.0773 http://www.hathut.com <http://www.hathut.com> The Journey Continues the 36th Year too! Since 1975, an ear to the future Depuis 1975, une oreille vers le futur Seit 1975, ein Ohr in die Zukunft Edited May 12, 2010 by Adam Quote Link to comment Share on other sites More sharing options...
jlhoots Posted May 10, 2010 Report Share Posted May 10, 2010 More News For Lulu finally reissued. Got my copy from Squidco. Quote Link to comment Share on other sites More sharing options...
okierambler Posted May 12, 2010 Report Share Posted May 12, 2010 (edited) Recently, a fellow collector was kind enough to burn several out-of-print Hats for me, including some of the Steve Lacy and Anthony Braxton sets. Since then, I've been purchasing a few Hat titles from Jazz Loft every month or two. So much wonderful material! And yes, I'll probably buy new copies of the dubs I have when they become available. And, I'll definitely pick up the latest Marc Copland reissue when it goes on sale at Jazz Loft. I'd be interested to hear the group's thoughts on the Lacy Pool. Thanks to everyone who posts here, reading your comments is an education in itself. Edited May 12, 2010 by okierambler Quote Link to comment Share on other sites More sharing options...
Adam Posted May 26, 2010 Report Share Posted May 26, 2010 Dear Friend, The following CD is on the way to the distributors: hatOLOGY 692 Lee Konitz, Don Friedman & Attila Zoller Thingin Remastered and redesigned Barcode 752156069225 So if this disc establishes a new incident of history, influenced by lines of inspiration drifting together from the past, it also effects our perspective of that past as an agent of discovery in the present. What they have discovered on this particular occasion is an area of engagement free as the breeze – or perhaps three breezes that momen tarily meet, tangle, blend, and dissolve, warm and invisible, in their own sweet way. – Art Lange Donc si ce disque fonde un nouvel incident de l'histoire, généré par la mouvance de lignées d’inspiration dérivant du passé, il a également un effet sur notre perception de ce passé en tant que révélateur du temps présent. Ce qu'ils ont découvert à cette occasion particulière est un espace de rencontre aussi libre que peut l’être le vent - voire même trois vents, chauds et invisibles qui, l’espace d’un instant, se rencontrent, s'enchevêtrent, se mélangent et se dissolvent, avec une douceur qui leur est toute particulière. – Art Lange Next release on June 15th, 2010: hatOLOGY 698 Sun Ra Arkestra Sunrise In Different Dimensions Remastered and redesigned Barcode 752156069829 “Beauty is necessary for survival.” So Sun Ra told me in 1983. But whether or not you believe beauty is necessary for survival, you can be sure that you’re holding a little piece of it in your hand right now. And who knows but that, in different dimensions, Sun Ra speaks for you? – Graham Lock «La beauté est nécessaire à la survie », m'a confié Sun Ra en 1983. Mais que vous croyiez ou non que la beauté soit effectivement nécessaire à la survie, soyez assuré que vous tenez un petit morceau d’elle - là, juste dans votre main à cet instant précis. Et qui sait si, in Different Dimensions, Sun Ra ne vous parle pas à vous ? – Graham Lock Best regards, Werner X. Uehlinger Hat Hut Records LTD. http://www.hathut.com The Journey Continues the 36th Year too! Quote Link to comment Share on other sites More sharing options...
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