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The best of the Jon Hassell I've heard, and among the best Eno as well - this disc hasn't dated one bit; if anything it was way, way ahead of it's time.Sparse (as is typical) ambient instrumentation, which in earlier incarnations of ambient music was less techno-oriented, and more drawn from world, jazz and experimental/classical sources; here the prophet synth, Hassell's flugelhorn, Eno's loops and textures and the layered rhythms (somewhat processed and submerged into the mix) are the attractions.About the only comparison I could make, aside from their own work, would be certain bits of early 1970s Miles Davis, where some similar electronic processing of trumpets (over multi-layered percussion) was happening.In any case, this is a very unique and extraordinary disc.-David Alston
I just want to add that if you appreciate the sounds on this album, you will also enjoy "Aka/Darbari/Java" and "Power Spot" - similar mood and instrumentation. It's unusual and it won't appeal to everyone (check descriptions below).
Hassell and Eno became two big discoveries for me thanks to this "Possible Musics" album (I was drawn by the title, that's what made me pick it up). I bought this as an LP just on a lark back in the middle '80s, I knew nothing about the musicians at the time -- but one listen to that LP blew me away, I had never heard anything like that before, it was truly the first of its kind in terms of ambient sound and musical sophistication and imagination.
treads a line between jazz, ambent and eastern devotional music, finding its own niche in the course of listening. One wonders if the original sessions of Possible Musics could be made available. Over a background of sonic loops by Eno and gently pulsating percussives, the wailing, harmonized flugelhorn of Jon Hassel brings to mind some kind of animal transforming into a human. Of special note is the final track, "Charm (over Burundi Cloud)", clocking in at 21:29 and could have been longer if not for the limitations of vinyl production at the time of the original's release. my only criticism of this package being that it seems like more of a sampler, a teasing taste, of all that it could be.* solo * The effect produced by this semi-ambient collection of instrumentals may seem strange and alien to western ears at first, but upon repeated listenings becomes sensually soothing, and works both in a capacity of background or meditation music to get lost in. Hassel's unique style emphasizes both the importance of notes and breath sounds, and truly gives his instrument a life of its own.Fourth World Vol 1 (where are the others.).
The instrumentation is sparse: Two Congas, Trumpet, Prophet V synthesizer, and Bass Guitar, but these colors are blended superbly to form some great sound paintings. But the 22-minute-long song at the end of the record can get annoying in some places. This is one of the more enjoyable Eno collaborations from the late sventies / early eighties period, and I think the reason is that the focus isn't on Eno, it's on Hassel. I wish there were more records that use the Prophet V like this one does.And the drumming - I have never heard such exquisite Conga work anywhere.One warning: Hassel's style might grate on some people's ears, as it does with mine, but it can be handled in small doses. If you have heard Hassel before and like it, you'll like this record, but if you're not sure, well, you were forewarned. A lot of Eno's coauthored albums sound like Eno with guest musicians, but this one is different. Hassel is a great trance composer; he would have been a good DJ nowadays.This record features a bizarre (yet pleasant) combination of styles: there are of course the indian influences, but there are also traces of Terry Rily (in the looped keyboards) and Brian's contemporary work with David Byrne.
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