Fourth World Vol. 1: Possible Musics (CD) ~ Brian Eno (Artist) a... Cover Art

Fourth World Vol. 1: Possible Musics (CD)

By: Brian Eno (Artist) and Jon Hassell (Artist)

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Jon Hassell Artist Snapshot:

Tennessean composer/trumpeter Jon Hassell was in the forefront of minimalism, having played with both Terry Riley and La Monte Young. Influenced by their ideas, he took them to the next level, combining ambient sound with world music for a unique fusion of the futuristic and the "primitive" sound that he eventually dubbed "fourth world music." Intrigued by Hassell's work, Brian Eno sought him out for some seminal collaborations, also bringing him into his other projects such as Talking Heads' REMAIN IN LIGHT, and trading heavily in Hassell's style for his 1981 album with David Byrne MY LIFE IN THE BUSH OF GHOSTS. Hassell went on to further explore his unique paradigm of electronics, experimentalism, and folkloric tradition throughout the subsequent decades.

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DISC 1 for Fourth World Vol. 1: Possible Musics (CD) Album By Brian Eno (Artist) and Jon Has...
1   Chemistry
2   Delta Rain Dream
3   Griot (Over "Contagious Magic")
4   Ba-Benzele
5   Rising Thermal 14 16 N; 32 28 E
6   Charm (Over "Burundi Cloud")
 

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Review

Q (5/93, p.105) - 3 Stars - Good - "...illustrates their differing styles--Hassell favoring a drier, more percussive minimalism..."

Title Note

Personnel: Jon Hassell (trumpet, prophet 5 synthesizer); Brian Eno (guitar, prophet 5 synthesizer, minimoog synthesizer); Percy Jones, Michael Brook (bass); Nana Basconcelos (loop drum, congas, gatham); Ayibe Dieng (congas, gatham); Paul Fitzgerald (electronics); Andrew Timar, Tina Pearson (handclaps); Night Creatures Of Altamira.

Recorded at Celestial Sounds, New York, New York and at Art Gallery Of Toronto, Ontario in 1980.

The avant-garde trumpeter/semi-minimalist Jon Hassell had never really found his musical niche until he teamed up with Brian Eno for this groundbreaking collaboration in 1980. With some expert help from Brazilian percussionist Nana Vasconcelos, the pop modernists Hassell and Eno here apply deliberate brushstrokes of electronically-treated color to "exotic" third-world vistas in creating a precursor to Peter Gabriel's PASSION, another electronic fantasia on world music. One could claim that the whole concept really derives from the electric Miles Davis of the previous decade, a jumble of ethnic rhythms and electronic instruments punctuated by a spare lonely trumpet. Except that Hassel and Eno retain a beautifully austere, near scientific detachment from their ethnic sources, whether these be African, Indian, Indonesian--it doesn't really matter. In studied contrast to the possible musical exploitations of a '50s exotica "imperialist" like Martin Denny, this new breed of musical anthropologist carefully surveys and maps the landscape from on high--see the 20-minute "Charm (Over 'Burundi Cloud')"--instead of just traveling through.

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