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  • nashvillepress
    to Gary Larson cartoons Included in the new album s 14 tracks are three vocals by long time collaborator Robin Holcomb Neil Young s One of These Days Hazel Dickens Will Jesus Wash the Bloodstains From Your Hands and a cover of the Skeeter Davis classic The End of the World For Immediate Release May 16 1997 Bill Frisell s Nashville has taken big strides in it s second week of release The initial impact of this record is evident in radio retail and the press Nashville released on April 29 is the 1 most added at Americana radio two weeks in a row At retail Nashville has scanned nearly 2000 units in it s first two weeks of release Nashville debuts at 21 on Billboard Contemporary Jazz Chart The early press response is equally impressive Frisell s Nashville comes across as a postcard from some wistful utopia the perfect home you never had but long for nevertheless Jazziz Nashville is among the earthiest and deeply felt of Frisell s many fine recordings Musician Nashville marks a brave depature Delightfull pretty stirring with instrumentals that evoke tender mercies and dusk settling over the pines The Atlanta Journal Consitution Nashville is sure to turn a few heads Brezy sentimental Billboard A thoroughly intriguing album Frisell s guitar playing takes in this country s expansive skies dirt roads and gray cities its long and lonesome miles of railroad tracks it s smokestacks and cornfields and renders them all in sound CMJ A strain of Americana has always run through Bill Frisell s work especially in his most recent Nonesuch recordings Quartet Music for the Films of Buster Keaton This Land and Have a little Faith an album of covers with tunes by Bob Dylan John Hiatt Modonna Stephen Foster Aaron Copland and Sonny Rollins With Nashville set for release in April 1997 Frisell has assembled some of the finest musicians in the country music capital including Adam Steffey mandolin and Ron Block banjo and guitar from Alison Krauss Union Station and vocalist Robin Holcomb Nashville is a collection of 11 original tunes and covers by Neil Young Hazel Dickens and Skeeter Davis revealing the roots of a style that has long informed Frisell s signature sound Within the context of Nashville Frisell s long standing fascination with Americana is brought into greater focus than ever With over 80 recordings to his credit and 10 as leader on Nonesuch Frisell s broad palette of collaborators includes Ginger Baker Gavin Bryars Don Byron Elvis Costello Marianne Faithful Wayne Horvitz Lyle Mays Paul Motion Hal Wilner and John Zorn among others Widely appauded by musicians critics and listeners alike Frisell consistently tops the Down Beat critic s poll Dubbed a masterpiece by The New York Times Frisell s 1996 release Quartet featured original compositions for Gary Larson s Far Side cartoons played by an unusal ensemble Frisell on electric and acoustic guitar Ron Miles on trumpet Eyvind Kang on violin and tuba and Curtis Fowlkes

    Original URL path: http://www.bryanaaker.net/nashvillepress (2016-04-27)
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  • The Bill Frisell Discography Siskind Press kit
    and arresting as to make those analogies a bit impotent Her songs and her arrangements manage to evoke classical art songs Celtic balladry torcy late night jazz hippie era folk music and the uptown avant garde in equal measure while coalescing into something entirely new and transcendentally beautiful Craig Havighurst The Tennessean Legendary guitarist Bill Frisell joins Sarah on nine of the twelve tracks lending his virtuosity and wide range of sounds to the project Also joining Sarah for backing vocals on two of the twelve tracks is Boston based singer Jennifer Kimball The Story Sarah s father Mark Wingate also lent his Appalachia style fiddle to two of the tracks one being his original instrumental that closes the album Lonesome Prospect Other contributing musicians include Brian Siskind aka fognode Milard Powers Ben Folds Richard McLaurin Maura O Connell and Daniel Tashian Patty Griffin Sarah began songwriting at the age of 9 and by the age of 14 recorded her first album Sarah has appeared on radio shows with Maya Angelou Doc Watson has opened for some of the likes of Cheryl Wheeler Jennifer Kimble Tim O Brien and Peter Mulvey and released two subsquent albums Although Sarah s first

    Original URL path: http://www.bryanaaker.net/siskindpress.html (2016-04-27)
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  • heavenpresskit.page
    are carefully mixed about as well nodding to Monk on a dizzy We See and then twanging away on Hank Williams Your Cheatin Heart Then there our duo takes on Jelly Roll Morton s aptly named King Porter Stomp and Bob Dylan s A Hard Rain s a Gonna Fall both which perfectly and natuarally sparkle gleam and jostle We both wanted to do We See Miles recalls As I recall I chose Heaven and King Porter Stomp King Porter was on a record with King Oliver and Jelly Roll Morton so it seemed like a good duo choice And Bill suggested Hard Rain and Cheatin Heart These intricate musical shifts in mood and melody are the contours that define how Miles thinks as a composer In the past he s written Cobain a tribute to Nirana s late singer and Howard Beach a meditation on the troubled New York community Always the presence of straight up jazz modalities and moods find themselves rubbing against a catholic view of the American musical continuum which permeates Heaven At once the album sounds like Frisell and Miles played the tunes in omne familar knowing take and also as if they agonized over perfecting every detail The truth of course is somewhere in between Frisell fondly remembers the recording process The session itself was effortless in a way Ron and Mickey really set up the circumstances si it would be really easy for us to play We didn t even use headphones Nothing was forced we just played It was two guys sitting in a room playing and we didn t try to turn it into something bigger or smaller than what it was It just felt really good Ron Mile s latest set and all his sessions have stayed rock solidly on the track laid down by Charles Mingus mixing church and nightclub potently on 1989 s Witness which proved that even as the neo conservative movement was in full florish the flange between the straight ahead and the hyper creative was fluid and prosperous By the time Miles showed up on the adventurous Gramavision label too many years later in 1996 eventually releasing two CD s for the label he d expanded his horizons 1996 s My Cruel Heart found Miles running down tunes with an expanded three guitar octet and then reveling in a lean poncing bass drums trumpet trio It s there and on Frisell s Quartet that you hear how sublimely the trumpet and guitar can weave together as they do on Heaven You think of the guitar especially in Frisell s hands as the gauze the trumpet as the fat maker stepping out to mark the shape of a tune Harking back to his stint with the Duke Ellington Orchestra where Miles ended up in the early 90 s Heaven is anchored by Ellington s title track But the next stop off at Ellingtonia comes in light of Miles recent stints in drummer Ginger Baker s Denver

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  • The Bill Frisell Discography Tim Berne Photo
    engineered by Tucker Martine The Willies was recorded in Seattle at Flora Avenue Studio and features Frisell on electric and acoustic guitars and loops Danny Barnes Bad Livers on banjo and guitar and Keith Lowe Fiona Apple David Sylvain and Wayne Horvitz s Zony Mash on bass It s hard to find a more fruitful meditation on American music than in the compositions of guitarist Bill Frisell Mixing rock and country with jazz and blues he s found what connects them improvisation and a sense of play The New York Times Frisell s career spans more than 20 years and 100 recordings as guitarist composer bandleader and collaborator His Nonesuch discography was recently cited as the best recorded output of the decade by Downbeat Magazine and he has joined forces with artists as diverse as Elvis Costello The Los Angeles Philharmonic Marianne Faithful and John Scofield Frisell has been the recipient of numerous awards and accolades including the Deutsche Schallplattenpreis the German equivalent of a Grammy award In 1998 and 1999 he received both a Critics Award and the Industry Award in the category of Best Guitarist in the Annual Jazz Awards On May 18 2002 there will be a very special concert at the Barbican Theater in London called An Evening with Bill Frisell where he will perform with his two newest groups featuring some of his long time musical cooleagues and more recent collaborators Bill Frisell s Intercontinental Quartet featuring Vinicius Cantuaria Sidiki Camara and Christos Govetas Bill Frisell Sextet featuring Greg Leisz Ron Miles Jenny Scheinman Tony Scherr and Kenny Wollesen and special guests Djelimady Tounkara the celebrated guitarist from Mali and Eliza Carthy the young singer and violinist from the U K Folowing the London show Frisell will premire his newest collaboration with visual artist Jim

    Original URL path: http://www.bryanaaker.net/thewilliespresskit (2016-04-27)
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  • The Bill Frisell Discography Tim Berne Photo
    Band Doug Wieselman Danny Barnes The Bad LIvers and violist Eyvind Kang The songs on The Big Time evoke an atmospheric musical world reflective of Holcomb s diverse musical influences I Want to Tell the Story comes from a song cycle she wrote called Angels at the Four Corners based on people Holcomb knew while sharecropping tobacco in North Carolina A Lazy Farmer Boy and Engine 143 are two songs from The Anthology of American Folk Music which she arranged when invited to participate in Hal Wilner s Harry Smith tribute concerts in London New York and Los Angeles Lullaby was written while working with choeographer Joe Goode in San Francisco and Sit Right Down comes from a Stephen Foster project she s begun writing songs based on characters from his life The rest of the songs Holcomb says have been written over the past few years and recorded with good frinds in Seattle I had the additional pleasure of singing with Kate and Anna McGarrigle on a few songs we met years ago sharing a concert at the Riverside Church in New York City As Billy Bragg said that day I heard the angels sing In addition to the

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  • 1999blindfoldtest
    figured this must be Jim s record where he did those arrangements Thank God I got that right Both sound quite different than you er used to hearing But it s interesting how without Metheny playing the strings fired a response that made me think of Jim Hall right away 5 stars JOHN McLAUGHLIN Only Child from Time Remembered Verve 1993 McLaughlin acoustic guitar Aighetta Quartet acoustic guitars Yan Maresz acoustic bass guitar At first I couldn t tell how many guitars were playing there s a very low tuned guitar and I didn t recognize the tune The i wondered if someone had a 7 string it had the lush quality of Johnny Smith or George Eps Then I knew it was John McLaughlin playing Bill Evans songs with a guitar quartet It sounded exquisitely beautiful He keeps on being one of my heros Once after a Shakti concetrt I almost quit playing the guitar I realized that I had to figure out something else to do He s known for being fast but he s very soulful and so far out rhythmically and harmonically 5 stars BAR KOKHA Hazor from Zevulun DIW 1997 Marc Ribot guitar Erik Friedlander cello Mark Feldman violin Greg Cohen bass Joey Baron drums Cyro Baptista percussion John Zorn composer Is it Ribot So it s the Prosthetic Cubans no Then what after I haven t listened to this The guitar was dominant si I thought it was Mark s thing That s Cyro and Erik Friedlander on cello I ve heard so much about that band I liked it alot I should have known the melody but with the Latinish feeling I got sidetracked 5 stars GEORGE BENSON Hipping The Hop from Absolute Benson Verve 2000 Benson guitar Joe Sample piano composer At

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  • earshot2005article
    also bring in other people throughout the year I feel thankful that they are here because we are off the beaten track and when you are on the East Coast you can sort of get to California But to get up here it s another stretch They ve really turned it into one of the places where people can come through and play EARSHOT I have always felt that although Seattle is far removed geographically and maybe because of it we have been able to develop our own unique way and appreciation for music I think people here have pretty big ears FRISELL I felt the same thing when I first came to Seattle That first gig we played at the Nippon Kan Theater was full I thought there might be 25 people so we were completely surprised It was so weird There is definitely an openness or curiosity with the listeners here and one of the things that attracted me to Seattle was that it seemed not as connected to some fashion I guess that happens everywhere but Seattle seemed to be comfortable with itself and wasn t trying to be like New York or Los Angeles where one is always trying to outdo or be cooler than the other Seattle always seemed to be kind of outside of worrying about what people thought of it EARSHOT I read a quote that was attributed to you that reads Rather than as a style I see jazz as a way of thinking a way of attacking music Could you expand on those thoughts FRISELL In the 1960s jazz was this constantly living evolving thing when you went out and bought the new Miles record you would see the whole history of everything moving ahead You d learn about the history but it hadn t stagnated or solidified into this one thing Part of the deal was that if you played jazz it was understood that you had to understand the history but were suppose to figure out a way to move it ahead So you would think about the process and try to imagine what these musicians were thinking or look at what they did from record to record I would then try to imagine what I could do to find my own thing That was part of the struggle and still is for me But it seems that in the last few years priorities have become mixed up and turned into this thing OK jazz is this and to do it correctly you have to wear a suit look a certain way and have to follow all these rules and stay within certain parameters That s just not what it s about for me So people ask Is what you re playing now jazz I mean I don t know what it is I m playing It sjust music But I still feel as if it s coming more from jazz than anything else even if it doesn t

    Original URL path: http://www.bryanaaker.net/earshot2005article (2016-04-27)
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  • beforeandafter
    He s killing on this And I don t think I ve ever heard Tronzo play that National guitar before I ve always heard him play electric guitar But it was still obviously him I don t know anybody else that can do what he does on the guitar Yeah I gotta get this one I like the sound of the whole recording and I really like the starkness of everything And Kenny s the perfect guy for this trio It s weird I m with Kenny all the time and he never tells what else he s doing He should ve told me about this one This is really great Track 4 Jim Hall Scrapple From the Apple from Live A M Horizon Hall guitar Don Thompson bass Terry Clarke drums Charlie Parker composer Recorded in 1975 BEFORE It s Jim Hall It s Scrapple From the Apple and it s with Don Thompson and Terry Clarke This is one of those records that kind of passed me by I heard it once a long time ago and it s one of the ones I never actually checked out thoroughly AFTER It always sounds like I m gushing about Jim Hall but he s just so amazing to me He never plays anything worked out It s like the melodies and the lines that he s playing are like a tree growing He ll play something and it ll cause him to play something else and it just keeps developing from there like branches of a tree growing And I always hear Charlie Christian in Jim s playing There s just so much music and history in his playing but it s not some kind of spectacular worked out thing The music is generated in the moment by itself It has this natural evolution rather than being formulated in any way He s always playing a little bit past what he knows sort of so it s got this organic momentum to it You can hear him he ll play a phrase and then that phrase will mean Oh I gotta play this next phrase rather than falling into stuff that he s figured out already which is so easy to do And then his whole articulation and the feel of his eighth notes the rhythmic momentum of when he plays a melodic line it s all so beautiful There are guys like Jimmy Raney or Billy Bean who have this sort of flowing articulation down but they all have their own individual way of doing it I m thinking mainly of guys who played a lot with horn players Jim talked a lot about when he first played with Jimmy Giuffre and spent so much time trying to figure out ways to play a phrase Rather than just picking all the notes he would figure out a way to work out the fingering on the fingerboard so that the slurs would match the tonguing and the slurring of

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