king ubu Posted January 6, 2009 Report Share Posted January 6, 2009 the swiss online shop displus has another sale going on this month - not sure it's atractive for US customers currently, but it may be worth a look at least for us yurpeens: http://www.discplus.ch/search.asp?requery=...type=monthlabel Quote Link to comment Share on other sites More sharing options...
Adam Posted March 23, 2009 Report Share Posted March 23, 2009 Dear Friend, The sequence of the April to June releases: April 24th, 2009 release: hatOLOGY 683 Ellery Eskelin : On Great Night...Live ( n e w ) Ellery Eskelin –tenor saxophone Andrea Parkins –accordion, electric piano, organ, laptop sampler & grand piano Jim Black –drums & percussion A live concert recording at Towson University, Baltimore on December 9th, 2007. Throughout this set, Eskelin, Parkins, and Black are completely at ease with the core material… Over the years these three have grown into a unit that can bristle and wail; pick up on a melody and swing; or stretch out to whispering textures and scrubbed flutters. The magic is how they string this all together as a seamless whole with careful listening and poised reflexes. That’s been one of the ongoing joys of listening to this trio. Its all about hearing how they have worked together to forge an ensemble sound and then checking in during each ensuing tour or release to find out how they’ve built on that foundation. That dynamism is in full force here. We’re fortunate that the tapes were rolling this “one great evening…” – Michael Rosenstein May 15th, 2009 two more releases: hatOLOGY 672 Polwechsel & John Tilbury : Field ( n e w ) Burkhard Beins –drums, percussion Martin Brandlmayr –drums, percussion John Butcher –tenor & soprano saxophones Werner Dafeldecker –double bass Michael Moser –cello John Tilbury –piano Along the Polwechsel path towards a reflected reintegration of the once excluded musical parameters, the two composers for this CD, Michael Moser and Werner Dafeldecker, have gone one step further while also reflecting Polwechsel’s own history: traditional parameters are reintroduced into the original Polwechsel idiom as disturbances, refractions or inclusions. The invitation extended to guest soloist John Tilbury is also part of the reflected reintegration of traditional elements and the extension of Polwechsel’s concept, which they develop in their cautious and persistent approach: it is a reference to both the tradition of free improvisation and the reductionist currents in modern composition, for Tilbury is not only a proven Feldman specialist, but also long-time pianist for AMM. – Nina Polaschegg hatOLOGY 673 Gerry Hemingway Quintet : Demon Chaser (remastered reissue of hatART 6137) Michael Moore –alto saxophone, clarinet & bass clarinet Wolter Wierbos –trombone Mark Dresser –double bass Ernst Reijseger –cello Gerry Heminway –drums, steeldrums A live concert recording at Ottenbrucher Bahnhof, Wuppertal-Elberfeld on March 2nd, 1993. With Demon Chaser, Gerry Hemingway has written himself into the history of this great music with a script that fulfils both the requirements of complete contemporaneousness and absolute legibility. He has signed his name in the Big Book. – Brian Morton June 15th, 2009 release: hatOLOGY 668 Lee Konitz & Martial Solal: Star Eyes 1983 (remastered reissiue of hatOLOGY 518) Lee Konitz –alto saxophone Martial Solal –piano A live concert recording at New-Jazz-Festival Hamburg on November 11th, 1983. In their duo, Solal's gift to Konitz is a liberation from.....inherent restrictions. This in turn inspires Konitz to follow his own lyrical impulses to the extreme–listen to how olften he stretches his line to the breaking point. This is improvisation that goes far beyond merely altered chords or variations on a theme. Each performance walks an invisible tightrope of harmonic and rhythmic agreement–alll the more treacherous for beeing completely spontaneous. Art Lange Best regards, Werner X. Uehlinger Hat Hut Records LTD. Box 521 4020 Basel, Switzerland wxu.hathut.com@bluewin.ch Phone +41.61.373.0773 http://www.hathut.com The Journey Continues the 34/35th Year too! Quote Link to comment Share on other sites More sharing options...
king ubu Posted March 23, 2009 Report Share Posted March 23, 2009 "Demon Chaser" looks interesting! Maybe also the new Eskelin/Parkins/Black (but maybe I'll just decide I have too many of their discs already...) But this here is getting a bit ridiculous, no? hatOLOGY 668 Lee Konitz & Martial Solal: Star Eyes 1983 (remastered reissiue of hatOLOGY 518) I mean re-mastering stuff from the ongoing series? Why not just print another 2000 or 3000 of hatOLOGY 518? Or rather this brings up the question: what's wrong with the previous discs (hatO 518) that it's in need of remastering? Quote Link to comment Share on other sites More sharing options...
jlhoots Posted March 23, 2009 Report Share Posted March 23, 2009 Still waiting for The Long March. Quote Link to comment Share on other sites More sharing options...
JETman Posted March 23, 2009 Report Share Posted March 23, 2009 Still waiting for The Long March. .......and Willisau 1991, dagnabit!!! Quote Link to comment Share on other sites More sharing options...
BeBop Posted March 23, 2009 Report Share Posted March 23, 2009 Did The Long March "reissue" come up? It was announced, but never appeared. Any thoughts on release dates for those Hats? Don't hold your breath. Some will come out sooner than others. The Long March has been announced as far back as 2004 (with a different catalogue number). Still waiting for The Long March. .......and Willisau 1991, dagnabit!!! The waiting has been a Long March itself. Not many things on my 'want list', but this is one! Quote Link to comment Share on other sites More sharing options...
king ubu Posted March 25, 2009 Report Share Posted March 25, 2009 Is anything not ok with the old CDs of "The Long March"? Or am I just a lucky bastard for having them? Quote Link to comment Share on other sites More sharing options...
BeBop Posted March 25, 2009 Report Share Posted March 25, 2009 Nothing wrong with the old CDs...or the LPs for that matter. But since this has been OOP, it seems like the prices aren't so much "prices" as "ransom". The two sellers through Amazon want $60 and $225 for part 2. Quote Link to comment Share on other sites More sharing options...
BeBop Posted March 25, 2009 Report Share Posted March 25, 2009 Nothing wrong with the old CDs...or the LPs for that matter. But since this has been OOP, it seems like the prices aren't so much "prices" as "ransom". The two sellers through Amazon want $60 and $225 for part 2. ...plus $2.98 shipping. I'm figuring that Jazz Loft will be a bit cheaper when these get reissued. Quote Link to comment Share on other sites More sharing options...
blind-blake Posted March 25, 2009 Report Share Posted March 25, 2009 Still waiting for The Long March. .......and Willisau 1991, dagnabit!!! You got that right!!! . Quote Link to comment Share on other sites More sharing options...
king ubu Posted March 26, 2009 Report Share Posted March 26, 2009 Still waiting for The Long March. .......and Willisau 1991, dagnabit!!! By whom? Roach/Shepp, too? Quote Link to comment Share on other sites More sharing options...
David Ayers Posted March 26, 2009 Report Share Posted March 26, 2009 He means the 4-CD Braxton quartet set, right? I may have to sell mine to bail out the British economy... right now it is worth more than the Isle of Wight Quote Link to comment Share on other sites More sharing options...
Niko Posted March 26, 2009 Report Share Posted March 26, 2009 He means the 4-CD Braxton quartet set, right? I may have to sell mine to bail out the British economy... right now it is worth more than the Isle of Wight just had found a cheap star eyes recently... waiting for the Dark Tree! Quote Link to comment Share on other sites More sharing options...
JETman Posted March 26, 2009 Report Share Posted March 26, 2009 (edited) He means the 4-CD Braxton quartet set, right? I may have to sell mine to bail out the British economy... right now it is worth more than the Isle of Wight Yes that's the one! I had it in my grubby little hands once at the Tower at Lincoln Center years ago, and regretably took a pass because I thought the price was too steep. Little did I know.................... Edited March 26, 2009 by JETman Quote Link to comment Share on other sites More sharing options...
king ubu Posted March 27, 2009 Report Share Posted March 27, 2009 Ah, that Braxton thingie... yes, that one I'd also buy if I could! Quote Link to comment Share on other sites More sharing options...
Adam Posted March 31, 2009 Report Share Posted March 31, 2009 Just received: Dear Friend, Hat Hut Records enters today March 31st, 2009 in its 35th year of operation. Despite the label’s many successes and strong critical reputation, after all these years it has become increasingly more difficult to sell “the music of the future.” It is our hope to be able to continue on our path for many more than 35 years. There is more “music for the future” which waits to be discovered and released. Hat Hut Records entre aujourd'hui le 31 mars 2009 dans sa 35ème année d'activité. En dépit des succès nombreux remportés par le label, et de sa solide réputation de critique, il est devenu au terme de toutes ces années de plus en plus difficile de vendre «la musique du futur». Notre espoir est de pouvoir poursuivre sur notre chemin bien au delà des 35 années. Tant de «musiques pour le futur» attendent d’être découvertes et diffusées! Hat Hut Records tritt heute am 31. Maerz 2009 in sein 35jaehriges Bestehen. Trotz der vielen erfolgreichen Produktionen des Labels, die auch von der Kritik mit großem Lob bedacht worden sind, wird es immer schwieriger, "Musik für die Zukunft" zu verkaufen. Wir hoffen, unseren Weg noch weit ueber 35 Jahre fortsetzen zu koennen. Es gibt mehr "Musik für die Zukunft", die nur darauf wartet, entdeckt und veroeffentlicht zu werden. Best regards, Bien cordialement, Mit besten Grüssen, Werner X. Uehlinger Hat Hut Records LTD. Box 521 4020 Basel, Switzerland wxu.hathut.com@bluewin.ch Phone +41.61.373.0773 http://www.hathut.com The Journey Continues the 35th Year too: Since 1975, an ear to the future Depuis 1975, une oreille vers le futur Seit 1975, ein Ohr in die Zukunft Quite an achievement, isn't it, given the small audiences for this sort of work? Same as with Nessa Records. Quote Link to comment Share on other sites More sharing options...
BeBop Posted March 31, 2009 Report Share Posted March 31, 2009 What does this mean? "We're barely hanging on"? "We're cautiously optimistic"? "We need your support"? I don't like the sound of it. Quote Link to comment Share on other sites More sharing options...
jlhoots Posted March 31, 2009 Report Share Posted March 31, 2009 As I recall it's been that way for a while. Quote Link to comment Share on other sites More sharing options...
Adam Posted March 31, 2009 Report Share Posted March 31, 2009 What does this mean? "We're barely hanging on"? "We're cautiously optimistic"? "We need your support"? I don't like the sound of it. Yeah, pretty much. It's a tough ride. Quote Link to comment Share on other sites More sharing options...
Chuck Nessa Posted March 31, 2009 Report Share Posted March 31, 2009 Indeed. We folks be goin' down the tubes. Quote Link to comment Share on other sites More sharing options...
Adam Posted April 26, 2009 Report Share Posted April 26, 2009 Just received this: Dear Friend, April 24th release has left the CD-factory: hatOLOGY 683 Ellery Eskelin : On Great Night...Live ( n e w ) Ellery Eskelin –tenor saxophone Andrea Parkins –accordion, electric piano, organ, laptop sampler & grand piano Jim Black –drums & percussion Total Time DDD 69:13 Barcode 752156068327 A live concert recording at Towson University, Baltimore on December 9th, 2007. Throughout this set, Eskelin, Parkins, and Black are completely at ease with the core material… Over the years these three have grown into a unit that can bristle and wail; pick up on a melody and swing; or stretch out to whispering textures and scrubbed flutters. The magic is how they string this all together as a seamless whole with careful listening and poised reflexes. That’s been one of the ongoing joys of listening to this trio. Its all about hearing how they have worked together to forge an ensemble sound and then checking in during each ensuing tour or release to find out how they’ve built on that foundation. That dynamism is in full force here. We’re fortunate that the tapes were rolling this “one great evening…” – Michael Rosenstein Concert enregistré en direct à la Towson University de Baltimore le 9 décembre 2007. Tout au long de cet album, Eskelin, Parkins et Black se montrent totalement à l'aise avec le matériau de base... Au fil des ans, le trio s’est affirmé comme une formation capable d’opter pour un beat touffu et tonitruant ou de choisir une ligne mélodique qui se met à swinguer, ou encore d’étirer la matière sonore jusqu’à des dissonances et abstractions harmoniques. La magie réside dans la façon dont les musiciens, par leur écoute attentive et leurs réflexes pleins d’assurance, alignent ces séquences en un tout continu. Un plaisir qui ne se dément jamais à l’écoute de ce trio. Tout se résume à entendre la manière dont ils ont travaillé dés l’origine pour créer un son d’ensemble, puis à comprendre, à chaque tour ou sortie d’album qui s’ensuit, comment ils ont construit sur cette base. La dynamique fonctionne à plein ici. Une chance pour nous que les bandes tournaient durant cette «soirée de jazz exceptionnelle... » – Michael Rosenstein Live-Mitschnitt eines Konzertes in der Towson University, Baltimore, am 9. Dezember 2007. Während des ganzen Sets fühlen sich Eskelin, Parkins und Black überaus wohl mit dem musikalischen Ausgangsmaterial … Die drei sind über die Jahre zu einer Einheit zusammen- gewachsen, können sich widerspenstig geben und laut klagen, eine Melodie aufgreifen und swingen, ein klangliches Spektrum von zarten, filigranen Texturen bis zu flirrenden, klirrenden Sounds offerieren. Wie sie das alles durch achtsames Aufeinander-Hören und schnelles, souveränes Aufeinander-Reagieren zu einem nahtlosen Ganzen fügen, ist Magie und einer der Gründe, warum es immer wieder eine wahre Freude ist, diesem Trio zuzuhören. Also zu hören, wie sie miteinander einen Ensemble-Sound geformt haben, und bei jeder Tournee oder neuen Veröffentlichung herauszufinden, wie sie ihre Musik auf dieser Grundlage weiter- entwickelt haben. Auf dieser CD entfaltet sich die Musik in ihrer vollen Dynamik. Wir haben das Glück, dass die Bänder liefen an jenem „wunderbaren Abend“ … – Michael Rosenstein Best regards, Werner X. Uehlinger Hat Hut Records LTD. Box 521 4020 Basel, Switzerland wxu.hathut.com@bluewin.ch Phone +41.61.373.0773 http://www.hathut.com The Journey Continues the 35th Year too! Quote Link to comment Share on other sites More sharing options...
Adam Posted May 20, 2009 Report Share Posted May 20, 2009 Just received this: Dear Friend, The following two CDs have left the CD-factory and are on the way to reach the distributors. hatOLOGY 672 Polwechsel & John Tilbury : Field ( n e w ) Burkhard Beins –drums, percussion Martin Brandlmayr –drums, percussion John Butcher –tenor & soprano saxophones Werner Dafeldecker –double bass Michael Moser –cello John Tilbury –piano Total Time DDD 42:18 Barcode 752156067221 Along the Polwechsel path towards a reflected reintegration of the once excluded musical parameters, the two composers for this CD, Michael Moser and Werner Dafeldecker, have gone one step further while also reflecting Polwechsel’s own history: traditional parameters are reintroduced into the original Polwechsel idiom as disturbances, refractions or inclusions. The invitation extended to guest soloist John Tilbury is also part of the reflected reintegration of traditional elements and the extension of Polwechsel’s concept, which they develop in their cautious and persistent approach: it is a reference to both the tradition of free improvisation and the reductionist currents in modern composition, for Tilbury is not only a proven Feldman specialist, but also long-time pianist for AMM. – Nina Polaschegg En suivant la voie tracée par Polwechsel et en allant vers une réintégration de paramètres musicaux auparavant exclus, les deux compositeurs de ce CD, Michael Moser et Werner Dafeldecker, ont fait un pas en avant tout en renvoyant à l’histoire de Polwechsel: les paramètres traditionnels sont réintroduits dans le style original de Polwechsel comme autant de perturbations, réfractions ou inclusions. L'invitation adressée au soliste John Tilbury fait également partie de cette réintégration des éléments traditionnels et participe à ce prolongement du concept de Polwechsel que les musiciens développent par une approche prudente et obstinée: c’est une référence à la fois à la tradition de l'improvisation libre et aux courants réductionnistes de la composition moderne, avec unTilbury qui est non seulement un spécialiste avéré de Feldman, mais aussi un pianiste de longue date pour AMM. – Nina Polaschegg Michael Moser und Werner Dafeldecker, die beiden Polwechsel-Komponisten dieser CD, gehen auf dem Polwechsel-Weg hin zu einer reflektierten Re-Integration der einst abgeblendeten Gestaltungsparameter nun einen Schritt weiter und reflektieren dabei zugleich auch die Geschichte von Polwechsel selbst: Traditionelle Mittel kehren nun oft als Störungen, Brechungen oder Einlagerungen ins angestammte Polwechsel-Idiom zurück. Auch die Einladung an den Gast-Solisten, John Tilbury, ist Teil der reflektierten Re-Integration von Traditionselementen und der Erweiterung ihres Konzepts, die Polwechsel sich in der ihnen eigenen, vorsichtigen Stetigkeit erarbeitet: Eine Referenz an die Tradition der frei improvisierten Musik und an reduktionistische Strömungen der Komponierten Neuen Musik gleichermaßen, denn Tilbury ist nicht nur ausgewiesener Feldman-Spezialist, sondern auch langjähriger Pianist des britischen Improvisatorenkollektivs AMM. – Nina Polaschegg hatOLOGY 673 Gerry Hemingway Quintet : Demon Chaser (remastered reissue of hatART 6137) Michael Moore –alto saxophone, clarinet & bass clarinet Wolter Wierbos –trombone Mark Dresser –double bass Ernst Reijseger –cello Gerry Heminway –drums, steel drums Total Time DDD 53:58 Barcode 752156067320 A live concert recording at Ottenbrucher Bahnhof, Wuppertal-Elberfeld on March 2nd, 1993. With Demon Chaser, Gerry Hemingway has written himself into the history of this great music with a script that fulfils both the requirements of complete contemporaneousness and absolute legibility. He has signed his name in the Big Book. – Brian Morton Enregistrement du concert life à Ottenbrucher Bahnhof, Wuppertal-Elberfeld le 2 mars 1993. Avec l’album Demon Chaser, Gerry Hemingway s’inscrit lui-même dans l'histoire de cette formidable musique grâce à une partition qui répond à la fois aux exigences de contemporanéité totale et de lisibilité absolue. Il a signé son nom dans le Grand Livre. – Brian Morton Live-Mitschnitt eines Konzertes im Ottenbrucher Bahnhof, Wuppertal-Elberfeld, 2. März 1993. Mit Demon Chaser hat sich Gerry Hemingway in die Annalen des Jazz eingeschrieben, wobei sein Eintrag sowohl der Forderung nach wahrer Aktualität wie auch absoluter Lesbarkeit gerecht wird. Er hat sich also unauslöschlich in das „Große Buch“ eingetragen. – Brian Morton Best regards, Werner X. Uehlinger Hat Hut Records LTD. Box 521 4020 Basel, Switzerland wxu.hathut.com@bluewin.ch Phone +41.61.373.0773 http://www.hathut.com The Journey Continues the 35th Year too! Quote Link to comment Share on other sites More sharing options...
Adam Posted May 23, 2009 Report Share Posted May 23, 2009 And another email from Werner: Dear Friend, Presenting our June 15th, 2009 release: hatOLOGY 668 Lee Konitz & Martial Solal: Star Eyes 1983 (remastered reissiue of hatOLOGY 518) Lee Konitz –alto saxophone Martial Solal –piano Total Time DDD 67:40 Barcode 752156066826 A live concert recording at New-Jazz-Festival Hamburg on November 11th, 1983. In their duo, Solal's gift to Konitz is a liberation from.....inherent restrictions. This in turn inspires Konitz to follow his own lyrical impulses to the extreme–listen to how olften he stretches his line to the breaking point. This is improvisation that goes far beyond merely altered chords or variations on a theme. Each performance walks an invisible tightrope of harmonic and rhythmic agreement–alll the more treacherous for beeing completely spontaneous. – Art Lange Enregistrement du concert life au New-Jazz-Festival de Hambourg le 11 novembre 1983. Dans leur duo, le cadeau de Solal à Konitz est une libération de..... limitations implicites. Elles inspirent Konitz qui, à son tour, suit son propre élan lyrique jusqu’à l’extrême –écoutez combien de fois il étire sa ligne jusqu’au point de rupture. Il s'agit d'une improvisation qui va bien au-delà d’accords simplement modifiés ou de variations sur un thème. Chaque performance avance sur la corde raide invisible d’un engagement harmonique et rythmique – particulièrement dangereux pour être complètement spontané. – Art Lange Live-Mitschnitt eines Konzertes beim New-Jazz-Festival Hamburg am 11. November 1983. Was Solal seinem Duopartner Konitz zum Geschenk macht, ist die Befreiung von... inhärenten Beschränkungen. Das inspiriert Konitz wiederum dazu, den eigenen lyrischen Impulsen bis zum äußersten Extrem zu folgen – man höre, wie oft er seine Linien bis zum Zerreißen dehnt. Das ist Improvisation, die weit über alterierte Akkorde oder Variationen eines Themas hinausgeht. Jeder Auftritt gleicht einem Drahtseilakt, bei dem die Balance zwischen Harmonie und Rhythmus gehalten werden muss – was bei vollkommen spontanem Spiel nur umso tückischer ist. – Art Lange Best regards, Werner X. Uehlinger    Hat Hut Records LTD. Box 521 4020 Basel, Switzerland wxu.hathut.com@bluewin.ch Phone +41.61.373.0773 http://www.hathut.com The Journey Continues the 34/35th Year too! Quote Link to comment Share on other sites More sharing options...
Niko Posted May 23, 2009 Report Share Posted May 23, 2009 always the wrong ones... but thanks! Quote Link to comment Share on other sites More sharing options...
Adam Posted June 3, 2009 Report Share Posted June 3, 2009 A new email from Werner: Dear Friend, The releases in the sequence of introduction of the first 6 month of 2009: Luciano Berio & Edison Denissow Works For Voice And Chamber Ensemble performed by Ensemble Fur Neue Musik Zurich Hedwig Fassbender mezzo-soprano hat(now)ART 168 (new) Total Time DDD 55:15 Barcode 752156016823 Morton Feldman For Bunita Marcus performed by Hildegard Kleeb hat(now)ART 174 (remastered reissue of hatART 6076) Total Time DDD 71:33 Barcode 752156017424 hatOLOGY 658 Anthony Braxton : Seven Compositions (Trio) 1989 (remixed and remastered reissue of hatART 6025) Anthony Braxton –alto, C-melody, soprano and sopranino saxophones, clarinet & flute Adelhard Roidinger –double bass Tony Oxley –drums Total Time 58:21 DDD Barcode 752156065821 hatOLOGY 662 Mary Halvorson –guitar Reuben Radding –double bass Nate Wooley – trumpet Crackleknob Total Time 48:21 DDD Barcode 752156066224 hatOLOGY 683 Ellery Eskelin : On Great Night...Live ( n e w ) Ellery Eskelin –tenor saxophone Andrea Parkins –accordion, electric piano, organ, laptop sampler & grand piano Jim Black –drums & percussion Total Time DDD 69:13 Barcode 752156068327 hatOLOGY 672 Polwechsel & John Tilbury : Field ( n e w ) Burkhard Beins –drums, percussion Martin Brandlmayr –drums, percussion John Butcher –tenor & soprano saxophones Werner Dafeldecker –double bass Michael Moser –cello John Tilbury –piano Total Time DDD 42:18 Barcode 752156067221 hatOLOGY 673 Gerry Hemingway Quintet : Demon Chaser (remastered reissue of hatART 6137) Michael Moore –alto saxophone, clarinet & bass clarinet Wolter Wierbos –trombone Mark Dresser –double bass Ernst Reijseger –cello Gerry Heminway –drums, steel drums Total Time DDD 53:58 Barcode 752156067320 June 12th, 2009 release: hatOLOGY 668 Lee Konitz & Martial Solal: Star Eyes 1983 (remastered reissiue of hatOLOGY 518) Lee Konitz –alto saxophone Martial Solal –piano Total Time DDD 67:40 Barcode 752156066826 Best regards, Werner X. Uehlinger Hat Hut Records LTD. Box 521 4020 Basel, Switzerland wxu.hathut.com@bluewin.ch Phone +41.61.373.0773 http://www.hathut.com The Journey Continues the 35th Year too! Since 1975, an ear to the future Depuis 1975, une oreille vers le futur Seit 1975, ein Ohr in die Zukunft Quote Link to comment Share on other sites More sharing options...
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