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HAT 582
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François Raulin (piano); Bruno Chevillon (bass); François Corneloup (soprano & baritone saxophone). "An apparently willing triangle moves into action, develops, or even changes form, not round a leader or a leading figure, the catalyst here is a single, unifying desire that foregoes all excesses or the futile effects of a sense of urgency; here are the three blueprints that intersect and overlap with each other in a structure that seems totally natural, or at least every bit as natural as the opening solo to the 'Prélude à l'Après-midi d'un faune' is supposed to be. This was described by Debussy in the following terms: 'It's a shepherd sitting on his a... in the grass, playing his flute'." --Philippe Carles.
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HAT 559
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Sven-Åke Johansson (drums); Axel Dörner (trumpet) and Andrea Neumann (pianoharp). "The ensemble you are hearing on this CD, a group cultivating, as Johansson put's it, a mechanistic, almost non-expressive playing stance, with the aesthetics of renouncement or of leaving out instead of filling in.' Non-expressive improvisation? Aesthetics of reduction? Sounds familiar... A music hard to pinpoint and yet occupying a sonic niche of its very own." -- Peter Niklas Wilson.
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HAT 575
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"Max Nagl's feeling for ambience is undoubtedly connected with his long experience as a composer of stage music for dance performances. Here, too, he creates music that does not exist for itself alone but, functioning as a backdrop, has to supply the emotional framework as well. 'He produces music as furniture of the psyche,' wrote Christian Scheib about this brilliant assimilator." --Wolfgang Kos. Performed by the Max Nagle Ensemble (including Noël Akchote on guitar), recorded live in Vienna, 5/20/00.
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HAT 566
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"With O-Moon My Pin-Up, Koglmann has undoubtedly enriched his multi-facette oeuvre. Out of the characteristic synthesis of Cool Jazz idiom and Wiener Schule expressionism which had its inception with the founding of the 'Pipetet' has grown over the years a microcosmos of manifold structural links to the entire (western) world of music ranging from Renaissance to improvised music which transcend the co-ordinates of the historic 'Third Stream', not to mention the new dimensions with the tapping of vocal music opens up for Koglmann's soundworld. O-Moon My Pin-Up is not a musical 'judgement' on Ezra Pound, is is neither a condemnation nor an apology. On the contrary, it's a sensitive reflection of the fragile polyphony of speech levels and inflections in Pound's poetry at the time of an existential crisis which is directly connected with the political events surrounding the end of the war." --Peter Niklas Wilson. Recorded 1997. With Phil Minton, Tony Coe, Rudolf Ruschel, Barre Phillips, Angelika Riedl, Raoul Herget, Michael Hintersteininger, etc.
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HAT 553
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"Virtues such as these, however, are not to be had easily. It takes the dedication and stamina of dedicated clarinetist to mine theses sonic areas with results as stellar as the once documented on this disc. 'Real' clarinet players are a special bread, sharing specific pride and cameraderie, comparable perhaps to the fraternity rites of the royal trumpet fellowship. Indeed, only very few woodwind players who consider the clarinet to be just one colour amongst others on their sonic palette can rival the mastery so evident in these 'yellow pages', a golden hour in the annals of clarinet playing -- and of contemporary music beyond category." --Peter Niklas Wilson
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HAT 549
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"There's the same very fast transference of signals. There's the very complex type of pattern action. There's the same mixture of improvisations and discipline. But the unknown is being unfolded at really fast rates. Which certainly holds true for this no-nonsense, cinema verite-live set from New York's Roulette performance space, recorded in March 1993. Matthew Shipp (piano); William Parker (double bass); and Whit Dickey (drums)." Previously issued by Brinkmann Records. Produced by Johan Kugelberg. From Peter Niklas Wilson's liner notes "...the most remarkable thing about Shipp's singular style is not his achievement of having developed an own voice in freely improvised piano playing next to the large-than-life presence of Mr. C.T., but his uncanny ability to recognize the improvisational potential of the pianistic textures and the melodic and harmonic vocabulary of early 20th century composer-performers such as Scriabin and Bartók (most pianists have opted for Chopin and Debussy, or, if more sympathetic to the avantgarde, Schönberg and Webern). The ambidextrous patterns and harmonically ambiguous chords Shipp uses as starting points of his extended improvisational explorations could have been lifted straight out of some European piano scores from, say, 1920, whereas Taylor's vocabulary has grown into a bold synthesis of abstracted blues motifs and high-velocity small-bandwidth clusters. The unmistakably 'unjazzy' source of many of Shipp's improvisations might lead some self-professed jazz guardians to question the pianist's jazz credentials: swing and blues, whither art thou? An accusation to which Shipp has replied: 'I'm not interested in fitting some moron definition of what jazz is.'"
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HAT 546
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Reissue of a long o/p HatHut LP, a historic solo soprano sax album by Steve Lacy, recorded live 6/9/77 at Restaurant Zer Alte Schmitti is Basel, Switzerland. "Only the sixth Hat to be released by the emerging record label in the late 70s, the first half of a live concert in Basel (Joe McPhee waiting in the wings). Steve Lacy investigates life in the interstices of the internal and external worlds, translated through and narrated by a soprano saxophone.
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HAT 547
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Konitz (alto sax), Friedman (piano), Zoller (guitar). Recorded 1995. "So if this disc establishes a new incident of history, influenced by lines of inspiration drifting together from the past, it also effects our perspective of that past as an agent of discovery in the present. What they have discovered on this particular occasion is an area of engagement free as the breeze -- or perhaps three breezes that momentarily meet, tangle, blend, and dissolve, warm and invisible, in their own sweet way." -- Art Lange
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HAT 541
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Grossman (piano), Ken Filiano (double bass), Alex Cline (percussion). A reissue of the Remember CD on the US Magnatone label from 1994, with two additional bonus live tracks from the same recording dates (1989-92). "I think of myself as a jazz player, and my music as a natural extension of the jazz tradition. What I'm doing is completely free improvisation ('composing in real time') with nothing predetermined. I've had a lot of experience playing many different kinds of music and several different instruments, and since I tend not to waste anything, it all shows up somewhere in the music I'm playing now." -- Richard Grossman. The following quote from Richard Meltzer was written at the time of the initial release of this music: "What more can I tell you? That the guy was without doubt the most important jazz pianist to die since Thelonious Monk, or jazz figure at large (cut off in full creative flight) since Albert Ayler? I say that, you'll think I'm nuts. But enough about dying... and 'importance'. Artists like Richard Grossman don't have a gift, you have a gift: you receive it. Receive this now that you may wake other mornings, many mornings, and not only breath but SIGH."
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HAT 548
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Nabatov (piano), Mark Helias (double bass), Tom Rainey (drums). "Nabatov is not only a pianist, as the pieces on this CD show. Thus, one is tempted to speak, then, about the crossing over of the borders between genres, but one must also ask, which borders are these, because Simon Nabatov has grown up with several different musical forms, he experienced classical music and jazz at the same time, and has come to love both. This experience is not at all new. Gustav Mahler and Arnold Schönberg loved music of many different origins, George Gershwin and Duke Ellington as well. The combination, however, of the various music types on the level of composition and performance, is always and forever new." -- Dr. Ulrich Kurth.
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