Consider Hellmut Hattler the German amBASSador (pun quite intended): he is an artist of iconic stature in his home country - much adored for his signature electric bass guitar sound, awe-inspiring technique and, not least, intuition for groove. For over 30 years now, he has managed to reinvent himself and impress the music world time and time again with his creative endeavors. He has consistently been voted to the top of readers polls and won numerous awards including the prestigious Echo - the German Grammy - for his recent effort "Hattler - No Eats Yes". Hattler's leading role in the groups "Kraan" in the 70s and 80s and "Tab Two" in the 90s firmly established him in the annals of popular music and has been a guiding inspiration to generations of young musicians.
Artists may try to achieve such longevity by adapting their music to the ever-changing trends of pop culture... not Hattler: he has a miraculous sense of anticipating developments, and in more than one case actually helped create them. He cares nothing about the mainstream, yet is a veritable wellspring of 'hooks', the kind of captivating melodies the apparachiks in the music biz are so desperate for but more often than not find elusive and fail to produce. How does he do this? Simple enough - by not worrying too much about established musical formats and instead following his gut, going with whatever gets his endorphines flowing... and his feet tapping. One of the secrets of Hattler's lasting success is plainly his open mind: he has long been a keen observer of the sonic experiments of young underground musicians and repeatedly invited the most creative and exciting among them to collaborate.
And as to the music? Bassists are usually expected to, quite literally, provide
a deep foundation for the music, but exercise this job rather inconspicuously.
Hattler does much more than that: he confidently contributes independent melodic
lines and rhythmic chordal patterns which the listener easily identifies as
the core of the composition. Accordingly, Hattler's newest collection of eclectic
tracks ist appropriately entitled "BASS CUTS" - he revels in his
'bassics', and those evoke the sunrise after a long night of dancing, offer
an intoxicating blend of extraordinary craftsmanship and contemporary electronic
sounds. Kind of the special stuff we've come to expect from Hellmut Hattler,
but even more intensely focussed this time.
"Since I knew these tunes wouldn't end up on top 40 radio, I the more
took all conceivable liberties. Limits of 3 and a half minutes a track? Who
cares! There are some really long tracks on this album, and it has turned
out to be a very intimate one", says Hattler.
It is no news that virtuoso instrumentalist Hattler is adept at electronica,
but these "Bass Cuts" thrive on the friction between computer sounds
and the hand-made. The cool ambient flow of "Swing Ur Soul" gently
draws the listener in. Welcome to the Hattler lounge: psychedlic moments on
the magic carpet, alternating with relaxed break beats, fretless bass melodies
on top. Then a little bass clinic at the "Bass Camp" before Hattler
really gets going: sneaking by even the toughest club bouncer, he throws a
'house' party - showing that those four strings allow for much more than just
bass lines. No suprise - here's one who doesn't just feel the pulse of his
time, but thrives on it, not just toying around with grooves, but masterfully
working all their nuances and shadings. Cool club sounds, intricate beats,
elegant loops - and, of course, the bass. A cornucopia of sounds and artistic
vision. And warmth: in Hattler's tracks, you can dwell, relax, let go, without
any "New Age" aftertastes. On the nine minute dynamic climax and
finale "The Saying", Hattler relentlessly increases intensity bit
by bit, Sandie Wollasch's voice joins. Band sound and ensemble feel at the
end; Hattler has always been a great team player. Accordingly, "Bass
Cuts" boasts some familiar collaborators such as Torsten de Winkel (New
York Jazz Guerrilla/Pat Metheny Group), trumpetist Stud or Kraan members Peter
Wolbrandt and Ingo Bischof. But at the core, there's always the bass. Ten
tracks which are sure to get you in the groove even if playing in the background,
but who wants that?! Your mind's movies are provided a new soundtrack here,
and no worry, it works without need to mess with the treble. All basses covered:
home run.
german
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