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Frisell is one of the most original guitarist of the past 20 years. He got his start playing on ECM records in the mid to late 70s and has since then had a rollercoaster ride of a musical career. Not that this is going to mean anything, but he won a Grammy this year for the album "Unspeakable. He even studied with Jim Hall for a little while in the mids. Many of the songs like the title song have alot of dissonance in them, but its the way he uses this dissonance that makes it an enjoyable song to listen to.
On this album, he has really found a way of taking a musical phrase that is dissonant and turning it into something accessible. The more I talk about this album, the more I give away all of the naunces that one who appreciates good music will find in this. You're just going to have to pick up this album and soak in the sonic tapestry that Bill and Co.
Thank you, thank you. I damaged my copy of this CD and I never expected to be able to find another one. This copy is pristine and so are the case and inserts. I am listening to this right now on my mp3 player and it has graced my stereo at home for some weeks since I bought it in its new incarnation with cardboard sleeve.
I don't think I can add much to what has been written in the past about Mr Frisell but I can say that of his albumns I have heard, this is currently my favourite. This is an ecouraging start to exploring his back catalogue! However the title track is actually quite melodious despite the noise and overall the music does what music should, communicate and with Mr Frisell's inimitable style and taste. In fact I think the raw energy of this albumn has much to offer that his later recordings have to some extent refined away.
There is also plenty of variety to keep you interested. Perhaps more so than in some other albums. Well worth your attention! These include electric and acoustic guitar, six-string banjo, and bass, as well as the occasional looped sample. To call the music he creates on this album "introspective" would be something of an understatement. This won't come as a complete surprise to his fans -- there has always been a gentle and meditative quality to his music, and even when he's gotten wild with his trio or with downtown pals like John Zorn or Vernon Reid, those moments of abrasive abandon have always seemed like detours from his more natural, but no less inventive and interesting, sweetness and good humor.
But there's a darkness around the edges this time out that is unusual, as if he's lonely playing by himself and a little bit unnerved at the thoughts and feelings he's being forced to face on his own.
His rendition of the A. Carter classic "Wildwood Flower" starts out with an extended Delta-blues introduction, which is a pretty unusual choice. There are other cover versions, including Hank Williams' "I'm So Lonesome I Could Cry" and Gershwin's "My Man's Gone Now," both of which deeply explore the emotional wreckage described by the songs' lyrics; his own compositions, such as the vaguely surfy "Variation on a Theme" and the slightly ominous "Big Bob," seem to be cut out of similar cloth.
There are moments of light relief, such as the gently lovely title track and the brief banjo interlude "Fingers Snappin' and Toes Tappin'," but the overall mood here is relatively dark, though consistently beautiful. Atmospheric isn't just an adjective for Bill Frisell, it's a concise description of the aesthetic he's followed through much of his career. While he's a masterful player in various contexts, Frisell's magic is how much he can create with so little; he's capable of creating tremendously evocative soundscapes with just an electric guitar, some reverb, and the occasional use of a looping pedal.
While jazz is a fitting category for his work, if anyone in contemporary music has a style that transcends genre, it would be Frisell. Bergman and Roberts also contribute harmony vocals, and they interact with Haden with the same kind of care and imagination that they display with Frisell's instrumental work. HARMONY sometimes feels so ethereal that it could blow away in a strong breeze, but there's a strength in the quiet of these sessions, and the best moments are nothing short of magic.
It's hard to imagine that Bill Frisell at 55 is the youngster of this group. But he is by a long shot. Not that it matters in terms of musicality; rather, it's that younger modernism and its involvement with different musical genres that make Frisell such a welcome foil for the likes of two heavyweights like Paul Motian and Ron Carter. To say that this album is all over the place is an understatement.
These three musicians sound so comfortable, it's like they've been playing together for years. There is great humor in the approach on some of these tunes, such as Carter taking a boogie break near the end of "Eighty-One," or the tight little counterpoint between Motian and Frisell on "Raise Four.
Those who have decried Frisell's move toward country music in the last decade or so needn't be worried; no matter how songs are played and they are played as songs , this is fully a jazz date with plenty of improvisation and strange asides. Motian's musicality is one more element of the great edge this band has. He's always pushing, however gently, always singing on his kit.
With Carter's solid time, they weave a tapestry that's as rich and humorous as Monk's, and he's snapping his fingers wherever he is now. This is a solid and unexpected surprise from a brilliantly conceived collaboration. This relatively early set from Bill Frisell is a fine showcase for the utterly unique guitarist. Frisell has the ability to play nearly any extroverted style of music and his humor check out the date's "Music I Heard" is rarely far below the surface. This particular quintet with trumpeter Kenny Wheeler, tuba player Bob Stewart, electric bassist Jerome Harris and drummer Paul Motian is not exactly short of original personalities and their outing featuring seven Frisell compositions is one of the most lively of all the ones in the ECM catalog.
History, Mystery. History, Mystery is among Bill Frisell's most eclectic yet accessible projects. Produced by longtime ally Lee Townsend, this double-disc, minute, piece suite encompasses the full range of Frisell's musical past and his influences, obsessions, and storylike vision.
It is performed by a star-studded octet that includes trumpeter Ron Miles, saxophonist Greg Tardy, and a string section featuring Eyvind Kang, Jenny Scheinman, and Hank Roberts, with bassist Tony Scherr and drummer Kenny Wollesen in the rhythm section. The source material for this recording was compiled from a multimedia collaboration with artist Jim Woodring called Mysterio Sympatico in and recorded during a tour.
The sense of "mystery" is in just how these various sources are melded in a multi-textured tapestry of sound. Balance for this work is achieved in the strength of its arrangements, and the glue that binds them together is the string section. Its role is pivotal: it anchors the listener through its many stylistic and textural changes. The notion of "history" here is also revealed in the way songs are juxtaposed. The nuevo tango-inspired "Probability Cloud" is the theme that bookends disc one.
For studio projects, this group was regularly joined by other musicians. During this time he performed with many musicians, including up and coming performers such as Douglas September on the album 10 Bulls. He also branched out by performing soundtracks to silent films of Buster Keaton with his trio, and contributed to Ryuichi Sakamoto 's album Heartbeat.
In the mids, Frisell disbanded his trio. He continued the trend marked by Have a Little Faith by more explicitly incorporating elements of bluegrass and country music into his music. Several of Frisell's songs, including his recording of " Over the Rainbow " and "Coffaro's Theme", originally composed in for an Italian movie, La scuola , were featured in the movie Finding Forrester in He later recorded the work for a release on Nonesuch.
Also in he released The Sweetest Punch , which featured a seven-piece jazz ensemble reworking the tunes written and recorded by Elvis Costello and Burt Bacharach on Painted from Memory. Between and Frisell acted as musical director for Century of Song , a series of concerts at the German Ruhrtriennale arts festival produced by Lee Townsend. Frisell was also a judge for the sixth annual Independent Music Awards to support independent artists' careers.
It comes with brief notes by the artists, an extensive biography, and discographical information. Learn more about our star rating system. Sponsored by Outside in Music. Reset your password Click the eye to show your password. Membership has its privileges. Learn more. Joshua Redman b. Wayne Shorter b. Milt Jackson - vibraphone. John McLaughlin b. Paul McCartney b. Colin Towns piano. Don Byron b. Curtis Fowlkes b. John Zorn b.'HARMONY', Bill Frisell's debut on Blue Note Records available October 4. Oct 4, Oct 4, Apr 4, Denver Folklore Center / Swallow Hill Music. Apr 4, Apr 4, Nov 9, End of the World Sessions - with Julian Summerhill.