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Last Night the Moon Came Dropping Its Clothes in the Street |  | Artist: Jon Hassell
Label: Ecm Records
Category: Music
List Price: $17.98
Buy New: $13.99
as of 3/20/2010 13:20 CDT details
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Seller: Amazon.com
Rating:  reviews
Sales Rank: 2857
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.3
Dimensions (in): 5.6 x 5 x 0.4
MPN: 001257302
UPC: 602517926363
EAN: 0602517926363
ASIN: B001O2MBBE
Release Date: February 10, 2009
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| Tracks:
| • | Aurora | | • | Time and Place | | • | Abu Gil | | • | Last Night The Moon Came | | • | Clairvoyance | | • | Courtrais | | • | Scintilla | | • | Northline | | • | Blue Period | | • | Light On Water |
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| Editorial Reviews:
Product Description
American trumpet player and composer returns to ECM with a stand-out album. Jon will tour the US for the first time in more than 20 years in support of this release. Jon is known for his influence in contemporary music and his unusual electronic manipulation of the trumpet sound which has been lauded and imitated by many. He has collaborated with the likes of Brian Eno (who produced his first ECM record, the iconic Power Spot, Peter Gabriel (Scorsese Soundtrack Passion: Music for The Last Temptation of Christ), he co-composed the electronic theme music for the television show The Practice, and still makes guest appearances on many albums (e.g. 2008 Ani DiFranco). The music and Jon s background will provide sizeable
opportunities to market the record to a wide audience encompassing lovers of electronic, jazz, and world music.
Album Description
25 years after his last ECM recording, the inspirational Power Spot, trumpeter Jon Hassell returns to the label with a new album that is the culmination of his lifelong musical journey. Hassell is one of the most influential musicians of the last 30 years. Drawing inspiration from jazz, Indian and avant-garde music among others, Hassell's work predates and informs what has come to be known as "ambient". He has worked with musicians from Peter Gabriel to Terry Riley, LaMonte Young, the Kronos Quartet, Ry Cooder and Bono, and his trumpet performances have featured on recordings with Bjork, Baaba Maal, Ibrahim Ferrer, Ani di Franco, David Sylvian, Talking Heads and many others.
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| Customer Reviews:
 Same sound same style December 21, 2009
ipjackie (Hong Kong)
0 out of 1 found this review helpful
As I am a die-hard fan of Jon Hassell, no matter what he releases I would definitely get a copy of it, this one is no exception. The title is rather weird but interesting, the music is charming and somewhat mysterious. You can listen to it over and over again and still find it fresh and attractive.
 Lush and moody ambient jazz. August 27, 2009
Frank Rebro (Woodland Hills, CA USA)
1 out of 1 found this review helpful
Released last February, this ECM recording from the somewhat veiled yet influential trumpet player Jon Hassell is his first for the label in more than 20 years. In the meantime he released a number of albums for other labels, steadily giving more and more definition to the style of music he describes as "Fourth World". He coined this term as early as 1980 (hear Fourth World: Possible Musics with Brian Eno from that year) to refer to music which combines jazz improvisation, futuristic electronics, atmospheric ambience, and ethnic influences.
Fans of the Norwegian free improvisation troup Supersilent will immediately draw comparisons between Hassell's airy, floating trumpet tone and that of Arve Henriksen. Besides having both recorded for ECM, and sharing a delicateness of tone and penchant for thoughtful improvisation, the two are linked further by mutual involvement with Jan Bang, who controls the electronic samples on this album. However, the atmosphere of Last Night The Moon Came... is distinct from anything Arve Henriksen has had a hand in. The opening track "Aurora", a wash of electronic textures over a minimal bass ostinato, with almost no melody, sounds closer to releases on 12k Records or Hearts in Space than any I've heard on ECM or Rune Grammofon. It's a beautiful commencement to the album, and one that gives the listener no sense at all of how many musicians are involved. Besides Hassell and Bang, we have Rick Cox and Eivind Aarset on guitars, Peter Freeman on bass and a laptop, Jamie Muhoberac on keyboards and a laptop, Kheir Eddine M Kachiche on violin, and drummers Helge Andreas Norbakken and Pete Lockett.
Despite the size of the lineup and richness of instrumentation, the music throughout this album is almost always highly subdued and sparse in texture. There are no crescendoes or sudden changes in direction anywhere, there are no choruses, the songs plod along at a mostly uniform tempo (very slow), and most of the melodic content is fairly unmemorable. These statements are not meant to detract from the quality of the album, however; only to demonstrate that it is far from a typical ECM release, and instead lives in a world of Hassell's own, dominated by meanderings through quasicomposed mires of sound. At times, like on the very short but supremely effective interlude "Clairvoyance", the result is devastatingly beautiful. On the other hand, another even shorter interlude, "Scintilla", features a lovely violin gesture but isn't given the opportunity to do much else, and its inclusion almost feels superfluous. For different reasons, one wishes both of these tracks were more fleshed out.
The meat of the album is found in the longer tracks, two of which go past the ten minute mark. The Fender Rhodes in "Abu Gil" makes the track reminiscent of Miles Davis' In A Silent Way, but with a stronger Indian influence and much more ambience. The outstanding title track is halfway between a moody Steve Roach drone and an organic chamber improv, with Hassell's overdubbed trumpet producing warm harmonies over the most minimal of beats, joined by violin flourishes and low-key electronic sound effects.
If there are any serious criticisms to make about this album, it's only that the last quarter of it begins to feel redundant. No individual track is weak in terms of musicianship, but the listener paying close attention may tire of the overall sound and mood of the album, which is for the most part dreary and listless, before it's finished. This could have been remedied by replacing the last tracks with some more dynamic and explorative ones, but that would have taken away from the purity of the whole. For providing a unique aura anywhere it's played, the album is perfect as it is. Jon Hassell's "Fourth World" vision, refined over decades, has culminated in a remarkable release, and what he does next is anybody's guess, though it's sure to be of interest.
 Wonderful record review......and dumb question August 23, 2009
Douglas A. Scott (Milford, NH USA)
3 out of 3 found this review helpful
The music is top notch and I can only repeat the praise given here in other reviews.
My dumb question......on the first track, there appears to be some digital noise, not unlike the little clicks we heard on vinyl records back in the day.
These clicks appear to run in a pattern almost as if they are designed into the track to have some timing or percussive effect.
This noise ( or interesting timing device if intentional ) is
unlike anything that I've ever hear on an ECM release...and I've got plenty of them.
So what is it:
a) intentional part of the music
b) perhaps a musical joke of sorts to turn the most annoying parts of vinyl sound into a desgned digital effect.
c) I've got a bum copy of this recording
I've own more CD's that I care to admit...and many of them are ECM recordings....but this is a first for me.
Something new; something familiar August 23, 2009
Geoffrey B. Little (Nashville, TN)
1 out of 1 found this review helpful
There's a mastery of new jazz and of ambient ethos at work in this release. Easily one of the best records--jazz, pop, or otherwise, of 2009. Fans of earlier Vangelis (ie, Opera Sauvage) will find some connection here, not so much in sound, although there is some of that, but in the idea of spanning a lot of electronic music territory but creating a cohesive, personalized sound. Hail to Hassell.
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