The Living City (Live at the Winter Garden 17 September 1989)
Overseen by Eno on the mixing desk, Hassell’s live group perform material from 1990’s 4th world/avant-jazz/funk classic ‘City: Works of Fiction’, recorded months prior in '89 as part of an A/V installation inside the World Financial Center Winter Garden in New York City
‘The Living City (Live at the Winter Garden 17 September 1989)’ depicts Hassell playing with the band the assembled to record ‘City: Works of Fiction’, only months before its proper release. At Brian Eno’s request, they performed as part of an audio-visual installation in the 10-storey vaulted-glass pavilion in a building not far from the ill-fated Twin Towers. Eno designed the installation with inspiration from the “hunting, ceremony, animals, and weather sounds of the Ba-Ya-Ka pygmy tribe” recorded by Louis Sarno, and furthering Eno & Hassell’s fascination with pygmy music, as found on ‘Ba-benzélé’ from their groundbreaking ‘Fourth World Vol.1 - Possible Musics’ salvo of 1980.
The six cuts showcase Hassell’s visionary command of avant-funk and contemporary jazz in the live arena. Channelling lessons learned from electric fusion-era Miles Davis and Herbie Hancock, the stripped down ruggedness of Chuck D’s Bomb Squad production for Public Enemy, and a rarely paralleled knowledge of non-western styles, the band lure in with the atmospheric richness of ‘Ituri’, surely benefitting from Eno’s input, and swagger between deadly, durational iterations of ‘Alchemistry’, the clipped funk of ‘Adedara Rising’, and the pitching angularities of ‘Mashujaa’, to a poignant standout in ‘Paradise Now’, and really stretch out in the 18 min wonder of ‘Night Sky’, where Eno’s behind-the-curtain mixing suss really comes into play again.
View more
Overseen by Eno on the mixing desk, Hassell’s live group perform material from 1990’s 4th world/avant-jazz/funk classic ‘City: Works of Fiction’, recorded months prior in '89 as part of an A/V installation inside the World Financial Center Winter Garden in New York City
‘The Living City (Live at the Winter Garden 17 September 1989)’ depicts Hassell playing with the band the assembled to record ‘City: Works of Fiction’, only months before its proper release. At Brian Eno’s request, they performed as part of an audio-visual installation in the 10-storey vaulted-glass pavilion in a building not far from the ill-fated Twin Towers. Eno designed the installation with inspiration from the “hunting, ceremony, animals, and weather sounds of the Ba-Ya-Ka pygmy tribe” recorded by Louis Sarno, and furthering Eno & Hassell’s fascination with pygmy music, as found on ‘Ba-benzélé’ from their groundbreaking ‘Fourth World Vol.1 - Possible Musics’ salvo of 1980.
The six cuts showcase Hassell’s visionary command of avant-funk and contemporary jazz in the live arena. Channelling lessons learned from electric fusion-era Miles Davis and Herbie Hancock, the stripped down ruggedness of Chuck D’s Bomb Squad production for Public Enemy, and a rarely paralleled knowledge of non-western styles, the band lure in with the atmospheric richness of ‘Ituri’, surely benefitting from Eno’s input, and swagger between deadly, durational iterations of ‘Alchemistry’, the clipped funk of ‘Adedara Rising’, and the pitching angularities of ‘Mashujaa’, to a poignant standout in ‘Paradise Now’, and really stretch out in the 18 min wonder of ‘Night Sky’, where Eno’s behind-the-curtain mixing suss really comes into play again.
Overseen by Eno on the mixing desk, Hassell’s live group perform material from 1990’s 4th world/avant-jazz/funk classic ‘City: Works of Fiction’, recorded months prior in '89 as part of an A/V installation inside the World Financial Center Winter Garden in New York City
‘The Living City (Live at the Winter Garden 17 September 1989)’ depicts Hassell playing with the band the assembled to record ‘City: Works of Fiction’, only months before its proper release. At Brian Eno’s request, they performed as part of an audio-visual installation in the 10-storey vaulted-glass pavilion in a building not far from the ill-fated Twin Towers. Eno designed the installation with inspiration from the “hunting, ceremony, animals, and weather sounds of the Ba-Ya-Ka pygmy tribe” recorded by Louis Sarno, and furthering Eno & Hassell’s fascination with pygmy music, as found on ‘Ba-benzélé’ from their groundbreaking ‘Fourth World Vol.1 - Possible Musics’ salvo of 1980.
The six cuts showcase Hassell’s visionary command of avant-funk and contemporary jazz in the live arena. Channelling lessons learned from electric fusion-era Miles Davis and Herbie Hancock, the stripped down ruggedness of Chuck D’s Bomb Squad production for Public Enemy, and a rarely paralleled knowledge of non-western styles, the band lure in with the atmospheric richness of ‘Ituri’, surely benefitting from Eno’s input, and swagger between deadly, durational iterations of ‘Alchemistry’, the clipped funk of ‘Adedara Rising’, and the pitching angularities of ‘Mashujaa’, to a poignant standout in ‘Paradise Now’, and really stretch out in the 18 min wonder of ‘Night Sky’, where Eno’s behind-the-curtain mixing suss really comes into play again.
Overseen by Eno on the mixing desk, Hassell’s live group perform material from 1990’s 4th world/avant-jazz/funk classic ‘City: Works of Fiction’, recorded months prior in '89 as part of an A/V installation inside the World Financial Center Winter Garden in New York City
‘The Living City (Live at the Winter Garden 17 September 1989)’ depicts Hassell playing with the band the assembled to record ‘City: Works of Fiction’, only months before its proper release. At Brian Eno’s request, they performed as part of an audio-visual installation in the 10-storey vaulted-glass pavilion in a building not far from the ill-fated Twin Towers. Eno designed the installation with inspiration from the “hunting, ceremony, animals, and weather sounds of the Ba-Ya-Ka pygmy tribe” recorded by Louis Sarno, and furthering Eno & Hassell’s fascination with pygmy music, as found on ‘Ba-benzélé’ from their groundbreaking ‘Fourth World Vol.1 - Possible Musics’ salvo of 1980.
The six cuts showcase Hassell’s visionary command of avant-funk and contemporary jazz in the live arena. Channelling lessons learned from electric fusion-era Miles Davis and Herbie Hancock, the stripped down ruggedness of Chuck D’s Bomb Squad production for Public Enemy, and a rarely paralleled knowledge of non-western styles, the band lure in with the atmospheric richness of ‘Ituri’, surely benefitting from Eno’s input, and swagger between deadly, durational iterations of ‘Alchemistry’, the clipped funk of ‘Adedara Rising’, and the pitching angularities of ‘Mashujaa’, to a poignant standout in ‘Paradise Now’, and really stretch out in the 18 min wonder of ‘Night Sky’, where Eno’s behind-the-curtain mixing suss really comes into play again.
Gatefold 2LP with spot gloss cover, printed inner sleeves.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Overseen by Eno on the mixing desk, Hassell’s live group perform material from 1990’s 4th world/avant-jazz/funk classic ‘City: Works of Fiction’, recorded months prior in '89 as part of an A/V installation inside the World Financial Center Winter Garden in New York City
‘The Living City (Live at the Winter Garden 17 September 1989)’ depicts Hassell playing with the band the assembled to record ‘City: Works of Fiction’, only months before its proper release. At Brian Eno’s request, they performed as part of an audio-visual installation in the 10-storey vaulted-glass pavilion in a building not far from the ill-fated Twin Towers. Eno designed the installation with inspiration from the “hunting, ceremony, animals, and weather sounds of the Ba-Ya-Ka pygmy tribe” recorded by Louis Sarno, and furthering Eno & Hassell’s fascination with pygmy music, as found on ‘Ba-benzélé’ from their groundbreaking ‘Fourth World Vol.1 - Possible Musics’ salvo of 1980.
The six cuts showcase Hassell’s visionary command of avant-funk and contemporary jazz in the live arena. Channelling lessons learned from electric fusion-era Miles Davis and Herbie Hancock, the stripped down ruggedness of Chuck D’s Bomb Squad production for Public Enemy, and a rarely paralleled knowledge of non-western styles, the band lure in with the atmospheric richness of ‘Ituri’, surely benefitting from Eno’s input, and swagger between deadly, durational iterations of ‘Alchemistry’, the clipped funk of ‘Adedara Rising’, and the pitching angularities of ‘Mashujaa’, to a poignant standout in ‘Paradise Now’, and really stretch out in the 18 min wonder of ‘Night Sky’, where Eno’s behind-the-curtain mixing suss really comes into play again.