iTunes

Iniciando iTunes Store.Si iTunes no se inicia, haz clic en el icono de la aplicación iTunes en el Dock de Mac o en el escritorio de Windows.Progress Indicator
Abriendo el iBooks Store.Si iBooks no se abre, haz clic en la app iBooks del Dock.Progress Indicator
iTunes

iTunes is the world's easiest way to organize and add to your digital media collection.

No encontramos iTunes en este ordenador. Para usar vista previa y comprar música de Last Night the Moon Came Dropping Its Clothes In the Street de Jon Hassell, descarga iTunes ya.

¿Ya tienes iTunes? Haz clic en Ya tengo iTunes, para que sea activado.

I Have iTunes Descarga gratis
iTunes para Mac y PC

Last Night the Moon Came Dropping Its Clothes In the Street

Abre iTunes para escuchar un fragmento, comprar y descargar música.

Reseña de álbum

The strangely beautiful title of Jon Hassell's Last Night the Moon Came Dropping Its Clothes in the Street on ECM is taken from a poem by the great 13th century Sufi mystic Jalaluddin Rumi. The rest of it, in the context of the sound here, is also instructional: "Last night the moon came dropping its clothes in the street/I took it as a sign to start singing/Falling up into the bowl of sky." Hassell's electronically enhanced trumpet playing follows directly in a line from Miles Davis' experiments of the 1970s. It comes off more as "singing" than anything else. He sounds like no one else, but many trumpet players and sound collagists have been deeply influenced by his work. The "bowl of sky" in the poem is referent, too: it reflects the quality of Hassell's musical montages and sonic investigations. This has been true since the very beginning in the 1970s, but became his trademark "sound" while working with Brian Eno as he developed his "Fourth World" music — showcased on his EG albums from the early '80s (Fourth World, Vol. 1: Possible Musics, Fourth World, Vol. 2: Dream Theory in Malaya, Aka/Darbari/Java ) — and was acutely articulated on his last ECM release, 1985's brilliant Power Spot. Last Night the Moon Came Dropping Its Clothes in the Street is Hassell's first recording since 2005's Maarifa Street: Magic Realism, Vol. 2; it's an assembled montage of sessions recorded in France and Los Angeles, and concerts are also woven into the rich fabric here. Hassell's music, even now, sounds alien, beguiling, mercurial, seemingly formless and airy but full of subtle washes, shifts of tone, and polyrhythmic strategies. The ten cuts here are mostly middle-length pieces that range between five and eight minutes, but three — "Time and Place," "Clairvoyance," and "Scintilla" — act as transitions segmenting, however seamlessly, the album into roughly thirds.

The band contains a pair of holdovers from his last outing in bassist Peter Freeman — who doubles on laptop — and guitarist Rick Cox, who has been augmented by no less than Eivind Aarset on the instrument. The other new players include Jamie Muhoberacon keyboard and laptop, drummers Helge Norbakken and Pete Lockett, Kheir Eddine M'Kachiche on violin, and Jan Bang on live sampling. Together they root and extend the aerial sound of Hassell's trumpet that flows everywhere and anywhere. Check the simple bass and guitar rhythmic attack on "Abu Gil," the album's longest track, where In a Silent Way's "It's About That Time" meets the desert blues feels of "Anouar Brahem" and the Master Musicians of Jajouka meet the noir-ish ambient funk of early Shriekback. The title track, by contrast, is a long, loping, beautiful number where moods of morning, marketplaces, and nocturnal sunsets all loosely entwine around the listener. The obvious postmodern jazz soloist's approach hovers all around the shapes and colors evoked by keyboards and trumpet in "Courtrais," as soundscape, loops, and ambiences all deepen and widen before being grounded by a subtle but unflinching backbone-slipping bassline by Freeman. Hassell moves toward everything — samples, drifting sonics, hints of melody, and, for such quiet and subtle music, an impressive harmonic palette — to create a montage that evokes the timelessness of the past with a firm grasp on the unknowable, perhaps even unspeakable, future. His jazzman's sense of time and phrasing is enhanced by his painterly sense of space and shade. This album is further proof that Jon Hassell inhabits a terrain of his own, and reflects the true vibration of poetry as it meets the human ear as something akin to pure sound.

Reseñas de usuarios

People... buy this! (if you like this sort of thing :-)

I must say, to call this recording "self indulgent junk" and suggest it could be tossed off on a PC is about the height of superficial analysis. Just because you don't like or understand something doesn't mean it isn't good. While it certainly isn't Jazz (per se), it is another innovative offering by one of the most universally respected musicians around. It's a sound scape that's likely to remind one of a perpetual dusk (or is it twilight?); ever shifting deep dark rich textures underscored by loose exotic polyrhythms. Like so much great Jazz, it's a piece of work that rewards the listener the closer one listens. All in all another beautifully strange, wonderfully haunting Hassell recording.

Brilliant

john hassell once again exhibits a wonderful sense of musical tapestry, weaving together textures, impulses, feeling... Listening to these compositions, one can be taken on a beautiful river of ambient sound, provoking stillness and space inwardly. Take the time to "be" with the recording. As far as the one star review goes, I doubt given your temperament that is evident in the language you use in your review that you have the sensibility and self awareness to compose any thing other than rancor. TOO Bad....

Thank the lord the Jazz Police arrived....

Wow, how lucky we are the Jazz Police caught this! I am hoping there will be stern action in the form (ha ha, how clever) of action for the brazen quotation of "Caravan". Now that IS a jazz tune. Very disrespectful. And what about no "tink tinka dink" on a cymbal? How blatently in violation of a "Jazz" precedent. Shameful. Jazzer Jail will be a hot house tonight! Realistically though true "Jazz" fans know there has been no real "Jazz" since 1957. It is all egregious light weight and undisciplined "interpretation" from that date forward. The JP's have their handsfull alright! Also great to know there are so many equally talented Policemen out there that can recreate or offer up a universally distinctive and innovative sound and style in their bedroom on a stock sound card and dell PC. Maybe that was what the tune Mr. PC was honoring????? Personally I think there also should be more enforcement of the proper use of upper structure triads, true "Jazz" reharmonizations and serious consequences for anyone playing a major 7th on a Dominant 7th chord. Just appalling. We must vigilantly fight to keep our "Jazz" Static!!! dop (bop with a d!!!! Exciting! Respectful!!!!) This album is incredibly beautiful. -D-

Biografía

Nacido(a): 22 de marzo de 1937 en Memphis, TN

Género: Jazz

Años de actividad: '70s, '80s, '90s, '00s

Trumpeter Jon Hassell was the originator and unrivaled master of the musical aesthetic he dubbed Fourth World — in his own words, "a unified primitive/futuristic sound combining features of world ethnic styles with advanced electronic techniques." Born March 22, 1937, in Memphis, TN, he attended Rochester, NY's Eastman School of Music and Washington, D.C.'s Catholic University before studying in Europe under the legendary Karlheinz Stockhausen. After subsequent collaborations with minimalist...
Biografía completa
Last Night the Moon Came Dropping Its Clothes In the Street, Jon Hassell
Ver en iTunes

Valoraciones de clientes

Influencias

Con influencia de este artista

Contemporáneos