Ken Hatfield is a virtuoso on his chosen instrument, the nylon-stringed classical guitar, and has showcased his abilities in environs including Appalachian, classical and jazz. Comfortable across genres, he and his instrument are well-suited for these Bill McCormick tunes born of multiple influences. This release is an outgrowth of a previous McCormick project, Music for Guitar (mPub, 2003), that featured music for the unaccompanied instrument. This time, pieces are written primarily for jazz ensemble, and if the current title is ...read more
Ken HatfieldFetch Restaurant New York, NY May 2, 2006 What is fascinating and wonderful for the jazz lover in New York City is that high quality jazz can be found in many unexpected places such as restaurants. While you will not find a Big Band, small acoustic groups abound. One such venue is Fetch on Third Avenue and 92nd Street in Manhattan's Upper East Side. This is a real neighborhood place, ...read more
Ken Hatfield is an extremely complex and multifaceted individual, a philosopher-king, a musically omnivorous hillbilly--and yes, his last name comes from those Hatfields. The music on String Theory fully displays where Hatfield has been in his chronological and musical life. He emphatically refuses to be pinned down by any label, even an amorphous one like jazz." He's equally at home in the worlds of classical guitar, Brazilian jazz, the blues and straight-ahead jazz (represented by standards ranging from Emily" to ...read more
Ken HatfieldJazz and the Classical Guitar: Theory and ApplicationMel Bay Publications248 pages, softcover, spiralboundISBN: 07866723662005
Intended for serious music students, Ken Hatfield's book discusses harmonic theory in detail and offers the reader a thorough foundation for approaching jazz improvisation; either as a career, or for the pleasure of performing alone or with a group. While the book focuses on acoustic guitar, it's intended for anyone who already knows ...read more
Crystal-clear guitar is center stage on these two releases that feature experienced craftsmen artfully exposing the country and classical feel inherent in nylon strings. Ken Hatfield's String Theory is a classical gas dosed with sweet Appalachian honey, while Rolf Sturm's Shawangunk is a deft chordal/melodic encounter that reveals its spirit like a brilliant Hudson Valley morn.
Rolf Sturm Shawangunk Water Street Music 2005 Whether it is the Dead's Ripple, played at ...read more
In a departure from previous albums like The Surrealist Table (Arthur Circle Music, 2003), guitarist Ken Hatfield leaves behind his Latin-inflected ensemble work on String Theory. On this strictly solo affair, Hatfield delivers something completely unexpected.
Classical guitar has been Hatfield's mainstay for some time, and his style references many of the trendsetters who have come before--the Latin side of Charlie Byrd, the abstract classical impressionism of Ralph Towner, and the mainstream focus of Lenny Breau. But from the first ...read more
Guitarist Ken Hatfield's Appalachian roots grow close to the surface on his sixth CD, String Theory, a spontaneous-sounding blend of of classical and country moods, with various themes drawn from some of the down-home sayings of Hatfield's 85 year-old father, Sam ("The Gospel According to Sam"), the fictions of Jorge Luis Borges ("Borges & I"), and modern physics on the title tune, a three-part suite for classical guitar and mandolin that sounds like a meeting of Chet Atkins and Ricky ...read more
On The Surrealist Table , guitarist and leader Ken Hatfield offers not only a veritable clinic on acoustic jazz guitar, but the combo in general also provides evidence of consummate musicians taking great care in the execution of their craft. The pared-down unadulterated sound of three acoustic instruments weaving an aesthetically pleasing sonic fabric truly is an aural treat and delight to the listener. The production of The Surrealist Table also provides evidence that these musicians value the sounds produced ...read more