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Kérjen
árajánlatot! |
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| 1. | Disfarmer Theme
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| 2. | Lonely Man
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| 3. | Lost, Night
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| 4. | Farmer
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| 5. | Focus
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| 6. | Peter Miller's Discovery
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| 7. | That's Alright, Mama
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| 8. | Little Girl
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| 9. | Little Boy
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| 10. | No One Gets In
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| 11. | Lovesick Blues
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| 12. | I Can't Help It (If I'm Still in Love with You)
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| 13. | Shutter, Dream
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| 14. | Exposed
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| 15. | The Wizard
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| 16. | Think
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| 17. | Drink
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| 18. | Play
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| 19. | I Am Not a Farmer
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| 20. | Small Town
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| 21. | Arkansas, Pt. 1
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| 22. | Arkansas, Pt. 2
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| 23. | Arkansas, Pt. 3
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| 24. | Lost Again, Dark
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| 25. | Natural Light
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| 26. | Did You See Him?
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Jazz
Bill Frisell - Guitar (Acoustic), Guitar (Electric), Liner Notes, Loop, Music Box
Adam Blomberg - Production Assistant
Adam Munoz - Assistant Engineer
Evan Gaffney - Design
Greg Calbi - Mastering
Greg Leisz - Guitar (Steel), Mandolin
Jenny Scheinman - Violin
Jesse Nichols - Assistant Engineer
Lee Townsend - Producer
Michael "Mick" Wilson - Inlay Photography, Photography
Mike Disfarmer - Photography
Taylor Pollert - Assistant Engineer
Tucker Martine - Engineer, Mixing
Viktor Krauss - Bass
The late Michael Disfarmer was an odd, curmudgeonly character in the rural community of Heber Springs, Arkansas, who, despite his anti-social character, chose to record the stark images of his fellow townspeople, during the 1940's and 50's, in cheap black-and-white photographic portraits. Decades after the photographer's passing, a cache of work made by this solitary and oft-reviled man was rediscovered, and he has come to be regarded as an important outsider artist. Among the many drawn to his plain yet deeply evocative pictures was Chuck Helm, Director of the Performing Arts at the Wexner Center in Columbus, Ohio, who introduced guitarist and composer Bill Frisell to Disfarmer's oeuvre on the hunch that Frisell might be inspired by it. brSays Helm, the catalyst for Disfarmer, 'To me, Bill Frisell is a uniquely American artist with a distinctive and singular musical voice, like that of Thelonious Monk or Aaron Copland. In his probing yet atmospheric evocations of American vistas I could hear parallels to the emotional truths of Disfarmer's compelling photographs.' brAs Helm suspected, Disfarmer's work resonated with Frisell and led to the creation of a touring multimedia work, Disfarmer Project - featuring Frisell, lap steel guitar player Greg Leisz and violinist Jenny Scheinman, plus slides of Disfarmer's photos, displayed on screens. The piece premiered on March 3, 2007 at the Wexner Center, on the campus of Ohio State University. The score was subsequently recorded in Seattle and Nashville, produced by Frisell's longtime collaborator Lee Townsend and also featuring Viktor Krauss on bass. Along with the Frisell's original compositions, he interpolates versions of such tunes as Arthur Crudup's 'That's Alright Mama' and Hank Williams Sr.'s 'I Can't Help It (If I'm Still in Love with You)' into this subtly yet stunningly beautiful set.
Album Description
2009 release from the acclaimed and prolific musician. Disfarmer features guest appearances from Greg Leisz (steel guitars, mandolin) Jenny Scheinman (violin) and Viktor Krauss (bass) In a career spanning more than 25 years and over 150 recordings, guitarist, composer, and bandleader Bill Frisell has established himself as a visionary presence in American music. He has collaborated with a wide range of artists, filmmakers and legendary musicians. But it is his work as a leader that has garnered increasing attention and accolades. Frisell's recordings over the last decades span a wide range of musical influences.
Disfarmer was an outsider artist who became famous for his Depression-era photographs of families, farmers, and individuals around his hometown of Heber Springs, AK. This is set by Bill Frisell is the score commissioned by the Wexner Center for the Arts to accompany a retrospective of the artist's work. Frisell and producer Lee Townsend assembled the guitarist's "country" band for the occasion: violinist Jenny Scheinman, bassist Viktor Krauss, and steel guitarist and mandolinist Greg Leisz. There are 26 cues in this score. Most of them are very sparse, skeletally melodic variations on old-timey parlor music, country blues, and country music, with a few, such as "That's All Right, Mama," done as fusions of hillbilly boogie and square dance music. There's a version of Hank Williams' "Lovesick Blues" that's a showcase for the atmospheric power of Leisz's steel guitar, which adds to the melodic shades of the tune. Most of this, however, falls into moody, extremely minimal music that is haunting in nature -- much like the figure of Disfarmer himself, who scared many of the residents of Heber Springs with his strange and imposing presence. That said, if only Frisell's music were a bit more imposing. This approach of his is so familiar by now that the listener knows exactly what to expect from cue to cue. Tempos vary little, from slow to almost static, and the lyric palette is extremely narrow. In their restraint, the players are all excellent, but nobody here, not even Frisell, shines. Still, it is a pleasant recording to listen to if not hang on to. It floats and hovers about the room as a peaceful backdrop. Disfarmer is to be taken as a soundtrack rather than as a Frisell album proper, and listened to as a series of sketches rather than as a fully assembled statement from the artist. ~ Thom Jurek, All Music Guide
Bill Frisell
Active Decades: '70s, '80s, '90s and '00s
Born: Mar 18, 1951 in Baltimore, MD
Genre: Jazz
Styles: Modern Creative, World Fusion, New Acoustic, Fusion, Post-Bop, Progressive Jazz, Progressive Folk, Neo-Traditional Folk
The defining characteristic of any given jazz musician is frequently his sound. The more control a player has over the nature of that sound, the more likely he is to project a distinctive musical personality. For example, a saxophonist has virtually unlimited physical control of the sound that comes through his horn, and therefore a wide range of tonal expression at his command -- which partially explains the disproportionate number of saxophonists in the pantheon of great jazz musicians. On the other hand, few electric guitarists inhabit that realm, in part because the typical jazz guitar sound differs little from player to player. In general, guitarists do not have the same degree of physical control. Without the use of signal processing -- which jazz purists shun -- they're mostly stuck with the generic sound that comes out of their amp. Hence, guitarists have historically tended to "sound" more or less the same.
Bill Frisell is a notable exception. Among jazz guitarists, Frisell is unique in his exploitation of variable timbre. Frisell's sound swells and breathes like a saxophonist's (interestingly, Frisell played clarinet as a child). In many ways his sound is reminiscent of a pedal steel guitar. And although his work is steeped in jazz, Frisell is a man of catholic tastes. His music includes characteristics of rock, country, and bluegrass, among various other styles. Such liberality explains his willingness to expand his tonal palette beyond that of the typical jazz guitarist. Where so many conventional jazz guitarists define themselves by how many notes they can play, Frisell has carved a niche by virtue of his sound. His ability as an original, lyrical player of melody combines with a unique (if much imitated) sound to make him one of the most singular musicians of his generation.
Born in Baltimore, Frisell grew up in Denver, CO. He began playing the clarinet in the fourth grade and took up guitar a few years later for his personal amusement. He continued with the clarinet, playing in school concert and marching bands. Frisell briefly considered playing classical clarinet professionally. He played guitar in rock and R&B bands as a teenager (high school classmates included Philip Bailey, Andrew Woolfork, and Larry Dunn, future members of the funk group Earth, Wind & Fire). He discovered jazz in the music of Wes Montgomery and began to study the music. Dale Bruning, a Denver-based guitarist and educator, fed his fascination with jazz.
Frisell decided to make guitar his primary instrument. After briefly attending the University of Northern Colorado, he moved to Boston in 1971 to attend the Berklee School of Music. There he studied with Michael Gibbs and John Damian. While at Berklee, Frisell connected with other like-minded players (Pat Metheny was a classmate). He also studied with Jim Hall, who became an important influence, especially in terms of harmony. In the mid-'70s, Frisell began moving away from pure bebop and began fusing jazz with his other musical interests. At about this time he began developing his atmospheric, quasi-mictrotonal style. He discovered that, by using a guitar with a flexible neck, he could manipulate the instrument's intonation. A combination of experimental techniques and signal processors like delay and reverb gave Frisell a sound unlike any other guitarist.
In the late '70s, he traveled to Belgium. There he met Manfred Eicher, the founder of ECM Records. Beginning in the early '80s, Frisell recorded prolifically for the label, as leader and sideman with such musicians as Paul Motian and Jan Garbarek. He continued with the label throughout the decade, earning a reputation as ECM's "house guitarist." Frisell became much acclaimed by critics for his sophisticated yet accessible work. Frisell moved to New York in the '80s, where he worked with many of the most creative musicians active on the city's "downtown" jazz scene.
In the '80s and '90s, he would record and perform with a huge variety of artists, not all of them jazz musicians. Collaborators would include rock and pop musicians (drummer Ginger Baker, singers Marianne Faithfull and Elvis Costello), experimental jazz musicians (saxophonist/composers John Zorn and Tim Berne), and at least one classical composer (Gavin Bryars). Frisell composed soundtracks for the silent films of Buster Keaton. His 1996 album Quartet won the Deutsche Schallplattenpreis, the German equivalent of the Grammy. Frisell became an annual winner of various magazine polls for his solo work and recordings.
By the end of the '90s, Frisell was one of the most well-known jazz musicians in the world, with an audience and an aesthetic that transcended the boundaries of any given style. It should be mentioned that, while Frisell is best known for his somewhat "ambient" guitar technique, he is a swinging, harmonically fluent jazz player when the occasion warrants. Frisell moved to Seattle, WA, in 1989 and stayed active as the 21st century opened, releasing Ghost Town in 2000, followed by a set with Dave Holland and Elvin Jones in 2001. Blues Dream also appeared that same year, followed by The Willies in 2002. East/West and Richter 858 were both released in 2005, and a set with Ron Carter and Paul Motian in 2006. History, Mystery followed in 2008.
---Chris Kelsey, All Music Guide |
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