Jazz Articles about Bill Frisell

like 440

Bill Frisell with Dave Holland and Elvin Jones: Bill Frisell with Dave Holland and Elvin Jones

by Glenn Astarita
November 1, 2001

The mere fact that legendary drummer, Elvin Jones, and bassist Dave Holland are backing guitarist, Bill Frisell makes for an interesting proposition. However, those familiar with Jones and Holland should be aware of their respective faculties as artists who have performed with the creme de al creme of jazz, as their resumes and legacies are well documented. With this release, the rhythm sections' charter is seemingly fabricated upon delving into the leader's musical mindset, and highly individualistic style.

On the ...

like 156

Living Daylights: Electric Rosary

by Mark Corroto
September 1, 2000

Like so much that is New York (insert your own NYC gripe here) the late '80s early '90s avant scene turned too arty, less accessible music once it gained popularity. The Downtown attitude was/is if the multitudes dig it, it’s time to change. The fun that was the Knitting Factory scene has devolved into serious music making (read boring). Bill Frisell and Wayne Horvitz fled NY for Oregon. We’re lucky for two things, Tonic (a club on the lower lower ...

like 152

Living Daylights: Electric Rosary

by Glenn Astarita
September 1, 2000

Electric Rosary is an endearing new jazz-based release from Seattle denizens; saxophonist Jessica Lurie, bassist Arne Livingston and drummer Dale Fanning while special guest guitarist Bill Frisell lends his estimable talents on several tracks. Known as “Living Daylights” the band combines slick groove-inspired rhythms amid Fanning’s resilient drumming with tinges of Eastern Europe and Middle Eastern style motifs on the opener “Pike Or Pine” and other compositions. With “Get Bone-A-Fide”, Fanning implements a New Orleans shuffle beat amid the trio’s ...

like 100

Living Daylights: Electric Rosary

by Glenn Astarita
September 1, 2000

Electric Rosary is an endearing new jazz-based release from Seattle denizens; saxophonist Jessica Lurie, bassist Arne Livingston and drummer Dale Fanning while special guest guitarist Bill Frisell lends his estimable talents on several tracks. Known as “Living Daylights” the band combines slick groove-inspired rhythms amid Fanning’s resilient drumming with tinges of Eastern Europe and Middle Eastern style motifs on the opener “Pike Or Pine” and other compositions. With “Get Bone-A-Fide”, Fanning implements a New Orleans shuffle beat underneath the trio’s ...

like 281

Bill Frisell: Ghost Town

by Mark Corroto
April 1, 2000

Bill Frisell has settled into a sound he is comfortable with. The guitarist was known in the eighties for an eclectic mix of sounds. He thrashed with John Zorn's Naked City and Powertools, played bebop with Joe Lovano and Paul Motian, and generally mixed it up with New York's Downtown crowd. Since relocating to Seattle in 1989, the Denver-raised, Berklee schooled guitarist has concentrated on an Americana sound, composing tunes with Aaron Copeland and Woody Guthrie in mind. This trend, ...

like 269

Gary Peacock & Bill Frisell: Just So Happens

by Glenn Astarita
September 1, 1999

In the early 90’s, the folks at “Postcards” consistently produced some of the finest jazz recordings to hit the stores while featuring artists such as Alan Pasqua, Reggie Workman and here, the teaming of guitarist Bill Frisell and bassist Gary Peacock. Thankfully, Arkadia records have taken ownership of the catalogue and from all appearances, retain the original artwork and packaging.

The pairing of Bill Frisell and Gary Peacock is sheer delight as their respective careers in jazz and beyond are ...

like 387

Bill Frisell: Good Dog, Happy Man

by Douglas Payne
July 1, 1999

Every note Bill Frisell plays--or suggests--offers an impressionistic soundtrack of the American vernacular. It is jazz only in the way improvisation is a reflection of sensibilities. But Frisell's music is really not just jazz. It swings over a wide swath of American musical forms: jazz, rock, grunge, blues, country, folk, bluegrass, even commercial orchestration. Call it a sort of “sound Americana": peculiar, individual and unusually compelling. Good Dog Happy Man ideally documents another set of Frisell's colorful, commanding ...