{"id":25142,"date":"2020-07-29T11:25:11","date_gmt":"2020-07-29T15:25:11","guid":{"rendered":"https:\/\/panm360.com\/2020\/07\/29\/jon-hassell-linfatigable-explorateur-deuxieme-partie\/"},"modified":"2023-10-02T14:56:54","modified_gmt":"2023-10-02T18:56:54","slug":"jon-hassell-linfatigable-explorateur-deuxieme-partie","status":"publish","type":"dossiers","link":"https:\/\/panm360.com\/en\/dossiers-360\/jon-hassell-linfatigable-explorateur-deuxieme-partie\/","title":{"rendered":"Jon Hassell: The indefatigable explorer (Part 2)"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><em>Photo: Roman Koval<\/em><\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong><strong>Selective Timeline (continued)<\/strong><\/strong><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">In 1983, Hassell released <em>Aka \/ Darbari \/ Java &#8211; Magic Realism<\/em>, with Daniel Lanois again producing. This time, Hassell took his exploration a little further, mixing elements of the polyphonic music of the Aka people, a pygmy population from Central Africa (which Ligeti and Steve Reich were also interested in), with motifs from Darbari&#8217;s Indian ragas, and Javanese gamelan music with Senegalese percussion. By his own admission, he seeks to create a classical music of the future that was \u201ccoffee colour\u201d, i.e. of mixed race.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"https:\/\/panm360.com\/wp-content\/uploads\/2020\/07\/Jon-Hassell-Aka-Darbari-Java.jpg\" alt=\"\" class=\"wp-image-24916\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">He then collaborated with David Sylvian, playing on the album <em>Brilliant Trees<\/em> (1984), of which he co-wrote two tracks (\u201cWeathered Wall\u201d and \u201cBrilliant Trees\u201d), and on <em>Alchemy: An Index of Possibility<\/em> (1985), of which he co-wrote the three-part \u201cWords With the Shaman\u201d.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In 1986, he published <em>Power Spot<\/em> at ECM. Produced by Brian Eno and Daniel Lanois, this album is a bit like <em>Fourth World vol. 1: Possible Musics<\/em>, with more rhythm. The two tracks that start each side of the LP, \u201cPower Spot\u201d and \u201cWing Melodies\u201d are so catchy, they\u2019re almost pop because. The other pieces are more ethno-ambient, but nicely arranged. Probably his most immediately accessible album. The sound quality is particularly enveloping.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"https:\/\/panm360.com\/wp-content\/uploads\/2020\/07\/Jon-Hassell-Power-Spot.jpg\" alt=\"\" class=\"wp-image-24918\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hassell composed the piece \u201cPano Da Costa\u201d for Kronos Quartet, which was released in 1987 on the quartet&#8217;s album <em>White Man Sleeps<\/em>.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">He composed the music, which he performed before an audience every night in the fall of 1987, for <em>Zangezi; a Supersaga in Twenty Planes<\/em>, a play based on the texts of the Russian futurist poet Velimir Khlebnikov, directed by Peter Sellars.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Because of the peculiar sound of his trumpet playing, pop artists began to ask him for help. He participated in the recording of <em>Mainstream<\/em> by Lloyd Cole and the Commotions in 1987, and <em>The Seeds of Love<\/em> by Tears for Fears in 1989. He was later pursued by Ani DiFranco, k. d. lang, Holly Cole, Baba Maal, and Ibrahim Ferrer, among others. He also collaborated with fashion designers Issey Miyake and Rei Kawakubo, and choreographers Merce Cunningham and Alvin Ailey.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">After assisting with the soundtrack of Alan Parker&#8217;s 1985 film <em>Birdy<\/em>, Peter Gabriel invited him again to work on the soundtrack of Martin Scorsese&#8217;s 1989 film <em>The Last Temptation of Christ<\/em>.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong><strong>A new twist<\/strong><\/strong><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">In 1990, Hassell took another turn with the album <em>City: Works of Fiction<\/em>. At that time, the arrival of MIDI systems and new sampling technologies made it possible to create increasingly labyrinthine music. At the same time, hip hop was revolutionizing the rhythmic dimension of music. Hassell was particularly impressed by the intricate collages of Hank Shocklee on Public Enemy\u2019s <em>It Takes a Nation of Millions To Hold Us Back<\/em>. The first track on Hassell\u2019s album, \u201cVoiceprint (Blind From The Facts)\u201d, includes a sample of \u201cShe Watch Channel Zero?!\u201d from that record. He realized that these collages, directly in the line of Stockhausen&#8217;s work and musique concr\u00e8te, had entered the collective unconscious, and decided to go all the way in that direction.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As its name suggests, this record is resolutely urban. The wefts of his music are still Hindustani ragas, but the new urban dimension he integrates into it is expressed in a more biting, rough, fragmented, bristling and dense manner, his textures even more kaleidoscopic. Rock, jazz, and African polyrhythm were now joined by rap, but it\u2019s as if urban chaos, with its traffic and construction-site noises, were added as well.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The substantially expanded 2014 re-release \u2013 which includes two more CDs, the first of a concert given at the time, mixed live by Brian Eno, and the second of demos, studio scraps and remixes \u2013 allows one to appreciate the full extent of this change of direction.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"https:\/\/panm360.com\/wp-content\/uploads\/2020\/07\/Jon-Hassell-City-Works-Of-Fiction-Expanded-Edition.jpg\" alt=\"\" class=\"wp-image-25128\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the fall of the same year, under the direction of Hector Zazou, he took part in the recording and co-wrote a piece for <em>Les nouvelles polyphonies corses<\/em>, in which Manu Dibango and Ryuichi Sakamoto participated, among others.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Four years later, he came back with <em>Dressing for Pleasure<\/em>, this time with trip hop, acid jazz and breakbeats, on which he surrounded himself with numerous bass players from all horizons, including Flea from the Red Hot Chili Peppers, Trevor Dunn, and even Buckethead, who swapped out his guitar for the occasion, as well as Peter Freeman, who became a faithful collaborator.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In 1995, Hassell began a collaboration with Ry Cooder and participated on a number of his albums: the soundtracks to the films <em>Primary Colors<\/em>, Wim Wenders&#8217; film <em>The End of Violence<\/em>, <em>Chavez Ravine<\/em>, <em>My Name Is Buddy<\/em> and <em>I, Flathead<\/em>.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong><strong>A remarkably clean record<\/strong><\/strong><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">In 1999, he released <em>Fascinoma<\/em>. Arriving in the middle of his career, this album is to be marked with a white stone. Not only because it is remarkably pure, but also because it is the only record where the sound of his trumpet is not tampered with by the usual effects, as if he had wanted to make a clean sweep. To capture the purity of the timbre of this one, and of the other instruments, the recording \u2013 entirely analog \u2013 was even carried out using three-electrode tube microphones designed expressly for these sessions, which take place in a chapel with exceptional acoustics in Santa Barbara ,on the Californian coast.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/panm360.com\/wp-content\/uploads\/2020\/07\/Jon-Hassell-pochetteD-1024x1005.jpg\" alt=\"\" class=\"wp-image-24927\" width=\"768\" height=\"754\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The magic begins in the first piece, a stripped-down version of Eden Abhez&#8217;s \u201cNature Boy\u201d, popularized by Nat &#8220;King&#8221; Cole in 1948, in which the bamboo flute of India\u2019s Ronu Majumbar deliciously wraps itself around Hassell&#8217;s trumpet. This is not the only cover, however, and there are also two slowed-down versions of the famous \u201cCaravan\u201d by Juan Tizol and Duke Ellington, which evoke even more admirably than the original caravan of camels undulating across the dunes at dusk. Your humble correspondent returns to these regularly, as they are so bewitching. The scattered, almost floating chords of the pianist Jacky Terrasson contribute a great deal. The production was assured by Ry Cooder, whom Hassell then described as a &#8220;spirit catcher&#8221;.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In 2005, he released <em>Maarifa Street: Magic Realism 2<\/em>, which was, in a way, a sequel to his 1983 album. Maarifa means \u201cknowledge\u201d or \u201cwisdom\u201d in Arabic. This album is the first to be composed from three live recordings \u2013 one of which was at the Montreal Jazz Festival \u2013 but then reworked in the studio. Only one piece remained as it was, the very last, the encore given in Milan. Hassell\u2019s wish in doing so was to blend the spontaneous elements and imperfections of the concert with the precision and detail that the studio allows.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The results find Hassell\u2019s playing as silky and restrained as ever. As for his musicians, bassist Peter Freeman, keyboardist John Beasley, and guitarist Rick Cox, as well as singer and oud player Dhafer Youssef in Paris, and trumpeter Paolo Fresu in Milan, they constitute a model of precision. Together, they continued to perfect this blend of ambient and improvisation that, without the least bit of hurry, unfolds its splendours, as discreet as they are exquisite.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><em><strong><em>You can read <a href=\"https:\/\/panm360.com\/en\/2020\/07\/30\/jon-hassell-linfatigable-explorateur-troisieme-partie\/\" target=\"_blank\" aria-label=\"undefined (s\u2019ouvre dans un nouvel onglet)\" rel=\"noreferrer noopener\">the third part of PAN M 360\u2019s Jon Hassell dossier here.<\/a><\/em><\/strong><\/em><\/strong><\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/panm360.com\/wp-content\/uploads\/2020\/07\/Dossier-Jon-Hassell-Maarifa-Street-1024x1024.jpg\" alt=\"\" class=\"wp-image-25130\" width=\"768\" height=\"768\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Photo: Roman Koval Selective Timeline (continued) In 1983, Hassell released Aka \/ Darbari \/ Java &#8211; Magic Realism, with Daniel Lanois again producing. This time, Hassell took his exploration a little further, mixing elements of the polyphonic music of the Aka people, a pygmy population from Central Africa (which Ligeti and Steve Reich were also [&hellip;]<\/p>\n","protected":false},"author":52,"featured_media":24790,"menu_order":0,"template":"","format":"standard","meta":{"_acf_changed":false,"_crdt_document":""},"categories":[5192],"tags":[],"class_list":["post-25142","dossiers","type-dossiers","status-publish","format-standard","has-post-thumbnail","hentry","category-dossiers-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Jon Hassell: The indefatigable explorer (Part 2) - PAN M 360 |\u00a0Dossier<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/panm360.com\/en\/dossiers-360\/jon-hassell-linfatigable-explorateur-deuxieme-partie\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Jon Hassell: The indefatigable explorer (Part 2) - PAN M 360 |\u00a0Dossier\" \/>\n<meta property=\"og:description\" content=\"Photo: Roman Koval Selective Timeline (continued) In 1983, Hassell released Aka \/ Darbari \/ Java &#8211; Magic Realism, with Daniel Lanois again producing. This time, Hassell took his exploration a little further, mixing elements of the polyphonic music of the Aka people, a pygmy population from Central Africa (which Ligeti and Steve Reich were also [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/panm360.com\/en\/dossiers-360\/jon-hassell-linfatigable-explorateur-deuxieme-partie\/\" \/>\n<meta property=\"og:site_name\" content=\"PAN M 360\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/panm360\/\" \/>\n<meta property=\"article:modified_time\" content=\"2023-10-02T18:56:54+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/panm360.com\/wp-content\/uploads\/2020\/07\/Jon-Hassell-main-1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2000\" \/>\n\t<meta property=\"og:image:height\" content=\"2000\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@PANM360\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/panm360.com\\\/en\\\/dossiers-360\\\/jon-hassell-linfatigable-explorateur-deuxieme-partie\\\/\",\"url\":\"https:\\\/\\\/panm360.com\\\/en\\\/dossiers-360\\\/jon-hassell-linfatigable-explorateur-deuxieme-partie\\\/\",\"name\":\"Jon Hassell: The indefatigable explorer (Part 2) - 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