Aggie87 Posted July 14, 2006 Report Share Posted July 14, 2006 (edited) bump..... due out on August 29th is a trio album, with Ron Carter & Paul Motian, on Nonesuch. I believe the title of the release is simply their names. Tracks: Eighty-One (R. Carter & M. Davis) 6:20 You Are My Sunshine (Jimmie H. Davis & Charles Mitchell, arr. Bill Frisell) 5:56 Worse and Worse (Bill Frisell) 5:16 Raise Four (Thelonious Monk) 5:15 Pretty Polly (trad., arr. Bill Frisell) 6:56 On the Street Where You Live (Frederick Loewe) 9:25 Monroe (Bill Frisell) 6:05 Introduction (Paul Motian) 4:36 Misterioso (Thelonious Monk) 6:36 I’m So Lonesome, I Could Cry (Hank Williams) 7:54 ...and here's a quote as well: Jazz guitarist, composer, and bandleader Bill Frisell's latest release - 'Bill Frisell, Ron Carter, Paul Motian', captures Frisell with two of his musical idols, bassist Ron Carter and drummer Paul Motian. Produced by Lee Townsend, the album features original compositions from each musician along with songs by Thelonious Monk, Hank Williams and others. Frisell considers this album a major personal accomplishment. He says, "To hear Paul and Ron play together was a dream come true for me. I knew they had worked together a little bit in the 60s and was sure they would reconnect in a big way. During the sessions I was so mesmerized listening to them - most of the time I wasn't even aware that I was playing too! I wanted the album to be live, all of us playing in a room. It was recorded quickly-with no rehearsal." Edited July 14, 2006 by Aggie87 Quote Link to comment Share on other sites More sharing options...
Aggie87 Posted June 2, 2007 Report Share Posted June 2, 2007 Bill Frisell recording update: Floratone: "Bill has just finished a long-term, studio-intensive collaborative project entitled Floratone with drummer Matt Chamberlain and producers Lee Townsend and Tucker Martine featuring deep grooves, glistening melodies, ambient atmospheres and a rich panoply of guitar solos and textures. String and horn colors are provided courtesy of special guests Viktor Krauss, Ron Miles and Eyvind Kang. It will be released on Blue Note Records on August 14th. Stay tuned for more details soon." Also - "Frisell's fall '06 tour with the Unspeakable Orchestra and special guests was recorded for Bill's next Nonesuch album. In this extended ensemble, Frisell explores a fuller palette of orchestral colors and timbres than any he has previously written for. The group premiered new Frisell compositions as well as his recent arrangements of favorite pieces by other songwriters. The Unspeakable Orchestra members joining Bill are: Jenny Scheinman, violin; Eyvind Kang, viola; Hank Roberts, cello; Tony Scherr, bass, Kenny Wollesen, drums and special guests Ron Miles (trumpet) and Greg Tardy (clarinet and tenor saxophone). Producer Lee Townsend and engineer Shawn Pierce accompanied the group on the tour to record. Additional studio recording and shaping of the material will be undertaken in the next few months." Quote Link to comment Share on other sites More sharing options...
Quincy Posted June 2, 2007 Report Share Posted June 2, 2007 (edited) Hmm. I saw Frisell with the string section mentioned in the Nonesuch project in the early '06. It didn't always click, but they produced both dreamy ethereal pieces (that would bore non-fans ) along with what almost sounded like early Pink Floyd song believe it or not. I hadn't realized that he added players later on, though it shouldn't surprise me as Frisell mixes it up continually. Also relatedly last week I saw Ron Miles play with various University of Oregon students, playing both some of his own songs along with student compositioins. A piece entitled "Bunny Gumdrops" by David Swigart was jaw-dropping great. Some of those kids can really play, and Mr. Miles is a very classy & giving fellow. It was nice to finally see him play, as I have a couple of his leader sides, and it was for the ridiculous low price of $7 for "civilians," even less for students. Edited June 2, 2007 by Quincy Quote Link to comment Share on other sites More sharing options...
chewy-chew-chew-bean-benitez Posted June 2, 2007 Report Share Posted June 2, 2007 saw BF + cong Vu and a violinist last weekend: completely free from style noise improv-- BF had this little musical box crank toy thing that he would play on his guitar pickup and loop it into an effect box. it was definetly the craziest bill frissell concert ive seen, and ive seen some pretty crazy ones. every time i see him its w/ different bands and confirguations of instruments Quote Link to comment Share on other sites More sharing options...
Guy Berger Posted June 2, 2007 Report Share Posted June 2, 2007 saw BF + cong Vu and a violinist last weekend: completely free from style noise improv-- BF had this little musical box crank toy thing that he would play on his guitar pickup and loop it into an effect box. it was definetly the craziest bill frissell concert ive seen, and ive seen some pretty crazy ones. every time i see him its w/ different bands and confirguations of instruments ECM artist Bill Frisell? Guy Quote Link to comment Share on other sites More sharing options...
7/4 Posted June 3, 2007 Report Share Posted June 3, 2007 imagine that... Quote Link to comment Share on other sites More sharing options...
chewy-chew-chew-bean-benitez Posted June 3, 2007 Report Share Posted June 3, 2007 yes, i saw former ECM recording artist Bill Frissell Quote Link to comment Share on other sites More sharing options...
7/4 Posted June 3, 2007 Report Share Posted June 3, 2007 that's Frisell to you, beanwacker. Quote Link to comment Share on other sites More sharing options...
Aggie87 Posted March 28, 2008 Report Share Posted March 28, 2008 (edited) bump... Bill Frisell has a new release out in April, titled "History, Mystery": "On his new album, Bill Frisell explores a fuller palette of orchestral colors and timbres than any he has previously written for. "History, Mystery" features an Octet of strings, horns and rhythm section with some of his closest collaborators - Jenny Scheinman (violin), Eyvind Kang, (viola), Hank Roberts (cello), Ron Miles (cornet), Greg Tardy (clarinet and tenor saxophone), Tony Scherr (bass) and Kenny Wollesen (drums). Employing a symphonic sensibility of recurring thematic elements, "History, Mystery" premieres many new Frisell compositions as well as a few of his arrangements of favorite pieces by other songwriters. Producer Lee Townsend and engineer Shawn Pierce recorded the group in various combinations and contexts, live and in the studio, to construct and shape the album. It is scheduled for April, '08 release on Nonesuch. " Edited March 28, 2008 by Aggie87 Quote Link to comment Share on other sites More sharing options...
bluemonk Posted May 26, 2008 Report Share Posted May 26, 2008 (edited) I tend to like Bill's earlier stuff when he took more chances and was more adventurous with his melodies and harmonies. I like his ECM session work a lot. He always had a dreamy, textural sound on the guitar in those days, especially with all the delay, reverb, and distortion he used. He also used a volume pedal back then, which, for whatever reason, he doesn't use anymore. He sounded more horn-like when he used the volume pedal, which I really dug. His work with Paul Motian is some of my favorite. Great player with a very original sound. ....but I'm also a huge John Abercrombie fan too! Edited May 26, 2008 by bluemonk Quote Link to comment Share on other sites More sharing options...
Aggie87 Posted June 3, 2008 Report Share Posted June 3, 2008 I'm enjoying History, Mystery so far, after 2 spins. Bill also has another new recording, titled "All Hat" on Emarcy. It's a soundtrack, with Greg Leisz, Jenny Scheinman, Viktor Krauss, Scott Amendola, and Mark Graham. It doesn't appear to be available in the US (yet), but is out in Germany. I'm hoping for a domestic release soon. Interview with Bill here. Quote Link to comment Share on other sites More sharing options...
7/4 Posted June 3, 2008 Report Share Posted June 3, 2008 I'm enjoying History, Mystery so far, after 2 spins. Bill also has another new recording, titled "All Hat" on Emarcy. It's a soundtrack, with Greg Leisz, Jenny Scheinman, Viktor Krauss, Scott Amendola, and Mark Graham. It doesn't appear to be available in the US (yet), but is out in Germany. I'm hoping for a domestic release soon. http://shop.jazzecho.de/cover/P0602517687004_1.jpg possibly interesting...from his webpage: “All Hat” Bill scored “All Hat”, a new film by Canadian director Leonard Farlinger and producer Jennifer Jonas, based on Brad Smith’s novel of the same name. It recently premiered at the Toronto Film Festival. The film crosses genres – part comedy, part cowboy, part horse racing, part con-job – and features Luke Kirby, Keith Carradine, Lisa Ray, Rachel Leigh Cook and Ernie Hudson. Bill recorded the score with a group musicians including Greg Leisz (steel guitars and mandolin), Jenny Scheinman (violin), Viktor Krauss (bass), Scott Amendola (drums) and Mark Graham (harmonica). The music was produced by Lee Townsend and engineered by Shawn Pierce. The film is scheduled for release in 2008. Quote Link to comment Share on other sites More sharing options...
A Lark Ascending Posted June 3, 2008 Report Share Posted June 3, 2008 I'm really enjoying History Mystery. Frisell's band were superb at last month's Cheltenham Festival. Very exciting, very engaging. Quote Link to comment Share on other sites More sharing options...
bluemonk Posted June 3, 2008 Report Share Posted June 3, 2008 (edited) I tend to find Frisell's work from 1994 and back to be his most exciting or at least for me anyway. I mean he rarely shows that more adventurous side anymore. The only thing I've heard him do recently that I really enjoyed was Paul Motian's "I Have The Room Above Her." Paul Motian seems to always bring out the best qualities in him. Frisell is an outstanding leader in his own right, but his session work is just fantastic. That said "History, Mystery" was a pretty good Frisell release, but I find more a lot more substance in his older releases. Edited June 3, 2008 by bluemonk Quote Link to comment Share on other sites More sharing options...
7/4 Posted June 3, 2008 Report Share Posted June 3, 2008 Indeed...I like the Motian trio al lot. . Quote Link to comment Share on other sites More sharing options...
ATR Posted June 3, 2008 Report Share Posted June 3, 2008 Not a big Frisell fan, but I do like a few records he's been on. I recommend Zorn's Film Works 1986-1990, both of the Lulu trios with Zorn and George Lewis (albeit mostly for Lewis), Power Tools with Shannon Jackson and Melvin Gibbs, and One Time Out with Lovano and Motian. Of his own recordings I bought some of the early ones before he scattered himself all over various idioms. Is that You? I seem to recall was my favorite, Before We Were Born not so much. Smash and Scatteration, the duets with Vernon Reid, I haven't listened to in years. A good example of Frisell work that I think doesn't work in context is the Dave Douglas album Strange Liberation. Shows you how far he is from that chunky, rhythmic stuff that Miles had going on. I just don't care for all the sampling and echo in his sound, or the fact that he's so darned eclectic. Quote Link to comment Share on other sites More sharing options...
bluemonk Posted June 3, 2008 Report Share Posted June 3, 2008 Indeed...I like the Motian trio al lot. . Yeah, they're really good. I think my favorite Motian albums with Frisell and Lovano are the "On Broadway" recordings and "It Should've Happened A Long Time Ago." Changing gears I also liked Frisell's work on Joey Baron's albums, especially "We'll Soon Find Out." I also was a big fan of Kenny Wheeler's "Angel Song." So many good ones.... Quote Link to comment Share on other sites More sharing options...
Man with the Golden Arm Posted June 4, 2008 Report Share Posted June 4, 2008 old club skitch from long ago - probably Johnny D's in Somerville. Quote Link to comment Share on other sites More sharing options...
bluemonk Posted June 4, 2008 Report Share Posted June 4, 2008 Not a big Frisell fan, but I do like a few records he's been on. I recommend Zorn's Film Works 1986-1990, both of the Lulu trios with Zorn and George Lewis (albeit mostly for Lewis), Power Tools with Shannon Jackson and Melvin Gibbs, and One Time Out with Lovano and Motian. Of his own recordings I bought some of the early ones before he scattered himself all over various idioms. Is that You? I seem to recall was my favorite, Before We Were Born not so much. Smash and Scatteration, the duets with Vernon Reid, I haven't listened to in years. A good example of Frisell work that I think doesn't work in context is the Dave Douglas album Strange Liberation. Shows you how far he is from that chunky, rhythmic stuff that Miles had going on. I just don't care for all the sampling and echo in his sound, or the fact that he's so darned eclectic. My favorite Frisell albums as a leader are in this order: "Where In The World?" "Have A Little Faith," and "This Land." Quote Link to comment Share on other sites More sharing options...
A Lark Ascending Posted June 4, 2008 Report Share Posted June 4, 2008 (edited) I've never got on with the Frisell/Lovano/Motion trio - there's something grating about Frisell and Lovano together and my ears tire of those similar textures over a whole CD. I really enjoy his Americana eclecticism. I can see why that would not appeal to many but it works for me. I thought the East West record were thrilling. I do think he's put to one side the rather forced weirdness of his earlier years, replacing it with a warmer and more accessible approach. It was notable that the audience at the festival concert I went to was not just the usual jazz greyhairs but a lot of guitar enthusiasts. Very much liked his nightmarish interludes on Hal Wilner's Disney album, 'Stay Awake'. Edited June 4, 2008 by Bev Stapleton Quote Link to comment Share on other sites More sharing options...
AllenLowe Posted June 4, 2008 Report Share Posted June 4, 2008 (edited) nice guy and a great guitarist - but I tend to think his "roots" stuff suffers from a jazz-guy's-idea-of-what-roots-music-might- sound-like-if-he-ever-actually-listened to it - no offense to the jazz people reading this who like Bill's country stuff, but from the other side it's like you people hearing someone in pop who says they have a big jazz influence and then realizing that they've been listening to only Grover Washington and Kenny G - the influence is all (at the very best) second hand; I prefer the rough stuff, and Frisell's recordings are like Nashville on a bad day or a middle-class bluegrass band playing backgournd music for an outdoor wedding - I feel very strongly that you just can't get to this music in such a genteel way - gotta stick your head in the mud for about 10 years first and than come up for air - don't have to be a hillbilly or q backwoods preacher, but if you ain't one of those than you gotta find a way around environmental issues - just my opinion - Edited June 4, 2008 by AllenLowe Quote Link to comment Share on other sites More sharing options...
Aggie87 Posted June 4, 2008 Report Share Posted June 4, 2008 nice guy and a great guitarist - but I tend to think his "roots" stuff suffers from a jazz-guy's-idea-of-what-roots-music-might- sound-like-if-he-ever-actually-listened to it - I don't think he's trying to play roots music, so that doesn't really make sense to me. He blends jazz, country, bluegrass, some rock into his Americana stew. It's his music, not roots music. Quote Link to comment Share on other sites More sharing options...
A Lark Ascending Posted June 4, 2008 Report Share Posted June 4, 2008 nice guy and a great guitarist - but I tend to think his "roots" stuff suffers from a jazz-guy's-idea-of-what-roots-music-might- sound-like-if-he-ever-actually-listened to it - I don't think he's trying to play roots music, so that doesn't really make sense to me. He blends jazz, country, bluegrass, some rock into his Americana stew. It's his music, not roots music. Quite. Any more than Copland was trying to compose roots music in Appalachian Spring or Rodeo. Or Frisell was trying to make classical music with his version of Billy the Kid. A classical buff might find Frisell's Billy unsubtle and unidiomatic. But that's hardly the point and of no importance to a listener coming from a different direction. Quote Link to comment Share on other sites More sharing options...
six string Posted June 4, 2008 Report Share Posted June 4, 2008 I would agree with this sentiment. I describe this part of Bill's career as Americana to seperate it from his jazz when I'm discussing his music with others, but I just see it as his own little world of mixing a lot of his influences together as opposed to trying to be true to a particular genre. If I want country, I'll listen to Merle or Lefty. A year or so ago I saw Bill perform in a duo with Greg Leisz (pedal steel and lap steel). It was one of the most beautiful performances I've ever heard. They were obviously making things up as they went along, from choosing songs to their solos and everyone just sat there quietly drinking it all in. Quote Link to comment Share on other sites More sharing options...
AllenLowe Posted June 4, 2008 Report Share Posted June 4, 2008 (edited) ahh c'mon, he's got banjo, and all kindsa country stuff, bluegrass guys playing along, too; read his interviews, he's clearly trying for roots/Americana, but it's more like Muzak Americana; I hate saying this, as I like him, musically and otherwise; it's just all very musically misguided. It's dilletantish, dabbler's stuff. I heard him a few months ago on Marian McPartland trying to play Cold Cold Heart, and it was awful - full of very shallow country-pentatonic references, like a bad blues player thinking he's playing the blues by playing a few flat 3rds - just all wrong alll wrong all wrong all wrong all wrong... Edited June 4, 2008 by AllenLowe Quote Link to comment Share on other sites More sharing options...
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