Bill Frisell's newest project, In My Dreams, is a family reunion of sorts, which brings some of the acclaimed guitarist's closest friends together into a unique sextet - featuring Jenny Scheinman on violin, Eyvind Kang on viola, Hank Roberts on cello, Thomas Morgan on bass, and Rudy Royston on drums. Their deep musical history goes back decades, though never in this configuration, and together they travel wide expanses of American music including Frisell originals as well as jazz and Americana staples. Produced by Lee Townsend, the album is released as part of Frisell's 75th birthday celebrations. 2-LP set.
Bill Frisell's project, In My Dreams, is a family reunion of sorts, which brings some of the acclaimed guitarist's closest friends together into a unique sextet - featuring Jenny Scheinman on violin, Eyvind Kang on viola, Hank Roberts on cello, Thomas Morgan on bass, and Rudy Royston on drums. Their deep musical history goes back decades, though never in this configuration, and together they travel wide expanses of American music including Frisell originals as well as jazz and Americana staples. Produced by Lee Townsend, the album is released as part of Frisell's 75th birthday celebrations.
It's a gift that has been handed to Jasper: the ability to choose a musical partner for a unique project where the sum of the parts far exceeds the normal mathematical result. The result is the epitome of synergy. These great live recordings are addictive. Not merely because of their lovely tones, thrilling turns, subtle waywardness and the restrained calm that pervades them. No, it is first and foremost the overall vibe that makes this release so special. You're literally transported to a sound world that breathes, where a liberating space prevails. Your sense of time wavers and you feel connected to the language of the players. Listening to them places you fully in the Now.
Bill Frisell's expansive double album Orchestras documents two inspired concert-hall engagements arranged by Michael Gibbs for the guitarist's trio with bassist Thomas Morgan and drummer Rudy Royston. Sweeping orchestration evoking landmark film scores and Gil Evans alike move nimbly within and around the trio's telepathic rapport, and Frisell's shimmering trademark tone melds gorgeously with symphonic strings and brass. CD Packaging: Softpak CD
Bill Frisell's expansive double album Orchestras documents two inspired concert-hall engagements arranged by Michael Gibbs for the guitarist's trio with bassist Thomas Morgan and drummer Rudy Royston. Sweeping orchestration evoking landmark film scores and Gil Evans alike move nimbly within and around the trio's telepathic rapport, and Frisell's shimmering trademark tone melds gorgeously with symphonic strings and brass.
2022 release. Bill Frisell convenes a new line-up of musical friends on his third Blue Note album, Four, which features the acclaimed guitarist with Gregory Tardy on saxophone and clarinet, Gerald Clayton on piano, and Johnathan Blake on drums. Together, the foursome delves into intimate explorations of thirteen Frisell originals (both old and new) to create this stunning new work that is a meditation on loss, renewal, and friendship.
Double vinyl LP pressing. 2022 release. Bill Frisell convenes a new line-up of musical friends on his third Blue Note album, Four, which features the acclaimed guitarist with Gregory Tardy on saxophone and clarinet, Gerald Clayton on piano, and Johnathan Blake on drums. Together, the foursome delves into intimate explorations of thirteen Frisell originals (both old and new) to create this stunning new work that is a meditation on loss, renewal, and friendship.
2019 release. Like their acclaimed ECM release Small Town of 2017 which The Guardian called "wistful and mesmerizing... tonally ingenious and haunting" Epistrophy by guitarist Bill Frisell and bassist Thomas Morgan was recorded at New York City's Village Vanguard. The album once again captures the rare empathy these two players achieve together in this intimate environment. There are further poetic takes on pieces from the duo's beloved Americana songbook ("All in Fun," "Red River Valley," "Save the Last Dance for Me"), as well as another intense version of a composition by Paul Motian ("Mumbo Jumbo"), an artist whom both the guitarist and bassist knew well. Frisell and Morgan communicate the essence of Billy Strayhorn's "Lush Life" and the Frank Sinatra hit "In the Wee Small Hours of the Morning," so much so that the famous words seem to hang in the air even without a singer. At the center of the album is a pair of pieces by Thelonious Monk: the funky, angular "Epistrophy" and the ruminative ballad "Pannonica." And as with "Goldfinger" on Small Town, Frisell and Morgan offer a glowing duo interpretation of a melody-rich John Barry title tune from a James Bond film "You Only Live Twice."
This long-awaited solo album from Bill Frisell, who has spent a considerable portion of his career collaborating with others, reflects just how far the guitarist has come since making his first recordings for ECM in the early 1980s. As a leader and sideman on more than 250 albums, Frisell has proven himself time and again to be an expert at engaging his fellow musicians in meaningful musical conversations and playful call-and-response. In short, he plays well, and often, with others—and that’s what makes his unaccompanied performances on Music IS so revealing. - DownBeat Editors' Pick
Since his debut recording 35 years ago, Bill Frisell has been remarkably prolific, resulting in 36 albums as a leader. On Music IS the guitarist re-examines some of his earlier works while showcasing five new compositions, all in an unaccompanied setting.
Frisell starts many tunes with an almost naive simplicity but gradually builds sonic cathedrals by using looped layers and gorgeously finessed chordal voicings; “Pretty Stars” and “Thankful” are examples of this approach. Another Frisell signature, the Monkian herky-jerky quirkiness in some of his rhythmic cadences, manifests on his sparse reworking of “Winslow Homer,” which he gradually builds up to a virtual guitar choir through overdubbing. “Change Is in the Air” is a fragile, chamber-like minor key lament that relies on multiple guitar tracks for lush effect. He makes judicious use of swirling loops and backwards effects on the somber “What Do You Want?” and the hypnotic “In Line” while the grunge element in Frisell’s playing rears its dissonant head on “Kentucky Derby.” Other intimate gems here include a haunting remake of the lonesome-sounding “Ron Carter,” an artful re-imagining of “Rambler,” and “Monica Jane,” a poignant ode to his daughter.
Featuring reinterpretations of famous jazz standards by artists like Joe Lovano, Lee Konitz, Bill Frisell, Charlie Haden, and his daughter Petra Haden on vocals, Paul Motian creates an audio film about scenes in New York City for closed eyes.
For this 2014 album, GUITAR IN THE SPACE AGE, guitarist and composer Bill Frisell mines the catalog of guitar based music from the '50s and '60s that first inspired him to pick up the instrument. Joining Frisell for this album of musical memoriesare the members of his working trio, bassist Tony Scherr and drummer Kenny Wollesen, along with frequent collaborator Greg Leisz, a master of the lap and pedal steel guitars. This superb quartet explores the music of Pete Seeger, the Byrds, Junior Wells, Dick Dale, the Ventures, the Astronauts, Chet Atkins, Merle Travis and others with Frisell's own compositions sprinkled in. The album offers a rare look into Frisell's formative influences, from a time when the electric guitar was in it's infancy and creating a startlingly new sound, pushing popular music into the future.
Legendary jazz guitarist Bill Frisell's first release on OKeh Records, Big Sur, features all-new music commissioned by the Monterey Jazz Festival which premiered at their festival in 2012. While staying at the Glen Deven Ranch, Frisell was captivated by the beauty and grandeur of the Big Sur, California coastline which inspired him to write this transcendent new music. He is joined on the recording by the talented musicians of his Big Sur Quintet; Jenny Scheinman (violin), Eyvind Kang (viola), Hank Roberts (cello) and Rudy Royston (drums).
The music from Richter 858 was originally commissioned and recorded to accompany a book of paintings by Gerhard Richter, which was only available in limited quantities back in 2002. Tony Reif of Songlines decided to rescue the recordings from obscurity, and re-released them in early 2005. The band is Frisell on guitar and delay, Eyvind Kang on viola, Jenny Scheinman on violin, and Frisell's old bandmate Hank Roberts on cello. The pieces were directly inspired by a specific painting, and recorded live to two-track with no editing or overdubs. In the booklet are thoughts and guidelines given to Frisell by producer David Breskin and an interview on the subject with Frisell, and they shed a great deal of light on the process of how this music was created. Since art is, of course, a subjective thing, you may or may not feel that the music directly relates to the paintings, but there's no denying that this is a fascinating project. The majority of the songs are built on simple repeated figures, and the players all seem free to embellish and improvise on top of that. Frisell's delays play a major role in this music (Breskin points out that Richter's technique of applying a squeegee to wet oil paint is analogous to Frisell "smearing" notes by manipulating his delay), and the way he uses the delayed guitar signal to complement, and in some cases mimic, the strings is quite amazing (remember, this was done live with no editing). It's been years since Frisell has made such extensive use of the delay, but he's still an absolute master. There is also a minimalist quality to the pieces, but the interplay between guitar, delay and strings keeps them from becoming static. Most of this album is quite serene and beautiful, although there are a couple of hairier moments. The paintings themselves are also reproduced in the booklet, and also as enhanced content on the disc itself, which is encoded for Super Audio playback. This is a very interesting new sound for Bill Frisell, and apparently this band is developing more music together outside the scope of the original project.
