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Image Sonatas & Interludes
James Tenney, piano

How rare, and valuable, it is to be able to experience one composer's masterwork through the sensibility of another significant, stylistically distinct composer - via a performance that reveals unexpected aspects of both. that is to say, an approach to performance not as an act of self-conscious, flamboyant or dramatic interpretation, according to the concerns of technique, expression, and projection that are at the heart of an instrumentalist's presentation of a musical score to an audience, but something completely different; rather, an examination of the music's premise and complex details from a contrasting, individual, compositional curiosity.
(Art Lange)

159 kr
Image Works for Piano
159 kr
Image Notations & Piano Sonatas (Nos. 1-3)
...It is hardly surprising that the significance of the chapters in music history does not depend on their size. But almost never has there been such a concentration of events as in the case of the development, manifestation and overturning of serial music. And what is even more remarkable is that the individual stages of a historical process (post-twelve-tone serialism in our case) can be illustrated with the works of one composer, that is, with the piano pieces of Pierre Boulez. Just one decade passed between the fragile as well as fugitive Douze notations and the prodigious torso of the Third Piano Sonata - between the early work of an unknown composer in his twenties, who was already firm in his resolve not to keep up the tradition he was part of, and the work of the thirty-year-old avant-garde star, who only had to loosen the ties he himself had put on before...

(Raoul Mörchen)

Pi-Hsien Chen, piano.
Pierre Boulez

12 Notations

Pianosonat nr 1, 2 & 3

189 kr
Image Copenhagen Live 1964
Presentation text (Engl.) The program is indicative of a customary set by the band, which is to say unlike any other music of the time. Ayler con- tinues a practice of elemental one-word composition titles with pieces like the tender “Mothers,” itself a recasting of the old spiritual “Sometimes I Feel Like a Motherless Child”. There Ayler pulls out his vibrato stops from the start, drenching the audience in a warm current of matriarchally-minded pathos. Cherry acts as a strong cantilevering pres- ence, anchoring Ayler’s energy and interpolating his own freedom. It’s as if the two have slipped the pinions of tempo-ral order and entered their own private plane.

159 kr
Image Thingin
159 kr
Image Garden 2nd Set
Piano [Bösendorfer] – Cecil Taylor

Recorded live on November 16, 1981 at Grosser Saal Volkshaus Basel/Switzerland.
Digital recording on Sanyo PCM.
24 Bit Remastered
Reissue as part of the 40th anniversary of Hat Hut Records

189 kr
Image Solo Percussion
129 kr
Image Works for 2 Pianists
159 kr
Image Phonolith
129 kr
Image By the Law of Music
159 kr
Image Solo Works for Percussion
119 kr
Image One Great Day...
159 kr
Image Four Generations Piano
189 kr
Image Piano Sonatas Nos. 1-6
159 kr
Image As the Sea
Samuel Blaser, trombone
Marc Ducret, guitar
Bänz Oester, double bass
Gerald Cleaver, drums

It's that kind of trust that turns lack of rehearsal from disadvantage to advantage, lending it an exhilarating edge that comes from being placed in a new situation without any kind of safety net. Record producer/ambient music progenitor Brian Eno wrote, in his Oblique Strategies, "Honor thy error as hidden intention"; clearly a modus operandi for Samuel Blaser and his group. That this group can navigate Samuel Blaser's challenging composite of form and freedom with such effortless aplomb speaks to its growing chemistry, each member's ability to listen, and a collective musical background that extends far beyond the jazz tradition.
(John Kelman)

159 kr
Image Musica Derivata
189 kr
Image On Duke's Birthday

"Den brittiske pianisten och orkesterledaren Mike Westbrooks
svåråtkomliga inspelning från 1984 finns nu på cd. Westbrook
anknyter till Ellingtons tidiga sviter i sin strävan att skapa ett expansivt melodilföde med sömlösa övergångar."
(Svenska Dagbladet)

In Max Nagl's varied jumble of creative activities, Big Four comes nearest to what we traditionally perceive as jazz. Formed at the suggestion of the producer Werner X. Uehlinger, who introduced him to the recordings of the original Big Four (Sidney Bechet, Muggsy Spanier, Carmen Mastren, Wellman Braud) from 1940, the band released its first album in 2002 (hatOLOGY 585).
«I wanted to work again with trumpet player Steven Bernstein anyway, and this was an opportunity to do so,» Max Nagl explains. «I knew that he was at home in many genres of traditional jazz. It was clear to me that he, too, should score pieces for this band. I myself was more interested in the instrumentation than in the music of Bechet, actually.»
When the adventurous guitarist Noël Akchoté and the agile and equally powerful bassist Bradley Jones teamed up, an exciting mélange of strong, idiosyncratic personalities was born.
(Tom Gsteiger)
Mike Westbrook, piano
Tony Marsh, drums
Steve Cook, bass guitar
Brian Godding, electric guitar
Dominique Pifarely, violin
Georgie Born, cello

179 kr
Image Forms 1-4
229 kr
Image 12 (+6) In a Row
159 kr
Image Redemption
189 kr
Image Im Klang
119 kr
Image Garden 1st Set
This new reissue of Garden presents the music for the first time in the original concert sequence. The previous CD and LP releases re-sequenced the music in order to fit on LP side lengths. Garden was recorded live on 16th November, 1981, at Grosser Saal Volkshaus Basel, Switzerland. 'Nature neither ages nor stays the same, it recycles and thus re-identifies itself perpetually, and we continually experience it from a new perspective. Likewise with Art; therefore it s impossible not to hear the music of Cecil Taylor akin to a force of Nature with different ears 34 years on. Similarities may be recognized, a few details confirmed, but the response must embrace meaningful change, or the music, and the recipient, are not alive, cavorting in the same time/space sensibility. The garden that is re-invigorated and re-defined does not die. Taylor s choice of the garden to represent this 1981 performance has its roots in his longstanding belief that creativity is the ever-present condition of Nature (in our case, Life), and that his music in particular grew (and continues to grow) out of a personal engagement with the blues a music, metaphorically, of the soil, grounded in the legacy of African Americans and specifically an awareness of the innovative transformational powers of Duke Ellington. As he explained in the 1960s to A.B. Spellman (Black Music: Four Lives, Schocken Books), 'He could play a blues, but man, the way the thing was laid out it transcended the single idea of the blues. I m still trying to come to grips with that, you know.' Art Lange

159 kr
Image Sintering
Harrison is a melodist who has found his own patterns for melody, apparent in the anxious repetition of an unresolved motif in the opening “Preludial,” in the transformative, alchemical heat suggested by “Sintering,” or the contrast of the transparent resolution of “River Dolphin.” Throughout, Harrison creates his own structural language with a music that is both deceptively simple and, ultimately, wholly beautiful … Stuart Broomer, August 2014

159 kr
Image Polwechsel
119 kr
Image Haunted Heart
159 kr
Image Women Composers 1
159 kr
Image L'Heure Bleue
159 kr
Image High Definition

"...en sympatisk platta..."
(Norrköpings Tidningar)

With this release, Morris and crew cement their status as musicians from a generation who have fully absorbed a polyglot view of the jazz tradition. They have the commitment, experience, and the innate understanding to seamlessly pull from both inside and outside, from swing to freedom. But they also have the dedication and creativity to make it their own. It is how they pull together all these disparate threads into a unified vocabulary indelibly stamped with their own sensibilities and personalities that makes this such a riveting statement.
(Michael Rosenstein)

159 kr
Image Ne Plus Ultra
...It's hard to understand why Warne Marsh was so neglected during his lifetime. It's harder still to substantiate the charges with which his music was branded-cerebral, cold, unemotional, uninvolving. This album alone, one of his best, should have been enough to put such absurd slurs to rest. The music of Ne Plus Ultra is intimate, warm, passionate, risky. There is much beauty to be shared...

(Art Lange)

Warne Marsh Quartet:

Warn Marsh, tenorsaxofon

Gary Foster, altsaxofon

Dave Parlato, kontrabas

John Tirabasso, trummor

179 kr
Image Mobile for Shakespeare
189 kr
Image Works for Voice & Chamber Ensemble
159 kr
Image Concept of Freedom
...By constructing a musical reality through the compositional impetus of Braxton and Ellington, these musicians remind us that the “Concept of Freedom” is an ongoing challenge that requires commitment, sensitivity, creativity, and vigilance, and that Art is not an escape from life, but an experience essential to life’s meaning and value...

(Art Lange)

Anthony Braxton, saxofon m fl.

159 kr
Image A B D
159 kr
Image A Songbook
Ensemble für Neue Musik Zürich
Jeannine Herzel, mezzosoprano
Omar Ebrahim, baritone
Hans-Peter Frehner, flute
Manfred Spitaler, clarinet
Lorenz Raths, horn
Lorenz Haas, percussion
Viktor Muller, piano
Urs Bumbacher, violin
Nicola Romano, cello
Anna Trauffer, double bass
Sebastian Gottschick, conductor

159 kr
Image Rossini

Whether you believe that opera is the loftiest manifestation of lyric art, or a bastard tradition typified by mannered singing, indifferent acting and an audience that would have Robespierre rubbing his hands in glee, there's no doubt that it has some great tunes. British composer and pianist/tuba player Mike Westbrook gathered a few of them together in the mid 1980s for this Rossini project. Westbrook-Rossini grew out of a commission Westbrook received from a Swiss street-theatre company in 1984. The brief called for a band which could provide musical interludes for a play about the Swiss national hero, William Tell-a perambulatory band that could make itself heard in the open air, which explains the unusual seven-piece instrumentation including a sopranino saxophone, two tubas and (in the original line-up) no piano. At the suggestion of his singer/wife Kate, Westbrook listened to the 19th century Italian composer, Gioacchino Rossini's opera "William Tell," which went on to provide the source material for the commission. As Westbrook's enthusiasm for Rossini's music grew, so did the scope of the project, and an expanded version of the original theatre commission, including pieces from Rossini's "The Barber of Seville," "The Thieving Magpie" and "Otello," was performed at Zurich Jazz Festival in 1987 (and subsequently released on a double LP). A studio version was released on CD in 1988, and Westbrook-Rossini is a re-issue of that session. It's a playful, mellifluous affair in which Westbrook celebrates some of Rossini's best known tunes (even non-opera buffs will recognize most of them), refracted through his own singular, multifaceted, musical prism. Grand opera aside, the suite draws from post-Duke Ellington orchestral jazz, jazz-rock, free improv, Maghrebi folk music, tango and (slightly drunken) Ruritanian marches. Even the Lone Ranger is acknowledged in the full-tilt reading of the "galloping theme" from "William Tell," hinted at briefly in "William Tell Overture IV" and then embraced with abandon on the disc's closing track, "William Tell Overture V." Instrumentally, the emphasis is on richly harmonised ensemble work driven by Peter Fairclough's powerful, Sonny Greer going on Ginger Baker drums, but there are several fine solos from Lindsay Cooper on sopranino saxophone, Peter Whyman on alto saxophone and Paul Nieman on trombone. Kate Westbrook sings on three tracks-"L'amoroso E Sincero Lindoro," "Isuara" and "Tutto Cangia"-on which Mike switches from tuba to piano. Her performances, which are by turns respectful of the Italian opera tradition and subversive of it, are wonderful and stirring, highlights of the album. Westbrook-Rossini might not make an opera fan of you...but then again, stranger things have happened.

159 kr
Image To Ornette - Hybrid Identity
119 kr
Image 3D Family
It’s been 28 years since David Murray, along with Andrew Cyrille and Johnny Mbizo Dyani, played at the festival in Willisau. After listening for the first time after a quarter of a century, it brings memories—a flashback to the ’70s. It shows us an effervescent world that easily sinks into a melancholic veil of nostalgia. Wasn’t it exciting back then, when those who are fifty now were still dreaming their wild dreams, and when then-fresh alternative life plans were material for public discourse, or when still unspoiled musical views of life found their respective stages, among others in Moers and Willisau? The Woodstock years were not over yet, and Murray’s concert in Willisau is a valuable document of those years. He belonged to the top group of young competitors, a strong voice among the improvisors. New Jazz was still in the process of freeing itself, and had little interest in the patterns of earlier periods. It seached for longlasting meanings, through its choices of musical material and the trend-setting titles for its pieces. Post-modernity was a term that was not yet on everyone’s lips.

(Ulrich Kurth)

David Murray Trio

179 kr
Image Alchamie
159 kr
Image Music for Violin and Piano
189 kr
Image Where the Sky Ended
129 kr
Image Blurry
159 kr
Image Big Four Live
189 kr
Image That Certain Feeling (George Gershwing Songbook)
159 kr
Image Filigree
129 kr
Image (Santa Cruz) 1993 1st Set
Re-issue of the first live set from CD hatART 2-6190, recorded live at Kuumbwa Jazz Center, Santa Cruz, California on 19th July 1993 'The 'reception dynamics' embodied by the Yoshi patrons who gave Anthony Braxton a new sweater, the Santa Cruz woodwind technician who overhauled Braxton s instruments pro bono, and, most tellingly, the cheers of the Kuumbwa Jazz Center audience, are integral to the Quartet s stellar performances on Quartet (Santa Cruz) 1993. During its tenure, Braxton frequently described the Quartet s work with the phrase 'navigation through form.' For Braxton, the West Coast tour was a definitive demonstration of this meta-reality. While Braxton s use of 'navigation through form' was generally taken by commentators to mean an openended odyssey, the phrase now suggests a journey with a clearcut destination; as such, the music made at Santa Cruz represented a long sought-after goal, completing the Quartet s passage through Braxton s rapidly expanding music system.' Bill Shoemaker, July 1996

159 kr
Image Multiplication Table, The

En inspelning från 1997 som funnits utgiven tidigare, men som nu kommer på nytt i schweiziska Hatologys smakfulla utförande. Matthew Shipps pianoimprovisationer är stream of consciousness-artade. De föds i stunden, men åskådliggör också rörelserna i hans musikaliska medvetande med idéer, känslor, återkommande figurer och snabbt övergivna infall. Samspelet med William Parker på bas och trummisen Susie Ibarra är tätt och sömlöst, samförståndet totalt.

Shipp's music displays his own thought processes, and in trio lays out a physical trail reflecting the way the three players think along with each other. Following those thoughts leads us deep into a new jazz style that has sprung, like Athena from the brow of Zeus, out of the body of jazz preceding it. The new relative in the family looks fine already, and seems likely in the future to astonish us with further mighty feats.
(Steve Holtje)

159 kr
Image Willisau Live
We see many familiar faces each time we perform in Willisau and it’s always wonderful to reconnect with our friends over the years. It’s that warm feeling combined with a heightened awareness of the special nature of this annual event that makes this place, these people and these performances so memorable. This concert was recorded for SRF 2 Kultur and the combination of good vibes (on the part of the audience) and technical acumen (on the part of the recording engineers) resulted in a document that I feel is worth sharing. Please note that any distortion you may hear in the sound of the Hammond organ was original to the instrument and not introduced in the recording process. These vintage instruments each have their own particular character and Gary Versace truly brought this B3 to life in all it’s glorious grit and soul. Gary’s nearly telepathic musical mind along with Gerry Hemingway’s absolutely unique approach to the drums infused the music this evening with a very special and rare chemistry. It was a great pleasure for me and I hope you enjoy listening.
- Ellery Eskelin, November 2015

159 kr
Image Degrees of Iconicity
129 kr
Image Town Hall 1972
Anthony Braxton, alto saxophone
Dave Holland, double bass
Philip Wilson, drums
John Stubblefield, tenor saxophone, flute, bass, clarinet, gong & percussion
Jeanne Lee, voice
Dave Holland, double bass
Barry Altschul, percussion & marimba

By 1972 we still only had a vague and partial knowledge of Braxton's more formal nature. So Town Hall was a "coming out" in one sense, albeit an atypical one. In some ways, this concert reminds us of Braxton's roots in the collective experiences of the AACM, and at the same time anticipates the multi-logics and expanded resources of later endeavors.
(Art Lange)

159 kr
Image Orchestral Works
159 kr
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