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Úvodní stránka » ARCHIVE » Bill Frisell
Bill Frisell «» Silent Comedy (2013)

 Bill Frisell - Silent Comedy

Bill Frisell — Silent Comedy
Birth name: William Richard Frisell
Born: March 18, 1951, Baltimore, Maryland United States
Location: Seattle, Washington
Instruments: Guitar, clarinet, tenor saxophone
Notable instruments: Fender Telecaster, Steve Klein Electric
Album release: February 26, 2013
Record Label: Tzadik/Savoy Label Group
Genre: Avant-Garde
Duration:     50:30
Tracks:
01. Bagatelle    (3:11)
02. John Goldfarb, Please Come Home!    (8:51)
03. Babbitt    (3:38)
04. Silent Comedy    (2:02)
05. Lake Superior    (4:34)
06. Proof    (3:55)
07. The Road    (5:20)
08. Leprechaun    (3:41)
09. Ice Cave    (6:38)
10. Big Fish    (5:26)
11. Lullaby    (3:14)
CREDITS:
Heung-Heung "Chippy" Chin  Design
Bill Frisell  Composer, Guitar (Electric), Primary Artist
Marc Urselli  Engineer, Mixing
John Zorn  Producer
• Bill Frisell - guitar and loops
* no overdubs were used in the tracking process
• All Music By Bill Frisell – Friz-Tone Music, BMI
• Produced (and nurtured) by John Zorn
• Recorded & Mixed by Mark Urselli on December 2, 2012 at East Side Sound
• Released by Tzadik (2/2013)
Website: http://www.billfrisell.com/
MySpace: http://www.myspace.com/billfrisellofficial
Facebook: http://www.facebook.com/billfrisell
Description:
≡  "Bill Frisell, one of the most influential and respected guitarists in the world today takes a serious step toward the avant-garde to create a solo guitar CD unlike anything you’ve heard before. Filled with complex harmonies, bizarre voicings, rich orchestral sonorities, intense screams, delicate phrasing, wild noises and an incredible simultaneity, Silent Comedy raises the bar on what is possible from a solo guitarist. You will never think of Bill Frisell in the same way again—revelatory and absolutely riveting!"
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≡  Le fruit de la collaboration avec John Zorn, sans doute, toujours est-il que Bill Frisell signe un album sur le label Tzadik, et effectivement, il y a toute sa place. A découvrir.
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Early life and career:
≡  Frisell was born in Baltimore, Maryland, but spent most of his youth in the Denver, Colorado area. He studied clarinet with Richard Joiner of the Denver Symphony Orchestra as a youth, graduated from Denver East High School, and went to the University of Northern Colorado to study music.
≡  His original guitar teacher in the Denver-Aurora metropolitan area was Dale Bruning, with whom Frisell released the 2000 duo album Reunion. After graduating from Northern Colorado, where he studied with Johnny Smith, Frisell went to the Berklee College of Music in Boston where he studied with Jon Damian and Jim Hall.
Albums:
Title /  Year /  Label
≡  In Line  1983  ECM
≡  Rambler  1984  ECM
≡  Lookout for Hope  1987  ECM
≡  Before We Were Born  1989  Nonesuch
≡  Is That You?  1990  Nonesuch
≡  Where in the World?  1991  Nonesuch
≡  Have a Little Faith  1992  Nonesuch
≡  This Land  1994  Nonesuch
≡  Go West: Music for the Films of Buster Keaton  1995  Nonesuch
≡  The High Sign/One Week: Music for the Films of Buster Keaton  1995  Nonesuch
≡  Live  1995  Gramavision
≡  Quartet  1996  Nonesuch
≡  Nashville  1997  Nonesuch
≡  Gone, Just Like a Train  1998  Nonesuch
≡  Good Dog, Happy Man  1999  Nonesuch
≡  The Sweetest Punch, The New Songs of Elvis Costello & Burt Bacharach  1999  Decca
≡  Ghost Town  2000  Nonesuch
≡  Blues Dream  2001  Nonesuch
≡  With Dave Holland and Elvin Jones  2001  Nonesuch
≡  The Willies  2002  Nonesuch
≡  The Intercontinentals  2003  Nonesuch
≡  Unspeakable  2004  Nonesuch
≡  Richter 858  2005  Songlines
≡  East/West  2005  Nonesuch
≡  Further East/Further West  2005  Nonesuch
≡  Bill Frisell, Ron Carter, Paul Motian  2006  Nonesuch
≡  Floratone  2007  Blue Note
≡  History, Mystery  2008  Nonesuch
≡  Disfarmer  2009  Nonesuch
≡  Beautiful Dreamers  2010  Savoy Label Group
≡  Lágrimas Mexicanas with Vinicius Cantuária  2011  E1 Music/Naïve
≡  Sign of Life: Music for 858 Quartet  2011  Savoy Label Group
≡  All We Are Saying, Frisell Plays Lennon  2011  Savoy Label Group
≡  Floratone II  2012  Savoy Jazz
≡  Silent Comedy 2013 Tzadik
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Review by Thom Jurek   (Editor rating: ***½)
≡  For all the self-generated hype that Tzadik releases carry on their spine inserts, the one that accompanies Bill Frisell's Silent Comedy is pretty close to accurate. This really is the guitarist as you've never heard him before -- at least on record. He's improvising live in a studio with no edits or overdubs. Some of the 11 pieces included here carry traces of his signature bell-like tone, but this is a very free recording. The set's longest cut, "John Goldfarb, Please Come Home," is a meld of spaced-out sonic effects, harmonic invention, skeletal phrasing, and aggressive skronk that moves from halting melody to pure dissonance. Despite "Lake Superior"'s pastoral title, the cut is anything but; it's a monstrous Wall of Sound with digital and analog effects meddling around on a drone and employing a full range of distortion and feedback. Using a very limited harmonic palette, Frisell's guitar alternately takes on the tones of a harmonium, a Wurlitzer, and chimes to offer elemental sound contrasts that almost feel like counterpoint -- all in a gorgeous wail. While "Proof" is more conventional, with Frisell's instantly recognizable tone investigating a vamp from all sorts of musical viewpoints, the very next cut, "The Road," utilizes a broad array of tools in his effects box to create a restrained drone as the tonal backdrop, while a wah-wah offers a repetitive bassline melody but then breaks it down to an alternating series of small, moment-to-moment chord voicings, shimmering single notes, spacious delays, and even rumbling lower-string cascades woven together in a seamless fit. In the title track and in "Leprechaun," those effects are used with a requisite warmth and sense of humor. While "Ice Cave" walks a little too close to ambience for its own sake, "Big Fish" combines it with an inherent sense of melodic invention to create a tune that is nearly hummable, but traverses a fascinating musical terrain. This set will most likely appeal to guitar and improv freaks, as well as Frisell's most devoted fans. That said, given its intimate nature, it should resonate wider and deeper than that. He is doing things -- on the fly -- with his electric guitar and effects boxes that feel more like a conversation with a listener than merely an expression himself for his own sake.

Bill Frisell «» Silent Comedy (2013)

 

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