Jazz Articles about Bill Frisell

Bill Frisell: Unspeakable

by John Kelman
August 22, 2004

Some artists spend an entire lifetime within a narrow genre, honing their skill and working at stretching the boundaries of that style, while others transcend all definitions and labels, creating a music that defies categorization. Such is the case with guitarist Bill Frisell, who over a twenty-five year career has contributed to everything from the Nordic cool of Jan Garbarek's quartet to the downtown edge of John Zorn's Naked City. On his own records he has explored diverse landscapes including ...

A Fireside Chat with Bill Frisell

by AAJ Staff
February 21, 2004

Having spent most of my youth in the Reagan Eighties, I matured with the impression that bassists were all like Mick Mars and guitarists all mirrored The Edge. This was acceptable behavior in my youth, but would be considered juvenile now. And although I appreciate staying “young at heart," I am grateful to have been cultured by the likes of Derek Bailey and whom I consider the finest guitarist on this side of the Atlantic, Bill Frisell, who has defined ...

Wayne Horvitz/Tucker Martine: Mylab

by Mark Corroto
February 4, 2004

For Wayne Horvitz and Tucker Martine, the pair known as Mylab, the saying “everything old is new again” should be restated as “Everything New is Old again!”

This studio experiment by the duo (with 17 of their closest friends) samples and loops folk recordings from the turn of the century to create song structures, then replaces those samples with guest musicians. They mash (part Zony) funk, blues, trip-hop, soul, folk, and African music into a roots music played ...

Bill Frisell: The Intercontinentals

by AAJ Staff
July 25, 2003

It's time to admit a bias. Anyone who covers Boubacar Traoré automatically scores points in my book. The Malian guitarist is infinitely remote to anyone outside Mali, but that isn't for any good reason except the vagaries of the recording industry. It's fitting that guitarist Bill Frisell would choose “Boubacar" as the opener to The Intercontinentals given the international flavor of the record, the omnipresence of Malian percussionist Sidiki Camara, and the way blues from Mali builds feeling and depth ...

Bill Frisell: The Intercontinentals

by Farrell Lowe
May 17, 2003

With the release of The Intercontinentals, Bill Frisell invites us into a lush and verdant musical world. On this outing he has chosen to work with five superb musicians from various parts of the planet. The eclectic range of instruments employed herein include electric and acoustic guitars, subtle electronics, calabash, djembe, vocals, oud, bouzouki, pedal steel guitar, and violin. This music reminds me of the color green in the way it surges with masterful precision, swells with quiet drama, recedes ...

Norah Jones: Come Away With Me

by C. Michael Bailey
January 7, 2003

Few artists have generated as much press in recent memory as Ms. Norah Jones. No fewer than five thoughtful reviews have been published in this magazine alone . A unifying theme found in all criticism is the question of whether the music Jones plays is jazz. This might be similar to the question of whether the music Josh Groban or Andrea Bocchelli is classical.

In keeping with the ecumenical spirit of this magazine, I submit that it makes little, or ...

Bill Frisell: The Willies

by John Eyles
July 22, 2002

Recently, Bill Frisell seems to be averaging at least two new albums per year. Fortunately, there is no sign of this increased quantity equating to decreased quality. This album is full of all the familiar Frisell trademarks--compelling playing, quirkily familiar melodies, eclecticism, loops, swing, tradition, innovation, and, yes, fun. On this outing, Frisell opts for a trio format, with Keith Lowe on bass, and Danny Barnes adding variety on a range of instruments. Barnes' contributions, on banjo in ...