The Reviews:

What the critics and Ken's fans have to say about his music.
Click on the CD to read the reviews

	Phoenix Rising
	DYAD
	Explorations for Solo Guitar
	Ken Hatfield and Hans Glawischnig Music for Guitar and Bass

Additional Reviews

“ Ken Hatfield has a real flair for jazz phrasing on the nylon string and none of the clichés many nylon string guitarists use when playing jazz. Combine this with a superb sound from his Buscarino Cabaret classical guitar and you have a very satisfying album.”

--excerpt, Ian Macgregor review of Phoenix Rising in Jazz Guitar Society of Western Australia News Letter, #79, December 2000

“ Ken Hatfield wields his eloquent and supple classical guitar on his latest jazz offering, Phoenix Rising. . . . A top notch classical/jazz guitar outing by Hatfield.”

--excerpt, Dan McClenaghan review of Phoenix Rising @ www.AllAboutJazz.com

“ . . . Hatfield is nothing if not versatile. . . . the clarity of Hatfield’s articulation and the acuity of his musical imagination remain consistent throughout. . . . Always exploring new forms, even as he remains true to his inspirations, Ken Hatfield has recorded a technically impressive and instantly enjoyable CD that, in some respects, is his most elaborate yet.”

--excerpt, Don Williamson review of Phoenix Rising @ www.jazzreview.com

“ The fourth release from this prodigiously talented guitarist and composer finds him dividing his time between straight-ahead jazz compositions and pieces written in various Brazilian styles. None is less than lovely, and several are astoundingly beautiful. . . . All in all, this is an endlessly delightful album.”

“ Hatfield demonstrates remarkable consistency in his solos and outstanding musicianship throughout the album. . . . He’s an intense player who builds his solos with aplomb. . . . If you’re not familiar with Ken Hatfield’s distinguished playing and tasteful musical compositions, this album, Phoenix Rising, is a great place to start.”

“ . . . Hatfield’s technically prodigious yet soft-spoken fingerstyle work. . . continues to defy norms in the jazz guitar field.”

“ The set offers a representative cross section of his talents, which include writing for solo guitar. . . , a knack for Latin rhythms and moods . . . , and the ability to swing and even get downright funky. . . . Recommended for those with an affinity for the subtle and sublime.”

“ Hatfield and sidemen luxuriate quite comfortably in bop and blues. . . , mainstream cool . . . , and contemporary chamber jazz. . . . Hatfield wrote and arranged all ten tracks on this CD, as prolific a composer as he is an able and passionate performer. Ken Hatfield’s music may be classic jazz at its core, but even better. . . it’s all sincerely gussied up with a fresh new face on it.”

“ Hatfield explores Brazilian-drenched motifs as an adjunct to a succession of jazzy grooves and melodically tinged overtures. The guitarist’s nimble touch sparks notions of the late Charlie Byrd as he demonstrates poise and an upbeat demeanor throughout this cordial affair.”

“ . . . Phoenix Rising by Ken Hatfield [is] a welcome find for those who appreciate the sensitive warmth of the acoustic guitar. . . . Wistful, I guess, is the word that best describes the Brazilian jazz Hatfield offers here. . . .”

“ This CD is a great combination of classical, Latin and, of course, that great jazz Ken is known for. All compositions are originals by Ken, with great arrangements and meticulous recording. . . . This project is one of his best, if not his best recording to date. . . . A must-have for 2003.”

“ [Hatfield’s] inventive use of intricate chordal arpeggios combined with single-note lines in both his comping and soloing has developed into an instantly recognizable technique. Hatfield’s solos, like his compositions, are elegant, polished, and always energetic and absorbing, as demonstrated on “Iberia,” one of Phoenix Rising’s many highlights.”

--excerpt, Ron Forbes-Roberts review of Phoenix Rising in Acoustic Guitar, February 2003

“ Few can match Ken Hatfield for the sheer beauty of his compositions. With Dyad, his artistry reaches new heights. Brilliant performances by an outstanding group of musicians makes for extraordinary listening.”

--Randall Kremer, Smithsonian Institution

“ This is an interesting CD by Berklee-educated acoustic guitarist Ken Hatfield, who proves here how enjoyable a disc of all original compositions can be—when melodies and instrumentation are tight and swinging! . . . It is terrific to hear a masterful acoustic guitar player like Ken Hatfield who plays his instrument with great lyricism and style. He is clearly a skilled musician who has crafted some fascinating melodies, and who also has the experience and presence of mind to step back and be a part of his own ensemble. . . . Hatfield continues to express his original voice from track to track. . . . ‘Hats off’ to Mr. Hatfield!—for creating these beautiful tunes and for presenting a recording of style and substance.”

--excerpt, Ray Hoffman review of Dyad in Jazz Improv, Vol. 3 no. 1

“ Hatfield is a real talent who is heading the current resurgence of the nylon string guitar in jazz. . . . Ken uses the classical instrument exclusively as a vehicle to communicate his musicality, compositions, arrangements and stunning technique. Highly recommended.”

--excerpt, Andy MacKenzie review of Dyad in Just Jazz Guitar, November 2000

“ This is one great band! . . . As always, Hatfield’s compositions equal the high caliber of his musicianship. . . . Ken Hatfield is setting new standards—both as a composer and guitarist—which mark him as a singular artist.”

--excerpt, Jim Fisch review of Dyad in 20th Century Guitar Magazine, “The Jazz Box,” December 2000

“ . . . his guitar work, which employs fingerstyle technique on a nylon-string instrument, is highly fluid and fluent. . . . Hatfield is in especially good form. . . .”

--excerpt, Jim Ferguson review of Dyad in JazzTimes, May 2001

“ Charlie Byrd pioneered it, and Ken Hatfield is continuing a marvelous legacy of melodic nylon-string jazz guitar. With his third CD release, Dyad, Hatfield is gaining notice with his ability to cross over musical boundaries and play it right. The more I listened to this recording, the more I was struck by how much music is on it. . . . The release of Dyad makes it clear that this Hatfield is the real McCoy."

--excerpt, Kirk Albrecht review of Dyad @ www.minor7th.com

“ Hatfield’s music. . . consistently defies conventional labling. . . . melody and consonance reign supreme in Hatfield’s work. . . . both personal and eloquent. . . . Ken continues to mature as a unique voice on his instrument.”

--excerpt, Jim Fisch review of Explorations for Solo Guitar in 20th Century Guitar Magazine, “The Jazz Box,” October 1999

“ I like the compositions, especially the sonata, a major undertaking, very well executed. The playing is damned good too.”

“[Hatfield] swings! All in all this is an excellent CD, and should stand as a major release when viewing the development of the classical guitar in jazz.”

--excerpt, Andy MacKenzie review of Music for Guitar and Bass in Just Jazz Guitar, May, 1999

“ A wonderful eclecticism distinguishes the performances of Ken Hatfield and Hans Glawischnig on Music for Guitar and Bass. Much of it springs from Hatfield’s carefully tailored compositions. . . that allow for a full range of expression and styles from the two musicians. . . . Both men have great rhythmic impulses that never leave the music wanting for any other percussive effect. . . . The set. . . is relaxed and intimate.”

--excerpt, Jim Fisch review of Music for Guitar and Bass in 20th Century Guitar Magazine, “The Jazz Box,” December 1998

“ Ken Hatfield demonstrates a keen mastery of the acoustic nylon-string guitar on this set of original jazz compositions. . . . Hatfield and Glawischnig play with admirable cohesion while turning out many nice improvisations. . . . Hatfield’s exceptional writing particularly shines. . . .”

--excerpt, Jim Ohlschmidt review of Music for Guitar and Bass in Acoustic Guitar, March 1999

“ I was captivated. . . . the musicianship and compositions were nothing short of stunning.”

--Brad Stone, Music Director, KKUP-FM

“ Hatfield is a swinging guitarist who plays with a happy skip in his step on these three albums. . . . [On Dyad] Hatfield displays a European foundation in music, but he has a love for the Brazilian counterpart and its easy integration into the American Jazz mold. He composed all the music for this session, and it prances delightfully through the cultures of three continents. . . . While the recording sails along on a light breeze, it has a charmingly refreshing air and impeccable interplay. . . . [On Phoenix Rising the] musicians mesh in perfect harmony. . . . suggesting the air of melodic tenderness personified by the writing of Antonio Carlos Jobim. . . . Hatfield has found the formula for conveying that happy feeling. . . . [On Music for Guitar and Bass] Hatfield and Glawischnig glide smoothly over these lovely tunes, and their sensitive intricacies with their strings make the program appealing. Hatfield’s music combines tenderness, a romantic spirit, and fine execution. It represents a pleasant change of pace.”

--excerpt, Frank Rubolino review of Dyad, Phoenix Rising, and Music for Guitar and Bass in Cadence, Vol. 29 no. 3, March 2003

“ I believe Ken to be one of the world’s great artists and the opportunity to introduce his music to the United Kingdom was long overdue.”