Bill Frisell "Guitar in the Space Age!" (2014)

Guitar in the Space Age!

release date: Oct. 6, 2014

format: digital (14 x File, FLAC)

[album rate: 3,5 / 5] [3,52]

producer: Lee Townsend

label: Okeh Records - nationality: USA

Studio album by Bill Frisell - his 29th, 30th, 31st, or 32nd, give or take - is in the category of cover albums. It follows the strings-album (violin, viola, cello) Big Sur (Jun. 2013) and it contains fourteen instrumentals, two original Frisell compositions (tracks #6 & #13) and twelve interpretations of popular compositions stemming from the late 1950s to the mid-60s. Several of these were originally surf rock, rock & roll, folk rock, or pop / rock tunes but in Frisell's rearranged versions they have all become jazz-influenced modern standards.

The album is almost naturally critically acclaimed - that's just the way a new Frisell album is met - and it's hard not to understand why Frisell is one of the most valued instrumentalists over the most recent four decades or so. He plays his instrument with an original voice, so to speak. That said, I immediately thought of The Raybeats, who released the album Guitar Beat back in '81, an almost peculiar release at the time with its modernised surf rock instrumentals, completely out of sync with contemporary stylistic waves but at the same time: extremely timeless. And with a selection of popular tunes, Frisell almost replicates that effort. The tunes are very much intact - perhaps a bit too much to my liking, but they still uphold a freshness and universality that cannot be denied. I only wish Frisell would've improvised more on the originals - something that works nicely on his rendition of Ray Davies' "Tired of Waiting for You" - where he gives us that extra layer he often adds to other people's songs 'cause here they mostly shine in their own rights. On the one hand, it makes it perfectly uncomplicated and then it reminds us of what great tunes the originals are. I'm not always in the mood to fully appreciate this collection, but I still find that Frisell just show us, not only what an exquisite instrumentalist he is but also what a fabulous interpretor he also is. I know most of the originals and mostly just think Frisell wants to remind us about these wonders - it's his tribute to that forgotten era of his own youth.

[ allmusic.com, The Guardian 4 / 5, 👍PopMatters 3 / 5 stars ]

Bill Frisell "The Intercontinentals" (2003)

The Intercontinentals

release date: Apr. 15, 2003

format: digital (14 x File, FLAC)

[album rate: 4 / 5] [3,92]

producer: Lee Townsend

label: Nonesuch - nationality: USA

Track highlights: 1. "Boubacar" - 2. "Good Old People" - 4. "Baba Drame" - 5. "Listen" - 7. "Procissão" - 8. "The Young Monk" - 10 "Yála" - 11. "Perritos"

Studio album by Bill Frisell following his 2002 album The Willies is like most of his albums on Nonesuch produced by Lee Townsend and the majority of the tracks are composed by Frisell, although, this one also contains four by others and one traditional; however, the biggest change on this is probably the boldest inclusions of world music on any album by Frisell, which is also seen on the list of personnel and then it's also referred to in the album title. Several tracks honour famous musicians of world music, e.g. the first track "Boubacar", a tribute to Malian guitarist Boubacar Traoré, who again is composer of track #4. The album feature Malian percussionist Sidiki Camara, also on djembe, Brazilian guitarist and percussionist Vinicius Cantuária, Greek oud and bouzouki player Christos Govetas, American violinist Jenny Scheinman, and stable Frisell slide and pedal steel guitarist Greg Leisz. Yes, this is indeed an intercontinental fusion, and the title of the album also became the name of this very ensemble, initially formed in 2001.

The album was met by international acclaim and is a perfect example of Frisell's continued journey to explore new musical soil. The album nicely balances African blues, latin grooves and rhythms, world music, and American roots music with ever-present americana.

Highly recommended.

[ allmusic.com, PopMatters 4,5 / 5, The Penguin Guide to Jazz Recordings 3,5 / 4, Mojo 4 / 5 stars ]

Bill Frisell "Ghost Town" (2000)

Ghost Town

release date: Mar. 7, 2000

format: Digital (16 x File, FLAC)

[album rate: 4 / 5] [3,81]

producer: Lee Townsend

label: Elektra Nonesuch - nationality: USA

Track highlights: 1. "Tell Your Ma, Tell Your Pa" - 2. "Ghost Town / Poem for Eva)" - 3. "Wildwood Flower" - 5. "Variation on a Theme" - 9. "My Man's Gone Now" - 10. "Outlaw" - 13. "Winter Always Turns to Spring" - 14. "Justice and Honor"

Studio album by Bill Frisell following his fine interpretations The Sweetest Punch (Sep. 1999) with songs by Costello and Bacharach is almost as rule of thumb with producer Lee Townsend, but the album differs from many other Frisell releases by being a solo album with Frisell as only instrumentalist. It's not recorded live but it contains multi-layered tracks with the artist playing a diversity of string instruments and using overdubs. Alas, the album has only been issued in digital formats for cd or download.

Stylewise, it's in the quiet and introspective section of his releases, which in many ways guarantees great compositions. The 16 tracks are mainly by Frisell himself - 5 are covers - with an overall genre touching country, folk, standards, and instrumental jazz as the repertoire, and with a total tunning time beyond 70 minutes it never feels too long.

Ghost Town was met by positive reviews, which I perfectly understand. On this, Frisell excells with great emotional strength, and although he masters all sorts of styles and genres, I really enjoy it when he incorporates americana with a gentle approach. This is the closest I've so far found Frisell approaching the sound of Ry Cooder making a made up soundtrack to a fine forgotten film by Wenders.

Highly recommended.

[ 👍allmusic.com 4 / 5, The Penguin Guide to Jazz Recordings 3,5 / 4 stars ]

Bill Frisell "The Sweetest Punch" (1999)

The Sweetest Punch
release date: Sep. 21, 1999
format: cd
[album rate: 4 / 5] [3,96]
producer: Lee Townsend
label: Decca - nationality: USA

Studio album by American jazz fusion guitarist Bill Frisell is actually fully titled: The Sweetest Punch - The New Songs of Elvis Costello and Burt Bacharach Arranged by Bill Frisell, and as the title suggests all songs (but one) are the songs released by Elvis Costello & Burt Bacharach on their '98 collaboration album Painted From Memory. The Costello / Bacharach collaboration work included Costello sending Bacharach his demo takes of his half-finished compositions upon which Bacaharach would contribute with ideas for a music score and the two would then elaborate on the songs, however, Frisell was already introduced to the Costello demos, sent to him by Costello, and Frisell would then use these early sketches to compose / re-arrange them to his very own interpretations, and this albums is the result of that process and therefore not Frisell's arrangements of the finished album.

Costello is featuring vocalist on two tracks (#2 and 10) and Cassandra Wilson also on two (#5 and 10), and apart from these three vocal jazz arrangements all other compositions are held in a subtle big band jazz fusion-style.

Costello / Bacharach harvested critical acclaim for their collaboration album, which is a fine piece of work. This, however, is something entirely different, and I also think it comes out as the slightly better and essentially more well-founded whole. I really enjoyed the live album Deep Dead End (1995) by Costello and Frisell, which is why I was eager to check this one out, and I'm glad that I did 'cause I think that Frisell has made an even stronger album than the original Costello / Bacharach release. And then this release only follows four months after Frisell's fine Good Dog, Happy Man (May 1999).

These compositions are beautifully arranged and Frisell shines with his drops of elegant dozes of subtle jazz notes here and there. As a consequence of the recording process, where Frisell didn't know of the final Costello / Bacharach compositions before finishing his own recordings this album delivers on a different scale, and what a gem it truly is.

Highly recommended.

[ allmusic.com 3,5 / 5 stars ]

Bill Frisell "Good Dog, Happy Man" (1999)

Good Dog, Happy Man

release date: May 18, 1999

format: cd

[album rate: 4 / 5] [3,92]

producer: Lee Townsend

label: Nonesuch - nationality: USA

Track highlights: 1. "Rain, Rain" - 2. "Roscoe" - 4. "My Buffalo Girl" - 5. "Shenandoah (For Johnny Smith)" - 7. "The Pioneers" - 8. "Cold, Cold Ground" - 11. "Good Dog, Happy Man" - 12. "Poem for Eva"

14th studio album by Bill Frisell following Gone, Just Like a Train (Jan. '98) is Frisell's second of eight consecutive albums with long-time producer Lee Townsend.

Stylewise, Frisell has been on a long and twining progression in shaping that highly personal sound of his, and for me, this is when he first comes out the cleanest. He combines and bonds with other genres and styles and you'll notice elements from jazz, blues, americana, country and folk, and what appeals the most to me, is the absence of jazz fusion or the bold traits of rock fusion of the 1970s and 80s. Many will probably associate Frisell with artists like Pat Metheny, Dave Brubeck, Chick Corea and others belonging to, and keeping alive, the heritage of the innovative Miles Davis and the ingenuity of Thelonius Monk. Exactly that may also be a starting point to his own orginal blend, but what I really enjoy, lies more in his ability to combine roots music - be it blues, jazz, or country folk with bits of americana and a tad more gentle approach that flows into something highly original - and that's basically all found on this one.

Highly recommended.

[ allmusic.com 4 / 5, The Penguin Guide to Jazz Recordings 3,5 / 4 stars ]

Elvis Costello & Bill Frisell "Deep Dead Blue" (1995) (live)

Deep Dead Blue (Live 25 June 95) (live)
release date: Aug. 14, 1995
format: cd
[album rate: 3,5 / 5] [3,66]
producer: ?
label: Warner Bros. / Nonesuch - nationality: England, UK

Collaboration live album by Elvis Costello and Bill Frisell recorded live at the Meltdown Festival, Queen Elizabeth Hall RFH2, London, Jun. 25, 1995.

The album may be regarded as a Mini-album with its relatively short running time at just less than 27 minutes. It consists of seven tracks of which two are covers and only the title track is credited the duo (track #7).

Stylistically, it's primarily ballads of vocal jazz and jazz fusion, and Costello is alone credited his vocal and Frisell is alone credited his guitar work with no other musicians contributing. The American guitarist is very likely to be capable of playing anything but his primary domain is jazz fusion, and on this it's his touch with bolder melodic instrumental jazz.

Despite being really stripped down arrangements this concept works surprisingly well. Costello 'plays around' with his most intimate vocal with Frisell adding that swirling and appropriate foundation that makes it all sparkle.

[ allmusic.com 3 / 5 stars ]

Bill Frisell "Have a Little Faith" (1993)

Have a Little Faith

release date: Apr. 1993
format: cd
[album rate: 3,5 / 5] [3,68]
producer: Wayne Horvitz
label: Elektra Nonesuch - nationality: USA

Studio album by jazz fusion guitarist Bill Frisell following Where in the World? (1991) and Frisell's third consecutive album with producer Howvitz. Two members from The Bill Frisell Quartet contribute on this: bassist Kermit Driscoll and drummer Joey Baron - both are near stable instrumentalists on Frisell albums.
Normally, a new Frisell album means new original compositions by Frisell, however, in this case it's the selection of music based on what has inspired the artist himself. So, what you'll find here are new arrangements of American popular music ranging from classical music by Charles Yves, Stephen Foster and Aaron Copland to a list of music by modern popular songwriters and composers from a broad palette of styles and genres including Sonny Rollins, Muddy Waters, Bob Dylan, John Hiatt, Madonna - all highly varied originals and all modernised in Frisell's jazz fusion-like arrangements.
I like it, it's really goood.
[ allmusic.com 5 / 5, The Penguin Guide to Jazz Recordings 4 / 4 stars ]

Bill Frisell "Where in the World?" (1991)

Where in the World?

release date: 1991

format: cd

[album rate: 3,5 / 5] [3,64]

producer: Wayne Horvitz

label: Elektra Nonesuch - nationality: USA

Track highlights: 1. "Unsung Heroes" - 2. "Rob Roy" - 4. "Child at Heart" - 6. "Again" - 7. "Smilin' Jones" - 8. "Where in the World?" - 9. "Worry Doll" - 10. "Let Me In"

2nd and so far final studio album released by The Bill Frisell Band, which is a quartet consisting of band-leader Frisell on guitars, cellist Hank Roberts, bassist Kermit Driscoll, and with drummer Joey Baron. Their first album was Lookout for Hope (1988), and although this quartet hasn't released other albums, Frisell has worked with all instrumentalists on various albums. Where the '88 album was released by ECM and had Lee Townsend as producer, this one is Frisell's third album on Nonesuch and it's his second of three consecutive albums with Horvitz as producer - the first being Is That You? (1990), which also featured Horvitz on keyboards.

Stylistically, Frisell nearly always excells in the jazz fusion area, but that doesn't mean his albums sound alike. He started out in ambient minimalism and then took a turn towards a stronger ingredient of 'post bop' and progressive jazz, which meant louder music and more complex arrangements. He has incorporated americana, blues, world music as well as more popular styles including country and rock. On this, he appears to have left behind most of the more complex compositions and instead focused on melody and simplicity, yet still maintaining a signature trait of introspectiveness.

The album is an acclaimed work of art and it's not that I don't appreciate it 'cause I really do, but it is still a rather complex release pointing in many directions. However, Frisell and his skilled crew-members, throw bits and pieces at you but ultimately make an almost impossible work by holding everything together in a tight leash.

Where in the World? is one of the early albums by Frisell that realy stands in its own rights. On one hand, it's almost like the perfect soundtrack to a non-existing film by Wim Wenders and a timeless conglomerate that shows us glimpses of his later and more mature albums.

A recommended album without fillers.

[ allmusic.com 4,5 / 5, The Penguin Guide to Jazz Recordings 3,5 / 5 stars ]

Bill Frisell "Rambler" (1985)

Rambler

release date: Apr. 29, 1985

format: cd (reissue - ECM 1287)

[album rate: 3,5 / 5] [3,48]

producer: Manfred Eicher

label: ECM - nationality: USA

Track highlights: 3. "Rambler" - 4. "When We Go" - 7. "Wizard of Odds"

2nd studio album by Bill Frisell follows two years after In Line, and it's like the debut produced by Eicher and released on ECM Records. But that's not like saying these two albums are closely related 'cause this is something entirely different. It's still jazz, though, but where the debut was ambient touching on minimalism, this one is uptempo, straightforward and anything but ambient, and by that it also appears much more in the spirit of what Frisell should later be renowned for. Here, you're both handed the qualities of Frisell as composer but moreso the virtuose instrumentalist, who seems capable of playing almost anything.

This is fusion jazz with bonds to post bop and free jazz, and you might as well add: Miles Davis. Later in his career, Frisell focuses more on melody styructure, guitar sound in combination with other instruments, but on Rambler horns (tuba, cornet, fluegelhorn, trumpet) play a central part - which in some ways seems a bit odd given the fact that he's a guitarist. The title track is imho the most refreshing composition on an album that both shows us what Frisell masters and also incorporates americana and basically dwells so nicely in between the more quiet passages and the energy of older jazz styles.

[ allmusic.com 4,5 / 5, The Penguin Guide to Jazz Recordings 3 / 4 stars ]

Bill Frisell "In Line" (1983)

In Line (debut)

release date: 1983

format: cd

[album rate: 3,5 / 5] [3,34]

producer: Manfreid Eicher

label: ECM - nationality: USA

Track highlights: 1. "Start" - 2. "Throughout" - 4. "Shorts" - 5. "Smile on You" - 7. "In Line"

Studio album debut by American guitarist Bill Frisell [William Richard Frisell]. The album follows shortly after ECM apperances as collaborative or featuring guitarist: on Psalm (1982) by Paul Motian Band (led by drummer Paul Motian) on Paths, Prints (1982) by Norwegian alto-saxophonst Jan Garbarek, and also from '82: A Molde Concert by Norwegian bassist Arild Andersen, but his first appearance on an album appears to be with the album Good Buddies (1978), a jazz-fusion album credited Michel Herr, Bill Frisell, Vinton Johnson, and Kermit Driscoll released on EMI Belgium.

In Line is a quiet album touching on ambient minimalism, and it consists of nine compositions by Frisell and basically only feature Frisell on electric and acoustic guitars with Arild Andersen contributing on bass on five tracks. Frisell had often been praised his guitar-work on other albums, so it really makes sense have him star as instrumental virtouso.

In Line is a fine first album despite the absence of other instrumentation. In that regard it's a solid and subtle start of a long and shining career, though I wouldn't recommend to start here.

[ allmusic.com 3 / 5, Rolling Stone 4 / 5 stars ]

Jan Garbarek "Paths, Prints" (1982)

Paths, Prints
release date: Sep. 6, 1982
format: cd (ECM 1223)
[album rate: 4 / 5] [4,08]
producer: Manfred Eicher
label: ECM Records - nationality: Norway

Track highlights: 1. "The Path" (4 / 5) - 2. "Footprints" (4 / 5) - 3. "Kite Dance" (5 / 5) - 4. "To B.E." (4 / 5) - 5. "The Move" (4 / 5) - 8. "Still"

Studio album by Jan Garbarek with Bill Frisell on guitar, Eberhard Weber on bass, and with Jon Christensen on drums and percussion.
Working together with the jazz fusion and modern classical guitar icon, Bill Frisell, could easily have led the music astray but Garbarek is ever-present in a dominating part with drums, percussion, bass and guitar as the subtle backbone. Of course it helps that Garbarek is credited as composer of all tracks, but the album is really one of my favourite Garbarek albums. He's famous for his incorporation of folklore and / or (old) traditional Norwegian folk spliced with modern jazz fusion. His instruments are the soprano and alto sax (he also plays tenor and other instruments as clarinet and percussion); however the instrument, his playing style is original and far from traditional jazz instrumentalists, and in that sense he has much in common with Danish trumpeter Palle Mikkelborg and his Nordic and ambient jazz sound. Frisell together with Weber, Christensen and especially Frisell is a wonderful cocktail.
Highly recommendable.
[ allmusic.com, Rolling Stone 3 / 5, The Penguin Guide to Jazz Recordings 3 / 4 stars ]