Million-Dollar-Punkt Mann

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

“Last night ns moon came dropping the clothes bei the street.

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

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

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Significantly zum many this ist Hassell’s zuerst album zum ECM since 1985’s stärke Spot, yet it complies with a series of eight interim releases of which die most recent was 2005’s Maarifa Street. Belastung Night… was laid down direkte and an the studio by an augmented version von the working band of die same name.

The key supporting players below are Norwegians jan Bang (live sampling) and Eivind Aarset (guitar), north African violinist Kheir Eddine M’Kachiche, und bass player peter Freeman, however naturally it’s Hassell’s lush, vocal tone that specifies both ns mood und the direction von proceedings. As in all of his previous arbeit - across which individual projects oase digressed zu explore certain avenues von the “fourth world” des which Hassell has set himself trost as chief cartographer - the trumpeter’s style ist readily identifiable: a spare, disarmingly unadorned ?vocal style’ being punkt once cerebral und sensual, which he has actually enhanced von electronics und studio manipulations. Ns contributions des other contributors - principal among them stack Cox (guitar), jamie Muhoberac (keyboard, drums), and Helge Norbakken (drums) - are less distinctive, though they no doubt contribute a specific facelessness to the ?montage’ methodology that Hassell has embraced as his record practice.

Hassell clearly believes that v montage he ist onto miscellaneous special, “a living, morphing procedure that occasionally gets set down together a record”. Hassell evidently believes the a studio blending von multiple live recordings, studio sessions and disparate samples allows ihm to knit together in a studio a sound - more specifically, perhaps, in ambiance - that much more closely matches his conception of the music the desires to make than would standard studio methods or direkte recoding. One listen to ns generally much more satisfying und coherent stärke Spot undermines the notion; von contrast, belastung Night… occasionally shows the seams a wenig too clearly. That said it is nevertheless deeply, virtually meditatively gorgeous, and never more deshalb than ~ above Blue Period, which fruitfully re-works Amsterdam Blue (Cortege), which was Hassell’s taste contribution to die soundtrack zu Wim Wenders’ Million dollar Hotel. Die less successful tracks, together as the opening Aurora and Time und Place, are almost depressingly anodyne, yet there space subtle wealth here weil das anyone willing to let Hassell’s insular sound welt envelop them.

Bassist peter Freeman has been Hassell’s most continuous working partner of late, and his playing ist frequently the most obtrusive presence in the sound mix, particularly bei live performance. Occasionally he pushes the ambiance into a laid-back yet undeniable groove.

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Top top Abu Gil his sound ist uncharacteristically tensile und wiry, undermining complacency. Aarset capitalizes on ns opportunity kommen sie carve out subtle contours in the gruppe sound, embellished von M’Kachiche with hints von Middle eastern melody. An fact, there is a last of filigree from all contributors ~ above this track, but its horizons are vast enough zu subsume it every without sounding cluttered. Elsewhere, on Courtrais, Freeman provides substance zu a contrastingly heavy, brooding environment within i beg your pardon Hassell’s keening vocalisations speak to out, a ghostly disembodied presence.

M’Kachiche’s playing deshalb establishes the mood des the location track, i m sorry was the closing piece von Hassell’s set weist the anzeige festival in 2008. A Freeman pulse emerges from a minimal repetitive string figure which ist initially embellished just ethereally von washes von Hassell’s trumpet und ripples des tamped piano und percussion, M’Kachiche elegantly embroidering whatever with evocations von Hassell’s oriental/occidental, ancient/modern 4th World. Hassell’s vital enabler in this conception is, des course, januar Bang, that samples und processes the various elements of the bands’ interactions, sometimes feeding them back bei real time zum meta-improvisation, and further mediates ns results in the studio. Even if it is this stimulates Hassell’s arbeiten or simply envelopes it an a comforting opiate fug zu sein open zu debate.

Hassell remains one of the true originals. His influence on some von the music’s many cutting leaf artists zu sein almost as overlooked von the public together it ist celebrated über critical consensus, and that’s a mystery. I in frankly ambivalent around this recent album.

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If I’m not in the mood, it appears complacent in ways that ns really an useful recordings Hassell has actually under his belt, from die two volumes von Fourth world to energie Spot, most certainly are not. Yet then, wie man I’m in the mood zum it, I’m totally seduced