Mati Klarwein

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My main objective for this website is to just turn you on to some people, places, and things that I think are great and timeless, and might not be on your radar. For those of you who may be questioning the balance of sneaker and music related content, don’t worry. I have plenty of product reviews and more interviews lined up for you, but in the meantime, don’t be afraid to expand your mind a little bit past just Kanye and Kaws. No disrespect, but there are fifty years of great art and music to dig into, that you might like if you’re into those guys. Some other time I’ll make the connections between Kanye, the Grateful Dead, Wes Lang, Phish, and George Condo.

I’m definitely not an art expert, but many would say that I’m a gentleman and a music scholar, and that’s how I first discovered Mati Klarwein. Specifically, it was through my man Hammer’s dad’s collection of jazz fusion records and even more specifically, Miles Davis’ Bitches Brew and Live Evil. The only thing further out than the cover artwork was the music on the records inside them. One more Blue Note record cover had similar artwork, and that was Reuben Wilson’s Blue Mode. There was also one other album in my parents’ collection that folded out into a really trippy scene; Santana’s Abraxas.

I’ve talked in other posts about how you don’t get this type of shit when you download an album. I can’t even imagine what it must have been like to come home from the record shop and listen to Bitches Brew or Dark Side Of The Moon for the first time. I’m sure it was even more mind-blowing then when I first heard them in 1994. Check out this gallery to see the artwork that set the tone for these groundbreaking albums.

Here’s also an excerpt from Mati Klarwein’s website talking about the first slide in this series:

“Annunciation is the first painting I painted after my initial New York awakening. I was 28 years old and at the peak of my molecular bio-energy. You can feel the sudden burst of the Big Apple’s electric zap in the composition after all the early years of adolescent brooding over potatoes and eggs and the romantic nostalgia of the preceding Flight to Egypt.

Years later Carlos Santana saw a reproduction of the Annunciation in a magazine and wanted it for the cover of his all-time best selling Abraxas album. It did me a world of good. I saw the album jacket pinned on the wall of a shaman’s mud hut in Niger and inside a Rastafarian’s ganja hauling truck in Jamaica. I was in good global company, muchísimas gracias Carlitos!”

From Mati Klarwein’s Collected Works

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