hasler



Werner Hasler (1969 FL/CH), based in Berne, Switzerland.
Composer, melody maker and sound seeker. Plays the trumpet and electronics.

news /been working on:


2014

Working with Kamilya on the videoinstallation 'The Still Point of the Turning World' by Tone Myskja

Working on a recording with Charles-Eric Charrier

Working on music for two choreographies by Jenni Arne performed by compagnieBE and Beweggrund

Störtebeker Eine Rechtfertigungsorgie - video online

Recidency with 'Wasl' with Kamilya Jubran (voc, oud) and Sarah Murcia (b) in Rezé/ Nantes F

Performing 'Wanabni' with Kamilya Jubran in Paris, London, Münster (Germany) and Zurich

Working on Soloperformance and music for 'Wolken melken' by the author Rhaban Straumann.

Hanging out in Paris



2013

Performing with Don Li and Isa Wiss at Orbital Garden in Bern

Performing 'Störtebeker Eine Rechtfertigungsorgie' by Martin von Allmen and Rainer Piwek

Returning to Royaumont to proceed on 'Wasl' Premiere: September 29th

Playing in Ramallah Palestine after eleven years of working with Kamilya. Loved it!

Working on 'Zeitschnipsel' by Rhaban Straumann . (Rhaban Straumann text, Werner Hasler & Roman Wyss sound environment)

Performing Wanabni with Kamilya Jubran in Beirut and Abu Dhabi

New York City Jazz Record filed 'the outer string' under 'honourable mention' in their 'BEST OF 2012'

Touring with the outer string trio ( Vincent Courtois cello, Julian Sartorius drums ) and quartet ( Katryn Hasler baritone violin, Carlo Niederhauser cello, Julian Sartorius drums) in Switzerland and Austria in april/ mai
( kindly supported by Kultur Stadt Bern, Burgergemeinde Bern, Schweizerische Interpretenstiftung SIS )

Creating a new project 'Wasl' with Kamilya Jubran (voc, oud) and Sarah Murcia (b) with the texts of Hassan Najmi and Salman Masalha

Project 'Je me souviens' in Morocco in march

Performing in Germany and Switzerland with Gilbert Paeffgen (d) and Christopher Dell (vib)




2012

Concerts and workshops, solo and with Kamilya at 100copies in Cairo

Releasing 'the outer string | duos and quartets' touring in Switzerland, Liechtenstein and France

Performing with Lunik and Zürcher Kammerorchester at Tonhalle Zurich

Touring 'Wanabni' in Algeria, Tunisia, Belgium, France, Switzerland, Germany, including North Sea Jazz Festival in Holland and Akbank Festival in Instanbul

Recording for Jazzed Out by Kidam: Duo with Jan Galega Brönnimann

Working on a recording with Charles-Eric Charrier

Performing 'le vent nous portera' with oeffoeff february 1-5 at Heimspiel Festival Dampfzentrale Bern (exept 2nd: concert with Kamilya Jubran 'Wanabni' at Doomsaal Gent, Belgium )

Performing in trio with Sidsel Endresen and Jan Galega Brönnimann at AMR Sud des Alpes/ Geneva january 21 and Winterfestival Bern january 22


2011

Composing for the next production by oeffoeff : 'le vent nous portera', playing solo music with dance

Performing with Jon Hassell 's Orchestra of Two (Jon Hassell, Werner Hasler)

Recorded 'the outer string' consisting of duos with Vincent Courtois (cello) and quartets with Katryn Hasler (baritone violin), Carlo Niederhauser (cello) and Christoph Steiner (drums)

Releasing 'Lomallet' with Gilbert Paeffgen and Karl Berger on NoBusiness Records

Performing 'Wanabni' with Kamilya Jubran


2010

Soundtrack of 'Waidmannsheil!' by Susanne Hinkelbein, performed by Strohmann und Kauz

Soundtrack for the film ' Traduire ' by Nurith Aviv the film is playing at ' Les 3 Luxembourg ' in Paris from January 1st to May 30st 2011

Norient is working on a Multi-Local Listening Text discussing Wanabni

Composing and studying in Paris

Carte Blanche from 'Jazzwerkstatt' Bern
(composition for trumpet and electronics, Werner Hasler / baritone violin, Katryn Hasler / cello, Carlo Niederhauser / drums, Christoph Steiner )

Releasing and premiering 'Wanabni' (Colletion Pure de Philippe Tessier du Cros chez Zig-Zag Territoires / Harmonia Mundi ) in April , the latest outcome of the collaboration with Kamilya Jubran


2009

Performing and recording with Gilbert Paeffgen and Karl Berger, recording engineered by Peter Pfister

Studying in Cairo oktober and november

Achieved 'Werkjahr'-bursary (10.2009-9.2010) fund by Kulturstiftung Liechtenstein in order to follow the question: 'How to improvise and compose outside harmonic thinking'. Focusses on maqam , overtone playing, division of the octave, and parallel systems

Recorded new music with Kamilya Jubran at Influx-Studios, engineered by Dave Muther, mixed by Philippe Tessier du Cros

Working on 'Feuerorgel und andere Rohre' with Vera Fabbri and Jan Galega

Working on a new programme with Kamilya Jubran

Composing for Hasler/Paeffgen/Berger

Release of Molecules with a contribution of Werner Hasler and Smith Smith



2008

Working on new scales division of the octave, overtonescales and parallel systems

Bejazz spotlight series on Werner Hasler's current projects Hasler-Paeffgen-Audétat/Jubran-Hasler/manufactur

Soundscape of 'Ungedüre' by Pedro Lenz performed by Strohmann und Kauz

Touring 'wameedd' and developping new ideas with Kamilya Jubran

Touring 'The 'The Story of Major Tom'

Working on a new manufactur project


2007

Release of 'The Story of Major Tom', first album of Hasler_Paeffgen_Audetat, released by Meta-Records , Germany (D: SunnyMoon , CH: Karbon)

wameedd distributed in Jordan by the arab education forum

wameedd licensed to Egypt, CD printed by el mawred

Release of 'flambitres', fourth album of manufactur, released by rent-a-dog , Germany (AL!VE, Musikvertrieb, Lowlands)

Releasetour with manufactur 'flambitres' in Germany, Poland, Switzerland in spring, more touring in Germany, Switzerland, Austria, Holland in autumn

Work in progress: meeting at Schlachthaus with Kamilya Jubran's solo work 'makan'

Touring 'wameedd' with Kamilya Jubran

Playing a great new trumpet 'Spada BJ' by Spada Burgdorf


2006

Release of 'World Divas' by Wagram Music including 'Al Shaate Al Akhar' by Jubran /Hasler

Release of 'Arabian Nights 2' by EMI including 'Mra'at AI Hijara' by Jubran/Hasler

Recorded new music with manufactur, work in process

Release of 'Sounds From Home - La Suisse Internationale' on may 5th (with a contribution of Jubran/Hasler a.m.o.) released by faze (Musikvertrieb)

Playing live and recording with Pierre Audetat and Gilbert Paeffgen

Touring with Kamilya Jubran and manufactur

First Live-meeting with Sunao Inami on the 14th of march (sic!)

Release of Wameedd in Switzerland February 17th by Musikvertrieb


2005

Performance 'Klangspur' with the ensemble 'Zampugn' of Daniel Ott in Görlitz/Sgorzelec

Release of Wameedd in France November 18th by abeillemusique

Release of rong dob, third album of manufactur , released by rent-a-dog (AL!VE, Musikvertrieb, Lowlands)

Release of Wameedd, a record by Kamilya Jubran and Werner Hasler on Unit .

Release of Transmit, a collaboration with the japanese Sounddesigner Sunao Inami.

Residency in Cairo, where he worked with Mahmoud Refat (electronics) and Karima Nait (vocals). Liveperformance 'illusory soundscapes' at el Sawy culture wheel. Group exhibition 'illusory loneliness, illusory landscapes' at Makan, featuring Amr Fekry, Myrta Steiner, Mahmoud Refat and Werner Hasler . Werner Hasler was invited by Pro Helvetia.


2004

Collaboration with the japanese Sounddesigner Sunao Inami. He releases 'DELAYED'.

Producing Wameedd with Kamilya Jubran . Premiere of Wameedd.

Live Recording of Mahattaat at the House Of Culture in Berlin with Kamilya Jubran, Sara Murcia, Michael Spahr.

Mixing manufactur, recording more Manufactur tracks. Agreement on a manufactur collaboration with UKRattay ( rent-a-dog ) and Steffen Wilde ( subtone concerts )


2003

Developping Wameedd

Recording most songs of manufactur 's 'Rong Dob' (sic!)

Concerts with Mahattaat (Egypt, Berlin, Gothenburg, Ljubljana, Paris, Luzern)

Performance 'Skiliftklang' with the ensemble 'Zampugn' of Daniel Ott in Heiligkreuz


2002

Mahattaat, first project with Kamilya Jubran featuring Michael Spahr and Sara Murcia Premiere at Schlachthaus Bern

Concerts with the Nits and Simon Ho , featuring I Salonisti , Oli Hartung , Shirley Grimes , Hank Shizzoe , Silber Ingold , Andi Hug.

Releasetour with manufactur #2 featuring v.i.t. (mouthwatering v.j's)

Soundtrack for Ink'nGo (Short film by Filip Haag , Music by Werner Hasler and Urban Lienert)

Last performance with the original Tonus band featuring Don Li, Werner Hasler, Nik Baertsch, Patric Lerjen, Björn Meyer, Marco Agovino


2001

Music for Peter McCoy's 'Synthetic Pleasures' (Ballet 3 Stadttheather Bern) , compositon and live performances

Release of manufactur #2 , tour featuring v.i.t. (mouthwatering v.j's)

Moving into 'Hörsaal' sharing 70 squaremeters with the artist Filip Haag (Artwork of 'Wameedd' and 'Transmit' short film Ink'nGo )

Performance 'Raumkomposition' for thirteen musicians with the ensemble 'Zampugn' of Daniel Ott for the 10 years anniversary of Museum für Moderne Kunst Frankfurt


2000

Soloist at EXPO Hannover on the Swiss Pavillon. Project 'Klangkörperklang', a composition of Daniel Ott in an architecture of Peter Zumthor

Releasetour with Manufactur #1 featuring v.i.t. (mouthwatering v.j's)


Well sorry, the remaining thirty and something years still need to be added

but take this


1996

Finishes his studys at SwissJazzSchool. His most important guides during that period were Bert Joris, Malte Burba and Laurie Frink.


1977

Dad and mom bring home my first trumpet, i play my first note.


1969

March 17th, born just in time to enjoy the happy landing of Armstrong and Aldrin



projects


the outer string
Wanabni: Kamilya_Jubran & Werner_Hasler


more, other and previous projects



Hasler/Paeffgen/Berger
Hasler/Paeffgen/Audetat
Feuerorgel und andere Rohre (fireorgan and other tubes)
manufactur
Wameedd: Kamilya_Jubran & Werner_Hasler
Hasler/Inami




the outer string

quartet trio and duo



recorded as duos and quartets, performing live in duo, trio and quartet





live:

duo: Werner Hasler trumpet electronics and Vincent Courtois cello

trio: Werner Hasler trumpet electronics, Vincent Courtois cello, Julian Sartorius drums

quartet: Werner Hasler trumpet electronics, Gyda Valtisdottir Cello, Carlo Niederhauser cello, Christoph Steiner drums


Listen to the quartet: Notesone and Dimistri

Listen to the duo exerpt from LaSuite

'the outer string' presents a soundtrack for the listener on their own personal, internal road movie.

This is the kind of trip that leads us outside of the usual major and minor harmonies, through soundscapes that hang in the sky and contrast with hard breaking, dynamic interplay.

The music is connected to the tonal ideas of classical music from the early twentieth century, fed by the Arabic modal improvisation represented in the artistry of Taqsim while still being rooted in the freedom of the European interpretation of Afro-American culture.

This is music that meanders – elegant and self-contained – between the contemporary avant-garde and electronic jazz, creating a unique language that shines brightly but with its own natural warmth.




Wanabni: Kamilya_Jubran & Werner_Hasler



Wanabni …and we shall construct
Kamilya Jubran (Voice, Oud) & Werner Hasler (Trumpet, Electronics)

More than 5 years have passed since K&W produced their 1st album «Wameedd» , more
than hundred shows they've performed together during this period, in different parts of the
world.
Such continuous « live » and alive process has greatly shaped and strengthened their
musical interplay. Simultaneously, it allowed them to learn more on each others’ roots, and
enabled them to find additional common playgrounds despite the differences of their origins.
This , as well as their shared common vision of the world , has augmented their desire to
keep searching for new challenging spaces that would provoke , at the same time invite
them to take more risks and more freedom in their expressions.

«Wanabni» process started as an attempt to reply to a question K&W asked themselves :
how would we play today the song « Al Shaatte Al Akhar » (one of their tunes that their
audience mostly liked) after having played it so many times .
This route necessitated an up grade of their tools as well as their ways of using them ;
and their continuous work slowly grew to be their new repertoire that they based on
classical Arabic music, modern classical music of the 20th century, jazz and electronic
music. An outcome that once again deserves a definition that goes far beyond a shallow or
simplistic « exotic oriental -European fusion» one.

Parallel to the musical evolution, and following their wish to have a natural coherent growth
of their project, K&W have revisited the same poets they collaborated with in 2003 for
Wameedd , namely Fadhil Al Azzawi, Aïcha Arnaout, Sawsan Darwaza, and have chosen
texts that were written by those poets since then/after 2003.
K&W have revised the same book ‘Hommes de l'autre rive' of Dimitri Analis- the only poet
they do not know in person, and of it, they selected an other part that links up with/recalls
« Al Shaattee Al Akhar ». They as well combined some texts of the poet Hassan Najmi –
with whom Kamilya has collaborated, for her last solo project Makan.
Consequently, the storyline of «Wanabni» embodies some recent reflections of those
contemporary poets.

Listen: Asra Wanabni Walasna




Hasler/Paeffgen/Berger



Werner Hasler, Gilbert Paeffgen and Karl Berger comprise a trio that is uniting different musical worlds, telling their stories in a language of groove-based improvisation by using open, flexible rules.

Throughout his musical career, Karl Berger , winner of six Downbeat Critics' Polls as a vibraphone soloist, has been working with music originating from many continents. His sophisticated improvisations and composition swing with a pure essence. Karl Berger and Ornette Coleman cofoundet the woodstock-based 'creative music studio'.

Gilbert Paeffgen, inspired by African and Celtic rhythms, plays an assortment of drumming styles, creating an extraordinary range of sounds. By maintaining an intensity in the way he plays, he is able to unite groove with interaction in a way that defies category.

Werner Hasler has developed his own style in his unique application of electronics in interactive music. He maintains a commitment to developing his own scales that are based upon the division of octaves, overtone structures and harmonic parallelism.

The trio is finding its range away from the exotic side of ethno-centrism through a completely natural use of electronics in their music. The trio's compositions are applying modes inspired by worlds that appear to be so different, such as the Arabic maqam and Alpine horns or 20th century classical music. By researching and applying the musical structures from several traditions, the three of them are able to open up a wide space in which to develop other ways of interplay in their music.

This is the kind of ambition that changes the boundaries: a kind of musical ambition that could well come to be seen as playing a significant role in the creative and artistic definition of a century that is, after all, still young.



Hasler/Paeffgen/Audetat



Werner Hasler -trumpet, Gilbert Paeffgen -drums, Pierre Audetat -samples

Hasler/Paeffgen/Audétat is a lucky hazard meeting of three curious and well experienced musicians of same but different backgrounds. Instantly composed songs with enough space left to read between the lines evolve from their awareness to use sounds to create formal context. Their common ground is melodic and thrifty, sensitive and electrified, modern communication at it's best: with each other, next to each other, against or without each other.


Listen: story of major tom corona bypassed apollo



Feuerorgel und andere Rohre (fireorgan and other tubes)


A mystical soundexperience with fire and breathable air effusing from longer and shorter tubes.
A performance of Vera Fabbri (fireorgan), Jan Galega (reeds, electronics) and Werner Hasler (trumpet, büchel, electronics)
watch this, taken at Monbijoupark in Bern




manufactur

Werner Hasler-trumpet, Dominik Burkhalter-drums, Urban Lienert-bass, Oli Kuster-electronics

'Adept crankiness, intellect and humor: together these three guarantee manufactur's collective and indidudual virtuosity, their awareness of style and preciseness and latently gone mad musical mixture not to become pathological.

Reggae leftovers, bleeping space-music, laid back rock drumming, sophisticated bass playing, Jazz, virtuoso trumpet babble, modernistic electronics, danceables next to almost songlike structures. Post-fusion from the Never-Ever-Lounge with enough substantial stability to manoeuvre this crossover safely around the cliffs of the cliché. Monotony and free flow, repetition and action in perpetual change.

Dominik Burkhalter's distinct, complex drumming throbs and clicks along in steady dialogue with Oli Kuster's electronic paraphernalia, while bassplayer Urban Lienert is drawing dots and dashes between them. A respirating, 3-dimensional sound-and-rhythm-corpus, on which Hasler's trumpet easily moves between melancholy and outbursts; truly playful, with a flimsy premonition of a profiteable coolness slightly recollecting Mark Isham's lyrical dispassion.

So no exsanguinous popjazzing here or anything like it - and certainly not a front-horn with sidemen: manufactur are a BAND! Doubtlessly and in each and every second.'

Rolf Jaeger

Listen to exerpts taken from the album 'flambitres': funn manzini jaume geneber
Listen to exerpts taken from the album 'rong dob': Boromini Tom Lear Rong Dob
Listen to exerpts taken from the album #2: Gasanto FreiherrVFeif Perthing
Listen to exerpts taken from the album #1: Novus Ordo MonorailToHaneda Apriltrack


Wameedd: Kamilya_Jubran & Werner_Hasler



Wameedd is a dynamic and symbiotic creational process between Kamilya Jubran and Werner Hasler. In the unique opportunity of their meeting, Kamilya and Werner started an experiment with no definition, nor an intended destination. They both have different roots yet their central worlds meet. At every meeting, Kamilya and Werner experiment and go to a different orbit as they get inspired with the questions that mobilize their imagination. Every outcome becomes consistent with strong and new meanings yet at the same time associated with the simplicity of sound . It is an open communication with less cultural preconceptions.

This is a smooth outcome of Kamilya's voice quality and its limitless utility, Arabic words, Arabic phonemic rhythms and Kamilya's compositions. It is also an outcome of the roots of Werner's vocal instrument, his own melodies and his unique lead in electronic music. They both come in on common grounds with a common vision of the world and a shared knowledge of how to communicate with it. The outcome at every meeting is fragile, uncertain, yet at the same time expressive and definitive.


Listen: Ghareeba Nafad AlAhwal2 AlShaatte AlAkhar AlMawjatun Taat Ankamishu

Watch part of a live performance (Festival Africolor) on mondomix page





Hasler/Inami


"Sunao and I met face-to-face for no more than ten minutes ‚ somewhere in a club. We were introduced, had a chat, and then split, agreeing to exchange some of our work: we have not met since. The music in Transmit came from the agreed upload from Sunao to me. We have not talked about it, and neither did we construct any common musical plans. The file came just one way to me, so there was no collaboration on what has happened with it since. I downloaded sounds, soundscapes and half-finished tunes of his, and I uploaded my work in return.

After downloading the file, I listened before I cut and shaped his sounds, taking extracts and looping parts. I added my own sounds from different sources, such as a diverse set of treatments from my trumpet recordings, various samplings, and some analogue synthezising. I created arrangements by playing with sound 'colours', cutting some of them and putting the whole thing in a frame of rhythm and melody ‚ or using what I created as a frame for additional rhythms and melodies.

The unguided and unrestricted use of Sunaos very personal ideas, which were unfamiliar to me, was a very refreshing way to work. This music began from the ideas of a very real person, yet developed with that person as only a 'virtual' partner , pure input and no restriction." Werner Hasler

Sunao produced the recording 'Delayed' (electr-ohm released in Japan 2004, using the sounds and beats of Rick Walker, Roberto Zorzi, Slacknote and Werner Hasler )

Listen to exerpts taken from the album Transmit: Boomed 23rd M5R2 Pancake



recordings



2012


werner hasler | the outer string
duos & quartets

Release: April 2012 ( Onda division of UNITRECORDS UTR 4328)
Recorded at influx- studios in Bern by Dave Muther and in
Studio Murillo in Vanves by Benoît Laur
Mixed by Philippe Teissier du Cros at STUDIO BOXSON Paris
Mastered by Raphaël Jonin at Studio JRaph Clichy
Artwork by Filip Haag
All compositions by Werner Hasler
Line-up duo: Werner Hasler trumpet & electronics, Vincent Courtois cello
Line-up quartet: Werner Hasler trumpet & electronics, Katryn Hasler baritone violin, Carlo Niederhauser cello, Christoph Steiner drums





2011


Hasler–Paeffgen–Berger

Release: October 2011 (NoBusiness Records NBCD33)
All tracks recorded 14th December, 2010 at Mobiles Tonstudio and mixed by Peter Pfister exept tracks 3, 6 and 8 recorded 4th November, 2010 at Influx - Studio Bern by Dave Muther, mixed at Hörsaal by Werner Hasler.
All music composed and produced by Gilbert Paeffgen and Werner Hasler
Mastered by Arūnas Zujus at MAMAstudios
Design by Oskaras Anosovas, Producer – Danas Mikailionis, Co-producer – Valerij Anosov
Line-up: Werner Hasler trumpet & electronics, Gilbert Paeffgen drums, Karl Berger vibraphone

1. Holtondimi 2. Lomallet 3. Metro DimDim 4. CAbH 5. Notes 6. Augdimaug 7. Spiralthing 8. Wuammas

order from our label NoBusinessRecords


2010


Kamilya_Jubran & Werner_Hasler 'Wanabni'

Release: march 2010 (harmonia mundi) by Zig-Zag Territoires, 'Colletion Pure' de Philippe Teissier du Cros . Recorded at influx-studio by Dave Muther, mixed by Philippe Teissier du Cros at Boxon studio, mastered by Raphaël Jonin at J-Raph studio. Artwork by Jerôme Witz, photo by Reto Andreoli.
Line-up: Kamilya Jubran: vocals, oud, composition Werner Hasler: trumpet, electronics, composition

1 Wanabni 2 Wana'rif 3 Lam 4 Wahdi 5 Walasna 6 Waa'dda'na 7 Faqat 8 Asra 9 Shams


order wanabni_from_outhere (directly from our label zigzag)
order wanabni_from_jpc



2007



Hasler_Paeffgen_Audétat

Release: 10.9.07 (D: SunnyMoon, CH:Karbon) by meta records. Recorded at Radio Suisse Romande by Blaise Favre, Mixed and mastered by Blaise Favre, Produced by Yvan Ischer, Artwork by Filip Haag, Design by meta records .
Line-up: Werner Hasler_trumpet and electronics, Gilbert Paeffgen_drums and percussion, Pierre Audétat_sampler

1 Story of Major Tom 2 Corona 3 Cherry Odem 4 Not Every Muppet is a Puppet 5 Dub Species Aeternitatis 6 Sans ta Nana 7 Houston‚on est a bout de souffle 8 Filmriss 9 Klingeleum 10 Brujo 11 Bypassed Apollo 12 La théorie du pic nic dans l' univers

Order from our Label meta records
Order HPAfrom Amazon
Order from jpc

manufactur 'flambitres'

Released in march (D:AL!VE, CH: Musikvertrieb) by rent-a-dog, Recorded at influx-studios by Gerald Engler mixed by Werner Hasler and manufactur ,mastered by Michael Schwabe ( monoposto ), Artwork by Harald Bernhard. Co-produced by UK Rattay .
Line-up: Werner Hasler tp, Oli Kuster wurlitzer, synth , Urban Lienert bass, Dominik Burkhalter drums

1 funn manzini 2 jaume 3 geneber 4 aslid 5 lucidapril 6 haaf slomer 7 cliche 8 flambitres 9 nullzwozwo 10 staak 11 genSo 12 lost&found

Order from the shop of our label rent-a-dog
Order flambitres from Amazon
Order from CEDE
Download from finetunes


2005



Kamilya_Jubran_&_Werner_Hasler 'Wameedd'

Released in France november 18th 2005 by Unit Records . Distributed in France by Abeille music . Release in Switzerland ( Musikvertrieb ) February 17th 2006.

Composed, produced and mixed by Kamilya Jubran & Werner Hasler, lyrics as indicated on record, recorded by Adrian Steiger, mastered by dan@echochamber.ch , artwork by Filip Haag, with the kind support of: KulturStadtBern, Amt für Kultur Kanton Bern, culture and development.
Line up: Kamilya Jubran vocals and oud, Werner Hasler electronics

1 Ghareeba 2 Nafad AlAhwal2 3 AlShaatte AlAkhar 4 Miraat al-Hijarah 5 Amshi 6 Nafad al Ahwal 1
7 AlMawjatun Taat 8 Ankamishu 9 Aina Tantahi 10 Nafad al Ahwal 3 11 Al-Hubb Assab

mailorder directly from our label Unit Records
mailorder in the USA from Cdroots
mailorder from fnac France
Buy as mp3 from I-Tunes shop

manufactur 'rong dob'

Released in Germany august 29th 2005 ( AL!VE ) by rent-a-dog . Release in Switzerland ( Musikvertrieb ) september 26th 2005. Release in BENELUX ( Lowlands ) september/october 2005. Recorded by Adrian Steiger and Benoit Piccand, mixed by Werner Hasler and manufactur ,mastered by Michael Schwabe ( monoposto ), Artwork by Harald Bernhard. Coverfotos by Harald Bernhard and Hugo Ryser ( optickle ). Co-produced by UK Rattay .
Line-up: Werner Hasler tp, Patrick Lerjen electronics, Urban Lienert, bass, Dominik Burkhalter drums

1 Tembo Tabou 2 Cordobh 3 Rong Dob 4 Tom Lear 5 Wossein 6 Boromini 7 Rip 8 Booquee 9 April
10 Madder 11 Allamdynam 12 Blade

Order from the shop of our label rent-a-dog
Order from Amazon
Download from finetunes

Hasler/Inami 'Transmit'

Produced 2005 by manufactured audio, © by Suisa, all tracks arranged, produced and mixed by Werner Hasler, exept M5R2, Taken from DELAYED remixed by Sunao Inami. With the kind support of: KulturStadtBern, Amt für Kultur Kanton Bern, artwork Filip Haag, graphic design Max Henschel.
Line up: Werner Hasler trumpet various synths, Sunao Inami reaktor, absynth

1 Boomed 23rd 2 Flow 0220_0 3 Dasong ab 4 M5R2 5 Pancake 6 Aprilbong 7 Junat 8 Onkyo 9 Boomed 30th 10 Intro ab

BUY as mp3 from CD-Baby
BUY from Apple iTunes
BUY as a mailorder from the States or from Japan


2004



Sunao Inami 'DELAYED'

Recorded & Mixed at CAVE Studio (Kobe) in Jan - May 2004. Mastered by Motoji Ohkita Designed by Emi Makino. All Songs Written and Produced by Sunao Inami. Sunao Inami uses Waldorf synthesizers.
Line Up: Sunao Inami Computer, Synthesizers, Guitar & Field Recordings. Additional Musicians: Rick Walker's Loop.pooL Sound Design, Found and Invented Instruments, Roberto Zorzi Guitar, Slacknote Beats and Noise, Werner Hasler Trumpet Soundscapes

1. M1_1/5 2. 2_12/19_edit3 3. M3_2/17_v8 4. M5_v5 5. M6_v5++ 6. 2/19/04_rec_2_v5 7. M9 8. M13_v2 9. M12


#2002



Tonus 'Live Vol 1'

Recorded live by Martin Pearson and Hans-Peter Ehrsam at Be-Jazz Festival Bern in January 24th 2002. Part 51, 53 recorded live by Björn Meyer at Sous le Pont December 3rd 2001. Part 41 recorded live by Andi Pupato at Tonus Music Labor Bern, October 2001. Mixed by Hans- Peter Ehrsam, edited and mastered by Andi Pupato. All music composed and arranged by Don Li. Photos by Martin Möll. Cover- design by Benjamin Pfäffli. Label: Tonus-Music Records.
Various artists: Ania Losinger, Hans Koch, Markus Niederhauser, Res Ramseier, Werner Hasler, Sujay Bobade, Ragha Vendra Baligha, Ragha Vendra Kulkarni, Mats Eser, Nik B√§rtsch, Patrik Lerjen, Bj√∂rn Meyer, Bänz Oester, Andi Pupato, Norbert Pfammatter, Marco Agovino, Marko Marffy, Don Li

1 Part 51 2 Part 53 3 Part 22 4 Part 30 5 Part 26 6 Part 39 7 Part 22 8 Part 41 9 Kata Tekki Sandan


Tonus 'Live Vol 2'

Recorded live by Martin Pearson and Hans-Peter Ehrsam at Be-Jazz Festival Bern in January 24th 2002. . Mixed by Hans- Peter Ehrsam, edited and mastered by Andi Pupato. All Music composed and arranged by Don Li, exept Drumbeat of Part 44 by kaspar Rast. Photos by Martin Möll. Cover- design by Benjamin Pfäffli. Label: Tonus-Music Records.
Various artists: Ania Losinger,Bruno Spoerri, Marco Repetto, Werner Hasler, Nik B√§rtsch, Wolfgang Zwieauer, Björn Meyer, Bänz Oester, Norbert Pfammatter, Marco Agovino, Kaspar Rast, Fabian Kuratli, Andi Pupato, Marko Marffy, Don Li

1 Part 47 2 part 50 3 Part 34,12 4 Part 47 5 Part 35 6 Part 34 7 Part 41 8 Part 39. 9 Part 44 10 Part 45 11 Part 12 12 Kata Unsu


2001



manufactur #2

Produced 2001 by manufactured audio & braincells rec, ¬© by Suisa, all compositions by Werner Hasler & Manufactur; recorded at H√∂rsaal & Bruchstrasse, drums recorded by Adi Steiger, mixed and mastered: Manufactur & Adi Steiger, cover: Christoph Stettler S.Bros:_67, distributed CH: RecRec A:Ixthuluh, with the kind support of Kulturbeirat der F√ºrstlichen Regierung Liechtenstein, KulturStadtBern, Amt für Kultur Kanton Bern.
Line up: Werner Hasler trumpet, Hans-Peter Pfammatter electronics, Urban Lienert Bass, Dominik Burkhalter drums

1 Buzdeg 2 Doom 3 Gasanto 4 1001 5 Latim 6 Beshkem 7 FreiherrVFeif 8 Dr. Mason 9 Tres Llits 10 Perthing


The Wild Bunch 'Ghosts'

Wild Bunch: Recorded july 11th and12th in Studio du Flon by Benoit Corboz. Mixed by Benoit Corboz. Produced for Musikszene Schweiz. Produced by Wild Bunch and Tom Gsteiger. Various composers and arrangers. Coverart: Palma Fiacco. With the kind support of Kulturstadt Bern.
Line up: Werner Hasler trumpet, J√ºrg Bucher tenor and bassclarinet, Philipp Schaufelberger guitar, Hans-Peter Pfammatter piano, Bänz Oester doublebass, Samuel Rohrer drums

1 Sing Me Softly Of The Blues (Carla Bley, arr Werner Hasler) 2 Mean Streets (Wild Bunch) 3 Key Largo (Wild Bunch) 4 Ghosts (Albert Ayler) 5 Peeping Tom (Wild Bunch) 6 W.R.U. (Ornette Coleman) 7 For The Love Of Sarah ( Paul Motian) 8 Guinnevere (David Crosby) 9 La Putain (Michel Legrand) 10 Shakalaka (Paul Motian) 11 Badlands (Wild Bunch) 12 They Shoot Horses Don't They (Wild Bunch) 13 Ghosts 2 (Albert Ayler) 14 DogDayAfternoon (Wild Bunch) 15 Point Blank (Wild Bunch) 16 Sometimes I Feel Like A Motherless Child (trad) 17 Green Chimneys (Thelonious Monk)



1999

manufactur #1

Produced 1999 by manufactured audio, executive producer Peter Bürli DRS 2, ¬© by Suisa, all compositions by Werner Hasler & Manufactur, recorded at Radiostudio Z√ºrich by Hans-Peter Ehrsam, mixed and mastered: Urban Lienert & Werner Hasler, cover: Christoph Stettler S.Bros:_67, distributed CH: RecRec A:Ixthuluh with the kind support of Fuka Fonds Luzern.
Line up: Werner Hasler trumpet, Hans-Peter Pfammatter electronics, Urban Lienert bass, Marco Agovino drums

1 Novus Ordo 2 MonorailToHaneda 3 Quite a reach 4 Apriltrack 5 Hidroelectricas 6 Tachikawa Pim 7 Toyoda noe 8 Poble Sec 9 Yamanote sen


Tonus 'Gen'

Live to two track at Radio Studio Z√ºrich, January 16th 1999. Recorded by Hans-Peter Ehrsam . Mastered by Glenn Miller . Produced by Don Li, Executive Producer Peter Bürli DRS2. All music composed and arranged by Don Li. Cover- design by Benjamin Pfäffli. Label: Tonus- Music.
Line-up: Don Li alto sax and bass clarinet, Werner Hasler trumpet, Patrik Lerjen guitar, Nik Bärtsch piano, Björn Meyer bass, Marco Agovino drums

1 Part 39 2 Part 34 3 Part 25 4 Part 36 5 Part 29 6 Part 32



1997


Tonus 'Suun'

Live to two track at Radio Studio Zürich, October 1997. Recorded by Ron Kurz. Mastered by Glenn Miller . Produced by Don Li, Executive Producer Peter Bürli DRS2. All music composed and arranged by Don Li. Photos by Palma Fiacco. Cover- design by Benjamin Pfäffli. Label: Brambus Records.
Line-up: Don Li alto sax and bass clarinet, Werner Hasler trumpet, Patrik Lerjen guitar, Nik Bärtsch piano, Björn Meyer bass, Marco Agovino drums

1 Part 27 2 Part 26 3 Part 31 4 Part 23 5 Part 30 6 Part 22 7 Part 24


videoclips







videoclips with:

the outer string trio & quartet
Kamilya Jubran & Werner Hasler
Störtebeker - Eine Rechtfertigungsorgie
Hasler/Paeffgen/Dell
Feuerorgel und andere Rohre (fireorgan and other tubes)



the outer string

trio




Live at H95 Basel 2013

Werner Hasler trumpet electronics, Vincent Courtois cello, Julian Sartorius drums






the outer string

quartet




Live at Tangente Liechtenstein 2012

Werner Hasler trumpet electronics, Gyda Valtisdottir cello, Carlo Niederhauser cello, Julian Sartorius drums







Kamilya Jubran & Werner Hasler



Live in Ajaccio 2011 for TV Emission Mezzo Voce

Kamilya Jubran voice & oud , Werner Hasler trumpet & electronics




Live in Ajaccio 2011 for TV Emission Mezzo Voce

Kamilya Jubran voice & oud , Werner Hasler electronics




Live at Moods Zurich 2009 performing Ghareeba

Kamilya Jubran voice & oud , Werner Hasler electronics





Live at Moods Zurich 2009 performing Nafad al Ahwal 1 & 2

Kamilya Jubran voice & oud , Werner Hasler electronics




Live at Al Genaina Theatre in Cairo 2007

Kamilya Jubran voice & oud , Werner Hasler electronics




Störtebeker - Eine Rechtfertigungsorgie


Komposition: Martin von Allmen Text: Rainer Piwek


Werner Hasler Trompete
Barbara Lang Viola
Carlo Niederhauser Violoncello
Hans Ermel Kontrabass
Martin von Allmen Live Elektronik
Rainer Piwek Sprecher
Christoph Utzinger Klangregie Technik




Hasler/Paeffgen/Dell



Live At Jazz in der Kammer Magdeburg 2013

Werner Hasler trumpet & electronics , Christopher Dell vibes, Gilbert Paeffgen drums






Feuerorgel und andere Rohre (fireorgan and other tubes)



Live at Monbijoupark Bern 2009

Werner Hasler trumpet & electronics, Jan Galega bassclarinet & electronics, Vera Fabbri fireorgan




contacts

Kamilya_Jubran_&_Werner_Hasler


Hasler_Paeffgen_Berger


Hasler_Paeffgen_Audetat


manufactur


SunaoInami





Werner Hasler


e-mail: mail@wernerhasler.com



Kamilya_Jubran_&_Werner_Hasler



Label:

ZigZag Territoires
16, rue du fbg Montmartre
75009 Paris, FRANCE


Hasler_Paeffgen_Berger



Label:
NoBusiness Records
Vilnius 01015
Lithuania
nobusinessrecords@gmail.com

Booking:
Kulturbüro Kast



Hasler_Paeffgen_Audetat



Label:
metarecords
Johannes Reichert und Ralf Altrieth GdbR
Mettlacher Str. 5
D- 90469 Nürnberg



manufactur



Label:
Rent a dog
UK Rattay, Aachen
e-mail: info@rent-a-dog.com




SunaoInami


Electr-ohm
Sunao Inami
e-mail: webmaster@cavestudio.com

press

Werner_Hasler


werner hasler | the outer string


Kamilya_Jubran_&_Werner_Hasler


Jon Hassell_Orchestra of Two


Hasler/Paeffgen/Berger


manufactur


Hasler/Paeffgen/Audétat


Hasler/Inami




Werner_Hasler

His trumpet voice is a spare lyrical instrument focused on linear structure and melody of real power.
Stuart Broomer, New York City Jazz Record Magazine 2011

Werner Hasler est un musicien pour lequel j’ai une tendresse particulière. Que ce soit à la trompette ou derrière ses samplers, il parvient toujours à insuffler une dose d’humanité profonde à sa musique.
Antoine Gresland, EcoutezVoir 2012

Trompeter sind die modernen Sänger des Jazz. Sie sind angesagt wie sonst nur die neuen Vokalistinnen. Rund um die Welt und gerne vor einem gestärkten Rücken aus elektronischen Beats siedeln sie irgendwo in der Mitte zwischen Tradition und neuem Chic. Es herrscht Inflation im Reich der Söhne des hilfsbedürftigen Chet Baker und des unverstandenen Miles Davis. Der Berner Trompeter Werner Hasler hat in solchem Kontext, mit seiner Band 'manufactur' eine der bemerkenswertesten Platten der letzten Monate aufgenommen. Ein Kaffeetrinken mit Werner Hasler.
Interview in Sonic Mai 2006
download whole interview (four pages): sonic1.pdf sonic2.pdf sonic3.pdf sonic4.pdf

Das Erforschen von Melodien und Sounds fernab gängiger Hörgewohnheiten durchzieht das ganze Schaffen von Werner Hasler, das aufgrund seines experimentellen Charakters am treffendsten mit «Work in Progress» umschrieben werden könnte.
Georg Modestin. Der Bund 3_5_2012


werner hasler | the outer string


ECOUTEZVOIR
Croisement subtil entre sonorités acoustiques et électroniques, The Outer String est une forme de musique contemporaine qui propose un univers différent de la musique modale occidentale « classique ». Un voyage intérieur en dehors des modes majeur ou mineur que Werner Hasler a choisi de partager en duo avec le violoncelliste Vincent Courtois, mais aussi en quartet avec Katryn Hasler au violon octave ou baryton (une curiosité à découvrir !), Carlo Niederhauser au violoncelle et Christoph Steiner à la batterie. Cet exercice de style au croisement des idées tonales du début du vingtième siècle européen et de l’art de l’improvisation modale et sans harmoniques du taqsim dans la culture arabe aurait pu se montrer difficile d’accès au point de laisser l’émotion de côté. Il n’en est rien ! Car la partie intellectuelle du projet est presque systématiquement contrebalancée par une forme de jazz, de liberté musicale, qui fait mieux que forcer le respect. Les deux instrumentistes parviennent à accorder leur histoire à travers des sonorités sensibles qui bougent le cœur et donnent envie d’y revenir. La chaleur du violoncelle, la douce brillance de la trompette et les éléments électroniques se croisant tour à tour au milieu des silences pour grimper fiévreusement à l’assaut des oreilles, à la fois surprises, amusées et charmées. Le quartet se montre tout aussi impressionnant dans ses crescendo vigoureux, entrecoupés de moments de poésie sombres et décalés, tout en restant parfaitement cohérent avec le duo. Une expérience qui ne plaira sans doute pas à tout le monde, mais qui vaut vraiment la peine d’être vécue sans a priori, tant cette musique contemporaine attise les sens ! D’autant que le son est également au rendez-vous…
La musique : ★★★★★
Une fois encore, le son est là pour libérer la musique de ses lignes de fuites, pour émanciper l’imagination et rendre le propos sensible et musical. Une cohérence spatiale, tonale et rythmique qui est pour beaucoup dans le plaisir de découvrir The Outer String sur un beau système ! Les cordes du violoncelle, la fluidité du jeu de Werner à la trompette venant se mêler aux sonorités électrosamplées pour constituer un décor admirable à la structure musicale. On savourera notamment un bas du spectre magnifiquement dessiné qui fera frissonner de bonheur les amateurs de bonnes vibrations !
Le son : ★★★★★★
By Antoine Gresland


Jazzthing
...Dazu passt dieses Treffen Haslers mit dem renommierten Cellisten Vincent Courtois. In Duo-, aber auch Quartettbesetzung nahm man Musik auf, die aufrüttelnd wild und warm harmonisch ist. Kein Widerspruch, denn die von Hasler kontrastreich geschriebenen Stücke klingen trotz vieler überraschender Wendungen oder verstörender Tonfolgen immer homogen. Kenntnisreich bezieht er sich darin auf arabische Taqsim-Improvisationsmusik wie auf den modalen Jazzder 1950er. Besonders im Zusammenspiel mit Courtois gelingen so einige wunderbar lebhafte und packende Interplays.
Jazzthing April/Mai 2012 by MAI


Geheimnisvolle Klanglandschaften
In seinem neuen Projekt macht Werner Hasler Anleihen bei der E-Musik und generiert dabei mystische, doppelsinnige Sounds. Er verquickt das Fühl- mit dem Hörbaren.
Die Suche nach dem Unerhörten:
Das Erforschen von Melodien und Sounds fernab gängiger Hörgewohnheiten durchzieht das ganze Schaffen von Werner Hasler, das aufgrund seines experimentellen Charakters am treffendsten mit «Work in Progress» umschrieben werden könnte. Hier ist nicht der Ort, um das bisherige Werk Haslers zu rekapitulieren, trotzdem sei zumindest auf die Gruppe Manufactur sowie auf die Zusammenarbeit mit der Sängerin Kamilya Jubran verwiesen.
Haslers neustes Projekt, das den Namen The Outer String trägt, reiht sich in die haslersche Suche nach dem Unerhörten ein. Dabei lassen sich Anleihen an die E-Musik vernehmen, die schon durch die Besetzung vorgegeben scheinen: Auf dem unter demselben Titel bei Unit Records erschienenen Album vereint der Leader ein in seiner Art einzigartiges Quartett mit der Violinistin Katryn Hasler, die bislang vor allem im Umfeld von Don Li von sich hören gemacht hat, dem Cellisten Carlo Niederhauser und dem Schlagzeuger Christoph Steiner. Daneben trifft sich der Trompeter zu vier Duos mit dem Cellisten Vincent Courtois.
Unterschwellige Klangbotschaften:
Das Ergebnis dieser instrumentalen Kombinationen ist eine eher spröde anmutende Tonlandschaft, in der nebst der angesprochenen modernen E-Musik auch arabische Elemente ihre Spuren hinterlassen haben. Interessanterweise scheint sehr viel unterschwellig zu passieren: Es ist, als ob neben der hörbaren Tonspur eine zweite, eher fühl- denn vernehmbare Ebene mitschwingen würde, wobei die Verbindung der beiden den ganzen klanglichen Reichtum dieser geheimnisvollen Musik ausmacht.
An der Plattentaufe sind nebst Hasler und Niederhauser die Cellistin Gyda Valtysdottir und der Schlagzeuger Julian Sartorius mit von der Partie
Von Georg Modestin. DerBund 3_5_2012

Europas Musik erweitert
Fragt man Werner Hasler nach seiner Musik, erhält man im Handumdrehen eine längere Abhandlung. Der Berner Trompeter und Elektroniker rollt innert Minuten die Unterschiede zwischen der europäischen und der arabischen Musik auf, erklärt den Einfluss der Trompetenphysik und des Blues auf sein Klangkonzept und unterbricht sich nach einem Schwall Fachwörter mit einem Lachen selbst: «Entschuldigung.»
Für Laien vereinfacht, lautet die Kurzversion etwa so: Die europäische Musik hat die Zahl der Modi zugunsten des Harmoniesystems mit Dur und Moll reduziert. Modi sind so etwas wie Melodiefamilien, die sich auf einen Grundton beziehen.
Unter anderem während der Zusammenarbeit mit der Oud-Spielerin Kamilya Jubran hatte Hasler festgestellt, dass die arabische Musik mit ihren Vierteltonschritten über viel mehr Modi verfügt als unsere. Das wollte er übernehmen, ohne deswegen eine pseudoarabische Musik zu spielen. «Die Frage war: Was passiert, wenn man keine Harmonien hat?» Ein Resultat von Haslers Überlegungen ist die neue CD «the outer string – duos & quartets». Er hat eine ruhige Musik geschaffen, die einer europäischen Ästhetik folgt, obwohl sie ausserhalb von Dur und Moll operiert.
Von Silvano Cerutti Berner Kulturagenda April 2012

...Werner Hasler (Trompete und Elektronika), Gyda Valtysdottir (Cello), Carlo Niederhauser (Cello) und Julian Sartorius (Schlagwerk) bieten eine Musik, die man «bewusstseinserweiternd» nennen möchte. Es gibt da ein Verweilen bei den Tönen, man hat Zeit, sich im vielleicht ungewohnten Klangraum einzufinden, sich niederzulassen, sich einzunisten. Man muss dazu bereit sein, sich hinzugeben, so wie die Musiker sich diesen ausserordentlichen Kompositionen Werner Haslers ganz hingeben. Dann erlebt man Alte Musik, Neue Musik, Psychodelik-Rock, Jazz und eine ganze Menge anderer Klangwelten in einer hypnotischen Intensität.
Arno Oehri Liechtensteiner Vaterland April 2012

In Zeitlose Dimension entführt
Werner Hasler präsentierte anspruchsvolle Musik, die genaues Hinhören und Zeit verlangt, sich in grossen Klangbögen entfaltet, um am Ende wieder leise abzuklingen...
Klaus Koppe Volksblatt April 2012



Kamilya_Jubran_&_Werner_Hasler


FRANKFURTER ALLGEMEINE ZEITUNG

Sie mögen Lyrik wenn sie nicht schreit

...Diese Lyrik schreit nicht, sie spiegelt beschädigte Lebensläufe in einer Welt, von der wir uns in unserem von Mülltrennung und Diätempfehlungen umsorgten Dasein nicht wirklich eine Vorstellung machen können. Eine Ahnung aber schon. Die Musik treibt uns diese Lyrik in Wahrnehmungsbereiche, die Texte allein nicht erreichen können. Sie ist eine Art erweitertes Accompagnato ohne Strophen- und andere größere Wiederholungsformen, aber von enormer Klangvielfalt und einer geradezu bedrohlichen atmosphärischen Dichte.
Kamilya Jubran artikuliert mit den typischen Zügen arabischer Vokal-Ästhetik, aber mit dem übergreifenden Gestaltenreichtum und der variablen Ausdruckskraft einer Frau, die viele Studien zwischen Volks- und Kunstmusik betrieben und in eigenen Liedern schon lange die arabische Wirklichkeit kommentiert hat. Sie ist die Tochter eines Oud-Bauers und spielt das Instrument auf dieser CD minimalistisch mit großem Effekt. Werner Hasler macht mit seinen kargen, düsteren, tiefenscharfen Sound-Tableaus diese CD zu einem angreifenden Gesamtkunstwerk, für das sich so schnell kein Beispiel finden wird.

ULRICH OLSHAUSEN Donnerstag 18.August 2011


Kwadratuur – Jazz and Beyond Deluxe

Dat beste verscheen in de gedaante van het duo Kamilya Jubran & Werner Hasler. Zij is een Palestijnse zangeres en ud-speelster, hij een Duits trompettist annex elektronicamuzikant. In 2005 verscheen hun eerste album ‘Wameedd’ en vorig jaar kwam de opvolger ‘Wanabni’ uit. Jubran en Hasler kiezen op beide albums niet voor de meest voor de hand liggende oplossingen: geen Arab-dance of Palestijnse muziek met een fijn laagje abstract gekraak. Ze werken echt als duo, waarbij de inbreng van hen beiden essentieel is en waarbij ze niet vast komen zitten in een bepaald concept.

De enige constante in het optreden was de milde, mystieke ondertoon van de Arabische melodieën en de unieke gloed die er van uit ging. Dit sloot mooi aan bij de teksten van Midden-Oosterse dichters waarop Jubran zich voor de muziek baseerde. Toch was de muziek meer dan het louter toonzetten van poëzie, zoals de muzikale variatie van de set bewees.

‘Wanabni’, de openingstrack van de laatste cd en het optreden in Vooruit was meteen typisch en tegelijkertijd uitzonderlijk. Uitzonderlijk omdat Jubran hier een parlandoritmiek en –melodie volgden, waar ze in de rest van de set meer melodisch naar voor kwam. De muzikaliteit van het duo was echter meteen duidelijk: half spelend, half reutelend zette Hasler het nummer in, om na het invallen van Jubran de grillige ritmiek van de stem op de voet te volgen. Aan vrijblijvendheid hadden Jubran en Hasler duidelijk een broertje dood en dat zou in de rest van het optreden niet minder duidelijk worden.

Na het eerste nummer koos Jubran voor meer expliciet melodisch vaarwater en was ze ook vaker op ud te horen. Toch kreeg elk nummer een eigen sfeer en lading mee, door de steeds wisselende aanpak van Hasler. In ‘Wana’Rif’ omkaderde hij zijn collega met zacht dreunende tonen die steeds op dezelfde toonhoogte hadden, maar mooi varieerden in dynamiek en ritme en met al even sober aangewende fluitachtige klanken. In ‘Waa’Dda’Na’ speelde hij als trompettist een volwaardig duet met Jubran en voor ‘Asra’ werd zijn trompetklank geharmoniseerd.

De technische mogelijkheden werden echter steeds bescheiden gehanteerd: ze waren duidelijk een middel en geen doel. Een even goede als moedige keuze, want het was dankzij deze zelf opgelegde beperking dat de combinatie van Arabische melodieën en Westerse technologie zo raak trof.

In het uitgebalanceerde klankbeeld hielden de twee werelden elkaar in evenwicht, ook in de stukken die wat voller klonken. In ‘Walasna’ kreeg Jubran het gezelschap van meer ritmisch elektronisch gefrutsel, flarden achterwaarts gespeelde klanken en een duidelijkere drive, maar desondanks bleef het fragiele van de muziek bewaard. Welke weg het tweetal had afgelegd van de eerste naar de twee plaat werd duidelijk door de twee nummers uit ‘Wameedd’ die in de setlist opgenomen waren. Met het mechanisch tikken (waar echter vrij overheen gespeeld werd) en de metaalachtige klanken van Hasler lieten ‘Al-Mawjatu Taa’t’ een industrial variant van het duo horen. ‘Ghareeba’ vormde echter het grootste contrast met de nieuwe songs. Het opvallend vollere geluid werd geschraagd door een beat die net niet wilde doorkomen. Flirtend met de easy answers wist het duo echter ook in deze setting haar eigenheid en de magische kracht van de muziek te bewaren.

Koen Van Meel | Toegevoegd op 4 februari 2012

Goddeau

…… Zelden hoorden we die combinatie van wereldmuziek en elektronica zo bedwelmend uitgevoerd worden, zo vanzelfsprekend vloeien en bewegen. Zelfs de stukjes uitleg tussen de nummers leken wel gebracht met diezelfde charme. Het is altijd moeilijk om uit te leggen hoe muziek er in kan slagen om in te werken op het gemoed en je gewoon even de strot dichtknijpt om drie kwartier niet meer te lossen. “Hemels”, was het antwoord toen we een collega vroegen wat hij ervan vond. Een beter adjectief hebben we zelf niet voorhanden voor dit concert.

Guy Peters | 3 February 2012


DER BUND

Hypnotische Klangwelt

Eine weitaus schattigere Form der Folklore ergeben die bestrickenden Klänge des Duo Kamilya Jubran/Werner Hasler. Die in Israel geborene Tochter palästinensischer Eltern hat für das erstmals vorgestellte neue Programm Gedichte diverser zeitgenössischer arabischer Poeten zu schwerblütigen Weisen vertont. Stimme und Oud von Kamilya Jubran treten dabei in Dialog mit den geschmackssicher ausgewählten Sounds Werner Haslers, der gänzlich auf herkömmliche Beats verzichtet und es doch vortrefflich versteht, diese hypnotische Klangwelt zum Pulsieren zu bringen. Das Ergebnis ist eine anspruchsvolle, in jedem Moment betörende Hoschspannungsmusik von fragiler Schönheit.

Ane Hebeisen Montag 18.Januar 2010


LE MONDE

Mariage arrangé entre luth et instruments électroniques
a Seine Saint-Denis a beau traverser les turbulences que l'on sait, vendredi 4 novembre, dans la soir√©e √† Montreuil, L'Argo'Notes, petite salle de concerts de la Maison populaire, est pleine. A l'affiche, la chanteuse et musicienne palestinienne Kamilya Jubran, avec un trafiqueur de sons électroniques, le Suisse Werner Hasler. Puis, en seconde partie de soirée, un duo formé par le joueur d'oud français d'origine tunisienne Jean-Pierre Smadja, alias Smadj (la moitié du projet DuOud, avec le oudiste algérien Mehdi Haddab), en compagnie du percussionniste Cyril Hernandez, compositeur en résidence à la Maison populaire de Montreuil, tous les deux également fondus d'électro.

A l'instar d'Ousmane Touré (ex-membre du groupe sénégalais Touré Kunda), qui s'est, lui, produit à Bobigny, ces deux tandems férus d'expérimentations sonores y sont programmés dans le cadre du festival Villes des musiques du monde, manifestation née en 1997 √† Aubervilliers, désormais éclatée sur quinze villes de la Seine-Saint-Denis, comme sa collègue Africolor, qui débute quelques jours après (du 25 novembre au 17 décembre).

Originaire de Galilé, Arabe de nationalité isrélienne, arrivée en Europe en 2002, après vingt ans de vie musicale au sein du groupe palestinien Sabreen, Kamilya Jubran a commencé à collaborer avec Werner Hasler, musicien de jazz formé à la Swiss Jazz School de Berne, au cours d'une résidence artistique en Suisse où elle avait été invitée par la fondation Pro Helvetia.

A travers la musique électroacoustique, tous deux se sont trouvé des atomes crochus, des envies créatives de manipulations sonores. La voix fluide et serpentine, constellée de nuances, Kamilya Jubran passe du murmure à l'éclat, atire syllabe après syllabe, jouant avec le silence, ou accélére au contraire les mots, les phrases de poètes arabes contemporains (le Libanais Gubran Khalil Gubran, la Syrienne Aïcha Amaout, la Jordanienne Sawsan Darwaza...). Elle chante en s'accompagnant d'un oud, le luth arabe.

Werner Hasler, équipé d'un synthétiseur et d'échantillons sonores enregistrés, habille et déshabille, brouille et pimente de parasites, de bruissements, de fréquences, la voix et l'instrument. Minimaliste, ludique malgré une certaine austérité, une esthétique insolite et passionnante que l'on pourra retrouver le 18 novembre sur CD (Wameedd/Abeille Music)[...]

Patrick Labesse
Article paru dans l'édition du 06.11.05


NEUE ZüRCHER ZEITUNG

Die fremde in dieser Welt
Das Album 'Wameedd' von Kamilya Jubran und Werner Hasler

[...]Jubrans Stimme steht im Zentrum. Sie lässt elf arabische Gedichte in all ihren poetischen Dimensionen aufleben und spielt mit den einzelnen Wörtern und Silben der Texte. Sie verzögert und beschleunigt, wechselt die Klangfarben und kämpft für die Unabhängigkeit und Eigenständigkeit jeder einzelnen Note. Hasler umgarnt Jubrans Gesang in jedem Lied mit neuen Klangfarben, ohne sich in den Vordergrund zu drängen. Links und rechts wandeln musikalische Samples und Frequenzen des Analogsynthezisers durch die Lautsprecher, verzögern einmal das Tempo, umspielen polyrhythmisch den Gesang. Manchmal baut Hasler Spannung auf, taucht dann aber wieder hinter die Gesangsstimme ab: ganz im Vertrauen in die Kraft des intimen musikalischen Gemäldes[...]

Thomas Burkhalter,
Donnerstag 23. Februar 2006


TELERAMA

L'Orient remixé

Kamilya Jubran et Werner Hasler: une atmosphère à la fois minimaliste, moderne et orientale.

La chanteuse palestinienne Kamilya Jubran, en duo avec Werner Hasler, perpétue les traditions orientales avec des compositions électroacoustiques.

Ils sont deux sur scène. Elle, douce brune au sourire carmin, son oud dans les bras pour accompagner ses arabesques haut perchées qui s'étirent en jouant du cri, du murmure, du silence. Lui, grand brun aux cheveux ras, penché sur son clavier d'où s'échappent de légères syncopes électro qui virent parfois, en arrière-plan, à la frénésie techno. Leur parti pris est exigeant, radical, d'un minimalisme très moderne et pourtant fortement ancré dans les traditions orientales. Cela tient de la prière, de la quête, comme de la poésie ou de la comptine: c'est sensuel, concentré, sans fioritures, une danse intérieure en ondulations volatiles qui invitent à la rêverie.

Eliane Azoulay
Mercredi 22 février 2006


SEFRONIA
Wameedd

L'album "Wameedd" n'est jamais aussi jouissif que lorsqu'il tient au plus près les vocalises de Kamilya Jubran, chanteuse et musicienne palestinienne, et l'architecture électronique suisse de Werner Hasler. La voix, ponctuée d'incursions d'oud tout à fait pertinentes, prises dans des boucles électroniques très délicates, atteint un degré convaincant de lyrisme fragile avec une certaine facilité. Le rythme de la diction de la chanteuse, parfois forte en gorge, mi-dansante, mi-plaintive, met en valeur les sonorités de la langue : les "h" happé, les "r" mouillés déboulent, alternant précipitations linguistiques et phases de suspension rythmique.

Cette voix, empruntant aux techniques du chant traditionnel, est merveilleusement servie par la finesse électronique de l'album. Tantêt discrets, tantêt sombres, les beats et bidouilles sont les éléments d'une orfévrerie sonore o√π les montées émotionnelles et le spleen ont la part belle. La palette électronicienne de Werner Hasler sublime les vertus acoustiques de la voix : battements percussifs, groove grondant, basse lancinante et pulsations infra-basses forment un paysage aux cadences justes. Le partage de l'espace entre la voix et l'électronique nous enivre mème parfois de refrains entètants.

"Wameedd" détient un certain pouvoir d'envo√ªtement. Ce dernier est d'ailleurs particulièrement marqué lorsque l'album privilégie les tonalités festives. En effet, certaines implorations plus mystérieuses et certains riffs plus bluesy rendent peut-être un peu moins bien compte de la volupté sonore indéniable de "Wameedd".

Hugo Catherine © Sefronia
25.03.2006

FREEMUSE

See an interview with Kamilya and Werner done surrounded by short exerpts of a Wameedd liveconcert in Copenhague 2006 broadcasted by Freemuse

ROOTSWORLD Bulletin

Of these three recordings, Kamilya Jubran and Werner Hasler's Wameedd is the most challenging, creative, and disturbing. Hasler, a Swiss composer and performer of electronic music, provides an eerie, subtle, and remarkably appropriate sound background for Jubran's voice and 'ud. Jubran's 'ud playing is mostly basic and spare, her repetitive lines and note-bending often bearing a family resemblance to that of Mississippi delta blues guitarists. The focus here is less on melody than on emotion, feeling, and the words. For Wameedd Jubran has set to music texts chosen mostly from contemporary Arab poets, like Paul Shaoul and Aïcha Amaout, as well as from the celebrated Gibran Khalil Gibran and Greek poet Dimetri Analis. Jubran's expressive vocals and the instrumental atmospherics make it easy to appreciate Wameedd without understanding the lyrics, but nonetheless a key element will certainly be missed. So here's a hair-raising sample, from the end of the song, "Nafad al-Ahwal 2": "I remembered the day I was killed, raped, cut to pieces lemon by lemon, cigarette by cigarette, was ripped and for the first time I cried for my death and for nature."

June 23rd 2006


AL AHRAM WEEKLY

concertreview:
Rania Khallaf found Kamilya Jubran with Werner Hasler simply marvellous
Link to the article: The odd pair
July 26 - August 1


Jon Hassell_Orchestra of Two

JON HASSELL & WERNER HASLER : Ni tout à fait jazz, ni formellement ambient, le territoire qu’explore le compositeur et trompettiste Jon Hassell est une invitation à rompre avec les frontières et distinctions d’usage. Celles qui concernent la séparation stricte des registres musicaux, du Nord et du Sud ou du sacré et du sensuel. Au moyen de technologies actuelles, Jon Hassell part en quête d’une sagesse de l’ancien monde. Autrement dit, le « quatrième monde » du compositeur américain né en 1937 est une tentative de jonction de l’ancestral par le digital. C’est aussi l’aboutissement d’un parcours artistique à étapes : le conservatoire classique ; l’enseignement de Karlheinz Stockhausen à Cologne ; l’apport des minimalistes à New York (Terry Riley, Steve Reich, Philip Glass) ; la rencontre décisive avec le maître vocal indien Pandit Pran Nath qui le conduit à une nouvelle approche de la trompette. Où l’exercice du souffle est indissociable d’une attention portée à l’âme. Au sujet de Jon Hassell, certains parlent de jazz céleste ; lui dit connaître des moments extatiques. Et ce sont des instants entre ciel et terre que le trompettiste - minimaliste et modal - entend partager avec Werner Hasler (live sampling), et offrir au public de la Dynamo de Banlieues Bleues. Pour ce set à deux, à la fois composé et improvisé, le musicien suisse Werner Hasler qui a en outre beaucoup tourné avec la chanteuse Kamilya Jubran semble le complice parfait. Le projet de Jon Hassell n’est-il pas de donner une forme et des couleurs à un « quatrième monde » qui est, en somme, une utopie ?
www.w-h-y.org


Hasler/Paeffgen/Berger

New York City Jazz Record Magazine
This CD combines two Berne, Switzerland-based musicians, Werner Hasler on trumpet and electronics and Gilbert Paeffgen on drums, with the veteran vibraphonist Karl Berger. The compositions are credited jointly to Hasler and Paeffgen, so the immediate concept is likely theirs, but it’s an approach that Berger finds more than amenable. Hasler’s specific interests in Middle Eastern musics often set the tone here: he’s worked extensively with the Palestinian singer and oud player Kamilya Jubran and has spent time in Cairo studying maqam, the modal system common to much Arabic music that in part fuels his interest in non-harmonic improvisation. His trumpet voice is a spare lyrical instrument focused on linear structure and melody of real power. The terrain is perfectly continuous with many of Berger’s interests in rhythm and world music (from early collaborations with Don Cherry and the minimalism of All Kinds of Time, his 1976 duo recording with Dave Holland, to later dates with Bill Laswell) and he’s constantly enriching this dialogue on fundamentals. Hasler’s trumpet occasionally invokes Cherry or Miles Davis, but he can also play with an academic precision that emphasizes the formal components.
While the instrumentation creates a rather narrow timbral spectrum, that may be an essential strategy, clarifying the sound for the complex rhythms and the detailed interaction of the eerie “Holtondimi” or the vibrant “Notes”, which opens with some beautifully muezzin-like bending tones from Hasler’s unaccompanied trumpet and then builds to a joyous, dancing collective improvisation before finally turning into an atmospheric drone in which Hasler’s trumpet and electronics seem to operate on different sides of a figured screen. On brief pieces like “Metro DimDim” and “Spiralthing”, with Hasler focusing on electronics, the group is virtually a percussion trio. Paeffgen is always an essential presence: collecting and expanding the rhythmic materials, he becomes the central voice on dialogues like “Wuammas”. These sometimes sparse improvisations, focused on strong rhythms and melodic fundamentals, ultimately create a host of divergent moods.
Stuart Broomer november 2011


all about jazz

whole article on italia.allaboutjazz.com

Questo disco singolare ha innanzi tutto il notevole pregio di suscitare importanti considerazioni di carattere generale. Un primo approfondimento meriterebbero le formazioni anomale nel jazz attuale. Questo sodalizio fra tromba, vibrafono, batteria ed elettronica risulta davvero interessante, ben amalgamato, capace di impasti timbrici suggestivi, anche grazie al peculiare impianto compositivo dei brani ed alla calibrata costruzione dinamica che i tre strumentisti danno al proprio interplay.
Una seconda riflessione viene a proposito di Werner Hasler, quarantatreenne trombettista svizzero: ascoltandolo abbiamo l'ennesima conferma che oggi assistiamo ad un rinascimento di questo strumento. Sarebbe anzi opportuno tracciare una mappa dei nuovi trombettisti americani ed europei, raggruppandoli in base agli approcci, alle intenzioni ed alle derivazioni, magari rintracciando nelle singole individualità la diversificata eredità lasciata da Bill Dixon: da Rob Mazurek al texano Dennis González, da Cuong Vu alla portoghese Susana Santos Silva, da Graham Haynes allo stesso Hasler...
...Gli otto brani di questo CD registrato in studio alla fine del 2010, il cui titolo coincide con i cognomi dei tre musicisti, portano la firma congiunta di Hasler e Paeffgen. La concezione, pacata, seriosa e riflessiva senza risultare intellettualistica, pigra ma avvolgente, possiede una sua naturalezza che innerva anche l'interpretazione. Il trombettista si fa carico delle esposizioni più melodiche, mentre Berger, che compare praticamente come ospite, aggiunge i suoi arabeschi aerei.
Sono gli efficaci e non invadenti effetti elettronici amministrati dallo stesso Hasler e il drumming attento di Paeffgen a costituire il tessuto connettivo, sfrangiato e ondivago, di questo percorso musicale. Nel brano d'apertura si verifica la progressione più tonica ed accattivante, che lascia il posto nei brani successivi a situazioni più statiche, fino a raggiungere nel brano finale un dialogo austero solo fra tromba e batteria.
di Libero Farnè 20.5.2012


Renowned vibraphonist and improviser Karl Berger often serves as the centralizing entity on this curiously interesting date. A multinational trio, the music is often patterned with sublime textures, ethereal subtleties, and methodical song-forms, occasionally grounded on succinct pulses and steadily moving waves of sound. Here, Berger is the elder statement via his historic alignments with the crème de la crème of modern jazz stylists and cutting-edge improvisers.

Trumpeter and electronics ace Werner Hasler blurts out scratchy distortion-based, and perhaps intentionally disruptive EFX on "Lomallet," where initial responses may indicate that your stereo system has a bad connection. But on repeated spins, it may make sense amid an existential viewpoint, based on the cyclical mid-tempo pulse and oscillating current featuring Berger's colorific vibes over the top. Hence, the trio morphs a mechanized-like sound-sculpting medium into a study in supple contrasts. The electronics element may stand as a wrench-in-the-works type mindset, indicating flaws in a well laid out plan, offering terse abstracts and eerie developments.

Hasler's delicate trumpet lines and drummer Gilbert Paeffgen's nimbly flowing brushwork enact a continual pattern that is carved up, notched out, and contextually shaded along the seven-minute ride. But they finalize the piece on a whimper and move on to the next conquest, resulting in an album that straddles jazz-improvisation, the avant-garde spectrum and offbeat concepts. Hasler also injects bluesy intonations into his attack to complement an aggregation of understated surprises throughout the program. Off-kilter but at times uncannily attainable, the trio projects a distinct ideology throughout.
Glenn Astarita jazzreview.com april 6 2012


É um dos gigantes do free jazz que reencontramos neste disco, hoje com raras aparições em disco e até ao vivo, tão envolvido tem estado com a revitalização do seu Creative Music Studio. Do vibrafonista Karl Berger
se pode dizer que é uma lenda viva, tendo esta edição o suplementar inte- resse de dar conta da sua arte num contexto de contemporaneidade, que não de revisitação de formatos pas- sados. A seu lado estão dois músicos europeus bem mais jovens: o trompe- tista Werner Hasler, também respon- sável pelo trabalho electrónico que vai pontualmente surgindo, e o baterista Gilbert Paeffgen. O que fazem em
trio tem todos os atributos do melhor jazz deste início de século: “groove”, “drive”, desenvoltura expressiva e abertura formal. É música de hoje com uma personalidade do passado que se mostra ainda virado para o futuro. Não acontece muitas vezes...
Jazz.PT #40 janeiro | fevereiro 2012 RuI EDuARDO PAES


All About Jazz
At first sight, the main talking point on the eponymous offering from trumpeter Werner Hasler, drummer Gilbert Paeffgen and Karl Berger is the vibraphonist's co-optation into the multinational trio. That impression lasts no longer than the first listen to this fresh and open collaboration……
They eschew overt virtuosity in favor of a distinctive group conception, achieving an orchestral feel from just three voices. Their arrangements are tight, but loose enough to accommodate Berger's ringing solos, extracting maximum dividend from what might seem limited resources…
Like all good openers, "Holtondimi" gives a strong taste of the preferred terrain: attractively layered patterns derived from chiming vibes, measured percussion and impassioned trumpet…
John Sharpe, March 23 2012


Gapplegate Music Review
This is alternatingly subtle and bracing, free-floating and rhythmically driving music. Paeffgen plays some well conceived drum improvisations, Hasler's trumpet is engaging, his electronics colorful, and Berger is his always exploratory self throughout.
I suppose this is chamber jazz, though it hardly matters what you call it on the level of the music itself. The sparseness of the instrumentation gives plenty of room for all three to collaborate dynamically, to use the space allocated to them for strongly creative interactions. The notes denote a fully healthy, fully concious musical animal. It is alive with vibrant improvisations restricted to no formal limitations.
If you needed evidence that Karl Berger keeps trudging forward after so many years, here it is. He is unassumingly central, still. And the other two thirds of the trio are no less important to this music gem.
I suppose this is chamber jazz, though it hardly matters what you call it on the level of the music itself. The sparseness of the instrumentation gives plenty of room for all three to collaborate dynamically, to use the space allocated to them for strongly creative interactions. The notes denote a fully healthy, fully concious musical animal. It is alive with vibrant improvisations restricted to no formal limitations.
If you needed evidence that Karl Berger keeps trudging forward after so many years, here it is. He is unassumingly central, still. And the other two thirds of the trio are no less important to this music gem.
Friday, January 20, 2012 gapplegatemusicreview Gregory Applegate Edwards


'Man muss spielen wie die Kinder'
Tom Gsteiger, DerBund10_12_09.jpg


Hochkonzentrierte Zukunftsmusik
Deutsch-schweizerisches Ensemble kombiniert Jazz und globale Musikkulturen
Was soll denn das? Jetzt kratzen und schaben, rumpeln und knarzen, flirren und fiebern die schon wieder so neumodern im Café Museum in Passau. Was erlauben die sich?
Eine extra Erlaubnis braucht die deutsch-schweizerische Kooperation aus Karl Berger, Werner Hasler und Gilbert Paeffgen am Sonntagabend für ihre intensive Klangforschung wohl nicht. Sie nehmen sich einfach eine Freiheit, die eigentlich jedem zusteht, und treiben ihr Ding gezielt immer weiter voran, ein „Ding“, das für Berger (Vibrafon) und Paeffgen (Schlagzeug) schon seit Jahrzehnten läuft. Mit dem Trompeter Werner Hasler, der nebenbei noch Notebook, Mischpult und ein sogenanntes Chaos-Pad bedient, verbinden sie nun die disparatesten Töne und Rhythmen zu einem offen strukturierten, organisch-technischen Klangkörper, der quer zu allen gewöhnlichen Musikerfahrungen steht, der die Einflüsse der drei Musiker aus unzähligen globalen Musikkulturen, freier Musikszene und Jazz völlig neu kombiniert.
Für den Zuhörer erschließen sich die Regeln und inneren Abläufe einer solchen Musik natürlich nicht unmittelbar. Umso spannender wird es, wenn die Musiker nach relativ unübersichtlichen Abschnitten plötzlich punktgenau zusammenspielen und sich ein Stück gleichsam im Rückblick als Einheit zu erkennen gibt. Das macht neugierig auf mehr. Immer deutlicher treten Motive von Haslers präsenter und zugleich nachdenklicher Trompete oder von
Paeffgens wuchtigem, exaktem Trommeln hervor. Dazwischen skizziert Berger ganz seriös flirrende Klangrätsel und oktavierte Abstiege. Da spielt sich im Hintergrund ein Elektrosound mit der Raumfrequenz des Kellergewölbes - es dröhnt und wummert, ohne auch nur ein bisschen laut zu sein. Es hat Rhythmus. Genau dosiert taucht ein Synthesizer-Sound auf, der einfach nur schön ist, oder eine kleine, seltsam karnevaleske Trompetenschleife. Schade, dass das Material, das sie mit diesen Live-Auftritten für die kommende Aufnahme 2010 erproben, nach einer Stunde mit acht Stücken schon erschöpft ist.
Andererseits nimmt man aus dieser dichten, hochkonzentrierten Zukunftsmusik derartig viele Eindrücke mit, dass sie sich Tage später noch im Gehirn auf unerwartete Weise entfalten können. Dieses Risiko muss man leider eingehen.
Frank Müller, Passauer neue Presse 16–12_2009


'Die drei Musiker vereinnahmen ihr Publikum zur Gänze.'
Reinhold Tavernaro Liechtensteiner Volksblatt 13_12_09


'Jazz hoch drei'
Fast beiläufig schütteln sie ihr Können aus dem Ärmel und sind doch hochkonzentriert bei der Sache.
Hallertau 12.12.09



manufactur

German versions and downloadable pdf-originals on manufactur website




Auf seinem vierten album gelingt dem Schweizer Quartett erneut ein elastischer Spagat zwischen Kunstschaffenden wie dem Tied & Tickled Trio ind Molvaer. Der berner Trompeter Werner Hasler erweitert diesen Kontext aber um die melancholischen Klangstrukturen eines Miles oder den extremen Minimalismus à la Jon Hassell. Denn ähnlich wie diese lässt Bandleader Hasler sein kultiviertes Blech wie eine verlorene Seele durch die Stücke geistern. Allerdings ist er dabei - anders als beim Vorgänger 'rong dob' - nicht mehr allein. Mit Keyboarder Oli Kuster wechselt er sich kongenial beim Spielen von zartesten Melodien ab: Sie kommunizieren im besten Sinne, Trompetensound und elektronische Tasten harmonieren perfekt- so werden neue stimmungsvolle, spannende Klang-Räume in der Manufactur eingerichtet. überhaupt spielt Elektronik in ihrer Musik eine entscheidende Rolle, wird sie doch souverän eingesetzt, um èberraschende Querschläger zu deponieren, oder sich mit den intensiven Improvisationen zu reiben. Eine bemerkenswerte Platte.
mai Jazzthing April/Mai

[...] Manufactur work in a very elegant way ‚ they are much more than mere chic. They are also about emerging from the background to take their place in the forefront. They are enjoyable, because they have a certain something that is not a huge, intellectual monster. They are not just another young band‚ they represent something original that has grown organically over the years, something that is melancholic, intensive and artful. Oli Kusters Electronics and Keys plus Urban Lienerts Bass are better at opening doors than slamming them shut. Dominik Burkhalter on the drums hits the nail on the head. The addition of these parts produces something that is unobtrusively beautiful.

Ulrich Steinmetzger Jazzpodium September 2005

The musical preferences of the Swiss trumpeter Werner Hasler lie somewhere between Autechre and 'Sketches of Spain' by Miles Davis. Light, interesting grooves drive his manufactur quartet on the new CD 'Rong Dob' (rent a dog/Al!ve). [...] percussion and bass play with and against one another, somewhere between rock and a constantly grooving flow, and the strong electronic presence gives manufactur fragmented charm, counterbalanced by Hasler's cool trumpet sound. In between, there is an underlying Reggae feel, and the individual songs always have so much melodic potential, that you get the feeling that you are eavesdropping on a jamming session. The bubbling and crackling mixing is highly enjoyable, but contains enough enigmas to stop you tiring of it quickly. [...]
Rolf Thomas Jazzthing September/October 2005

[...] Living in Germany, I associate manufacturing with the sale of high quality products at high prices. If the twin concepts of production and Switzerland are united, it has to increase the value of the whole, since Switzerland and its merchandise have an irresistible appeal. manufactur (deliberately written with a small 'm') fare very well, since their Electro-Space-Dub-Ambient-Lounge-Fusion mix includes a great deal of crankiness, humour and technical craftsmanship. [...]
Angela Ballhorn Jazzthetik October 2005

[...] You become aware of the comfortable yet exciting Dub-Reggae groundwork by the bass (Urban Lienert) and percussion (Dominik Burkhalter) with its slick meter, acknowledged by Hasler’s gooseflesh trumpet sounds, which illuminate everything around like a lost soul in an electronically alienated evening twilight and cannot refrain from grinning about Patrick Lerjens’ sound-bite add-ons. In short: manufactur sound as if Miles Davis had recorded the soundtrack to Stanley Kubrick's "2001". [...]
Josef Engels Rondo .September 3rd 2005

[...] Success all around, since thick sound structures and the finest aesthetics of shreds of music never allow the search to end [...]
Klaus Hübner Westzeit October 2005

Elation in a hi-tech format [...]
Ane Hebeisen Der Bund 1.
October 2005

[...] His hypnotechnical style is, at the same time, rooted in the mythical chamber music minimalism of Miles Davis' Cool Periods and in the whole Trip Hop sound ambience [...]
Tom Fuchs Stereo September 2005

[...] Whenever this clean eccentric humour is possible, it is certain that the virtuosity, musical knowledge and precision of manufactur will not merely lead to proverbial Swiss thoroughness [...]The quartet’s live qualities on the opening track 'Tembo Tabou' or 'Wossein' more than hint at a 2005 version of Miles Davis as he was in 1971.
RJ Loop October 2005

[...] Eight years of continuous collaboration have led to a sound that is unique in Switzerland. This makes 'rong dob' a potential favourite record. [...]
Ulrich Steinmetzger Jazzpodium October 2005

[...] All this makes all the usual typical academic phrases obsolescent. 'rong dob' could be found in the Dub, Jazz or Electronic sections. More important than the label is the fact that the disc is always on your stereo system. [...]
Christoph Lenz Der Bund October 2005

[...]Bern is home to the music of Werner Hasler's manufactur that lies somewhere between jazz and electronic. [...] And manufactur compete on the international stage with the most distinguished Electro-Chill-out-Jazz combos. [...]
Ane Hebeisen, Berner Woche, October 2001

[...] Anyone who has experienced manufactur live, knows that they have special qualities, a good tip to follow up! [...]
Pirmin Bossart, «Sounds im Apéro», October 2001

[...] manufactur's music is also impressive because of its compact reduction, which can also be experienced live, when you can see the instruments being used and where effects are not overused. At the basis of this is the chill-out sound, but this is not the whole story. It corresponds to the current club culture, but does not abandon subtle variations in form and harmonies that rush to the forefront in the electronic age of jazz.
Pirmin Bossart «Neue Luzerner Zeitung», April 2000

[...] Even when flirting with modern, electronic (dance) music, craft must not be at a premium. [...]
Peter Bürli ¬´Zueritipp' , March 1999

[...] Trumpets shimmer through sampled tone worlds. A trip through bewildering depths, sounds and images. [...]
Jüre Hofer ¬´Berner Zeitung¬ª, April 2000

[...] Winter on the North Sea. Miles Davis' 'My funny Valentine' made in 1964. Escaping industrial landscapes. Tomasz Stankos' Melancholy. Aircraft trails in a grey-blue sky.
Don Cherry's chewed-up fanfares (...) Here, you will only find supreme, unpretentious instruments at work. [...]
Tom Gsteiger «Der Bund», Dezember 1998

[...] One of the most enjoyable new records to appear in Switzerland this year (at number 1).
Soundcheck «SonntagsBlick», April 2000




Hasler/Paeffgen/Audétat


'Unterhaltsam, abstrakt, akzentuiert und mitreißend'
Tanja Krapp, fränkischer Tag 19. Mai 2008

Entschweben ins Nichts
FÜRTH - Der aus Liechtenstein stammende Jazztrompeter Werner Hasler hat gemeinsam mit seinen Schweizer Kollegen Gilbert Paeffgen am Schlagzeug und Pierre Audétat, verantwortlich für Samples, beim deutschen Avantgardejazzlabel Meta Records ein neues, unbedingt empfehlenswertes Album veröffentlicht.
Aufgenommen wurde die CD an einem einzigen Tag, am 9. November 2006, im Studio 15 von Radio Suisse Romande in Lausanne. Der Titel 'The Story of Major Tom' spielt auf David Bowies ersten ganz grossen Hit 'Space Oddity' an. Die Geschichte geht so: Der Astronaut Major Tom umkreist in einer Kapsel die Erde und ist so fasziniert von der unendlichen Tiefe des Alls, dass er aussteigt und im Nichts verschwindet. Der Bodenstation trägt er noch schöne Grüsse an seine Frau auf. Auch die zwölf Stücke des Albums des seit 2005 bestehenden Projekts Hasler Paeffgen Audétat hören sich so an, als seien sie für die Tiefen des Alls bestimmt. Haslers Trompete zieht sich piano wie ein feiner Goldfaden durch Audétats elektronisch flimmernde Klangwelten. Sie ist, teils eingesampelt oder elektronisch verfremdet, stets melodisch bestimmend, aber drängt sich doch nie in den Vordergrund. Paeffgens Schlagzeug setzt dazu präzise Tupfer in unterschiedlichen Klangfarben. Akustische und elektronische Elemente gehen eine federleicht ins Ohr schwebend Synthese ein. Am 7. Dezember kommen Hasler Paeffgen Audétat übrigens in die Tangente in Eschen: Der Liechtensteiner Bildhauer und Jazzliebhaber Marco Eberle über die Formation: ´Sie haben ja kein fixes Arrangement für die Aufnahme, bloss angedeutete Themen, die sie jedesmal wieder frei interpretieren. So wird jeder Gig ein einmaliges Erlebnis.'
31. Juli 07 Liechtenstein Leben


Artifizielle Technisierung
NovJazz-Festival, Huttwil

Novemberdepressionen weggepustet
Gleich vier Top-Bands sind am novJazz-Festival in Huttwil aufgetreten keine Chance für Novemberdepressionen.

Der Freitagabend stand ganz im Zeichen des elektronischen Jazz: Das Elektro-Improvisationstrio ¬´Hasler Paeffgen Audetat' erweckte die ¬´Technik' des 20. Jahrhunderts zu neuem Leben und zeigte beispielhaft, dass Technik nicht zwangsläufig Automatisierung und damit Fremdsteuerung bedeutet, sondern durchaus auch Benutzbarkeit und damit Verspieltheit.
Gilbert Paeffgen am Schlagzeug verblüffte mit Kraftmomenten, Werner Hasler (Trompete) wartete mit teils explosiven, teils urmeditativen Einlagen auf; Pierre Audetat (Elektronik und Sampling) liess akustische Musik mit futuristischen Klängen verschmelzen ‚ ebenso wie mit alten Hörfunksprechakten. ¬´Jedes Stück ist ein Unikat. Unsere Persönlichkeiten werden mit dem Spiel verwoben', so Audétat.
20.11.06 Mathias Bösiger Berner Zeitung

Hasler, Paeffgen Audetat: The Story of Major Tom. Trio im Studio. Neben der Bandarbeit mit manufactur pflegt der Berner Trompeter Werner Hasler ein Faible für Ausflüge ins Offne. Wichtig ist ihm dabei das spielerische Demontieren von Klischees. Also ist der mit ähnlichen Intentionen arbeitende Sample-Artist Pierre Audetat aus Lausanne ein guter Partner für vorurteilsloses, elektro-akustisches Instant Composing. Den futuristischen Bastard voll bizarrer, mal sperriger, mal songnaher Klangfindungen grundiert und akzentuiert der Berner Drummer Gilbert Paeffgen, der sich vom Krautrock bis zu Ethnorhythmen auskennt und das sehr ökonomisch einfliessen lässt. Mal scheinen Don Cherrys Duos mit Ed Blackwell auf, mal Gamelanmusik von übermorgen. Beliebig geraten die Resultate nicht. Sie sind ein munterer Abenteuerspielplatz voller ebenso irritierender wie präziser Teile, die sich suggestiv addieren, weil keins der konzisen Stücke ins Geschwätzige driftet.
Jazzpodium U.St.


Freies Spiel mit Klang und Formen frankenpost.pdf

Werner Hasler, Gilbert Paeffgen und Pierre Audetat mixen Atemberaubendes in der alternativen Musikküche.
Was die drei in ihrer alternativen Musikküche zusammenbrauen, ist voller Magie.
Von Lisbeth Kaupenjohann Frankenpost 13. 12. 07



Hasler/Inami


Transmit

funprox

'Transmit' is a collaboration project between Werner Hasler and Sunao Inami. Making this collaboration rather interesting is the fact that the two live in different continents- one in Bern, Switzerland, the other in Kobe, Japan.

The two met in a club, for only a short time, and agreed to share some of their work. While these sort of virtual collaborations are becoming somewhat more common these days, I am still fascinated by the idea of such long distance exchanges. However, given the disconnect between the performers/artists, the results of this mode of work are not always as fascinating. This is certainly not the case with Hasler and Inami however; their results are well worth their long-distance efforts.

Taken as a whole, the atmosphere of the album is somewhat relaxed. For the most part the material might be considered ambient. However, ‘Transmit’ is not only atmospherics, nor is it entirely mellow either, for that matter. There is also a quite a heavy dose of electronica action coming through rhythm/drums and melody (as with the songs 'Boomed 23rd' and 'Dasong ab', for example). With these tracks, Hasler's trumpet recordings are often featured. The trumpet recordings are a sure highlight of 'Transmit', and fit very well with the Inami's electronic/synthetic atmospheres, which are equally entrancing.

One of the most interesting tracks from this collaboration is 'Pancake', which transitions slowly from calm ambience into a more upbeat kick-snare combination, and then tapers off into cool ambience once again. The songs from the album keep a rather steady mood/vibe going throughout, which in my opinion is a definite strong point with ambient-type material.

'Transmit' is by far one of the better ambient-electronic albums I' ve heard in some time. It would be nice if these two bumped into each other again sometime in the future.


Author: VW. Jon Van Wieren, Published on: Wednesday, January 25th, 2006.



Connexion Bizarre

Ultra-mellow ambience, tranquil trumpets and downtempo rhythms define "Transmit," a unique collaboration between two accomplished musicians. Werner Hasler is a self-styled composer and sound seeker, as well as a graduate of the Swiss Jazz School. Sunao Inami founded CAVE Studio in Kobe, Japan, and has built a reputation as a synthesizer specialist. In creating this album, actual collaboration between the artists was surprisingly minimal. Hasler received soundscapes and unfinished material from Inami, which were then used by Hasler in an unrestricted manner - without involving Inami in any further discussion or planning - to create "Transmit." The result is an intriguing melding of method and talent, and a superior combination of musicianship.
"Transmit" begins with "Boomed 23rd," setting the album's tone with head-nodding tribal rhythms later echoed in "Boomed 30th." Suitable for elegant candlelit dinners and late-night chill-out sessions alike, each track embodies a distinct set of sounds that contribute seamlessly to the thematic whole. "Dasong Ab" has a shivering and diaphanous serenity that contrasts well with the electronic chirps and beeps of "Aprilbong." The soft and stately progression of "Pancake," with its slow-build house rhythm, nicely follows the balmy and splashy synth stabs of "M5R2" (a remix from a previous Inami release, "Delayed"). "Junat" presents a nervous, off-kilter beat and small tweaks of sound that in turn introduce the melodic hums and drones of "Onkyo."
The most distinct characteristic of "Transmit" is the avant-jazz style horns. Performed by Hasler, the bluesy trumpet recordings manifest in a diverse variety, and are used liberally in conjunction with Inami's cut and looped sounds. In fact, the dreamy, saturating quality of the trumpet notes as they wash over and through the ambient atmospheres and soft, pulsing beats is remarkable. Thus the final synthesis of "Transmit" is astounding in its mysterious sublimity.

-- Dutton Hauhart [9.5/10]



ReGen Magazine

It is well know that many long-distance relationships end up producing noting but heartache and regret. Not so with Switzerland-based Werner Hasler and Japan-based Sunao Inami.
After meeting "somewhere in a club" and only talking briefly, Werner Hasler and Sunao Inami agreed to exchange some of their musical work. From this agreement and from the files Inami uploaded to Hasler comes a refreshing and cohesive feeling ambient album, aptly titled Transmit.

Among the stand out tracks is "Boomed 23rd," a dark, groovy, richly layered didgeridoo-inspired up-tempo arrangement with breathy white noise-laden trumpet treatments. "Pancake" is a piece built upon lofty layers and a haunting trumpet. Ever so slowly, the song ebbs into infectious beats and light melody only to suddenly slip back into the spacious atmosphere from which it began. "Onkyo" is a beautifully murky meditation to free your mind, while "Boomed 30th" is perhaps one of the most robustly orchestrated tracks on the album. Once again making use of a similar, if not the same, trumpet treatments layered in with a catchy groove, various electronic, and organic sounding elements, and even some vocal samples.

Overall, the album has a rich, warm, ambient feel with just enough of an up-tempo to seduce those not already in love with more atmospheric music. If I have one gripe, it's that the trumpet used throughout the album sounds too similar from song to song. Yet it is this same use of trumpet that brings an almost jazzy, throaty feel to occasionally mechanical sounding tunes. Hasler claims that the two did not collaborate on the project, that instead, Inami uploaded some "sounds, soundscapes, and half-finished tunes" to which Werner then, "unguided and unrestricted," added his own sounds, recordings, samplings, and synthesizing. The end product speaks with one clear voice in a manner most true collaborations can only dream of. Enjoy.

By: Damon Wilson, Posted: Wednesday, August 02, 2006


foto

Werner_Hasler


Kamilya_Jubran_&_Werner_Hasler


Hasler_Paeffgen_Berger


Hasler_Paeffgen_Audetat


manufactur



Downloadable printquality pictures:


Werner_Hasler

by Willi Kracher








by Reto Andreoli






by Graham Waite







by Fanny Ottavy






by Roland Heinrich







Kamilya_Jubran_&_Werner_Hasler

by Reto Andreoli







Hasler_Paeffgen_Berger

by Otto Mühlethaler








Hasler_Paeffgen_Audetat

by Hugo Ryser






slideshow