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Fourth World, Vol. 1: Possible Musics | 
 enlarge | Artists: Jon Hassell, Brian Eno
Label: Editions Eg Records
Category: Music
List Price: $11.98
Buy New: $7.48
You Save: $4.50 (38%)
New (29) Used (12) from $6.25
Rating:  17 reviews
Sales Rank: 37970
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 7
UPC: 017046153720
EAN: 0017046153720
ASIN: B000003S2B
Release Date: August 31, 1990
Availability: Usually ships in 1-2 business days
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Shipping: International shipping available
Condition: BRAND NEW, Factory Sealed items direct from the Studios. 30 Day Satisfaction Guarantee. Quick International Airmail!
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| Tracks:
| • | Chemistry - Jon Hassell, Eno, Brian | | • | Delta Rain Dream - Jon Hassell, Eno, Brian | | • | Griot (Over Contagious Magic) - Jon Hassell, Hassell, Jon | | • | Ba-Benzele - Jon Hassell, Hassell, Jon | | • | Rising Thermal 14 16' N; 32 28' E - Jon Hassell, Eno, Brian | | • | Charm (Over Burundi Cloud) - Jon Hassell, Hassell, Jon |
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| Editorial Reviews:
Amazon.com
The term "Fourth World" has often been used to describe various ethno-electronic compositions. Joining trumpeter Jon Hassell in different combinations on Possible Musics are coproducer and synthesist Brian Eno and percussionists Nana Vasconcelos and Ayibe Dieng, among others. Hassell has found a unique way to summon a lush, otherworldly sound from his trumpet, applying the Indian vocal techniques he learned from Pandit Pran Nath to the way he plays his instrument. On Possible Musics, he mixes his ethereal brass sounds with hand percussion, bass, analog synths, Eno's trademark studio treatments, and the occasional looped trumpet or keyboard riff. The hypnotic fusion of Indian and African aesthetics creates a dreamy brand of otherworldly world music that, despite the electronic influences swirling around it, maintains a strongly organic feel. This classic recording predated all of the ethnoambient music that proliferated throughout the last decade, but unlike many of those efforts, it still retains a strong sense of identity. --Bryan Reesman
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| Customer Reviews:
Far Ahead Of Its' Time September 18, 2006
David Alston (Chapel Hill, NC, USA)
2 out of 2 found this review helpful
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
One of his best July 13, 2005
P. Couture (Santa Cruz, CA USA)
3 out of 4 found this review helpful
It's unusual and it won't appeal to everyone (check descriptions below). 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.
Unexpected Masterpiece April 6, 2005
John Falicki (Moraga, CA United States)
2 out of 2 found this review helpful
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. 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).
 Beautiful, Chilling, Subliminal Psychedelia April 27, 2003
Solo Goodspeed (Granada Hills, CA United States)
18 out of 18 found this review helpful
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. 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???) treads a line between jazz, ambent and eastern devotional music, finding its own niche in the course of listening. 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. One wonders if the original sessions of Possible Musics could be made available ...... 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 *
 Those Congas! January 30, 2003
rubidium84 (Ft. Calhoun, NE)
9 out of 13 found this review helpful
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. 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. 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. 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. But the 22-minute-long song at the end of the record can get annoying in some places. If you have heard Hassel before and like it, you'll like this record, but if you're not sure, well, you were forewarned.
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