Always pushing the musical envelope and not content to stay with the same old thing, Grammy-winning guitarist Bill Frisell comes to Yoshi’s San Francisco with his trio featuring Joey Baron and Tony Scherr. Frisell is one of the most sought-after guitar voices in contemporary music, and his role as composer and band leader has garnered him increasing notoriety. He won a 2005 Grammy for his CD, Unspeakable, and his recording, East/West, was partially recorded live at Yoshi’s. The breadth of his performing and recording situations is a testament not only to his singular guitar conception, but his musical versatility as well. Much has been made of the qualities of Frisell’s music that defy categorization and the seamlessness with which his bands have navigated such a variety of styles.
Born in Baltimore, Bill Frisell played clarinet throughout his childhood in Denver, Colorado. His interest in guitar began with his exposure to pop music on the radio. Soon, the Chicago Blues became a passion through the work of Otis Rush, B.B. King, Paul Butterfield and Buddy Guy. In high school, he played in bands covering pop and soul classics, James Brown and other dance material. Later, Bill studied music at the University of Northern Colorado before attending Berklee College of Music in Boston where he studied with John Damian, Herb Pomeroy and Michael Gibbs. In 1978, Frisell moved for a year to Belgium where he concentrated on writing music. In this period, he toured with Michael Gibbs and first recorded with German bassist Eberhard Weber. Bill moved to the New York City area in 1979 and stayed until 1989.
He now lives in Seattle. “When I was 16, I was listening to a lot of surfing music, a lot of English rock. Then I saw Wes Montgomery and somehow that kind of turned me around. Later, Jim Hall made a big impression on me and I took some lessons with him. I suppose I play the kind of harmonic things Jim would play but with a sound that comes from Jimi Hendrix”, Frisell told Wire. Bill also lists Paul Motian, Thelonious Monk, Aaron Copland, Bob Dylan, Miles Davis and his teacher, Dale Bruning, as musical influences.
Bill recorded his first two albums as a leader on ECM, both produced by Manfred Eicher. Subdued and lyrical in nature, In Line, the first of the ECM recordings, employed both electric and acoustic guitars in a series of solos (including some overdubbing) and duets with bassist Arild Andersen. Second was Rambler, featuring Kenny Wheeler, Bob Stewart, Jerome Harris and Paul Motian. About Rambler, Fanfare said: “Bill Frisell has built a little masterpiece here – not just a showcase for his own instrumental creativity (of which there is much in evidence), but a clever and poetic whole.”
Frisell’s third album and last for ECM, Lookout For Hope, marked the recording debut of The Bill Frisell Band featuring Hank Roberts, Kermit Driscoll and Joey Baron. Produced by Lee Townsend, the album’s diverse material – ranging from country swing to reggae, quasi-heavy metal and backbeat rock with a twist to Monk’s “Hackensack” – nevertheless possessed the cohesive and unmistakable personality of a working band on to a sound of its own.
Before We Were Born, Frisell’s debut recording for Nonesuch, featured three musical settings: Peter Scherer and Arto Lindsay produced, co-arranged and performed on three Frisell compositions. “Some Song and Dance”, produced by Lee Townsend, is a suite of four pieces performed by Frisell’s Band with a saxophone section featuring Julius Hemphill, Billy Drewes and Doug Wieselman. Frisell’s “Hard Plains Drifter” is an extended work shaped, produced and arranged by John Zorn and played by the Frisell Band. The New York Times observed: “By following through on the implications of his unfettered sounds, Mr. Frisell has made his best album.”
Frisell’s second Nonesuch album, Is That You?, features nine original Frisell compositions, one by producer Wayne Horvitz and two cover tunes – “Chain of Fools” and “Days of Wine and Roses”. With Frisell playing guitars, bass, banjo, ukulele and even clarinet, Is That You? demonstrated with great clarity his pan-stylistic, yet strangely unified musical world. Frisell’s third album for Nonesuch, Where in the World?, also produced by Wayne Horvitz, was the band’s final recording with cellist Hank Roberts.
Have a Little Faith, Frisell’s 1992 Nonesuch recording, was something of a tribute album. Here, he interpreted the music of a number of American composers whose music had inspired him – Aaron Copland, Muddy Waters, Bob Dylan, John Hiatt, Sonny Rollins, Stephen Foster, Charles Ives, Victor Young, Madonna and John Philip Sousa. The extent to which Bill has made this music his own demonstrates the completeness of its link to his own compositional approach. For this recording Frisell’s Band was augmented by Don Byron (clarinet, bass clarinet) and Guy Klusevsek (accordion) and produced by Wayne Horvitz.
This Land, Frisell’s fifth Nonesuch recording, consists of all original material with the band and a horn section of Don Byron (clarinets), Billy Drewes (alto saxophone) and Curtis Fowlkes (trombone). Produced by Lee Townsend, the album readily displays the connection between Frisell’s own writing and the composers’ work to whom he pays tribute on his previous Have a Little Faith. From the standpoint of synthesizing his celebrated composing and arranging talents with exuberant improvising and spirited band interaction, it is a landmark recording, which prompted this description in Rolling Stone: “Strange meetings of the mysterious and the earthy, the melancholy and the giddy, make perfect sense by Frisell’s deliciously warped way of thinking. The warpage is catching on and not a moment too soon.”
In 1994, Frisell recorded a pair of recordings of music that he composed for three silent Buster Keaton films – The High Sign, One Week and Go West. The band premiered this music along with the films to a spirited and sold-out audience at St. Ann’s in Brooklyn in May ’93. The pairing displayed a natural affinity between work of both artists. Their works together possess an undeniable sense of adventure and penchant for the unexpected that only enhances the warmth and humanity of both the musical elements and the films themselves. It has proven to be the rare case where the whole truly transcends the sum of its parts. Of the “Go West” recording , Billboard noted: “With this set of music for the classic Buster Keaton film, “Go West,” Bill Frisell has crafted one of his finest, most evocative albums. Evincing his best qualities as both guitarist and composer, he harvests melancholy Americana from deceptively modest, episodic themes. Coloring the scenes with acoustic as well as his trademark electric, Frisell produces strangely cinematic motifs on guitar, and his rhythm cohorts – longtime bassist Kermit Driscoll and drummer Joey Baron – provide abundant narrative drive.” Both albums were produced by Lee Townsend. Frisell’s success with the Keaton films has led him to other film-related projects. He scored the music for Gary Larson’s “Tales From the Far Side” animated television special and Daniele Luchetti’s Italian feature film, “La Scuola.” Some of the music from these projects has been adapted and recorded by Frisell on Quartet, Frisell’s Nonesuch recording released in April ’96.
The formation of the Quartet, with Ron Miles (trumpet), Eyvind Kang (violin) and Curtis Fowlkes (trombone), was a new working band for Frisell, who had worked with the telepathic rhythm combination of Kermit Driscoll and Joey Baron for nearly ten years. Frisell told Down Beat: “It’s so different from the traditional guitar-bass-drum thing, even though Joey Baron, Kermit Driscoll and I never played like a typical jazz trio. This group, with violin and brass, can play an orchestral range of sounds. It’s gigantic. It’s given me a chance to write and arrange in an even bigger way.” Quartet, was quickly hailed by critics.
Nonesuch released Nashville in April of 1997. Recorded in Nashville and produced by Wayne Horvitz with members of Allison Krauss’ Union Station band – mandolin player Adam Steffey and banjo player Ron Block – the project also features her brother and Lyle Lovett’s bass player Viktor Krauss, dobro great Jerry Douglas, vocalist Robin Holcomb and Pat Bergeson on harmonica. “Comprising acoustic instrumental folk tunes with unpredictable stylistic accents, Nashville boasts a dreamy, seductive grandeur. The backing mandolin/dobro/bass interplay simmers…Frisell himself picks and strings and most of all floats, laying out liquid tones that settle over the melodies like heat haze on a swampy, swimmerless lake.” wrote the LA Weekly.
In January of 1998 Frisell’s next project Gone, Just Like A Train came out. On this exceptionally melodic and rhythmically vital instrumental collection of original compositions, Frisell is joined by Viktor Krauss and by Jim Keltner, all star drummer of choice for Bob Dylan, Ry Cooder, T-Bone Burnett, George Harrison, John Lennon and The Traveling Wilburys. The Rocket in Seattle wrote that “Frisell has managed to pull together an ad hoc super trio of musicians from drastically different pasts, and they manage to assemble a machine of colossal proportions: part skewered jazz, part roadside folk blues, part gritty rock.…Gone presents Frisell at a creative apex. He’s integrated a thoroughly unique understanding of so much American Music… And it’s all gift-wrapped in a lean, unimposing trio framework that conveys sheer genius in a million directions… It flies with shining power.” Produced by Lee Townsend, the album proved to be one of Frisell’s most celebrated and popular to date.
Good Dog, Happy Man, brims full of Frisell’s shimmering original compositions. Here he is reunited with the Gone Just Like a Train rhythm section of Viktor Krauss on bass and Jim Keltner on drums and joined by Wayne Horvitz on Hammond B3 organ, multi-instrumentalist/slide guitarist Greg Leisz (known for his work with Joni Mitchell, K.D. Lang, Emmy Lou Harris, Beck and Jimmie Dale Gilmore, among others) plus special guest Ry Cooder on the traditional folk song “Shenendoah”. Produced by Lee Townsend, Good Dog, Happy Man celebrates Frisell’s emergence as a composer who has created a genre unto himself.
Billboard Magazine once wrote, “Bill Frisell makes such consistently great records that it would be easy to take the guitarist for granted. That would be sad, since no one refracts age-old Americana through a cutting-edge prism with the warm-hearted, fleet-minded individuality of Frisell. With Good Dog, Happy Man, he has crafted one of his earthiest essays yet. Backed by an ultra-hip band, Frisell has forged originals whose folky melodies and big-sky grooves make them seem like old friends in snazzy new clothes.”
Bill’s solo album, Ghost Town was called described as “moody, articulate music is a milestone in the career of a true innovator – enchanting as anything he has done and a clear window into his muse” (CMJ). With producer Lee Townsend, Frisell has created a sonic tapestry that weaves in and out of original material and cover songs, some recorded in multiple layers, others recorded nakedly solo. According to Billboard, “Ghost Town sounds like a classic already”.
For Frisell’s acclaimed CD Blues Dream, released on Nonesuch in early 2001, the New Quartet of Greg Leisz, David Piltch and Kenny Wollesen is joined by a horn section of Ron Miles (trumpet), Billy Drewes (alto saxophone) and Curtis Fowlkes (trombone). In many ways it represents a culmination of the strands running through many of the recordings in Frisell’s catalogue, combining the homespun lyricism of Good Dog, Happy Man, Gone Just Like a Train and Nashville with the orchestral timbres of Quartet and the expanded tonal palette and harmonic sophistication afforded by a larger group (i.e. The Sweetest Punch, This Land and Before We Were Born.) Produced by Lee Townsend, it has been described as “A rich, eclectic masterpiece.” (Blair Jackson, Mix Magazine).
The Autumn of 2001 saw the Nonesuch release of Bill Frisell with Dave Holland and Elvin Jones, on which Bill was joined by two jazz legends to interpret a number of the most enduring compositions from his songbook as well as Henry Manicini’s “Moon River” and Stephen Foster’s “Hard Times” in another Townsend-produced set.
The Willies is Frisell’s characteristically inimitable and modern take on bluegrass and country blues with Danny Barnes (from The Bad Livers) on banjo and guitar and Keith Lowe, (known for his work with Fiona Apple, David Sylvian, Kelly Joe Phelps and Wayne Horvitz) on bass. Produced by Lee Townsend and released in June, 2002 on Nonesuch, the material consists of such traditional songs as “Cluck Old Hen”, “John Hardy”, “Single Girl”, “Sugar Baby”, “Blackberry Blossom”, “Sitting on Top of the World”, “Good Night Irene”, “Cold, Cold Heart” and a number of Frisell’s original compositions. John Cratchley, in The Wire described it as follows: “This is music that you feel you have known yet you have never heard before, like some treasured memory of an event that hasn’t happened yet .… It is firmly rooted in the simplest of musical gestures yet manages to build, intricate layer by intricate layer into a manifestation of cultural timelessness …. This is composition of the highest order masquerading as back-porch rambling.”
Frisell’s encounters with such Malian musicians as singer and guitarist Boubacar Traore and percussionist Sidiki Camara, who has played with many of Mali’s most renowned performers, left him eager to further explore the commonalities of African and American roots musics. His grammy-nominated 2003 Nonesuch release, The Intercontinentals, produced by Lee Townsend, is evidence of those impulses. In late 2001, Frisell assembled an intriguing quartet with Brazilian composer, singer, guitarist and percussionist Vinicius Cantuária, Greek-Macedonian musician Christos Govetas on oud, bouzouki and vocals and Mali’s Camara on percussion and vocals. The debut concerts at Seattle’s Earshot Festival created quite a stir. Downbeat described the group’s music as possessing “fine webs of guitar interlacings, swaying momentum, dense textures and rhythmic urgency.” The group was soon expanded to include Greg Leisz (on pedal steel and various slide guitars) and Jenny Scheinman (violin). The material on the album consists of Frisell compositions plus songs by Boubacar Traore, Cantuaria, Gilberto Gil and Govetas. It is an album that combines Frisell’s own brand of American roots music and his unmistakable improvisational style with the influences of Brazilian, Greek and Malian sounds.
Frisell’s 2003 recording with Petra Haden, the self-titled Petra Haden and Bill Frisell, is a collection of their interpretations – some sparsely arranged and others more lushly orchestrated – of songs by Elliot Smith, Foo Fighters, Tom Waits, George Gershwin, Henry Mancini, Stevie Wonder, traditional material, as well as songs written by Frisell and Haden. Frisell, who had known and played with Petra’s father Charlie Haden for many years, was captivated when he went to see Petra perform in Seattle. The two began talking, occasionally performing together, and eventually they began work on their CD, produced by Lee Townsend.
Frisell’s 2004 Nonesuch release, Unspeakable, featuring his long-time rhythm section of Tony Scherr and Kenny Wollesen as well as percussionist Don Alias, horn arrangements by Steven Bernstein, and Frisell’s string writing for the 858 strings of Jenny Scheinman, Eyvind Kang and Hank Roberts is “a revisiting of an old friendship that stretches back 20 years: a partnership with producer Hal Willner. Taking fragments of obscure vinyl records as a launching point, the duo traverses a landscape that passes, in an almost hallucinatory way, through myriad styles.” – Billboard. The Observer describes it this way: “The brilliant 53-year old guitarist embraces a jazzy kind of post-rock whose most immediate point of reference is the electric Miles Davis. It’s a multi-textured, multi-hued disc that never sees Frisell sacrifice his impeccable technique, or neglect the deep structure of his songs, but never sees him forget to have fun either.” And the Sunday Independent had this to say about it: “‘Unspeakable’ radiates the kind of authority that only absolute confidence in the primacy of melody and feel in music can confer.” Unspeakable won a Grammy award in 2005 for Best Contemporary Jazz recording.
East/West is a double-live CD featuring Frisell’s two working trios. “West” features Bill’s trio with Viktor Krauss and Kenny Wollesen and was recorded at Yoshi’s in Oakland. “East” features Frisell’s other working trio with Tony Scherr and Kenny Wollesen. It was recorded at the Village Vanguard in New York City. Further East/Further West offers additional material by these two trios available in download format only. Produced by Lee Townsend, Salon.com described it as follows.
“The two trios are vastly different. In general terms, the Krauss trio works by accumulation and aims to mesmerize, while the Scherr trio operates much closer to traditional jazz… Wolleson, essentially a groove player in the Krauss trio (and a monstrously good one), becomes an interactive, improvising presence in the Scherr trio….. In both settings Frisell is a wonder…. For any skeptics of modern jazz, this should be required listening… one of the best of his career.”
Other projects include a Burt Bacharach – Elvis Costello CD, The Sweetest Punch, on Decca which features Frisell’s arrangements of the same 12 tunes Elvis and Burt recorded together on their pop record for Mercury, Painted From Memory. The record was produced by Lee Townsend and features Bill on guitar, Viktor Krauss on bass, Brian Blade on drums and a horn section comprised of Curtis Fowlkes on trombone, Ron Miles on trumpet, Don Byron on clarinet and Billy Drewes on saxophone. Cassandra Wilson and Elvis Costello lend vocals to a couple of tracks.
In September 1998 Nonesuch released a duo recording of jazz standards by Frisell and labelmate pianist Fred Hersch entitled Songs We Know. Downbeat’s 1998 Critic’s poll awarded Bill’s Nashville “Album Of The Year,” and Bill himself, “Guitarist Of The Year” in both 1998 and 1999. His Quartet won the German equivalent of a Grammy, the prestigious Deutsche Schallplatten Preis. Meanwhile, he has been lauded as “Guitarist of the Year” by numerous publications and organizations over the span of many years.
In 2002, Frisell was appointed the musical director of “Century of Song” ” by artistic director Gerard Mortier and Chief Dramaturg Thomas Woerdehoff for the 2003-2004 seasons at the Ruhr Triennale Arts festival in Germany. The celebrated series of programs featured guest songwriters, interpreters and performers in collaboration with Frisell not only to investigate their own bodies of work, but to bring a fresh perspective to songs and songwriters that have been influential upon their own music, as well. Guests included Elvis Costello, Suzanne Vega, Van Dyke Parks, Loudon Wainwright III, Rickie Lee Jones, Vinicius Cantuaria, Vic Chesnutt, Ron Sexsmith, Jesse Harris, Petra Haden and Marc Ribot with band members being specially selected for each program. With Lee Townsend producing, the concerts took place in former industrial spaces that have been converted into performance venues in the Ruhr region of Northern Germany.
Moviegoers will hear Frisell playing alongside Bono, Brian Eno, Jon Hassell and Daniel Lanois on the soundtrack of Wim Wenders’ film, Million Dollar Hotel, starring Mel Gibson with a screenplay by Bono. He also composed and recorded original soundtrack music for four recent productions, including American Hollow, an HBO documentary special by Rory Kennedy about an Appalachian family, a public radio program about the human genome called The DNA Files, the music for two Gus Van Sant films – Finding Forrester and the remake of Psycho – and the music for Gary Larson’s second animated television project “Tales From The Far Side II.” Unspeakable won a 2005 Grammy for Best Contemporary Jazz Album.
Bill Frisell Trio Featuring Joey Baron and Tony Scherr
Yoshi’s on Fillmore
Jan 17, 2008 – Jan 20, 2008
Thurs both shows $22 & $26
Fri – Sun $24 & $28
E. “Doc” Smith is a musician and recording engineer who has worked with the likes of Brian Eno, Madonna, Warren Zevon, Mickey Hart, Jimmy Cliff, and John Mayall among others. He is also the inventor of the musical instrument, the Drummstick. He can be reached at myspace.com/edoctorsmithFiled under: Arts & Entertainment