Who is it?

The More Narrative Approach

Rudolf Hasselblatt worked with theatre and music ensembles in Amsterdam from 1980 – 1988, the time of the Festival of Fools (Samba Salad, Pigeon Drop, Jango Edwards etc.). It was there that he acquired crucial experience with stage-set design, light design and stage direction.
The concept of a booking agency soon turned into a concrete address for organising performances and concerts. The associated services, such as media work, tour planning, promotion, advertising rounded off the agency’s range of services. Its specialisation, the placement of European and Latin American theatre and music groups playing Latin, jazz, flamenco and blues, took things in a “global” direction, to the world music sector.
With Tom “Tornado” Klatt, of Recklinghausen, Rudolf Hasselblatt founded the music publishers called inspyration publishers, which focused on the discovery of unknown material. Their greatest coup: they discovered as yet unknown recordings by Tony Scott (clarinet) from the 1950s for the very first time, previously unreleased. The performances in Germany by Saynkho Namtschylak from Tuva on her first tour of the West were also taken care of by them.
Between 1988 and 1993 he represented New Albion Records (then under the roof of szenario arts), an avant-garde label from San Francisco, in Europe. (Joan La Barbara, John Cage, Morton Feldman, Karlheinz Stockhausen etc).
Hasselblatt discovered the secrets behind the marketing of pop music at ZYX Music, in his capacity as head of the promotion department, and at Bellaphon Records, as head of product development. (Motörhead, Martin Barre (Jethro Tull), Two Unlimited, Twenty-4-Seven, Matt Bianco, Capella, Olivia Newton John, Michael Morgan, Carlos Peron etc.)
After two years in Switzerland (cod music, CD Distribution) he joined the world music label Network Medien in Frankfurt, where for twelve years he took responsibility for international distribution and licence administration.

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Through szenario arts, Rudolf Hasselblatt has been putting his long years of experience at the disposal of young artists and creative people since 1996. The setting up of an independent music publisher in 2007 was a consistent step at a time when control of copyright and exploitation rights are increasingly the main focus of the marketing of creative works.

As a strategic move away from the sound carrier into the live business, he is now associated with Griot, an agency for bringing nowadays music to European stages.