BILL FRISELL
''BIG SUR''
JUNE 18 2013
62:25
1/The Music of Glen Deven Ranch/3:45
2/Sing Together Like a Family/4:21
3/A Good Spot/0:52
4/Going to California/3:16
5/The Big One/2:43
6/Somewhere/1:31
7/Gather Good Things/5:31
8/Cry Alone/3:17
9/The Animals/1:39
10/Highway 1/4:51
11/A Beautiful View/4:04
12/Hawks/4:40
13/We All Love Neil Young/1:39
14/Big Sur/3:05
15/On the Lookout/2:01
16/Shacked Up/4:11
17/Walking Stick (For Jim Cox)/4:10
18/Song for Lana Weeks/4:14
19/Far Away/4:35
All Tracks By Frisell
Bill Frisell /Guitar
Eyvind Kang /Viola
Hank Roberts /Cello
Rudy Royston /Drums
Jenny Scheinman /Violin
REVIEW
by Thom Jurek
Bill Frisell's Big Sur, on Sony's resurrected Okeh imprint, collects 19 individual pieces in a suite commissioned by the Monterey Jazz Festival. He spent ten days in retreat at Big Sur's Glen Deven Ranch, where he composed most of it. His band on this date is the string trio responsible for his Beautiful Dreamers recording -- Jenny Scheinman: violin; Eyvind Kang: viola; Hank Roberts: cello, and drummer Rudy Royston. Kang and Royston are also members of Frisell's 858 group, making this an unorthodox string quartet with drums. Those drums not only keep things grounded and earthy, they add force, dimension, and dynamics even on the ballads. As is typical for Frisell's ensembles, it's not about soloing so much for these players -- though all are given opportunities -- as the strength of the work through the voice of the group, with Frisell's guitar as the unifying factor, whether it's in the opening waltz "The Music of Glen Deven Ranch," the slowly unfurling, darkly tinged ballad "Going to California," or "The Big One," which references surf rock. There is a five-note vamp the guitarist uses in several pieces here as a way of bringing the listener back to the fact that despite the varying nature of these pieces, they make up a significant whole. "We All Love Neil Young" is a duet for Frisell and Kang with the violist taking up the "vocal" part as the guitarist fills and weaves through his lines. The gradually unfolding nature of "Highway 1" is an excellent and wonderfully quirky showcase for Scheinman and Kang in dialogue, and for the staggered use of dissonant harmony as Frisell's effects. The title track is a wonderful showcase for Roberts, while "The Animals," though brief, offers fine interplay between the violinist and violist as they weave through Frisell and Roberts with a Celtic-tinged folk music. "Hawks" is the most driven thing on the record, though it flirts with classical and folk music by turns, and in and out statements by all group members, driven by Royston, offer a deft quickness that gives the impression of flight. While the aforementioned tracks are noteworthy examples, this hour-long work is at its absolute best when taken as a whole. On Big Sur, Frisell delivers an inspired musical portrayal of the land, sky, sea, and wildlife of the region with majesty, humor, and true sophistication.
BIOGRAPHY
by Chris Kelsey
The defining characteristic of any given jazz musician is frequently his sound. The more control a player has over the nature of that sound, the more likely he is to project a distinctive musical personality. For example, a saxophonist has virtually unlimited physical control of the sound that comes through his horn, and therefore a wide range of tonal expression at his command, which partially explains the disproportionate number of saxophonists in the pantheon of great jazz musicians. On the other hand, few electric guitarists inhabit that realm, in part because the typical jazz guitar sound differs little from player to player. In general, guitarists do not have the same degree of physical control. Without the use of signal processing -- which jazz purists shun -- they're mostly stuck with the generic sound that comes out of their amp. Hence, guitarists have historically tended to "sound" more or less the same.
Bill Frisell is a notable exception. Among jazz guitarists, Frisell is unique in his exploitation of variable timbre. Frisell's sound swells and breathes like a saxophonist's (interestingly, Frisell played clarinet as a child). In many ways his sound is reminiscent of a pedal steel guitar. And although his work is steeped in jazz, Frisell is a man of catholic tastes. His music includes characteristics of rock, country, and bluegrass, among various other styles. Such liberality explains his willingness to expand his tonal palette beyond that of the typical jazz guitarist. Where so many conventional jazz guitarists define themselves by how many notes they can play, Frisell has carved a niche by virtue of his sound. His ability as an original, lyrical player of melody combines with a unique (if much imitated) sound to make him one of the most singular musicians of his generation.
Born in Baltimore, Frisell grew up in Denver, Colorado. He began playing the clarinet in the fourth grade and took up guitar a few years later for his personal amusement. He continued with the clarinet, playing in school concerts and marching bands. Frisell briefly considered playing classical clarinet professionally. He played guitar in rock and R&B bands as a teenager (high school classmates included Philip Bailey, Andrew Woolfolk, and Larry Dunn, future members of the funk group Earth, Wind & Fire). He discovered jazz in the music of Wes Montgomery and began to study it. Dale Bruning, a Denver-based guitarist and educator, fed his fascination with jazz.
Frisell decided to make guitar his primary instrument. After briefly attending the University of Northern Colorado, he moved to Boston in 1971 to attend the Berklee School of Music. There he studied with Michael Gibbs and John Damian. While at Berklee, Frisell connected with other like-minded players (Pat Metheny was a classmate). He also studied with Jim Hall, who became an important influence, especially in terms of harmony. In the mid-'70s, Frisell began moving away from pure bebop and began fusing jazz with his other musical interests. At about this time, he began developing his atmospheric, quasi-microtonal style. He discovered that, by using a guitar with a flexible neck, he could manipulate the instrument's intonation. A combination of experimental techniques and signal processors like delay and reverb gave Frisell a sound unlike any other guitarist.
In the late '70s, he traveled to Belgium. There he met Manfred Eicher, the founder of ECM Records. Beginning in the early '80s, Frisell recorded prolifically for the label as leader and sideman, with such musicians as Paul Motian and Jan Garbarek. He continued with the label throughout the decade, earning a reputation as ECM's "house guitarist." Frisell became much acclaimed by critics for his sophisticated yet accessible work. He moved to New York in the '80s where he worked with many of the most creative musicians active on the city's "downtown" jazz scene.
In the '80s and '90s, he recorded and performed with a huge variety of artists, not all of them jazz musicians. Collaborators included rock and pop musicians (drummer Ginger Baker, singers Marianne Faithfull and Elvis Costello), experimental jazz musicians (saxophonist/composers John Zorn and Tim Berne), and at least one classical composer (Gavin Bryars). Frisell composed soundtracks for the silent films of Buster Keaton. His 1996 album, Quartet, won the Deutsche Schallplattenpreis, the German equivalent of the Grammy. Frisell became an annual winner of various magazine polls for his solo work and recordings.
By the end of the '90s, Frisell was one of the most well-known jazz musicians in the world, with an audience and an aesthetic that transcended the boundaries of any given style. It should be mentioned that, while he is best known for his somewhat "ambient" guitar technique, he is a swinging, harmonically fluent jazz player when the occasion warrants. Frisell moved to Seattle, Washington in 1989 and stayed active as the 21st century opened, releasing Ghost Town in 2000, followed by a set with Dave Holland and Elvin Jones in 2001. Blues Dream also appeared that same year, followed by The Willies in 2002. East/West and Richter 858 were both released in 2005, and a set with Ron Carter and Paul Motian in 2006. History, Mystery followed in 2008.
In 2010, a trio recording entitled Beautiful Dreamers was released by Savoy Jazz. A collection of covers and originals, it featured Frisell in the company of violinist Eyvind Kang and drummer Roy Royston. Frisell also appeared as a sideman on Reveille, the debut solo offering by Kermit Driscoll, former bassist of the guitarist's earlier working trio. Abigail Washburn's 2011 album, City of Refuge, featured Frisell as lead guitarist. He kicked off his own series of releases in 2011 with Lagrimas Mexicanas, a series of duets with Brazilian guitarist and vocalist Vinicius Cantuária; the album was produced by Lee Townsend and released on the Entertainment on Disc/eOne imprint. Townsend also produced Frisell's return to Savoy Jazz, Sign of Life. That album featured a reunion of the 858 Quartet with Frisell on guitars, Jenny Scheinman on violin, Eyvind Kang on viola, and Hank Roberts on cello. In 2011, Frisell delved into the music of John Lennon with All We Are Saying... A longtime fan of the Beatles' singer/songwriter, Frisell was joined once again by violinist Scheinman, as well as guitarist Greg Leisz, bassist Tony Scherr, and drummer Kenny Wollesen on such classics as "Across the Universe," "Imagine," "You've Got to Hide Your Love Away," "Julia," "Beautiful Boy," and others. Hewing closely to Lennon's original versions, Frisell found ways to explore the melody and emotional content of Lennon's songs without having to overtly change the harmonic content of the material. Frisell's 2012 also saw the return of Floratone -- his collective with Lee Townsend, Matt Chamberlain, and Tucker Martine. Floratone II was released on March 6, of 2012. He also re-established his connection with John Zorn's music, appearing as part of the ensemble for the composer's Gnostic Preludes with harpist Carol Emmanuel and Kenny Wollesen on vibraphone. The album was issued on Tzadik a week after Floratone II. He released another album for the label in early 2013. Entitled Silent Comedy, it featured the guitarist in a solo setting. Frisell the composer returned in a big way in June of that year, employing his 858 quartet and drummer Rudy Royston. Together they recorded Big Sur, his debut for Sony's relaunched Okeh imprint.
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''BIG SUR''
JUNE 18 2013
62:25
1/The Music of Glen Deven Ranch/3:45
2/Sing Together Like a Family/4:21
3/A Good Spot/0:52
4/Going to California/3:16
5/The Big One/2:43
6/Somewhere/1:31
7/Gather Good Things/5:31
8/Cry Alone/3:17
9/The Animals/1:39
10/Highway 1/4:51
11/A Beautiful View/4:04
12/Hawks/4:40
13/We All Love Neil Young/1:39
14/Big Sur/3:05
15/On the Lookout/2:01
16/Shacked Up/4:11
17/Walking Stick (For Jim Cox)/4:10
18/Song for Lana Weeks/4:14
19/Far Away/4:35
All Tracks By Frisell
Bill Frisell /Guitar
Eyvind Kang /Viola
Hank Roberts /Cello
Rudy Royston /Drums
Jenny Scheinman /Violin
REVIEW
by Thom Jurek
Bill Frisell's Big Sur, on Sony's resurrected Okeh imprint, collects 19 individual pieces in a suite commissioned by the Monterey Jazz Festival. He spent ten days in retreat at Big Sur's Glen Deven Ranch, where he composed most of it. His band on this date is the string trio responsible for his Beautiful Dreamers recording -- Jenny Scheinman: violin; Eyvind Kang: viola; Hank Roberts: cello, and drummer Rudy Royston. Kang and Royston are also members of Frisell's 858 group, making this an unorthodox string quartet with drums. Those drums not only keep things grounded and earthy, they add force, dimension, and dynamics even on the ballads. As is typical for Frisell's ensembles, it's not about soloing so much for these players -- though all are given opportunities -- as the strength of the work through the voice of the group, with Frisell's guitar as the unifying factor, whether it's in the opening waltz "The Music of Glen Deven Ranch," the slowly unfurling, darkly tinged ballad "Going to California," or "The Big One," which references surf rock. There is a five-note vamp the guitarist uses in several pieces here as a way of bringing the listener back to the fact that despite the varying nature of these pieces, they make up a significant whole. "We All Love Neil Young" is a duet for Frisell and Kang with the violist taking up the "vocal" part as the guitarist fills and weaves through his lines. The gradually unfolding nature of "Highway 1" is an excellent and wonderfully quirky showcase for Scheinman and Kang in dialogue, and for the staggered use of dissonant harmony as Frisell's effects. The title track is a wonderful showcase for Roberts, while "The Animals," though brief, offers fine interplay between the violinist and violist as they weave through Frisell and Roberts with a Celtic-tinged folk music. "Hawks" is the most driven thing on the record, though it flirts with classical and folk music by turns, and in and out statements by all group members, driven by Royston, offer a deft quickness that gives the impression of flight. While the aforementioned tracks are noteworthy examples, this hour-long work is at its absolute best when taken as a whole. On Big Sur, Frisell delivers an inspired musical portrayal of the land, sky, sea, and wildlife of the region with majesty, humor, and true sophistication.
BIOGRAPHY
by Chris Kelsey
The defining characteristic of any given jazz musician is frequently his sound. The more control a player has over the nature of that sound, the more likely he is to project a distinctive musical personality. For example, a saxophonist has virtually unlimited physical control of the sound that comes through his horn, and therefore a wide range of tonal expression at his command, which partially explains the disproportionate number of saxophonists in the pantheon of great jazz musicians. On the other hand, few electric guitarists inhabit that realm, in part because the typical jazz guitar sound differs little from player to player. In general, guitarists do not have the same degree of physical control. Without the use of signal processing -- which jazz purists shun -- they're mostly stuck with the generic sound that comes out of their amp. Hence, guitarists have historically tended to "sound" more or less the same.
Bill Frisell is a notable exception. Among jazz guitarists, Frisell is unique in his exploitation of variable timbre. Frisell's sound swells and breathes like a saxophonist's (interestingly, Frisell played clarinet as a child). In many ways his sound is reminiscent of a pedal steel guitar. And although his work is steeped in jazz, Frisell is a man of catholic tastes. His music includes characteristics of rock, country, and bluegrass, among various other styles. Such liberality explains his willingness to expand his tonal palette beyond that of the typical jazz guitarist. Where so many conventional jazz guitarists define themselves by how many notes they can play, Frisell has carved a niche by virtue of his sound. His ability as an original, lyrical player of melody combines with a unique (if much imitated) sound to make him one of the most singular musicians of his generation.
Born in Baltimore, Frisell grew up in Denver, Colorado. He began playing the clarinet in the fourth grade and took up guitar a few years later for his personal amusement. He continued with the clarinet, playing in school concerts and marching bands. Frisell briefly considered playing classical clarinet professionally. He played guitar in rock and R&B bands as a teenager (high school classmates included Philip Bailey, Andrew Woolfolk, and Larry Dunn, future members of the funk group Earth, Wind & Fire). He discovered jazz in the music of Wes Montgomery and began to study it. Dale Bruning, a Denver-based guitarist and educator, fed his fascination with jazz.
Frisell decided to make guitar his primary instrument. After briefly attending the University of Northern Colorado, he moved to Boston in 1971 to attend the Berklee School of Music. There he studied with Michael Gibbs and John Damian. While at Berklee, Frisell connected with other like-minded players (Pat Metheny was a classmate). He also studied with Jim Hall, who became an important influence, especially in terms of harmony. In the mid-'70s, Frisell began moving away from pure bebop and began fusing jazz with his other musical interests. At about this time, he began developing his atmospheric, quasi-microtonal style. He discovered that, by using a guitar with a flexible neck, he could manipulate the instrument's intonation. A combination of experimental techniques and signal processors like delay and reverb gave Frisell a sound unlike any other guitarist.
In the late '70s, he traveled to Belgium. There he met Manfred Eicher, the founder of ECM Records. Beginning in the early '80s, Frisell recorded prolifically for the label as leader and sideman, with such musicians as Paul Motian and Jan Garbarek. He continued with the label throughout the decade, earning a reputation as ECM's "house guitarist." Frisell became much acclaimed by critics for his sophisticated yet accessible work. He moved to New York in the '80s where he worked with many of the most creative musicians active on the city's "downtown" jazz scene.
In the '80s and '90s, he recorded and performed with a huge variety of artists, not all of them jazz musicians. Collaborators included rock and pop musicians (drummer Ginger Baker, singers Marianne Faithfull and Elvis Costello), experimental jazz musicians (saxophonist/composers John Zorn and Tim Berne), and at least one classical composer (Gavin Bryars). Frisell composed soundtracks for the silent films of Buster Keaton. His 1996 album, Quartet, won the Deutsche Schallplattenpreis, the German equivalent of the Grammy. Frisell became an annual winner of various magazine polls for his solo work and recordings.
By the end of the '90s, Frisell was one of the most well-known jazz musicians in the world, with an audience and an aesthetic that transcended the boundaries of any given style. It should be mentioned that, while he is best known for his somewhat "ambient" guitar technique, he is a swinging, harmonically fluent jazz player when the occasion warrants. Frisell moved to Seattle, Washington in 1989 and stayed active as the 21st century opened, releasing Ghost Town in 2000, followed by a set with Dave Holland and Elvin Jones in 2001. Blues Dream also appeared that same year, followed by The Willies in 2002. East/West and Richter 858 were both released in 2005, and a set with Ron Carter and Paul Motian in 2006. History, Mystery followed in 2008.
In 2010, a trio recording entitled Beautiful Dreamers was released by Savoy Jazz. A collection of covers and originals, it featured Frisell in the company of violinist Eyvind Kang and drummer Roy Royston. Frisell also appeared as a sideman on Reveille, the debut solo offering by Kermit Driscoll, former bassist of the guitarist's earlier working trio. Abigail Washburn's 2011 album, City of Refuge, featured Frisell as lead guitarist. He kicked off his own series of releases in 2011 with Lagrimas Mexicanas, a series of duets with Brazilian guitarist and vocalist Vinicius Cantuária; the album was produced by Lee Townsend and released on the Entertainment on Disc/eOne imprint. Townsend also produced Frisell's return to Savoy Jazz, Sign of Life. That album featured a reunion of the 858 Quartet with Frisell on guitars, Jenny Scheinman on violin, Eyvind Kang on viola, and Hank Roberts on cello. In 2011, Frisell delved into the music of John Lennon with All We Are Saying... A longtime fan of the Beatles' singer/songwriter, Frisell was joined once again by violinist Scheinman, as well as guitarist Greg Leisz, bassist Tony Scherr, and drummer Kenny Wollesen on such classics as "Across the Universe," "Imagine," "You've Got to Hide Your Love Away," "Julia," "Beautiful Boy," and others. Hewing closely to Lennon's original versions, Frisell found ways to explore the melody and emotional content of Lennon's songs without having to overtly change the harmonic content of the material. Frisell's 2012 also saw the return of Floratone -- his collective with Lee Townsend, Matt Chamberlain, and Tucker Martine. Floratone II was released on March 6, of 2012. He also re-established his connection with John Zorn's music, appearing as part of the ensemble for the composer's Gnostic Preludes with harpist Carol Emmanuel and Kenny Wollesen on vibraphone. The album was issued on Tzadik a week after Floratone II. He released another album for the label in early 2013. Entitled Silent Comedy, it featured the guitarist in a solo setting. Frisell the composer returned in a big way in June of that year, employing his 858 quartet and drummer Rudy Royston. Together they recorded Big Sur, his debut for Sony's relaunched Okeh imprint.
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