Blues For Los Angeles Reprise - Müzik

Sait Palanduz Wrote "It's Hard To Find A More Fruitful Meditation On American Music Than In The Compositions Of Guitarist Bill Frisell. Mixing Rock And Country With Jazz And Blues He's Found What Connects Them Improvisation And A Sense Of Play. Unlike Other Pastichists Who Tend To Duck Passion Mr. Frisell Plays Up The Pleasure In The Music And Also Takes On Another Often-Avoided Subject Tenderness." - The New York Times “Frisell Is A Revered Figure Among Musicians – Like Miles Davis And Few Others His Signature Is Built From Pure Sound And Inflection An Anti-Technique That Is Instantly Identifiable.” - The Philadelphia Inquirer "I Like To Have Fun When I Play And I Like Comedy - But It's Not A Conscious Thing. I'm Basically A Pretty Shy Person And I Don't Dance Or Get Into Fights. But There Are All These Things Inside Me That Get Out When I Perform. It's Like A Real World When I Play Where I Can Do All The Things I Can't Do In Real Life." - Bill Frisell To The Village Voice Over The Years Frisell Has Contributed To The Work Of Such Collaborators As Paul Motian John Zorn Elvis Costello Ginger Baker The Los Angeles Philharmonic Suzanne Vega Loudon Wainwright III Van Dyke Parks Vic Chesnutt Rickie Lee Jones Ron Sexsmith Vinicius Cantuaria Marc Johnson In "Bass Desires" Ronald Shannon Jackson And Melvin Gibbs In "Power Tools" Marianne Faithful John Scofield Jan Garbarek Lyle Mays Vernon Reid Julius Hemphill Paul Bley Wayne Horvitz Hal Willner Robin Holcomb Rinde Eckert The Frankfurt Ballet Film Director Gus Van Sant David Sanborn David Sylvian Petra Haden And Numerous Others Including Bono Brian Eno Jon Hassell And Daniel Lanois On The Soundtrack For Wim Wenders’ Film Million Dollar Hotel. This Work Has Established Frisell As One Of The Most Sought-After Guitar Voices In Contemporary Music. The Breadth Of Such Performing And Recording Situations Is A Testament Not Only To His Singular Guitar Conception But His Musical Versatility As Well. This However Is Old News By Now. In Recent Years It Is Frisell's Role As Composer And Band Leader Which Has Garnered Him Increasing Notoriety. "For Over Ten Years Bill Frisell Has Quietly Been The Most Brilliant And Unique Voice To Come Along In Jazz Guitar Since Wes Montgomery. In Light Of This It May Be Easy To Overlook The Fact That He May Also Be One Of The Most Promising Composers Of American Music On The Current Scene." - Stereophile "Bill Frisell Is The Clark Kent Of The Electric Guitar. Soft-Spoken And Self-Effacing In Conversation He Apparently Breathes In Lungfuls Of Raw Fire When He Straps On His Guitar ...His Music Is Not What Is Typically Called Jazz Though It Turns On Improvisation It's Not Rock'n Roll And It Sure Ain't That Tired Dinosaur Called Fusion. In One Of The Biggest Leaps Of Imagination Since The Yardbirds And Jimi Hendrix Frisell Coaxes And Slams His Hovering Split-Toned Ax Into Shapes Of Things To Come...But Besides Being A Guitar Genius He's Turned Into A Terrific Songwriter. Like Monk Frisell's Harmonic And Melodic Ideas Form A Succinct Seamless Mesh With Outer Sonic And Rhythmic Ideas About His Ax." - Spin “Frisell Just Has A Knack For Coaxing The Most Inviting Sounds Out Of The Instrument And The Composition Skills To Put Them In Just The Right Order. Combine A Colorado Youth Given To Soul And C&W With Solid Jazz Training Abetted By A Decade-Long Residency In The Heart Of NYC's Avant Scene Multiplied By A Fun Factor Of X He Has Scored Buster Keaton's Films And You've Got A Recipe Damn Near Perfection.” - The Mirror Wire The British Music Publication Has Observed "What's Really Distinctive Is Frisell's Feel For The Shape Of Songs For Their Architecture It's A Virtuosity Of Deep Structure Rather Than Surface." Bill Explains This Sensibility To Guitar Player "For Me It's Really Important To Keep The Melody Going All The Time Whether You Are Actually Playing It Or Not Especially When It's Some Kind Of Standard Tune Or Familiar Song Form. A Lot Of People Play The Melody And Rush Right Into Their Solo Almost With An Attitude Of 'Whew - That's Out Of The Way Now Let's Really Play!' Then They Just Burn On Chord Changes And It Doesn't Relate To The Song Anymore. I Like To Keep That Melody Going. When You Hear Thelonious Monk's Piano Playing - Or Horn Players Like Ben Webster Miles Davis And Wayne Shorter - You Always Hear The Melody In There. Sonny Rollins Is The Classic Example Of That - I've Read That He Thinks Of The Words While He's Playing The Sax So The Song Really Means Something To Him. It's Not Just An Excuse To Play A Bunch Of Licks Over Chord Changes." Much Has Been Made Of The Uncategorizable Nature Of Frisell's Music And The Seamlessness With Which His Bands Have Navigated Such A Variety Of Styles. "Frisell's Pals Just Happen To Be Superb Musical Chameleons Up To Every Change Of Gears And Genre The Guitarist's Catch-All Music Throws At Them. The Band Even Comfortably Follows The Leader Onto Country And Western Turf As Frisell Often Approximates The Whine Of A Lonely Steel Guitar." Minneapolis Star Tribune . Bill's Comments To The Same Publication "When I Was In Colorado I Never Really Played That Country Stuff Or Even Liked It That Much Though It Was All Over The Radio. But As I Got Older It Crept Into My Music A Lot." In Fact The Chicago Tribune Observed That "Frisell Possesses Not Only Impressive Compositional Skills But Also A Remarkable Ability To Encompass Seemingly Antagonistic Musical Genres." Commenting On His Eclectic Compositional Inclinations Frisell Told Down Beat "When I Write Something It Just Sort Of Comes Out. I'm Not Thinking 'Now I'm Going To Write A Cowboy Song'. It Just Happens Then I Usually Think About What Must Have Influenced It Later. When I Sit Down To Write Something In A Certain Style It Doesn't Work. I Don't Know If That's Important Or Something I Need To Do Or If It Doesn't Matter. I Don't Care I'm Just Thankful Something Comes Out Sometimes." This Musical Kinship With Miles Davis Has Been Cited Repeatedly In The Music Press. The New Yorker Notes “Bill Frisell Plays The Guitar Like Miles Davis Played The Trumpet In The Hands Of Such Radical Thinkers Their Instruments Simply Become Different Animals. And Like Davis Frisell Loves To Have A Lot Of Legroom When He Improvises--The Space That Terrifies Others Quickens His Blood." On This Subject Down Beat Has Noted "With His Respectful If Improbable Eclecticism And Audible Ethnic Guitar Roots Frisell Is The New Music's Ry Cooder...His Engagingly Droll Sense Of Humor Is Never Far From The Surface No One Else's Persistent Dissonances Sound So Consistently Congenial." Sometimes Using Delays And Distortion And An Unmistakably Unique Touch Frisell As Jazz Times Once Observed "has An Airbrushed Attack A Stunning Timbral Palette And A Seemingly Innate Inability To Produce A Gratuitous Note." Musician Has Described His Guitar Style As "modern In The Best Sense Of The Word Straddling The Electronic Ambiance And Distortion Of Contemporary Rock And The Nuances Of Touch And Harmonic Sophistication Usually Associated With Jazz." The Guitarist Won The 1990 Down Beat Critics' Poll. "The Electric Guitar Sound Of The Decade - Oozing Cloudy Enveloping - Belongs To Jazz Renegade Bill Frisell…Like The Best Artists In Any Field Frisell Is Not A Slave To His Tools He's The Creator Who Gives Them New Validity...His Guitar Sound Is Unmistakable - Billowing Breathlike Multi-Hued Immense At Times Almost Palpable. Frisell's Music Is Accessible And Avant-Garde A Lyrical Victory Of Man Over Machine Of Personality Over Mechanics Of Message Over Mathematics." - Minneapolis Star Tribune Biography / Recordings Born In Baltimore Bill Frisell Played Clarinet Throughout His Childhood In Denver Colorado. His Interest In Guitar Began With His Exposure To Pop Music On The Radio. Soon The Chicago Blues Became A Passion Through The Work Of Otis Rush B.B. King Paul Butterfield And Buddy Guy. In High School He Played In Bands Covering Pop And Soul Classics James Brown And Other Dance Material. Later Bill Studied Music At The University Of Northern Colorado Before Attending Berklee College Of Music In Boston Where He Studied With John Damian Herb Pomeroy And Michael Gibbs. In 1978 Frisell Moved For A Year To Belgium Where He Concentrated On Writing Music. In This Period He Toured With Michael Gibbs And First Recorded With German Bassist Eberhard Weber. Bill Moved To The New York City Area In 1979 And Stayed Until 1989. He Now Lives In Seattle. "When I Was 16 I Was Listening To A Lot Of Surfing Music A Lot Of English Rock. Then I Saw Wes Montgomery And Somehow That Kind Of Turned Me Around. Later Jim Hall Made A Big Impression On Me And I Took Some Lessons With Him. I Suppose I Play The Kind Of Harmonic Things Jim Would Play But With A Sound That Comes From Jimi Hendrix" Frisell Told Wire. Bill Also Lists Paul Motian Thelonious Monk Aaron Copland Bob Dylan Miles Davis And His Teacher Dale Bruning As Musical Influences. Bill Recorded His First Two Albums As A Leader On ECM Both Produced By Manfred Eicher. Subdued And Lyrical In Nature In Line The First Of The ECM Recordings Employed Both Electric And Acoustic Guitars In A Series Of Solos Including Some Overdubbing And Duets With Bassist Arild Andersen. Second Was Rambler Featuring Kenny Wheeler Bob Stewart Jerome Harris And Paul Motian. About Rambler Fanfare Said "Bill Frisell Has Built A Little Masterpiece Here - Not Just A Showcase For His Own Instrumental Creativity Of Which There Is Much In Evidence But A Clever And Poetic Whole." Frisell's Third Album And Last For ECM Lookout For Hope Marked The Recording Debut Of The Bill Frisell Band Featuring Hank Roberts Kermit Driscoll And Joey Baron. Produced By Lee Townsend The Album's Diverse Material - Ranging From Country Swing To Reggae Quasi-Heavy Metal And Backbeat Rock With A Twist To Monk's "Hackensack" - Nevertheless Possessed The Cohesive And Unmistakable Personality Of A Working Band On To A Sound Of Its Own. High Fidelity Called It "the Fullest Showing Of Frisell's Ability To Date Especially His Compositional Range." The Chicago Tribune Said "Lookout For Hope Offers One Of The Most Hopeful Signs That Contemporary Jazz Can Evolve With Dignity Wit And Charm." Before We Were Born Frisell's Debut Recording For Nonesuch Featured Three Musical Settings Peter Scherer And Arto Lindsay Produced Co-Arranged And Performed On Three Frisell Compositions. "Some Song And Dance" Produced By Lee Townsend Is A Suite Of Four Pieces Performed By Frisell's Band With A Saxophone Section Featuring Julius Hemphill Billy Drewes And Doug Wieselman. Frisell's "Hard Plains Drifter" Is An Extended Work Shaped Produced And Arranged By John Zorn And Played By The Frisell Band. The New York Times Observed "By Following Through On The Implications Of His Unfettered Sounds Mr. Frisell Has Made His Best Album." Frisell's Second Nonesuch Album Is That You? Features Nine Original Frisell Compositions One By Producer Wayne Horvitz And Two Cover Tunes - "Chain Of Fools" And "Days Of Wine And Roses". With Frisell Playing Guitars Bass Banjo Ukulele And Even Clarinet Is That You? Demonstrated With Great Clarity His Pan-Stylistic Yet Strangely Unified Musical World. Musician Called The Album "a Very Personal Vision Tearing Down Stylistic Barriers With Delicacy And Sudden Bursts Of Emotion." Frisell's Third Album For Nonesuch Where In The World? Also Produced By Wayne Horvitz Was The Band's Final Recording With Cellist Hank Roberts. The Philadelphia Inquirer Said "There Is Nothing Standard About Where In The World?...Frisell Is Not Only A Master Of An Unusual Guitar-Based Sonic Tapestry He's One Of The Few Composers Capable Of Writing For An Interactive Ensemble." Have A Little Faith Frisell's 1992 Nonesuch Recording Was Something Of A Tribute Album. Here He Interpreted The Music Of A Number Of American Composers Whose Music Had Inspired Him - Aaron Copland Muddy Waters Bob Dylan John Hiatt Sonny Rollins Stephen Foster Charles Ives Victor Young Madonna And John Philip Sousa. The Extent To Which Bill Has Made This Music His Own Demonstrates The Completeness Of Its Link To His Own Compositional Approach. For This Recording Frisell's Band Was Augmented By Don Byron Clarinet Bass Clarinet And Guy Klucevsek Accordion And Produced By Wayne Horvitz. The San Francisco Bay Guardian Said "Frisell Treats Each Piece With Typical Earnestness And Lyricism Breaking Into Wrenching Distortion And Stormy Group Improv Only After Breathing The Original Full Of A Softly Glowing Life." This Land Frisell's Fifth Nonesuch Recording Consists Of All Original Material With The Band And A Horn Section Of Don Byron Clarinets Billy Drewes Alto Saxophone And Curtis Fowlkes Trombone . Produced By Lee Townsend The Album Readily Displays The Connection Between Frisell's Own Writing And The Composers' Work To Whom He Pays Tribute On His Previous Have A Little Faith. From The Standpoint Of Synthesizing His Celebrated Composing And Arranging Talents With Exuberant Improvising And Spirited Band Interaction It Is A Landmark Recording Which Prompted This Description In Rolling Stone "Strange Meetings Of The Mysterious And The Earthy The Melancholy And The Giddy Make Perfect Sense By Frisell's Deliciously Warped Way Of Thinking. The Warpage Is Catching On And Not A Moment Too Soon." In 1994 Frisell Recorded A Pair Of Recordings Of Music That He Composed For Three Silent Buster Keaton Films - The High Sign One Week And Go West. The Band Premiered This Music Along With The Films To A Spirited And Sold-Out Audience At St. Ann's In Brooklyn In May '93. The Pairing Displayed A Natural Affinity Between Work Of Both Artists. Their Works Together Possess An Undeniable Sense Of Adventure And Penchant For The Unexpected That Only Enhances The Warmth And Humanity Of Both The Musical Elements And The Films Themselves. It Has Proven To Be The Rare Case Where The Whole Truly Transcends The Sum Of Its Parts. Of The "Go West" Recording Billboard Noted "With This Set Of Music For The Classic Buster Keaton Film "Go West " Bill Frisell Has Crafted One Of His Finest Most Evocative Albums. Evincing His Best Qualities As Both Guitarist And Composer He Harvests Melancholy Americana From Deceptively Modest Episodic Themes. Coloring The Scenes With Acoustic As Well As His Trademark Electric Frisell Produces Strangely Cinematic Motifs On Guitar And His Rhythm Cohorts - Longtime Bassist Kermit Driscoll And Drummer Joey Baron - Provide Abundant Narrative Drive." Both Albums Were Produced By Lee Townsend. Frisell's Success With The Keaton Films Has Led Him To Other Film-Related Projects. He Scored The Music For Gary Larson's "Tales From The Far Side" Animated Television Special And Daniele Luchetti's Italian Feature Film "La Scuola." Some Of The Music From These Projects Has Been Adapted And Recorded By Frisell On Quartet Frisell's Nonesuch Recording Released In April '96. The Formation Of The Quartet With Ron Miles Trumpet Eyvind Kang Violin And Curtis Fowlkes Trombone Was A New Working Band For Frisell Who Had Worked With The Telepathic Rhythm Combination Of Kermit Driscoll And Joey Baron For Nearly Ten Years. Frisell Told Down Beat “It’s So Different From The Traditional Guitar-Bass-Drum Thing Even Though Joey Baron Kermit Driscoll And I Never Played Like A Typical Jazz Trio. This Group With Violin And Brass Can Play An Orchestral Range Of Sounds. It’s Gigantic. It’s Given Me A Chance To Write And Arrange In An Even Bigger Way.” Quartet Was Quickly Hailed By Critics. The New York Times Declared “Quartet May Be His Masterpiece.” Nonesuch Released Nashville In April Of 1997. Recorded In Nashville And Produced By Wayne Horvitz With Members Of Allison Krauss’ Union Station Band - Mandolin Player Adam Steffey And Banjo Player Ron Block - The Project Also Features Her Brother And Lyle Lovett’s Bass Player Viktor Krauss Dobro Great Jerry Douglas Vocalist Robin Holcomb And Pat Bergeson On Harmonica. “Comprising Acoustic Instrumental Folk Tunes With Unpredictable Stylistic Accents Nashville Boasts A Dreamy Seductive Grandeur. The Backing Mandolin/dobro/bass Interplay Simmers…Frisell Himself Picks And Strings And Most Of All Floats Laying Out Liquid Tones That Settle Over The Melodies Like Heat Haze On A Swampy Swimmerless Lake.” Wrote The LA Weekly. The Atlanta Journal-Constitution Summed It Up Simply As “Frisell’s Nod To Nashville Is Americana At Its Best.” In January Of 1998 Frisell's Next Project Gone Just Like A Train Came Out. On This Exceptionally Melodic And Rhythmically Vital Instrumental Collection Of Original Compositions Frisell Is Joined By Viktor Krauss And By Jim Keltner All Star Drummer Of Choice For Bob Dylan Ry Cooder T-Bone Burnett George Harrison John Lennon And The Traveling Wilburys. The Rocket In Seattle Wrote That "Frisell Has Managed To Pull Together An Ad Hoc Super Trio Of Musicians From Drastically Different Pasts And They Manage To Assemble A Machine Of Colossal Proportions Part Skewered Jazz Part Roadside Folk Blues Part Gritty Rock.…Gone Presents Frisell At A Creative Apex. He's Integrated A Thoroughly Unique Understanding Of So Much American Music… And It's All Gift-Wrapped In A Lean Unimposing Trio Framework That Conveys Sheer Genius In A Million Directions… It Flies With Shining Power." Produced By Lee Townsend The Album Proved To Be One Of Frisell's Most Celebrated And Popular To Date. Good Dog Happy Man Brims Full Of Frisell's Shimmering Original Compositions. Here He Is Reunited With The Gone Just Like A Train Rhythm Section Of Viktor Krauss On Bass And Jim Keltner On Drums And Joined By Wayne Horvitz On Hammond B3 Organ Multi-Instrumentalist/slide Guitarist Greg Leisz Known For His Work With Joni Mitchell K.D. Lang Emmy Lou Harris Beck And Jimmie Dale Gilmore Among Others Plus Special Guest Ry Cooder On The Traditional Folk Song "Shenendoah". Produced By Lee Townsend Good Dog Happy Man Celebrates Frisell's Emergence As A Composer Who Has Created A Genre Unto Himself. The Philadelphia Inquirer Wrote "The 12 Breathtakingly Beautiful Originals On Good Dog Happy Man Resist Every Obvious Classification… Frisell's Been Doing The Undefinable For Years - Creating Revelatory Music From Threadbare Accompaniment Finding Vital Contexts For Jazz Improvisation That Are Worlds Away From Bebop Burying Shiny Nuggets Of Melody Beneath A Gauzy Lace-Like Surface… Frisell Manages To Evoke Big Worlds With Stark Single Notes And Foreboding Sustained Tones Conjuring A Richly Textured Atmosphere That Is Both Understated And Undeniable. No Matter What You Call It." “Bill Frisell Makes Such Consistently Great Records That It Would Be Easy To Take The Guitarist For Granted. That Would Be Sad Since No One Refracts Age-Old Americana Through A Cutting-Edge Prism With The Warm-Hearted Fleet-Minded Individuality Of Frisell. With Good Dog Happy Man He Has Crafted One Of His Earthiest Essays Yet. Backed By An Ultra-Hip Band Frisell Has Forged Originals Whose Folky Melodies And Big-Sky Grooves Make Them Seem Like Old Friends In Snazzy New Clothes.” - Billboard. Bill’s Solo Album Ghost Town Was Called Described As “moody Articulate Music Is A Milestone In The Career Of A True Innovator – Enchanting As Anything He Has Done And A Clear Window Into His Muse” CMJ . With Producer Lee Townsend Frisell Has Created A Sonic Tapestry That Weaves In And Out Of Original Material And Cover Songs Some Recorded In Multiple Layers Others Recorded Nakedly Solo. According To Billboard “Ghost Town Sounds Like A Classic Already”. For Frisell's Acclaimed CD Blues Dream Released On Nonesuch In Early 2001 The New Quartet Of Greg Leisz David Piltch And Kenny Wollesen Is Joined By A Horn Section Of Ron Miles Trumpet Billy Drewes Alto Saxophone And Curtis Fowlkes Trombone . In Many Ways It Represents A Culmination Of The Strands Running Through Many Of The Recordings In Frisell's Catalogue Combining The Homespun Lyricism Of Good Dog Happy Man Gone Just Like A Train And Nashville With The Orchestral Timbres Of Quartet And The Expanded Tonal Palette And Harmonic Sophistication Afforded By A Larger Group I.E. The Sweetest Punch This Land And Before We Were Born. Produced By Lee Townsend It Has Been Described As "A Rich Eclectic Masterpiece." Blair Jackson Mix Magazine . The Autumn Of 2001 Saw The Nonesuch Release Of Bill Frisell With Dave Holland And Elvin Jones On Which Bill Was Joined By Two Jazz Legends To Interpret A Number Of The Most Enduring Compositions From His Songbook As Well As Henry Manicini’s “Moon River” And Stephen Foster’s “Hard Times” In Another Townsend-Produced Set. “Holland And Jones Warm Well To The Folk-Inflected Material Complimenting The Guitarist’s Offbeat Charm And Unerring Taste With Their Muscular Authority.” ­ Billboard. The Willies Is Frisell’s Characteristically Inimitable And Modern Take On Bluegrass And Country Blues With Danny Barnes From The Bad Livers On Banjo And Guitar And Keith Lowe Known For His Work With Fiona Apple David Sylvian Kelly Joe Phelps And Wayne Horvitz On Bass. Produced By Lee Townsend And Released In June 2002 On Nonesuch The Material Consists Of Such Traditional Songs As “Cluck Old Hen” “John Hardy” “Single Girl” “Sugar Baby” “Blackberry Blossom” “Sitting On Top Of The World” “Good Night Irene” “Cold Cold Heart” And A Number Of Frisell’s Original Compositions. John Cratchley In The Wire Described It As Follows “This Is Music That You Feel You Have Known Yet You Have Never Heard Before Like Some Treasured Memory Of An Event That Hasn’t Happened Yet .… It Is Firmly Rooted In The Simplest Of Musical Gestures Yet Manages To Build Intricate Layer By Intricate Layer Into A Manifestation Of Cultural Timelessness …. This Is Composition Of The Highest Order Masquerading As Back-Porch Rambling.” Frisell’s Encounters With Such Malian Musicians As Singer And Guitarist Boubacar Traore And Percussionist Sidiki Camara Who Has Played With Many Of Mali’s Most Renowned Performers Left Him Eager To Further Explore The Commonalities Of African And American Roots Musics. His Grammy-Nominated 2003 Nonesuch Release The Intercontinentals Produced By Lee Townsend Is Evidence Of Those Impulses. In Late 2001 Frisell Assembled An Intriguing Quartet With Brazilian Composer Singer Guitarist And Percussionist Vinicius Cantuária Greek-Macedonian Musician Christos Govetas On Oud Bouzouki And Vocals And Mali’s Camara On Percussion And Vocals. The Debut Concerts At Seattle's Earshot Festival Created Quite A Stir. Downbeat Described The Group's Music As Possessing "fine Webs Of Guitar Interlacings Swaying Momentum Dense Textures And Rhythmic Urgency." The Group Was Soon Expanded To Include Greg Leisz On Pedal Steel And Various Slide Guitars And Jenny Scheinman Violin . The Material On The Album Consists Of Frisell Compositions Plus Songs By Boubacar Traore Cantuaria Gilberto Gil And Govetas. It Is An Album That Combines Frisell’s Own Brand Of American Roots Music And His Unmistakable Improvisational Style With The Influences Of Brazilian Greek And Malian Sounds. The Washington Post Called It "A Remarkable Achievement - A Hybrid That Somehow Both Respects And Transcends The Styles Involved..... With A Sort Of Earthy Relaxed Feeling - It's Country Music From The Global Village." Post Frisell’s 2004 Nonesuch Release Unspeakable Featuring His Long-Time Rhythm Section Of Tony Scherr And Kenny Wollesen As Well As Percussionist Don Alias Horn Arrangements By Steven Bernstein And Frisell’s String Writing For The 858 Strings Of Jenny Scheinman Eyvind Kang And Hank Roberts Is “a Revisiting Of An Old Friendship That Stretches Back 20 Years A Partnership With Producer Hal Willner. Taking Fragments Of Obscure Vinyl Records As A Launching Point The Duo Traverses A Landscape That Passes In An Almost Hallucinatory Way Through Myriad Styles.” – Billboard. The Observer Describes It This Way “The Brilliant 53-Year Old Guitarist Embraces A Jazzy Kind Of Post-Rock Whose Most Immediate Point Of Reference Is The Electric Miles Davis. It's A Multi-Textured Multi-Hued Disc That Never Sees Frisell Sacrifice His Impeccable Technique Or Neglect The Deep Structure Of His Songs But Never Sees Him Forget To Have Fun Either." And The Sunday Independent Had This To Say About It Unspeakable Radiates The Kind Of Authority That Only Absolute Confidence In The Primacy Of Melody And Feel In Music Can Confer." It Won A Grammy Award In 2005 For Best Contemporary Jazz Recording. East/West Is A Double-Live CD Featuring Frisell's Two Working Trios. "West" Features Bill's Trio With Viktor Krauss And Kenny Wollesen And Was Recorded At Yoshi's In Oakland. "East" Features Frisell's Other Working Trio With Tony Scherr And Kenny Wollesen. It Was Recorded At The Village Vanguard In New York City. Further East/Further West Offers Additional Material By These Two Trios Available In Download Format Only. Produced By Lee Townsend Salon.Com Described It As Follows. "The Two Trios Are Vastly Different. In General Terms The Krauss Trio Works By Accumulation And Aims To Mesmerize While The Scherr Trio Operates Much Closer To Traditional Jazz... Wolleson Essentially A Groove Player In The Krauss Trio And A Monstrously Good One Becomes An Interactive Improvising Presence In The Scherr Trio..... In Both Settings Frisell Is A Wonder.... For Any Skeptics Of Modern Jazz This Should Be Required Listening... One Of The Best Of His Career." His Album Bill Frisell Ron Carter Paul Motian Nonesuch A Collaboration With Two Musicians Who Bill Considers To Be True Mentors And Inspirations Represents A Personal Milestone For Him. All About Jazz Described It As "A Gorgeous Restrained Meeting Of The Minds This Recording Embodies Fine Subtle Improvisations From Three Of Today's Most Iconic Players." History Mystery Nonesuch 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 . On This Album Explores A Fuller Palette Of Orchestral Colors And Timbres Than Any He Has Previously Written For. read less