The Surrealist Table . . .chosen as one of the 20 top acoustic guitar albums to have. . .
—JAZZIZ, March 2004
“. . . an empathetic session brimming with beautifully realized musical ideas and stellar playing. . . . The harmonic richness and strong melodic content of these pieces makes them perfect vehicles for Hatfield’s thoughtful, intricate, and often burning improvisations. As with [Bill] Evans, Hatfield’s playing is characterized by creative invention, a refined delicacy of touch, and an in-the-pocket rhythmic swing and drive. . .”
–excerpt, Ron Forbes-Roberts review of The Surrealist Table in Acoustic Guitar, June 2004
“A veritable Picasso of the jazz guitar world, . . . Hatfield’s depth of experience and his ardent commitment to bring the guitar into the now, make The Surrealist Table an album to devour deeply.”
–excerpt, Robert Silverstein review of The Surrealist Table in 20th Century Guitar Magazine, March 2004
“. . . truly one of the most exciting and purely musical jazz recordings I’ve heard in years.”
–excerpt, Chip O’Brien review of The Surrealist Table at minor7th.com
Music Reviews
Stirrings Still
For Langston
String Theory
The Surrealist Table
Dyad
Phoenix Rising
Explorations for Solo Guitar
Music for Guitar and Bass
To Be Continued . . . Ken Hatfield and Friends
Play the Music of Bill McCormick
Book Reviews
12 Preludes for Solo Guitar
Etudes for Solo Guitar in 24 Keys
Jazz and the Classical Guitar
Press Releases & Bio
Ken Hatfield Biography
For Langston Press Release
ASCAP Award Press Release
String Theory Press Release
Surrealist Table Press Release
Etudes for Solo Guitar in 24 Keys
“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 classically-trained leader has no shortage of guitar chops; he frequently demonstrates an incredible incendiary yet deft technique on his instrument. His performances, however, are not lost on mere demonstrations of technique, but rather aimed at making technical skills available for artistic expression. . . . Without a doubt, The Surrealist Table is a ‘must hear’ for any guitarist—or jazz afficionado, for that matter.”
–excerpt, Craig W. Hurst, review of The Surrealist Table at allaboutjazz.com
“THE SURREALIST TABLE is a wonderfully original collection of jazz songs that is sure to enchant the jazz listening audience. . . . This is a mellow, creative, and exciting collection, and it is one not to be missed! Highly recommended for its performances and eclectic songs.”
–excerpt, Lee Prosser review of The Surrealist Table at jazzreview.com
“His nylon string tone is superb, warm and clear. . . . As well as the superb playing on this CD the original compositions are the best I have heard for some time.”
–excerpt, Ian MacGregor review of The Surrealist Table in the Jazz Guitar Society of Western Australia newsletter, February 2004
“Hatfield plays with a lyricism that belies his obviously broad technique. With songs that are sometimes romantic, and other times slightly elliptical; whether playing warm single-note lines or rich finger-picked chord passages, Hatfield’s compositions and playing approach is always understated, often approaching the sublime.”
–excerpt, John Kelman review of The Surrealist Table at ejazznews.com
“The nylon-string guitar has no more powerful advocate on the current jazz scene than Ken Hatfield, whose virtuosic fingerstyle technique is matched by an exceptional compositional gift and who succeeds better than most at stretching the boundaries of his instrument while playing and writing music that feels as friendly and naturally straight-ahead as anything by Charlie Byrd or Wes Montgomery.”
–excerpt, Rick Anderson review of The Surrealist Table at allmusic.com
“The Surrealist Table has it all: great compositions, great solos, and great communication. Furthermore, the addition of Hatfield’s classical guitar to the jazz realm marks a significant contribution.”
–excerpt, Joshua Musselwhite review of The Surrealist Table in Jazz Improv, vol. 4/4