JON HASSELL NATURE BOY

“After twentysomepoint years of recordings and also performances, this is the first time I’ve ever before played someone else’s song.

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“With this recording, I locate myself squacount within that element of music which is basic and irreducible: the beauty of the sound. This is what Dane Rudhyar calls ‘tone-magic’—a principle obtained from prehistoric exercise wherein the top quality of the tone itself communicates interpretation fairly apart from any kind of additionally arrangement in an ‘artifice’ of music.

“At the exact same time, I celebrate right here my first contacts through musical exotica in the develop of certain songs and melodies heard as a son on the radio or in movie scores. This music created a sort of long-term Technishade oasis in my spirit—a area where I always desire to soptimal for a cool refreshing drink, whether from Battle Each Other Ellington and Juan Tizol’s ‘Caravan’, or Ravel or raga, or gamelan or Gil, or João or Joujouka—and a place which came to be the underlying spring from which flowed my ‘fourth world’ musical paradigm.”

Liner notes for Fascinoma

​SO LET’S SAY that an epiphany type of is simply a fleeting glimpse out of the corner of your eye or your soul which can either be buried under the second-by-second, sensory-input-avalanche or deserve to wind up as among the world’s excellent faiths. (The poet Ira Cohen specifies this poetic minute as “short-lived sanity”.)

​I expect we’re somewhere in between those 2 as I report right here the sum of multiple epiphanies that usually arrive in the morning as I’m summoning up that bit vibration which gets channeled right into a trumpet sound. Without interpretation to be as well valuable around it, I periodically feel favor I’m lighting a candle, about which protective hands must be hosted to stop its being blown out by the wind of my (reportedly, ceaselessly) mutating mind (“shouldn’t I be doing this rather of that, how seriously need to I take that breathless report of The Next Big Thing in Music, and so on., and so on.?”)

​So tbelow I am, sitting dvery own one day acquiring up my sound and thinking about this instrument so full of history (both mine and its: “the conch shell meets the piston meets the harmonizer meets the conch shell”); trying to re-live even for a few seconds in the air of Raga Past wright here the interval of a fifth might be felt as “the sun”, and a fourth as “the moon”—and suddenly it occured to me that…

​1. In some way which was vaguely felt however not understood—the recording process of Fascinoma resonated with something I remembered around Dane Rudhyar’s evocation of the idea of the “magic of tone” (before Pythagoras and also number and also measurement produced the problems within which the “art of music” would certainly flourish).

​2. This day-to-day call with “tone” was a blessing and also an endure vastly rerelocated from the procedure of making a computer make “music”.

​But don’t be misled. I’m not a Luddite. (Not yet, anyway.) Among the credentials I’ll current on that morning in 2017 when the digerati gangs are sweeping the provinces clean of analog counter-revolutionaries, are the notes (played and written) on Aka-Darbari-Java, where I riffed lovingly on the poetic possibilities of digital changes (“…a background mosaic of frozen moments…a sonic texture like a ‘Mona Lisa’ which, in close-up, reveals itself to be comprised of tiny reproductions of the Taj Mahal”).

​So the pleasure taken in finding myself in the middle of a church in Santa Barbara facing a solitary stereo microphone—wright here I can lastly hear myself and other tools in nopoint but air, wbelow I could hear myself being heard (specifically through the spirit-catcher sensibility of Ry Cooder)—is born more of the delight in finding a pleasant country road which temporarily skirts the stylistic web traffic jam than any off-with-their-heads pronouncements around the evils of technology.

​I remember a diagram in Paul Klee’s Pedagogical Sketchbook showing a kind of “assymetrical balance” wright here a large area of pale shade is shown to balance a tiny field of strong shade. This suggests relationships in the breakthrough of musical forms family member to the timbres in which they are expressed. How might the calligraphy-in-air quality of raga be expressed in a “fat” sound? A body in activity have to continually re-form itself in order to show up graceful. So possibly the crucial and vocal timbres characteristic of a lot Oriental music have actually evolved as they have actually bereason they are busy curving and also decorating. When I started to study raga through the vocal master Pandit Pran Nath, I didn’t set out to develop a breathy, translucent sound; as I tried to play the shapes that his voice was making, the sound in which that was feasible appeared by itself. (Note: this kind of organic connection which returns eccentric, unpredictable, and also very “local” outcomes is an endangered species in a civilization of generic, one-box-does-all, “global” tools.)

​Someexactly how the endure of amazing the glorious resonance of that church area suggested a wider musical food selection than the one I generally opened up. Why? Maybe because I felt that just by playing a tone, a details “quota” of beauty was currently existing. If the product at hand also is a strand of rusty wire then weaving that wire right into a delicate latticejob-related is a strategy to produce art(ifice); yet a beautiful confront or the sound of wind in the trees doesn’t cry out so a lot for “arrangement”

​So I complied with my instincts, pulled off the music expresguide to somepoint choose one of those roadside parks wright here I felt cost-free to sit and play the melody Eden Ahbez dubbed ‘Nature Boy’ and ignored the encounters of ordered crucial reasoning (specifically, my own) scowling at me in the rear check out mirror. •

Dane Rudhyar—The Magic of Tone and also the Art of Music / Shambhala Press, 1982

Aka-Darbari-Java / Magic Realism—Virgin/E.G. / EEGCD31starray magic

by john payne

JON HASSELL IS a creator of connections. He’s an artist via fresh intuitions around how music, visual art, language, history, food, scents, “culture,” the body, the brain and simply about everything else developing our beliefs about huguy nature deserve to be viewed as individual threads in a solitary, exceptionally large towel, and also how that towel can be endlessly rewstove.

Hassell—winner of the Best New Genre/Uncategorizable Artist at the L.A. Weekly Music Awards 2005—has actually called what he does “Fourth World,” which in his music shows a way of proceeding that crossbreeds rhythmic and also tonal wisdom from the primitive civilization via the exceptionally latest in digital innovation, along with advanced conceptions of form, texture and also harmony; his music is both created and improvised, reconciles Eastern and Western, and significantly Northern and Southern. Fourth World music and also methodology have actually been enormously inspirational, to put it politely, among the raging hordes of electronic, New Age and world-music artists of the last 20 or so years, owing generally to the widespcheck out influence of Hassell’s collaborations with Brian Eno and also Peter Gabriel.

See more: Heart Of Nature Terraria General Discussions, Force Of Nature

The good-humored, lanky Hassell was born in Memphis, where he daydreamed to the music of Les Baxter and Eden Abez yet went on to earn a degree in concept and also complace at the renowned Eastman School, and to examine electronic and serial music with Stockhausen. Through his initial recordings via minimalist divinities La Monte Young and also Terry Riley, he met Hindustani raga sage Pandit Pran Nath, whose teaching emboldened Hasmarket to design a new way of playing his trumpet, one that would certainly hybridize traditional jazz/classic strategy through Pran Nath’s tone-bfinishing Kirana vocal style.

Hassell’s current Maarifa Street / Magic Realism 2 on his very own Nyen label is one more jaw-droppingly beautiful ride right into a steamy, throbbing realm wright here Hassell’s hybrid of Indian and gamelan microtonality merges through fat dub-style bass lines, gauzy digital chordings and Hassell’s octave-break-up horn voicings to develop a distinctively futuristic gleam. As constantly, the emotional ground hregarding perform via mystery and also awe, rather than a mere tippy-toe dance on the clouds. Among other things, this sound addresses clichés of the “people music” type, e.g., vocal samples by Indian classic soloists over Pygmy or Burundi-acquired beats. This is strictly by design.

“You have the right to divide things into hip, pre-hip and also post-hip,” he states. “Pre-hip and also post-hip have points in common: hip is a dangerous component, because you’re entirely connected in being au courant. Post-hip means that you’ve punched via the sound obstacle, and also you’re learning that clichés have the right to be true; you’re discovering that what we call a cliché have the right to be standard. And you then have the courage to be there wholly.”

Maarifa (the word suggests knowledge or wisdom in Arabic) is a recombination/reconstruction by Hassell’s bassist and also co-producer/programmer Peter Freeguy, via digital editing and also distortion/treatment, of product that Hasmarket and his band operated out live in three European concerts, which material had currently been based on music culled from various Hassell recordings. The concept is comparable to what Hasmarket did in his first Magical Realism disc in 1983 and also on 1997’s The Vertical Collection, and allows for astounding possibilities—the principle, for example, that Hasmarket never before has to record one new note for the rest of his life, such is the depth and also infinitely variable substance of his recorded occupational.

Hassell likewise draws recombiaboriginal motivation from the points that relocate us sensually.

“It’s prefer watermelon and prosciutto or whatever,” he claims. “It’s tright here, and also therefore you think about it when you’re making somepoint to eat. Why not put that in there? Then you listen to other human being that come into call via it freshly. You’re lucky enough to have this kitchen full of ingredients, and then you throw them together in a mad burst of appetite…”

And then 20 restaurants on Melclimbed charge $90 for it.

“That’s appropriate. It’s favor avant cuisine, yet you desire to protect against the fact that somebody else heard about your previously restaurant and also is making dishes like that—so you’re looking out new modern technology, more methods to mix.

ONE DANGER IN modern-day digital music-making is in the infinity of possibility. As we have actually heard from the huge bulk of recent digital pop artists, and have actually viewed on 10 billion Web sites, the modern technology is plainly there, but the content isn’t. The potential vastness of sonic variation makes it simple for the vision-challenged composer to gain lost—paralyzed, also. And it’s incredibly easy to make complicated and also shiny music literally at the push of a switch.

“The Dutch architect Rem Koolhas called that a ‘premature sheen,’ states Hasmarket. “Premature because you didn’t go to college and the conservatory and also learn just how to write for strings and end up being a Claude Debussy and also recognize how to write the real sheen, the mature sheen.” I wonder sometimes why people listen to music throughout their waking hrs. Actually, too a lot is negative for you. On his Net site, (www.kaupunkiopas.com), Hasoffer notes that one need to differentiate in between gourmet and also gourmand. “The iPod—5,000 songs? We should go on a music diet,” he states. “With the Web and cheap recording modern technology and all those facets that killed the music ‘industry"”—he laughs—”Big Brother is still is up there saying, ‘Listen to music, it’s excellent for you!"”

The digital “radvancement,” too, has lugged new methods of disseminating indevelopment around music, helpful for non-Top-40 kinds favor Hassell, whose site is a abundant wonderland also of far-reaching principles around the interconnectivity and supplies of the previous and the future in music, language, food and sensuality explored in ever-moving form (audio, visual, text). This all will certainly be additionally comprehensive in his forthcoming The North and also South of You, “a book of ideas towards producing an individual and social paradise rooted in the musical paradise of the Fourth World paradigm.”

In order to understand some of these potentials for creativity, and exactly how we’re being cheated out of it, Hasoffer suggests that we think about this present dilemma:

“Formulations favor axis-of-evil, good-bad, with-us-or-against-us are the norm in the EGN (Age of Great Numbers),” he writes. “Maybe we’ve arrived at the condition of Americans Not Knowing What Other People Think (of Them and also Why) reaching critical mass. A scale effect: more and even more Americans learning less and also less (as a percent of what tbelow is to know).”

What to do? “In order to master the enormity of the situation—that we are living in a psychologically geometric area, carved from words, slogging our method through a multidimensional traffic jam where accidents are happening all around you every second—you need to suspfinish disbelief and attempt to imagine the unimaginable, to feel intuitively that which is not yet known.” •

This interwatch initially showed up in the LA Weekly OnlineOctober 2005 | www.laweekly.com