Home » Jazz Articles » Album Review » Bill Frisell: Richter 858

496

Bill Frisell: Richter 858

By

Sign in to view read count
Bill Frisell: Richter 858
For those who think, based on recent recordings, that guitarist Bill Frisell has lost his edge, two new recordings should go a long way to restoring faith in Frisell's inestimable abilities as a composer and performer. They also assert that, like them or not, the Americana, world music, and groove-centric concerns of his most recent Nonesuch releases are by no means the work of a man resting on his laurels. Frisell has always had a voracious musical appetite, as content to strum a simple chord as he is to explore the inner workings of writers including Charles Ives and Aaron Copland.

A forthcoming new recording of his longstanding trio collaboration with drummer Paul Motian and saxophonist Joe Lovano ( I Have the Room Above Her , out February 8 on ECM) shows his ability to improvise freely in a more abstract and ethereal fashion is completely intact. And, as Richter 858 proves, not only is Frisell still capable of challenging composition that bridges the gap between form and freedom, he is a constantly evolving artist who continues to incorporate his own growing interests in new and intriguing ways.

Originally composed for inclusion with a book celebrating the work of German painter Gerhard Richter and now finally seeing the light of day as a standalone work, Richter 858 places Frisell, his guitar, and arsenal of electronics in the context of a contemporary string group with cellist Hank Roberts, violinist Jenny Scheinman, and violist Eyvind Kang, all past and recent collaborators. The opening minutes of "858-1" are as aggressive, angular, and abstruse as recent efforts including Blues Dream and Unspeakable have been easy on the ears. If, indeed, there's any precedence in Frisell's compositions here, it's with the more adventurous music of This Land and Before We Were Born —inescapably daring, yet with an indefinable American, if not Americana, complexion.

One element that is a continuation of Frisell's more recent work is his approach to improvisation, which leans more to the collective and less on the individual. And the lines between structure and soloing are inevitably blurred. "858-5" may revolve around a repeated rhythmic motif from all players, but everyone seems to have their moment(s) of extemporization, although it is often difficult to figure out how they determine who will carry the form and who will become more exploratory. "858-6" bears the ethereal microtonal ambience of Gyorgy Ligeti's work, while "858-4," the longest of the eight pieces, begins as an atmospheric tone poem, ultimately evolving into a cello ostinato that allows Kang and Scheinman more breathing space while Frisell applies colours with his sundry electronic devices.

Richter 858 may scare aware recent converts who enjoy Frisell's more folksy nature. But for long-time fans, it's a reassurance that Frisell hasn't gone soft, rather that he simply chooses to explore the broader concerns that his insatiable musical interests demand.

Visit Bill Frisell on the web.

Track Listing

858 1 Through 8

Personnel

Bill Frisell
guitar, electric

Bill Frisell--guitars and electronics; Jenny Scheinman--violin; Eyvind Kang--viola; Hank roberts--cello

Album information

Title: Richter 858 | Year Released: 2005 | Record Label: Songlines Recordings

Comments

Tags

Concerts


For the Love of Jazz
Get the Jazz Near You newsletter All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who create it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

You Can Help
To expand our coverage even further and develop new means to foster jazz discovery and connectivity we need your help. You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination will vastly improve your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.

More

What Was Happening
Bobby Wellins Quartet
Laugh Ash
Ches Smith
A New Beat
Ulysses Owens, Jr. and Generation Y

Popular

Eagle's Point
Chris Potter
Light Streams
John Donegan - The Irish Sextet

Get more of a good thing!

Our weekly newsletter highlights our top stories, our special offers, and upcoming jazz events near you.