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| The Best of Bill Frisell, Vol. 1 - Folk Songs |
| Bill Frisell |
| első megjelenés éve: 2009 |
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| (2009)
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CD |
| 4.270 Ft
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| 1. | I'm So Lonesome I Could Cry
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| 2. | Raccoon Cat
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| 3. | Sugar Baby
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| 4. | We're Not from Around Here
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| 5. | The Pioneers
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| 6. | Rag
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| 7. | Verona
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| 8. | Shenandoah
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| 9. | Ballroom
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| 10. | Have a Little Faith in Me
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| 11. | Mr. Memory
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| 12. | Wildwood Flower
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| 13. | Slow Dance
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| 14. | Sittin' on Top of the World
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| 15. | Poem for Eva
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Jazz / Folk-Jazz
Bill Frisell - Guitar (Electric), Guitar (Acoustic), Loop
Arthur Moorhead Reissue Supervisor
Barbara de Wilde Design
C.L. Utley Paintings, Artwork
Christian Jones Mixing, Engineer
Danny Barnes Banjo
David Piltch Bass
Elvis Costello Liner Notes
Greg Leisz Pedal Steel
Jay Follette Engineer
Jerry Douglas Dobro
Jim Keltner Drums, Percussion
Joe Ferla Mixing, Engineer
Joey Baron Drums
Judy Clapp Mixing, Engineer
Keith Lowe Bass
Kenny Wollesen Drums
Kermit Driscoll Bass
Lee Townsend Producer
Michael "Mick" Wilson Cover Photo
Roger Moutenot Mixing, Engineer
Ry Cooder Guitar (Electric), Guitar
Tucker Martine Engineer, Mixing
Viktor Krauss Bass
Wayne Horvitz Organ
That Bill Frisell should get the "best-of" treatment from his longtime label Nonesuch seems overdue, even strangely so. Frisell began recording for Elektra Musician in 1986 after leaving ECM Records, where he'd recorded a steady string of generally excellent but somewhat low profile albums. Elektra owned Nonesuch Records as well. When Musician ceased to function as a label, Frisell's contract was morphed into the Elektra Nonesuch imprint, and eventually once more into Nonesuch, then Elektra Asylum, then back to Nonesuch. In other words, Frisell has been working with the WEA family for over two decades. In that time he has released no less than 20 albums for the various labels under WEA's corporate umbrella.
Which brings us to this 15-cut issue, a first volume in series of retrospective recordings subtitled "Folk Songs." Equally at home in the avant-garde or playing bop, Frisell's chops as a jazz guitarist are well documented, and since he began his work with Nonesuch in particular, his penchant for playing classic American songs from the country, folk, and blues idioms has been heard voluminously as well. This selection has been assembled from albums released between 1989's Is That You? and 1992's Have a Little Faith (an album comprised exclusively of covers) through to 2002's The Willies, with some recordings completely left undocumented here. (We can presume they will be represented in other volumes.) What is here is a set of originals and covers that actively reflect Frisell's deep fascination with American folksong regardless of initial genre -- in his universe it all comes out sounding like him anyway. Hank Williams' "I'm So Lonesome I Could Cry" is juxtaposed with the scampy original "Raccoon Cat," which precedes the traditional "Sugar Baby." The relaxed newgrass country of "We're Not from Around Here," with Jerry Douglas on dobro and Victor Krauss on bass, precedes the original "The Pioneers" recorded with banjoist Danny Barnes, formerly of punk bluegrass outfit the Bad Livers and bassist Keith Lowe. The Frisell composition "Ballroom" is sandwiched between a gorgeous reading of the traditional "Shenandoah" and a reverential yet mournful version of John Hiatt's "Have a Little Faith in Me." The music, whether blues or country or identifiable as "folk," is all of a piece, both Frisell and producer Lee Townsend seem to be saying, this is part of what the guitarist does and it's a big and valuable part that draws both inspiration from the soil as well as from the root sources these tunes are either composed from or come from on their own. This is basically the softer and more controversial side of Frisell -- though there are some surprises -- and the one that has registered most popular with listeners who buy CDs. There are three tracks here from the very laid-back and melodic Good Dog, Happy Man, and a pair from Nashville, two of his most successful recordings. But this is a beautiful taste as well as a new way to listen to the way Frisell's own music meets that of the masters, and he acquits himself well. This is a terrific sampler even if it only presents a sliver of the artist's range. ~ 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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