Music IS / Bill Frisell
This long-awaited solo album from Bill Frisell, who has spent a considerable portion of his career collaborating with others, reflects just how far the guitarist has come since making his first recordings for ECM in the early 1980s. As a leader and sideman on more than 250 albums, Frisell has proven himself time and again to be an expert at engaging his fellow musicians in meaningful musical conversations and playful call-and-response. In short, he plays well, and often, with othersâand thatâs what makes his unaccompanied performances on Music IS so revealing. - DownBeat Editors' Pick
Click here to read the full review at DownBeat Magazine
REVIEW:
Since his debut recording 35 years ago, Bill Frisell has been remarkably prolific, resulting in 36 albums as a leader. On Music IS the guitarist re-examines some of his earlier works while showcasing five new compositions, all in an unaccompanied setting.
Frisell starts many tunes with an almost naive simplicity but gradually builds sonic cathedrals by using looped layers and gorgeously finessed chordal voicings; âPretty Starsâ and âThankfulâ are examples of this approach. Another Frisell signature, the Monkian herky-jerky quirkiness in some of his rhythmic cadences, manifests on his sparse reworking of âWinslow Homer,â which he gradually builds up to a virtual guitar choir through overdubbing. âChange Is in the Airâ is a fragile, chamber-like minor key lament that relies on multiple guitar tracks for lush effect. He makes judicious use of swirling loops and backwards effects on the somber âWhat Do You Want?â and the hypnotic âIn Lineâ while the grunge element in Frisellâs playing rears its dissonant head on âKentucky Derby.â Other intimate gems here include a haunting remake of the lonesome-sounding âRon Carter,â an artful re-imagining of âRambler,â and âMonica Jane,â a poignant ode to his daughter.
-- The Absolute Sound (Bill Milkowski, 8/2018)
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Music IS / Bill Frisell
Music IS / Bill Frisell
This long-awaited solo album from Bill Frisell, who has spent a considerable portion of his career collaborating with others, reflects just how far the guitarist has come since making his first recordings for ECM in the early 1980s. As a leader and sideman on more than 250 albums, Frisell has proven himself time and again to be an expert at engaging his fellow musicians in meaningful musical conversations and playful call-and-response. In short, he plays well, and often, with othersâand thatâs what makes his unaccompanied performances on Music IS so revealing. - DownBeat Editors' Pick
Click here to read the full review at DownBeat Magazine
REVIEW:
Since his debut recording 35 years ago, Bill Frisell has been remarkably prolific, resulting in 36 albums as a leader. On Music IS the guitarist re-examines some of his earlier works while showcasing five new compositions, all in an unaccompanied setting.
Frisell starts many tunes with an almost naive simplicity but gradually builds sonic cathedrals by using looped layers and gorgeously finessed chordal voicings; âPretty Starsâ and âThankfulâ are examples of this approach. Another Frisell signature, the Monkian herky-jerky quirkiness in some of his rhythmic cadences, manifests on his sparse reworking of âWinslow Homer,â which he gradually builds up to a virtual guitar choir through overdubbing. âChange Is in the Airâ is a fragile, chamber-like minor key lament that relies on multiple guitar tracks for lush effect. He makes judicious use of swirling loops and backwards effects on the somber âWhat Do You Want?â and the hypnotic âIn Lineâ while the grunge element in Frisellâs playing rears its dissonant head on âKentucky Derby.â Other intimate gems here include a haunting remake of the lonesome-sounding âRon Carter,â an artful re-imagining of âRambler,â and âMonica Jane,â a poignant ode to his daughter.
-- The Absolute Sound (Bill Milkowski, 8/2018)
Product Information
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Shipping & Returns
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Description
This long-awaited solo album from Bill Frisell, who has spent a considerable portion of his career collaborating with others, reflects just how far the guitarist has come since making his first recordings for ECM in the early 1980s. As a leader and sideman on more than 250 albums, Frisell has proven himself time and again to be an expert at engaging his fellow musicians in meaningful musical conversations and playful call-and-response. In short, he plays well, and often, with othersâand thatâs what makes his unaccompanied performances on Music IS so revealing. - DownBeat Editors' Pick
Click here to read the full review at DownBeat Magazine
REVIEW:
Since his debut recording 35 years ago, Bill Frisell has been remarkably prolific, resulting in 36 albums as a leader. On Music IS the guitarist re-examines some of his earlier works while showcasing five new compositions, all in an unaccompanied setting.
Frisell starts many tunes with an almost naive simplicity but gradually builds sonic cathedrals by using looped layers and gorgeously finessed chordal voicings; âPretty Starsâ and âThankfulâ are examples of this approach. Another Frisell signature, the Monkian herky-jerky quirkiness in some of his rhythmic cadences, manifests on his sparse reworking of âWinslow Homer,â which he gradually builds up to a virtual guitar choir through overdubbing. âChange Is in the Airâ is a fragile, chamber-like minor key lament that relies on multiple guitar tracks for lush effect. He makes judicious use of swirling loops and backwards effects on the somber âWhat Do You Want?â and the hypnotic âIn Lineâ while the grunge element in Frisellâs playing rears its dissonant head on âKentucky Derby.â Other intimate gems here include a haunting remake of the lonesome-sounding âRon Carter,â an artful re-imagining of âRambler,â and âMonica Jane,â a poignant ode to his daughter.
-- The Absolute Sound (Bill Milkowski, 8/2018)
