"This stuff is great. The music is infectious and has a strength of melody and emotion that I find tremendously appealing! It's a gift from the gods!" - Randall Kremer, Smithsonian Institution “Recommended for those with an affinity for the subtle and sublime.” - Jim Ferguson, Jazz Times "Ken Hatfield demonstrates a keen mastery of the acoustic nylon-string guitar... Hatfield's exceptional writing particularly shines..." – Jim Ohlschmidt, "Hit List," Acoustic Guitar Play the video of The Aleph from "Phoenix Rising" Play the video of Solo - Good Buy from "Music for Guitar and Bass" Play the video of Most Every Day from "Surrealist Table ___________________________________________ |
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“The nylon string guitar has no more powerful advocate on the current jazz scene than Ken Hatfield...” – Rick Anderson, AllMusic.com Two prime objectives motivated the creation of this CD. First, I wanted to delve deeper into the nexus between improvisation and composition that I began to examine on my CD Explorations for Solo Guitar. And second, I felt compelled to undertake an emotional journey to reclaim aspects of my cultural heritage that, frankly, as a jazz musician I had spent a lot of energy trying to distance myself from, namely, my Appalachian roots. - Ken Hatfield Play The Word Pla Prodigal Son Play Samples of the entire album Songs on this album are: 1. The Gospel According to Sam: The Word 2. The Gospel According to Sam: Redemption 3. The Gospel According to Sam: Prodigal Son 4. Snowhill Variations: Theme 5. Snowhill Variations: Variation 1 6. Snowhill Variations: Variation 2 7. Snowhill Variations: Variation 3 8. Snowhill Variations: Variation 4 9. Snowhill Variations: Variation 5 10. Snowhill Variations: Variation 6 11. Snowhill Variations: Variation 7 12. Snowhill Variations: Variation 8 13. Snowhill Variations: Variation 9 14. Snowhill Variations: Variation 10 15. Snowhill Variations: Variation 11 16. Snowhill Variations: Variation 12 17. String Theory: Quirks and Quarks 18. String Theory: The Ties That Bind 19. String Theory: Sparticles 20. Borges & I: Delia Elena San Marco 21. Borges & I: Mutaciones 22. Borges & I: The Zahir 23. Borges & I: The Book of Sand 24. Borges & I: Argumentum Ornithologicum 25. Borges & I: Averroes' Search 26. Borges & I: El Otro Due to the short track times on the above CD we have combined certain tracks for the purpose of downloading.  | | Few guitarists in jazz have chosen to embrace the classical guitar as their main axe. The late Charlie Byrd immediately comes to mind. Gene Bertoncini has performed brilliantly on the instrument while Brazilians Oscar Castro-Neves, Carlos Barbosa-Lima and Romero Lubambo continue to seduce and dazzle audiences with their sambafied take on the nylon string acoustic. Add one name to the list—Ken Hatfield. With The Surrealist Table, his fifth offering on Arthur Circle Music coming on the heels of 2002’s Phoenix Rising, the talented guitarist-composer explores the warm-toned beauty and inherent contrapuntal nature of the classical guitar in the stripped down setting of guitar-bass-drums trio. Play samples from the entire album Songs on this album are: 1. The Chimera 2. À Demain 3. Iphigeneia 4. Mixed Motion 5. The Surrealist Table 6. Castalia 7. Berceuse 8. Most Every Day 9. Ariadne's Thread 10. Funkissimo |
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Phoenix Rising, Ken's fourth CD on the Arthur Circle Music label, contains ten compositions — five with Brazilian overtones, and five firmly rooted in the jazz tradition. A classic trio made up of guitarist Ken Hatfield, bassist Hans Glawischnig, and drummer/ percussionist Duduka da Fonseca forms the core of the CD. The trio is expanded to a quartet on seven tunes, each featuring an outstanding performance by one of three guest artists: Claudio Roditi on trumpet and flugelhorn, Dom Salvador on piano, and Billy Drewes on tenor saxophone. Play samples from the entire album Songs on this album are: 1. Phoenix Rising (6:25) 2. Tableau du souvenir (5:17) 3. The Aleph (5:07) 4. Meroë (7:37) 5. Retroflexion (5:37) 6. Yo Es (5:10) 7. Iberia (6:37) 8. For Jeanette (5:56) 9. Combray (5:24) 10. Riff for Brother Jack (4:47) | | Nine original jazz compositions - five with Brazilian overtones - performed by an ensemble of guitar, bass, drums, and violin, augmented with viola, Brazilian percussion instruments, and vocals. Throughout the history of jazz there have been notable ensembles with a front line of guitar and violin, such as Eddie Lang and Joe Venuti, Django Reinhardt and Stephane Grappelli, John McLaughlin and Jerry Goodman (Mahavishnu Orchestra), and Steve Morse and Mark O'Connor (Dixie Dregs). On Dyad, Ken Hatfield has expanded upon this tradition by composing music which employs contrapuntal compositional devices and Brazilian rhythms such as Baião, Samba, and Bossa Nova in a jazz context featuring classical guitar and violin. Play samples from the entire album Songs on this album are: 1. To and Fro (5:36) 2. Pró Lito (7:08) 3. Dyad (4:54) 4. Stirrings Still (5:21) 5. Do You Know Joe Jones? (6:06) 6. Endymion (5:27) 7. Incantation (5:47) 8. A Bit for Miss Fitt (4:57) 9. The Impresario (5:24) |
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This CD contains music which Ken composed in a spirit of exploration. The primary impetus for the creation of each of these compositions was his desire to express something. The compositional forms and techniques employed resulted from explorations into what means would best facilitate that expression. For these reasons Ken feel this music works on its own terms and transcends categories. Play samples of the entire album Songs on this album are: Sonata in E major (15:03)(1998) Hatfield 1. Allegro non troppo (3:18) 2. Adagio (3:32) 3. Minuet and trio in Six (5:11) 4. Rondo (2:55) 5. *Diptych (6:48)(1987) Hatfield 6. Theme and Variations in A major (11:08)(1995) Hatfield New York Suite (21:13)(1999) Hatfield 7. Prelude (3:45) 8. Mazurka (2:55) 9. Shuffle (2:37) 10. Heather's Waltz (3:57) 11. Chorinho (3:55) 12. Samba (4:10) | | This CD offers wonderful eclectic performances from guitarist Ken Hatfield and bassist Hans Glawischnig, springing from Hatfield's carefully crafted, original jazz compositions that allow for a full range of expression and style from the two musicians. From the swinging riffs of "Feudility" to the serious Latin groove of "Mario's Garage" to the hip, minor key "Bhutan Blue", the duo play with admirable cohesion while turning out many nice improvisations. Music For Guitar And Bass is a relaxed and intimate set of acoustic guitar/bass duets that jazz lovers will find especially appealing. Jim Fisch - 20th Century Guitar Magaine Play samples from the entire album Songs on this album are: 1. Feudility (4:50) 2. Solo: Good Buy?* (6:06) 3. Mario's Garage (4:25) 4. Prelude/The Eagle's Gift (8:41) 5. Pegasus (4:33) 6. Venezia (5:42) 7. Bhutan Blue (5:01) 8. Juniper Street (7:13) 9. The Traveler (5:50) 10. Bergamo (4:59) (an insightful essay) |
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| Ken Hatfield Guitarist, Composer, Arranger Guitarist and composer Ken Hatfield’s rare combination of talents makes him a truly singular artist. With his boundless imagination, formidable fingerstyle technique, and expansive musical knowledge, he has created a body of work of astonishing originality and exceptional quality. Hatfield’s five CDs as a leader on the Arthur Circle Music label demonstrate his tremendous gifts as both composer and performer and attest to his consistently high level of artistry. His latest release, The Surrealist Table (out nationally 17 February 2004), showcases a program of ten original compositions performed by his highly interactive trio featuring the swinging rhythm section of bassist Hans Glawischnig and drummer Jeff Hirshfield. On 2002’s Phoenix Rising, Hatfield was joined by the rhythm tandem of bassist Glawischnig and Brazilian drumming great Duduka da Fonseca, along with guest artists Claudio Roditi on trumpet and flugelhorn, Dom Salvador on piano, and Billy Drewes on tenor saxophone. Phoenix Rising generated enthusiastic radio airplay, earning it a firm presence on the national jazz charts for ten consecutive weeks. The project also received high praise from the critics, including Jim Ferguson’s recognition in the January/February 2003 issue of JazzTimes: “The set offers a representative cross section of his talents, which include writing for solo guitar. . . , a knack for Latin rhythms and moods . . . , and the ability to swing and even get downright funky. . . . Recommended for those with an affinity for the subtle and sublime.” Hatfield’s compositional experience covers a wide range of styles and instrumentations. In addition to composing jazz works for his own ensemble(s), he has written chamber pieces that range from solo classical guitar to string quartet and mixed ensembles of various sizes. He has composed choral works and ballet scores, including commissioned works for Judith Jamison, The Washington Ballet Company, and the Maurice Béjart Ballet Company. And he has written scores for television and film, including Eugene Richards’ award-winning documentary but, the day came. ASCAP has recognized his accomplishments by presenting him with its Composition Award for each of the past fourteen years. Arthur Circle Music has published four books of Hatfield’s compositions, and in 2004 Mel Bay will publish his book Jazz and the Classical Guitar: Theory and Application, which is designed to demonstrate his unique approach to playing jazz on a classical guitar. In addition to performing as a solo artist and with his ensemble(s) at such prestigious venues as The JVC Jazz Festival, The Knitting Factory, The Classic American Guitar Show, The Cathedral of St. John the Divine, the Whitney Sculpture Court, and the North Wales International Jazz Guitar Festival, Hatfield has performed and/or recorded with Charlie Byrd, Jack McDuff, Chico Hamilton, Jimmy McGriff, Melissa Manchester, Marilyn McCoo and Billy Davis, Stephanie Mills, Linda Hopkins, Billy Daniels, Pat Benatar, Maurice Hines, Charles Aznavour, Bob Cranshaw, Grady Tate, Harold Maburn, Brian Torff, Marcus Miller, Kenny Kirkland, Dom Salvador, João Donato, Lew Tabackin, Kenny Werner, Ben E. King, Eddie Kendricks, Marlena Shaw, Vivian Reed, Z.Z. Hill, and Toni Braxton. Hatfield began studying the guitar with John Griggs in his hometown of Norfolk, Virginia, before enrolling at the Berklee College of Music, where he joined the faculty at the age of 19. He studied counterpoint and composition with Paul Caputo in New York City, and received the degree of Bachelor of Arts from the State University of New York. Ken plays Buscarino guitars, uses Luthier strings, and Earthworks mics. For more info on Ken, please visit his web site |