All Things Hat

[jon abbey]

well, I've done that, so I'm still allowed to critique, I guess (just seeing this thread now). Werner's work with Hat Art was pretty inspirational for me as a fan (and as an eventual producer), the 6000-6200 series is pretty remarkably high quality, music and sound quality. I don't understand most of the musical choices he's made in recent years, but whatever, maybe that's just different strokes. the one thing I do have a major issue with that hasn't really been broached here relates to something Adam said (Adam Hill? is that you? if it is, hey):

"Show me another niche label like his that has $5 sales for new CDs. "

that's fine and dandy for the consumer, but it's terrible terrible business, not just for the label but for anyone wanting to distribute his titles (I know it's one of the reasons I decided not to, after some discussions back and forth with him). not to mention, it cuts into the number of people who will buy the discs at a reasonable price in the first place, because they'll just wait for them to be given away at a loss down the road. I have a sale every February, which ends up basically being six single CDs for $50, and even those prices border on too low (at least I guarantee the purchases will be in bulk). I especially don't understand how a European label can sell CDs like this in dollars, with the dollar seemingly dropping in value every day. obviously it's his label, and he can do whatever he wants, but I don't see how this can be anything but self-destructive as a business practice.

I am curious about the Polwechsel/John Tilbury that's still supposedly in the works from Hat, their last project with John Butcher in the band. hopefully that emerges before too long...

Edited March 14, 2008 by jon abbey

[paul secor]

obviously.

With all the bitching and complaining that's gone on, guess it wasn't so obvious to some folks.

[7/4]

obviously.

With all the bitching and complaining that's gone on, guess it wasn't so obvious to some folks.

true!

.

[Adam]

well, I've done that, so I'm still allowed to critique, I guess (just seeing this thread now). Werner's work with Hat Art was pretty inspirational for me as a fan (and as an eventual producer), the 6000-6200 series is pretty remarkably high quality, music and sound quality. I don't understand most of the musical choices he's made in recent years, but whatever, maybe that's just different strokes. the one thing I do have a major issue with that hasn't really been broached here relates to something Adam said (Adam Hill? is that you? if it is, hey):

"Show me another niche label like his that has $5 sales for new CDs. "

that's fine and dandy for the consumer, but it's terrible terrible business, not just for the label but for anyone wanting to distribute his titles (I know it's one of the reasons I decided not to, after some discussions back and forth with him). not to mention, it cuts into the number of people who will buy the discs at a reasonable price in the first place, because they'll just wait for them to be given away at a loss down the road. I have a sale every February, which ends up basically being six single CDs for $50, and even those prices border on too low (at least I guarantee the purchases will be in bulk). I especially don't understand how a European label can sell CDs like this in dollars, with the dollar seemingly dropping in value every day. obviously it's his label, and he can do whatever he wants, but I don't see how this can be anything but self-destructive as a business practice.

Sorry, not Adam Hill, but hi!

Good point - I always thought it was a strange business model, although I inferred it to mean that he doesn't want to hold onto stock due to lack of space.

The last listing of upcoming titles though implied (and I need to look at the dates again to make sure that it wasn't a posting from 2004 :-) ) that he is re-pressing some in-demand titles such as "The Dark Tree." Hopefully that will prove wise, and give everyone more of a chance to get them.

[king ubu]

BIS--audiophile classical label with an excellent roster of recordings of Nielsen, Rautavaara, Sibelius, &c.

My problem with the packaging is just half the time the discs have scrapes on them. My copy of The Dark Tree skips, dammit.

I have never had that problem. Return the defective.

Never had that happen so far... but that does suck.

Thanks for filling me in on BIS - that's beyond my horizon (both time and money wise) at this time, hence I never heard of it.

[Late]

BIS is a great label. So is Mode. Between the Lines, in the early days, was spectacular. Thank God Koglmann got out most of the Dixon/Lacy sides when he did. (The Coe/Kellaway too.)

I admire that Uehlinger's recording emerging artists, even if the fan base for Hat seems to generally want reissues (only). It seems to me that if, as clem stated/alluded to, he could put together some type of limited box sets for just a few Hat artists that sell well, it would satisfy fans and perhaps generate more income for newer projects. But, I'm no record producer, and I'm sure it's all easier said than done.

[Chuck Nessa]

It seems to me that if, as clem stated/alluded to, he could put together some type of limited box sets for just a few Hat artists that sell well, it would satisfy fans and perhaps generate more income for newer projects. But, I'm no record producer, and I'm sure it's all easier said than done.

The boxed sets will generate whines from folks already owning one or two of the discs. You can't win.

[Late]

You can't win.

The Ivan Lendl of labels!

[clarke68]

Just found this from the link in the more recent Hat thread.

I've been looking forward to the reissue of Wilisau (Quartet) for years. It's been on his "coming soon" list for a while...I've been starting to doubt it's ever going to see the light of day. Hopefully...I have money set aside for it and everything.

I've had attitudes with Hat over it in the past...when the thing starts going for a couple hundred bucks on eBay, you wonder just what the guy is thinking. Just the same, if anybody cared about all the projects I start & don't finish (or don't start at all) enough to post about it on the web, you'd all have worse things to say about me than ol' Werner X.

It would be interesting to find out if any offers have been made for the catalog, by artists or other labels. I always thought the digital downloading thing would be great for labels' OOP catalogs...hopefully somebody makes money from DIW putting all of David Murray's stuff up on eMusic and the idea catches on.

FWIW...I like the Hat packaging, although perhaps its better for storage than for shipment (I've never had a scratched disc). And while the cover image selection seems somewhat random, the overall design really couldn't be more Swiss.

Edited April 16, 2008 by clarke68

[Adam]

BIS is a great label. So is Mode. Between the Lines, in the early days, was spectacular. Thank God Koglmann got out most of the Dixon/Lacy sides when he did. (The Coe/Kellaway too.)

I admire that Uehlinger's recording emerging artists, even if the fan base for Hat seems to generally want reissues (only). It seems to me that if, as clem stated/alluded to, he could put together some type of limited box sets for just a few Hat artists that sell well, it would satisfy fans and perhaps generate more income for newer projects. But, I'm no record producer, and I'm sure it's all easier said than done.

Is this the BIS in question?

http://www.bismusic.com/homei.asp

Or this?

http://www.naxos.com/labels/bis-cd.htm

Or something else?

[Late]

The latter.

[Shrdlu]

I have a hott Showstopper Trilby hat from Newurban. It's the navy one:

http://www.newurbanhats.com/p300/showstopp...oduct_info.html

[Adam]

Dear Friend,

In our 10th year we move within Basel. Our landlord needs the space.

We have to move the office and the archives (over 30 years of files, tapes and...)

which involves a lot of time and unexpected high expenses too.

Therefor NO September 2008 releases!

Cher ami,

En cette 10ème année d’activité, nous changeons d’adresse à Bâle. L’actuel

propriétaire souhaite récupérer son espace. Nous avons à déménager le bureau

et les archives (plus de 30 années de données, bandes, etc ...), ce qui nécessite

beaucoup de temps et occasionne des frais élevés inattendus.

Par conséquent, AUCUNE sortie en septembre 2008!

Lieber Freund

Im 10. Jahr in Basel ziehen wir um. Unser Hausbesitzer hat Eigenbedarf

angemeldet. Der Umzug des Büros und der Archive (über 30 Jahre Dokumente,

Verträge, Tonbänder etc...) benötigen einen grossen Zeitaufwand und es

entstehen auch unerwartete hohe Kosten.

Deshalb KEINE Veröffentlichungen im September 2008!

Back in October 2008 presenting two releases of important future artists:

Retour en octobre 2008 avec la présentation de deux futurs artistes d’importance:

Zurück im Oktober 2008 mit zwei Veröffentlichungen wichtiger zukünftiger Künstler:

Joe Morris Bass Quartet : High Definition on hatOLOGY 670

with Taylor Ho Bynum -cornet, flugelhorn & trumpet, Allan Chase – saxophones;

& Luther Gray – drums.

Taylor Ho Bynum Sextet : Asphalt Flowers Forking Paths on hatOLOGY 675

with Matt Baudet – reeds; Jessica Pavone – viola; Mary Halvorson – guitar,

Evan O'Reilly – guitar & Tomas Fujiwara – drums.

In November 2008 a re-issue of a classic and a follow up release of Steve Lantner:

En novembre 2008, la réédition d'un « classique » et une 2ème parution de Steve

Lantner sous la label hatOLOGY:

Im November 2008 folgen eine Weiderveröffentlichung eines "Klassikers" und die

2. Veröffentlichung von Steve Lantner auf hatOLOGY:

Clusone 3 : Soft Lights And Sweet Music on hatOLOGY 657

with Michael Moore – reeds; Ernst Reijseger – cello and Han Bennink – drums.

Steve Lantner Quartet : Given – Live In Münster on hatOLOGY 663

with Allan Chase – saxophones; Joe Morris – double bass & Luther Gray – drums.

Best regards,

Salutations distinguées,

Beste Grüsse,

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 34th Year too!

Hat Hut Records Ltd. benefits, for the series hat(now)ART, from

its partnership with the Fondation Nestlé pour l'Art, Lausanne.

This e-mail message together with its attachments, if any, is

confidential and may contain information subject to legal privilege.

The confidentiality and integrity of e-mail communication cannot

be guaranteed.

[king ubu]

and another sale to pass the time until new releases/reissues appear...

http://www.jazzloft.com/c-29-special-sale.aspx

[clifford_thornton]

Just put in an order for five. Some nice ones on there.

[king ubu]

I'll pass this time, though I still don't have the Taylor (The Eight) and there'd be another couple of nice ones I still need (Weber, Wiesendanger - but I guess I'm about the only orgo-head who buys these swiss jazz hats, all others keep peeing on them...)

[king ubu]

all others being a major exaggeration, as the percentage of org readers actually appreciating hat is rather... uhm limited...

[NIS]

Thanks for the post, Adam. I have been hoping they would re-issue the Clusone CD soon.

[Adam]

Just got this:

Dear Friend,

The next two releases will be ready October 22nd, 2008:

hatOLOGY 670

Joe Morris Bass Quartet

High Definition

with Taylor Ho Bynum -cornet, flugelhorn & trumpet

Allan Chase – saxophones

Luther Gray – drums

Total Time 53:25 DDD

Barcode 752156067023

Listen to the music of Joe Morris and one is immediately struck by a few things.

First, there is his sense of rhythmic and melodic articulation; a sense of phrasing

brimming with potent energy and focused resolve. Then there is an uncanny

ability to balance freedom and groove. Finally, there is his ability to pull it all

together in structures that bring out particularly inspired playing by his collaborators…

With this release, Morris and crew cement their status as musicians from a generation

who have fully absorbed a polyglot view of the jazz tradition. They have the

commitment, experience, and the innate understanding to seamlessly pull from

both inside and outside, from swing to freedom. But they also have the dedication

and creativity to make it their own. It is how they pull together all these disparate

threads into a unified vocabulary indelibly stamped with their own sensibilities and

personalities that makes this such a riveting statement. – Michael Rosenstein

Écouter la musique de Joe Morris, c’est être immédiatement frappé par un certain

nombre de choses. Tout d'abord, on remarque son sens de la rythmique et de

l’articulation mélodique; un sens du phrasé débordant de puissante énergie et de

grande détermination. Ensuite, il y a cette étonnante capacité à trouver un équilibre

entre la liberté et le groove. Et enfin, cette capacité à rassembler le tout dans des

structures qui font ressortir le jeu particulièrement inspiré de ses complices…

Dans cet album, Morris et son équipe cimentent leur statut de musiciens d’une

génération par une approche polyglotte parfaitement assimilée de la tradition du jazz.

Ils font autant preuve d’application et d’expérience que de compréhension innée;

ce qui leur permet de développer un jeu homogène à la fois de l'intérieur et de

l'extérieur, du swing jusqu’à la liberté. En outre, ils disposent de l’engagement et de

la créativité nécessaires pour se rapproprier entièrement cette musique. Mais, c’est

en fin de compte la manière dont ils rassemblent tous ces fils isparates en un

vocabulaire unifié, marqué de manière indélébile du sceau de leurs propres

sensibilités et personnalités, qui fait de cet album une affirmation aussi captivante.

– Michael Rosenstein

Hört man die Musik von Joe Morris, gibt es einiges, das einem sogleich auffällt.

Zunächst ist da sein ausgeprägtes Gefühl für rhythmische und melodische

Artikulation; die ungezügelte Energie und konzentrierte Entschlossenheit in

seiner Phrasierung. Dann das gekonnte Ausbalancieren von Freiheit und Groove.

Und schließlich seine Fähigkeit, all das in Strukturen zusammenfließen zu lassen,

die seine Mitstreiter zu spielerischen Höhenflügen inspirieren …

Mit dieser Veröffentlichung festigen Morris und Band ihren Status als Musiker

einer Generation, die sich eine polyglotte Sicht der Jazztradition zu eigen gemacht

hat. Sie spannen also mit großem Engagement, der nötigen Erfahrung und un–

umstrittener Kompetenz einen stilistisch weiten Bogen von Swing bis Freiheit und

gehen doch voller Leidenschaft und Kreativität einen eigenen Weg. Denn wie hier

all diese unterschiedlichen Fäden zu einer gemeinsamen musikalischen Sprache

verwoben werden, die von der Sensibilität und Persönlichkeit der Musiker un–

auslöschlich geprägt ist, das macht diese CD zu einem solch fesselnden Statement.

– Michael Rosenstein

hatOLOGY 675

Taylor Ho Bynum Sextet

Asphalt Flowers Forking Paths

with Matt Baudet – reeds; Jessica Pavone – viola

Mary Halvorson – guitar, Evan O'Reilly – guitar

Tomas Fujiwara – drums

Total Time 44:15 DDD

Barcode 752156067528

Here’s a group of musicians who are making a commitment to the long haul.

They are creating music for the third millennium that is savvy enough to draw

on the forking paths of the tradition while finding room for their own individual

voices. Get Bynum started on this group and he responds with his usual

enthusiastic eloquence. “Whatever balance I am able to strike between tradition

and individuality I really owe to the nurturing community of musicians I came

up under.” This set is a tribute to that journey. – Michael Rosenstein

Ces musiciens prennent un vrai engagement sur le long terme. Ils s’appliquent

à créer la musique du troisième millénaire, une musique suffisamment avertie

pour s'appuyer sur les multiples ramifications de la tradition tout en trouvant

l’espace pour leurs propres voix. Lancez Bynum sur l’importance du groupe et

il vous répondra avec son éloquence enthousiaste habituelle : « Quel que soit

l'équilibre auquel je suis en mesure de parvenir entre tradition et individualité,

je reste totalement redevable envers la communauté féconde de musiciens

derrière laquelle j’avance. » Cet album est un hommage à ce parcours.

– Michael Rosenstein

Hier ist eine Gruppe von Musikern und Musikerinnen, die nicht in kurzen Zeiträumen

denken. Sie machen Musik für das dritte Jahrtausend, die sich geschickt auf weit–

verzweigte Traditionslinien stützt, während sie den individuellen Stimmen genügend

Raum zur Entfaltung lässt. Und wenn Bynum einmal diesbezüglich loslegt, dann mit

der ihm eigenen enthusiastischen Eloquenz: „Welchen Mittelweg auch immer ich

zwischen Tradition und Individualität finde, ich verdanke ihn der nährenden

Gemeinschaft von Musiker und Musikerinnen, bei denen ich mich voll entfalten

konnte.“ Die Musik auf dieser CD zollt dieser Reise Tribut. – Michael Rosenstein

In November 2008 a re-issue of a classic and a follow up

release of Steve Lantner:

hatOLOGY 657

Clusone 3

Soft Lights And Sweet Music

with Michael Moore – reeds

Ernst Reijseger – cello

Han Bennink – drums

hatOLOGY 663

Steve Lantner Quartet

Given – Live In Münster

with Allan Chase – saxophones

Joe Morris – double bass

Luther Gray – drums

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 34th Year too!

Hat Hut Records Ltd. benefits, for the series hat(now)ART, from

its partnership with the Fondation Nestlé pour l'Art, Lausanne.

This e-mail message together with its attachments, if any, is

confidential and may contain information subject to legal privilege.

The confidentiality and integrity of e-mail communication cannot

be guaranteed.

[AndrewHill]

Found the Clusone 3 cd used a few years back-definitely worthy of reissue.

[clifford_thornton]

Those upcoming Morris & Bynum discs look like ones I'll be picking up.

As for Wiesendanger, he's an excellent pianist and the idea behind the trio released on Hat was pretty cool. HOWEVER, the drummer is lame and the session doesn't live up to its promise.

[Adam]

Just got this, for those of you completists:

Dear Friend,

The 16 releases 2008 in the sequence of the introduction:

hatOLOGY 649:

Paul Bley · (12 + 6) In A Row (reissue)

Paul Bley –piano,

Hans Koch –clarinets & saxophones,

Franz Koglmann –flugelhorn.

hatOLOGY 651:

Russ Lossing – John Hebert · Line Up

Russ Lossing –piano,

John Hebert –double bass.

hatOLOGY 659

Manuel Mengis Gruppe 6 · The Pond

Manuel Mengis – trumpet,

Achim Escher – alto saxophone,

Roland von Flue –tenor saxophone & bass clarinet,

Flo Stoffner – electric guitar,

Marcel Stalder – electric bass,

Lionel Friedli – drums.

hatOLOGY 660

Michael Adkins Quartet · Rotator

Michael Adkins –tenor saxophone

Russ Lossing –piano,

John Hebert –double bass,

Paul Motian –drums.

hatOLOGY 654

David Liebman-Ellery Eskelin · Renewal

David Liebman & Ellery Eskelin –tenor saxophones,

Tony Marino –double bass,

Jim Black –drums.

hatOLOGY 656

Matthew Shipp Trio · The Multiplication Table (reissue)

Matthew Shipp –piano,

William Parker –double bass,

Susie Ibarra –drums.

hatOLOGY 650

John Zorn –alto saxophone,

George Lewis –trombone,

Bill Frisell –guitar.

News For Lulu (reissue)

hatOLOGY 652

Pandelis Karayorgis –Fender Rhodes,

Nate McBride –double bass,

Curt Newton –drums.

Betwixt

hatOLOGY 602

Joe McPhee –tenor & soprano saxophones and alto clarinet,

Lisle Ellis –double bass,

Paul Plimley –piano.

Sweet Freedom – Now What? (reissue)

hatOLOGY 661

Westbrook – Rossini (reissue)

Lindsay Cooper –sopranino saxophone,

Peter Whyman –alto saxophone,

Kate Westbrook –piccolo, tenor horn & voice,

Paul Nieman –trombone,

Andy Grappy –tuba,

Mike Westbrook –piano & tuba,

Peter Fairclough –drums.

hat(now)ART 141

Christian Wolff : Early Piano Pieces

performed by Steffen Schleiermacher.

hat(now)ART 149

Transatlantic Swing

Works For Piano

by Christopher Fox, Ivo Van Emmerik,

Richard Rijnvos, James Rolfe &

Luca Francesconi

performed by John Snijders.

hatOLOGY 670

Joe Morris Bass Quartet

High Definition

Joe Morris –double bass,

Taylor Ho Bynum –cornet, flugelhorn & trumpet,

Allan Chase –saxophones,

Luther Gray –drums.

hatOLOGY 675

Taylor Ho Bynum Sextet

Asphalt Flowers Forking Paths

Taylor Ho Bynum –cornet,

Matt Baudet –reeds, Jessica Pavone –viola,

Mary Halvorson –guitar, Evan O'Reilly –guitar,

Tomas Fujiwara –drums.

hatOLOGY 657

Clusone 3 (reissue)

Soft Lights And Sweet Music

Michael Moore –reeds,

Ernst Reijseger –cello,

Han Bennink –drums.

hatOLOGY 663

Steve Lantner Quartet

Given – Live In Münster

Allan Chase – saxophones,

Joe Morris – double bass,

Luther Gray – drums.

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 34th Year too!

Hat Hut Records Ltd. benefits, for the series hat(now)ART, from

its partnership with the Fondation Nestlé pour l'Art, Lausanne

until the end of 2008.

[Adam]

Just received this:

Dear Friend,

2009 opening mid of February:

Luciano Berio & Edison Denissow

Works For Voice And Chamber Ensemble

performed by

Ensemble Fur Neue Musik Zurich

Hedwig Fassbender mezzo-soprano

hat(now)ART 168 (new)

Total Time DDD 55:15

Barcode 752156016823

Luciano Berio:

‘Time after time, I find myself returning to folk music. I want to take possession of 

this treasure-store, using my own resources. Even though I know it cannot come 

true, I have a utopian dream, namely to forge a single entity from our own music 

and the folk tradition.’ America, the Auvergne, Sicily, Sardinia, Armenia and 

Azerbaijan: their diverse geographical origins reflect the multi-cultural society that 

Luciano Berio and his wife and preferred interpreter, Cathy Berberian, belonged to….

‘My transcriptions are analyses of folk songs, and at the same time convey the 

atmosphere, the “aroma” of this music as I understand it.’  

Edison Denissow:

The composer combines strict technique, echoes of Debussy and Webern, a casual 

chanson style, bebop, the Marseillaise (maestoso), the speaking and singing voice, 

colourful instrumentation, chromatic paraphrases that are squashed down as far as 

crotchets, and entirely new sounds to form an idiosyncratic, close-knit musical 

language that is every bit the equal of Vian’s in its fundamental blackness and 

malignance.  – Thomas Gartmann

 

Luciano Berio:

 « Au fil du temps, je réalise que j’effectue un retour à la musique folk. Je veux 

prendre possession de cette mine de trésors en utilisant mes propres ressources. 

Même si je sais qu'il ne peut se réaliser, j'ai un rêve utopique ; celui de forger une 

entité unique à partir de notre propre musique et de la tradition folk. » L’Amérique, 

l'Auvergne, la Sicile, la Sardaigne, l'Arménie et l'Azerbaïdjan: la diversité des origines 

géographiques reflètent la société multiculturelle à laquelle Luciano Berio et Cathy 

Berberian, son épouse et interprète préférée, ont appartenu....

 « Mes transcriptions sont des analyses de chansons folk, et transmettent en même 

temps l'atmosphère, <l’arôme> de cette musique telle que je la comprends. » 

Edison Denissow:

Le compositeur allie à la technique stricte, des échos de Debussy et de Webern, 

un style décontracté de chanson, du be-bop, la Marseillaise (maestoso), une voix 

parlante et chantante, une instrumentation colorée, des paraphrases chromatiques 

pressées dans la mesure du possible en noires et des sons entièrement nouveaux 

pour former un langage musical idiosyncrasique et étroit, en tous points égal à 

celui de Vian dans sa noirceur fondamentale et sa malignité. – Thomas Gartmann

Morton Feldman

For Bunita Marcus

performed by Hildegard Klee

hat(now)ART 174 

(remastered reissue of hatART 6076)

Total Time DDD 71:33

Barcode 75215601742?

 

Feldman once wrote that... “Renoir said that the same color, applied by two different 

hands, would give us two different tones. In music, the same note, written by two 

different composers, gives us—the same note. When I write a B flat, and Berio a B flat, 

what you get is always B flat. The painter must create his medium as he works. That’s 

what gives his work that hesitancy, that insecurity so crucial to painting.” I believe, 

though, that Feldman underestimated the strength of his involvement in composing 

that B flat. Feldman’s B flat does sound different, due to his, almost painterly, touch. 

Depending upon the context, Feldman’s B flat can suggest anxiety, melancholy, heroism, 

exaltation. The experience may be relative, may even be insecure, but it is inevitably 

satisfying, if one commits to it as fully as Feldman did to its composition. 

For Bunita Marcus has an aura like that which emanates off Rothko’s greatest paintings, 

an aura that makes the experience, no less than the creation, more than an act of will, 

an act of devotion.   – Art Lange

 

Feldman a écrit ... « Renoir disait que la même couleur, appliquée par deux mains 

différentes, nous donnerait deux tons différents. En musique, la même note, écrite par 

deux compositeurs différents, nous donne - la même note. Lorsque j'écris un si bémol 

et que Berio écrit un si bémol, ce que vous obtenez est toujours un si bémol. Le peintre 

doit créer son médium au fur et à mesure de son travail. C'est ce qui donne à son oeuvre 

cette hésitation, cette insécurité si cruciale à la peinture.» Je crois, cependant, que 

Feldman a sous-estimé la force de son engagement au moment où il a composé ce si 

bémol. Le si bémol de Feldman est bien différent en raison de son toucher, presque 

pictural. Selon le contexte, le si bémol de Feldman peut suggérer l'anxiété, la mélancolie, 

l'héroïsme, l'exaltation. L'expérience peut être relative, peut même être incertaine, mais 

elle est forcément satisfaisante lorsque l’on s'engage aussi pleinement que Feldman l’a 

fait dans sa composition. 

« For Bunita Marcus » dégage une aura qui s’approche de celle émanant des plus beaux 

tableaux de Rothko; une aura qui marque l'expérience autant que la création… plus qu’un 

acte de volonté, un acte de dévotion. – Art Lange

Following mid of March 2009:

hatOLOGY 658

Anthony Braxton : Seven Compositions (Trio) 1989

(remastered reissue of hatART 6025)

Anthony Braxton -alto, C-melody, soprano and sopranino saxophones,

                            clarinet & flute

Adelhard Roidinger –double bass

Tony Oxley – drums

Total Time 58:21 DDD

Barcode 752156065821

The resulting music – a step into virtuoso improv within “vibrational space” – sings with 

a relaxed exhilaration that will make it a certain pleasure for all who listen. Here, I guess 

(to steal an image from William Blake), is the sound of “Joy as it flies”. – Graham Lock

hatOLOGY 662

Mary Halvorson – guitar

Reuben Radding –double bass

Nate Wooley – trumpet

Crackleknob 

Total Time ??? DDD

Barcode 752156066224

One listen to this CD and that element of trust and synchronicity immediately comes 

through. This is the kind of music that can only come from musicians who know each 

other well. It is like dropping in on an intimate conversation. Ideas get launched and 

then get immediately picked up, morphed, and woven back in. There is also a striking 

compactness to the pieces. Free improvisation rarely displays the level of succinct 

structural sensibility at play here. Wooley comments, “In general, we work at making 

the cleanest, most elegantly simple piece of music that we can. It's not something 

we've ever been implicit about, but I think that is just the general attitude about 

improvising that we all share.” Here are three musicians who know how listen, how 

to work together to develop a collective arc, and how to tie it all together to create 

abstract, spontaneous pieces that span the length of a pop song. – Michael Rosenstein

Best regards,

Werner X. Uehlinger

[danasgoodstuff]

I may have mentioned, I LUV News for Lulu and heartily recomend it even to those who aren't that hot on Zorn Frisell or Lewis.

How is the Westbrock Rossini? I quite like his settings of Wm Blake...

[B. Clugston]

I may have mentioned, I LUV News for Lulu and heartily recomend it even to those who aren't that hot on Zorn Frisell or Lewis.

How is the Westbrock Rossini? I quite like his settings of Wm Blake...

The live Westbrook Rossini is excellent. Highly recommended.