A Bill Frisell solo can invoke amber waves of grain, the south side of Chicago, and various places in New England, all in the space of three bars. His tonal palette is hugely varied, yet his sound is completely personal -- only Richard Thompson can boast a guitar style so individual and fully realized. Think of the music of Duke Ellington, Charlie Parker, and Charles Mingus; jazz has always lived at the murky nexus between African music and European art music, and what makes Frisell unique is his ability to take those same ...
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A Bill Frisell solo can invoke amber waves of grain, the south side of Chicago, and various places in New England, all in the space of three bars. His tonal palette is hugely varied, yet his sound is completely personal -- only Richard Thompson can boast a guitar style so individual and fully realized. Think of the music of Duke Ellington, Charlie Parker, and Charles Mingus; jazz has always lived at the murky nexus between African music and European art music, and what makes Frisell unique is his ability to take those same two basic ingredients and come up with something that sounds brand new. That he's liable to quote Chuck Berry at the same time says something about his sweetness of spirit. This album finds Frisell onstage with bassist Kermit Driscoll and drummer Joey Baron, running through a few faves ("Throughout," "Strange Meeting," "When We Go"), as well as some more obscure and surprising material. Driscoll is a sharply intuitive bassist with a reggae player's feel for silence; Baron punctuates more than he undergirds. As a result, this is largely music without groove. Instead, it hovers and floats overhead like a benevolent thunderstorm, sometimes letting loose rumbling, atonal chaos like "Crumb" and sometimes emitting bolts of pure electric light such as the utterly charming "Rag" and the yearning sweetness of "Throughout." "Pip, Squeak/Goodbye" steps briefly into tango territory, and Frisell takes the Sonny Rollins composition "No Moe" all the way back to the Delta with a bent blues solo. The John Hiatt cover, by the way, is the emotional centerpiece of the album: a deeply felt rendition of "Have a Little Faith in Me." This is a very special disc. ~ Rick Anderson, Rovi
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Add this copy of Live to cart. $12.45, good condition, Sold by Seattle Goodwill rated 5.0 out of 5 stars, ships from Seattle, WA, UNITED STATES, published 1995 by Gramavision Records.
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All our items include the original disc(s) in the original case. Your purchase funds free job training and education in the greater Seattle area. Thank you for supporting Goodwill's nonprofit mission!
Add this copy of Live to cart. $35.80, new condition, Sold by MYBOOKSNME rated 4.0 out of 5 stars, ships from MIAMI GARDENS, FL, UNITED STATES, published 2006 by Hannibal Records.
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Seller's Description:
New in good packaging. Originally released: 1991. (B63021CD) #: 031257151726 overall condition a (THIS SALE IS FOR A SET OF 1 MUSIC DISC (S) DISC S IN GOOD CONDITION. PLEASE READ THE FOLLOWING SPECIAL DESCRIPTION CAREFULLY. This sale is for a music s CD's. This cd s Contains visible Scratches (NO) CD s Case is damaged (NO) Top and Tab's lid case is good condition (YES) CD s tab holder in broken (NO) Discs Holding tab is broken (NO). Missing Cover pamphlet (no) This Disc may contains Marking. (No returns on CD Discs).
