Described as “a veritable Picasso of the jazz guitar world” (20th Century Guitar), and “one of the most skilled, creative, and original guitarist/composers currently recording” (Acoustic Guitar), nylon-string guitarist Ken Hatfield is known for his formidable fingerstyle technique and original compositional voice that draws on influences as diverse as jazz, classical, Brazilian, and Appalachian music. His important contributions as a composer have earned him wide recognition, including the prestigious ASCAP Foundation Jazz Vanguard Award for “innovative and distinctive music that is charting new directions in jazz” (2006).
Hatfield’s nine CDs as a leader demonstrate his tremendous gifts as both composer and performer and attest to his consistently high level of artistry. 2006’s String Theory, which highlights Hatfield’s technical virtuosity and versatility as he performs a group of original works composed for classical guitar, dobro, and mandolin, was lauded by Andy Ellis in Guitar Player for its “fresh guitar sounds and novel concepts” and “brainy, dynamic, and relentlessly melodic” playing. His 2003 trio release The Surrealist Table was described by Ron Forbes-Roberts in Acoustic Guitar as “. . . an empathetic session brimming with beautifully realized musical ideas and stellar playing” and was chosen by Bill Milkowski in JAZZIZ as one of the top 20 acoustic guitar albums to have. And Hatfield’s 2002 ensemble recording Phoenix Rising was “Recommended for those with an affinity for the subtle and sublime” by Jim Ferguson in JazzTimes. Ken’s most recent and most ambitious recording project, For Langston, is a jazz song cycle for sextet in which he set to music poems by Langston Hughes (release date 2/1/13).
Arthur Circle Music has published five books of Hatfield’s compositions, and in 2005 Mel Bay published his comprehensive instructional book Jazz and the Classical Guitar: Theory and Application, designed to demonstrate Ken’s unique approach to playing jazz on a classical guitar. His compositions and writings have also appeared in numerous jazz and guitar publications, including DownBeat, Acoustic Guitar, Just Jazz Guitar, Fingerstyle Guitar, and others.
In addition to composing jazz works for his own ensembles, 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.
Ken has performed as a solo artist and with his ensembles in a variety of venues ranging from prestigious international festivals to intimate jazz clubs, including the JVC Jazz Festival, the North Wales International Jazz Guitar Festival, the Classic American Guitar Show, the Cathedral of St. John the Divine, the Harrison Opera House, the Smithsonian Jazz Café, the Knitting Factory, and 55Bar. He has performed and/or recorded with artists as diverse as 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 Mabern, Brian Torff, Marcus Miller, Kenny Kirkland, Dom Salvador, João Donato, Claudio Roditi, 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 attending 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.
https://www.allaboutjazz.com/musicians/ken-hatfield/
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Descrito como «un auténtico Picasso del mundo de la guitarra de jazz» (20th Century Guitar), y «uno de los guitarristas/compositores más hábiles, creativos y originales que están grabando actualmente» (Acoustic Guitar), el guitarrista de cuerdas de nylon Ken Hatfield es conocido por su formidable técnica de fingerstyle y su original voz compositiva que bebe de influencias tan diversas como el jazz, la música clásica, la brasileña y la de los Apalaches. Sus importantes contribuciones como compositor le han valido un amplio reconocimiento, incluido el prestigioso premio Jazz Vanguard de la Fundación ASCAP por su «música innovadora y distintiva que está trazando nuevas direcciones en el jazz» (2006).
Los nueve CD de Hatfield como líder demuestran sus enormes dotes como compositor e intérprete y atestiguan su constante alto nivel artístico. String Theory, de 2006, que pone de relieve el virtuosismo técnico y la versatilidad de Hatfield al interpretar un grupo de obras originales compuestas para guitarra clásica, dobro y mandolina, fue elogiado por Andy Ellis en Guitar Player por sus «frescos sonidos de guitarra y novedosos conceptos» y su interpretación «inteligente, dinámica e implacablemente melódica». Su trío de 2003 The Surrealist Table fue descrito por Ron Forbes-Roberts en Acoustic Guitar como «. . . una sesión empática rebosante de ideas musicales bellamente realizadas y una interpretación estelar» y fue elegido por Bill Milkowski en JAZZIZ como uno de los 20 mejores álbumes de guitarra acústica. Y la grabación del conjunto de Hatfield en 2002, Phoenix Rising, fue «recomendada para aquellos con afinidad por lo sutil y lo sublime» por Jim Ferguson en JazzTimes. El proyecto discográfico más reciente y ambicioso de Ken, For Langston, es un ciclo de canciones de jazz para sexteto en el que pone música a poemas de Langston Hughes (fecha de lanzamiento: 2/1/13).
Arthur Circle Music ha publicado cinco libros de composiciones de Hatfield, y en 2005 Mel Bay publicó su exhaustivo libro de instrucciones Jazz and the Classical Guitar: Theory and Application, diseñado para demostrar el enfoque único de Ken para tocar jazz con una guitarra clásica. Sus composiciones y escritos también han aparecido en numerosas publicaciones de jazz y guitarra, como DownBeat, Acoustic Guitar, Just Jazz Guitar, Fingerstyle Guitar y otras.
Además de componer obras de jazz para sus propios conjuntos, ha escrito obras de cámara que van desde la guitarra clásica solista hasta cuartetos de cuerda y conjuntos mixtos de diversos tamaños. Ha compuesto obras corales y partituras de ballet, incluidos encargos para Judith Jamison, The Washington Ballet Company y la Maurice Béjart Ballet Company. Y ha escrito partituras para televisión y cine, incluido el premiado documental de Eugene Richards but, the day came.
Ken ha actuado como solista y con sus conjuntos en una gran variedad de lugares, desde prestigiosos festivales internacionales hasta íntimos clubes de jazz, como el JVC Jazz Festival, el North Wales International Jazz Guitar Festival, el Classic American Guitar Show, la Catedral de San Juan el Divino, el Harrison Opera House, el Smithsonian Jazz Café, el Knitting Factory y el 55Bar. Ha actuado y/o grabado con artistas tan diversos como Charlie Byrd, Jack McDuff, Chico Hamilton, Jimmy McGriff, Melissa Manchester, Marilyn McCoo y Billy Davis, Stephanie Mills, Linda Hopkins, Billy Daniels, Pat Benatar, Maurice Hines, Charles Aznavour, Bob Cranshaw, Grady Tate, Harold Mabern, Brian Torff, Marcus Miller, Kenny Kirkland, Dom Salvador, João Donato, Claudio Roditi, Lew Tabackin, Kenny Werner, Ben E. King, Eddie Kendricks, Marlena Shaw, Vivian Reed, Z.Z. Hill y Toni Braxton.
Hatfield comenzó a estudiar guitarra con John Griggs en su ciudad natal de Norfolk, Virginia, antes de asistir al Berklee College of Music, donde se incorporó a la facultad a los 19 años. Estudió contrapunto y composición con Paul Caputo en Nueva York, y obtuvo la licenciatura en Artes por la Universidad Estatal de Nueva York.
https://www.allaboutjazz.com/musicians/ken-hatfield/
Tracks:
01 - Overture
02 - Dream Boogie
03 - Not What Was
04 - Breath Of A Rose
05 - I Don't Believe In Titles
06 - Lonely Nocturne
07 - In Time Of Silver Rain
08 - Prayer [2]
09 - Silent One
10 - Poem To A Dead Soldier
11 - Song Of The Revolution
12 - Convent/Silence
13 - Jazzonia
14 - The Bells Toll Kindly
Credits:
Alto Flute – Jamie Baum
Bass – Hans Glawischnig
Drums – Jeff Hirshfield
Guitar – Ken Hatfield
Percussion – Steven Kroon
Vocals – Hilary Gardner
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