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  • gonejustlike
    become inseparable A Frisell guitar riff may be unmistakeable but also ambiguous and elusive Significantly he s not working with jazz musicians this time out For percussive support Frisell employs longtime rock pop drummer Jim Keltner a veteran of sessions with Bob Dylan Randy Newman and John Hiatt all explorers of American pop songs Keltner contributes a steady foundation percussive accents and an unapologetic backbeat From the Nashville CD country western and bluegrass bassist Viktor Krauss returns On aggressive tracks like the dark somewhat pensive Blues For Los Angeles and Lookout For Hope Keltner and Krauss quickly lock into a deep relentless groove that propels Frisell s gritty blues inflected guitar lines This new version of Lookout For Hope carries an undercurrent of malevolence that adds to the tension as the guitarist s solo progresses into a feral howl The versatility of the rhythm section provides a considerable advantage as the trio mixes and matches disparate musical elements Gone Just Like a Train begins as a thoughtful quasi tango but culminates with the guitarist rocking out over a frat rock rhythm Upbeat and bouncy Raccoon Cat is a Frisell s tribute to rockabilly while Egg Radio combines a reggae beat

    Original URL path: http://www.bryanaaker.net/gonejustlike.html (2016-04-27)
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  • masadaguitarsreview
    and Ravayah as he alternates between certain cycles and phrasings that echo both traditional Jewish music and folk and jazz traditions Ribot on the other hand can come off as the iconoclast offering subtle and not so subtle contrasts akin to his experimental string work of previous years bending the strings and rules perhaps on tunes like Kedem Hodaah and Galgalim Frisell s more overt avantish excursions on pieces like

    Original URL path: http://www.bryanaaker.net/masadaguitarsreview (2016-04-27)
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  • isthatyoureview
    maelstrom which is why he s become one of the most popular sideman in the new music and the old But somehow he hasn t quite gotten his due as a leader and a composer Is Tha You won t change that because he still refuses to identify himself with any one style of music as a child of the 60 s he loves it all Who else would attempt Days of Wine and Roses and Chain of Fools on the same side let alone in one lifetime the former aglow in shadowy voicings and spare teardrop counterpoint the latter pitting a cat scratch lead against a chor of overdubbed guitars a la Les Paul Elsewhere his originals pit lyric and rhythumic elements against each other in quirky collages of sound No Man s Land suggesting the Weather Report of The Unknown Solider while the charming Rag echoes both turn of the century American dances and the great twentieth century Spanish composers On the title tune Wayne Horvitz s keyboards Joey Baron s drums and Dave Hofstra s tuba add color to Frisell s chamber like arrangement with its rich Southwestern imagery a kissing cousin to Bill Lawsell s orientalisms

    Original URL path: http://www.bryanaaker.net/isthatyoureview.html (2016-04-27)
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  • dialoguesreview
    however is not to throw the spotlight just on Hall s lyricism musicianship and incisive curiousity but to have him engage five musician friends or acquaintances in intelligent open hearted conversation all the while supported by an unobtrusive bassist and drummer Bill Frisell is up to the challenge bringing focus and sublime wit to his celestial tones when communing with his former instructor and occasional nightclub gig cohort on the abstract Frisell Frazzle and the inviting Simple Things both Hall composistions like everything except the standard Skylark Despite two distintive personalities at work their interaction is as seamless as silk Joe Lavano making his inital musical meeting with Hall brings typical imagination and emotional commitment to a hormonically tricky ballad titled Bon Ami and a cheerful song the guitarist wrote specially for him Calypso Joe which glides on the same tropical breeze as the classic Sonny Rollin s Hall collaboration St Thomas Down a few levels from the rarified artistic heights of Hall s encounters with Frisell and Lavano yet still pleasurable are his collaborations with Tom Harrel Gil Goldstien and Mike Stern Harrell s economy of line and extreme thoughtfulness would seem to be a perfect match for Hal

    Original URL path: http://www.bryanaaker.net/dialoguesreview.html (2016-04-27)
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  • nashvillereview
    Billboard Magazines May 24 1997 Review of Nashville BILL FRISELL Nashville PRODUCER Wayne Horvitz Nonesuch 79415

    Original URL path: http://www.bryanaaker.net/nashvillereview (2016-04-27)
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  • downhomereview
    s Barondown trio thc rccipe was reversed Ellery Eskelin s tenor sax and Steve Swell s trombone were enlisted to assure a wealth of physicality This new hero laden quartet Bill Frisell Arthur Blythe and Ron Carter are all on board is geared to carouse and cavort But it never loses its cool Virginia native Baron has told interviewers that music should be fun claiming his sound is loose and slow the way Southerners are slow New Orleans regionalism check that superb cover art and jukebox soul are what Down Home intends to convey It wants to be felt not fretted over Baron s chosen the right crew for rendering such a plan Blythe s recent MIA status only makes his tart tone and bluesy phrasing sound that much juicier when he reappears and in a few ways Down Home is his showcase His passionate tone is still his signature On Little Boy he wails thoughtfully yet it s emotion that clings to your memory His sound often has a bit of cheek to it but here and on Aren t We All a tart Tab Smith voluptuousness dominates Speaking of tone Frisell lays off the gizmos for this return to roots it s refreshing Though certainly no bluesman he is one of the most imaginative improvisers of the last two decades between his quizzical comping on The Crock Pot and his jittery solo on What he roughs up the style s cliches without displaying an iota of animosity That slight pulling of punches begets one bugaboo The date could stand a bit more shit on his shoes In part blues has always been about tension and though r b s suave demeanor has often assuaged some of its fire it has also found a way to use anxiety s

    Original URL path: http://www.bryanaaker.net/downhomereview (2016-04-27)
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  • jessieharrisreview
    learned how to keep an audience interested and wanting more Paste Magazine s Aug 2004 Review of Jessie Harris and the Ferdinandos WHILE THE MUSIC LASTS Long before he took home a Grammy for writing Don t Know Why for Norah Jones Jessie Harris was honing his craft in New York with the Ferdinados The group including guitarist Tony Scherr who s worked with Sophie B Hawkins and John Lurie and until recently drummer Kenny Wollenson who s performed along side both Ron Rexsmith and Bill Frisell But this is just the long winded way of saying Harris s attempts to bridge the gap between pop and jazz go back nearly a decade And also why it s all the more furstrating that in such an interesting musicial environment Harris still comes out with music that has all the excitement of a middling James Taylor record Like Jones Harris attempts to pass himself off as pseudo jazz by using chord progressions uncommon to pop in order to convey a sense of sophisication When he s prodded by guest musicians like Frisell on I Never Changed My Mind and Van Dyke Parks who arranged the strings on four of the tracks

    Original URL path: http://www.bryanaaker.net/jessieharrisreview (2016-04-27)
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  • busterkeatonreviews
    Go West is the most sentimentle feature Keaton ever ever made though its pathos comes heavily streaked with absurdity since the film concerns the love between a hapless man Friendless and his cow Brown Eyes Frisell s thoughtfully shaped guitar speech seems to draw its resonance from the disturbing melancholia of Jeaton on screen He and his rhythm section propel the film with a sort of loopy menace playing an ingratiating theme now and again that burrows deep into our subconious Like the film s whimsical plot the artful music never lets you know where it s going next Frisell wears the master comedian s tragic comedic mask very well indeed Ditto for the second disc On The High Sign the tale of a sad sack saving the town penny pincher from bandits Keaton carefully integrates his gag sequences while Frisell provides incisive sonic commentary on the films moods using nervous guitar jangles and irresolutions or a recurring bittersweet little melody Despite some hearty laughs The High Sign just isn t much of a film and Frisell might have been better off taking a lighthearted approach rather than searching for poetic solemnity in the unremarkable visual images But then agin

    Original URL path: http://www.bryanaaker.net/busterkeatonreviews (2016-04-27)
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