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Patrick Hazell | Solstice Sessions, Vol. One

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Solstice Sessions, Vol. One

by Patrick Hazell

This is an album of improvised music recorded live in one take. It is "New" music with blues, jazz, world, folk, classical, and meditative musical elements.
Genre: Avant Garde: Avant-Americana
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  Song Share Time Download
1. Cryin' in My Coffee
9:58 $1.29
2. May God Rest Ye
4:50 $1.29
3. Write Me a Letter
8:27 $1.29
4. That Is Where I Will Go
10:24 $1.29
5. Red River Valley
6:29 $1.29
6. Yowlin' for the Skin
7:32 $1.29
7. Deep Connections
7:40 $1.29
8. Found a New World
5:06 $1.29
9. Beeler's Barnyard Revisited
8:15 $1.29
10. Will Come the Spirit
4:44 $1.29
11. In Love Again
5:08 $1.29
Downloads are available as MP3-320 files.


Album Notes
The ideas for this collection of music came from connecting with some musicians I had never played with prior to 2009. A few jam sessions over the next several months encouraged me to want to do a bigger project with them. Late in 2010, my good friend and long time music collaborator (since 1968!), Wil Parsons, informed me that he was visiting Iowa from his home in La Jolla, California, in December and was interested in doing a gig with me. Over the years we have kept in touch and this kind of thing has happened several times. But, considering the new musical connections I had been making I decided to put together a three-day session at the Washington in Burlington, Iowa, a music club owned and operated by my son, Dave Hazell. My friend, and recording engineer, Ken Moehn, agreed to do the recording, and I put together the plan to record from December 18-20, 2010.
In 2009, I was chosen to be the guest artist fronting the Southeast Iowa Symphony Orchestra. During that experience I connected with two of the musicians, Melissa Holland (violin) and Jim Priebe (trombone). I then contacted Iowa City-based Kalimba master, Scotty Hayward, a person I had long wanted to jam with and felt it was the time to do that. A couple of jam sessions with Scotty and Melissa made me realize that a bigger session was in order.
Gloria Reha was a new musical connection for me. Though an acquaintance and friend for a number of years, never had a musical connection been made until that time. We started out playing with traditional American folk songs and even performed at the local library. Slowly we started to stretch the boundaries of her vocals, eventually getting more into improvised, free-form music. The Solstice Sessions was Gloria's first recording experience.
Rounding out the crew of musicians were my sons, Jon and Dave Hazell. I had played many times with them over the years and have always been fortunate to be exploring music with them and very happy they were on board during in these sessions.
Through the years, Wil and I have been involved with spontaneous, totally improvised music. In 1966, Wil was one of the six musician/professors who was brought to the University of Iowa to staff the newly created Center For New Music. Improvised music was a main interest of these musicians. I came to town in 1968, and co-founded “Mother Blues,” which was quickly becoming the top band of the area. I had been interested in composition and pure improvisation ever since I started playing in the mid 1950s, though I came to it from a focus upon Blues music. At this same time Wil and I became friends and eventually he became the drummer in my band. .From that point on the band progressed deeply into a spontaneous improvised format with several members of the Center For New Music included in the band . Wil left for California in 1977, and the band eventually broke up a few years later. I continued my career as a soloist, but kept in contact with Wil through the passing years and played an occasional gig and did some recordings with him.
Improvised music became more my interest during this time, and by 2010, it was the main focus of my musical endeavors. With Wil and my new-found music friends I put together what I call the “Solstice Sessions” considering that it happened during the days of the Winter Solstice, that magical time of year.
I wrote fifty pages of lyrics the few days prior to the session and asked for the advice from Ms. Holland (who is also a poet), to help pick out a few selections for me to use as inspiration for me whenever I felt like improvising vocals with whatever we played. She kindly consented and even handed me one of her own poems for me to improvise upon (“Peloria”--which will be on Volume 2). The lyrics to these songs have never been sung before or since—again, all one-time takes, and with the exception of four traditional folk songs, everything else was improvised.
Over the three days, 41 musical pieces were recorded; Both Parsons and Gloria Reha recorded only for one day, but I overdubbed Gloria singing (and whistling) on some of the tracks from Day #3 when she couldn't attend the session. Aside from these added tracks, that was it for over-dubbing. Otherwise there is no cutting or pasting with the music heard in these recordings. It was created spontaneously and is presented here as it was played live with open mics as if we were performing a concert. Though there was some track separation for the instruments, but the whole ensemble is heard "bleeding" through all tracks--there was no going back to re-record anything. All the pieces started and ended naturally--what was played is what you get. The tonal blemishes and "wrong" notes are all included; any reverberation effects were heard by all. The only editing involved equalization and stereo spreading and playing with the volume levels of the various tracks to enhance and "bring out"one instrument or another in the overall mix..

Solstice Sessions, Volume 1, contains eleven of the pieces selected from the entire collection of recordings. I hope you enjoy the music.

Patrick Hazell 2016



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