31 diciembre 2012

Bill Frisell - 1996 - Bill Frisell Quartet


Hace unos meses ya que Bab me pasó este flipante disco y más o menos acordamos publicarlo (bueno, quizá no llegué a decírselo, aunque la cosa estaba ahí) pero la multitud de eventos De Chinguels Colechion y Demás Leñes Weberas hicieron que quedara aparcado en la cocina de Cielo y Dedo hasta estas fechas en que la costumbre de hacer recuento me ha reavivado la memoria.

Bill Frisell - 1996 - Bill Frisell Quartet


La poco usual instrumentación (guitarras y una muy personal sección de viento) confiere a esta grabación una extraña unidad con su particular aura sonora. Se suceden, de forma aparentemente espontánea, diversas estampas a lo largo de los trece descriptivos temas instrumentales, a veces como de rústica feria aldeana a la que asistimos como invitados de excepción desde dentro mismo de la escena.

Décimo segundo disco de Bill Friesell, "Quartet" fue lanzado en 1996 y presenta piezas que el artista preparó para diversas bandas sonoras. Los temas 1, 5, 6, 7, 9 y 12 son de la peli animada para Tv. "From the Far Side" (1994) creada por Gary Larson.  Los número 3 y 13 son de un film italiano, "La Scuola" (1995) dirrigida por Daniele Luchetti. En cuanto a los cortes 4 y 10 fueron escritos para el film de Buster Keaton "Convict 13" (1920).

Frisell nació en Baltimore, Maryland, el 18 de Marzo de 1951, aunque pasó la mayor parte de su juventud en  Denver, Colorado. Estudió clarinete con la Orquesta Sinfónica de Denver, se graduó en la Denver East High School y fue a la Universidad del North Colorado para estudiar guitarra. Después de graduarse allí, Frisell asistió al Berklee College of Music de Boston, donde estudió con Jon Damian y Jim Hall.

Cuentan que Pat Metheny se sintió incómodo en 1982 durante la grabación del Lp "Psalm" de Paul Motian, y recomendó a Frisell para la sesión, lo que supuso que éste se convirtiera en guitarrista de la casa de ECM y trabajara en varios álbumes memorables, dando paso a una más que notable carrera.

El debut discográfico en solitario de Frisell  fue en 1983, con el Lp "In Line", a dúo con el bajista Arild Andersen, para ECM, y desde entonces ha publicado 34 discos a su nombre, además de aparecer en registros de colaboraciones con Paul Motian y Joe Lovano, John Zorn, Naked City, y un sinfín de nombres de entre lo más florido de la escena del Jazz.

En la grabación del "Quartet", Bill Frisell presenta esta

Formación▼

Bill Frisell – guitarras eléctrica y acústica 
Ron Miles – trompeta, trompeta piccolo
Eyvind Kang – violín, tuba
Curtis Fowlkes – trombón



Listado de Temas▼  

 01 - Tales From The Far Side - 06:32 min.
 02 - Twenty Years - 02:57 min.
 03 - Stand Up, Sit Down - 05:40 min.
 04 - Convict 13 - 05:39 min.
 05 - In Deep - 03:11 min.
 06 - Egg Radio - 04:31 min.
 07 - The Bacon Bunch - 04:28 min.
 08 - Prelude - 01:37 min.
 09 - Bobs Monsters - 08:47 min.
 10 - The Gallows - 06:15 min.
 11 - What - 03:28 min.
 12 - Dead Ranch - 04:28 min.
 13 - Coffaros Theme - 04:27 min.

13 Temas - Tiempo Total: 01:02:00


Créditos▼


Producido por Lee Townsend
Grabado en el Möbius Music de San Francisco, California
Ingeniero de Grabación: Oliver DiCicco
Asistente: Christian Jones
Mezclado en Bad Animals de Seattle, Washington
Ingeniero de Mezclas: Judy Clapp
Asistente: John Burton
Master por Greg Calbi en Masterdisk, New York.

Diseño por Terpstra Design, San Francisco, California
Ilustración de Portada: The Boy por Thomas Hart Benton



Notas▼

Much of the music here has been arranged for the quartet using themes originally written for film. 
Tracks 1, 5-7, 9, and 12 are from "Tales from the Far Side", an animated television special created by Gary Larson
Tracks 3 and 13 are from the Italian film "La Scuola" directed by Daniele Luchetti
Tracks 4 and 10 were written for the Buster Keaton film "Convict 13"

All compositions by Bill Frisell except Track 8 by Bill Frisell and Ron Miles. 

Tracks 5 and 9 borrow from "Deep in the Heart of Texas".



Reseñas▼

Bill Frisell Quartet
http://www.allaboutjazz.com/php/article.php?id=1436

By CRAIG JOLLEY, Published: March 8, 2004


Country music and jazz, musical cousins barely on speaking terms, both came of age in the 1920's. They have not really affected each other until lately, although their early histories have much in common. They emerged through back doors and depended heavily on irony and parody inherited through the blues. The phonograph record spread their popularity. They struggled for acceptance by legitimate musicians. While jazz continued to evolve musically country reached a musical dead end due to inbreeding and had to borrow from and fuse with other musics for a semblance of freshness. (A commercially viable formula derived in part from country, performed by unmusical pretty boys, and marketed as "Modern Country" or "The Nashville Sound" was perfected in high-tech recording studios—mostly in Nashville, Hollywood, and New York.) These days traditional country music, a dying art, is practiced by a few. The future of country appears to lie in hybrids such as Bill Frisell's quartet, a band whose sound derives mostly from the country tradition, although there is enough jazz flavor to keep it moving.

Presented as a part of a "Gershwin and Beyond" series, Frisell began with brief, but worthy versions of four Porgy and Bess tunes. He chose not to piggyback on the classic Miles Davis - Gil Evans treatments that have more or less redefined the pieces for the jazz world over the last forty years. "Summertime" began with a free segment and evolved into a Frisell - Wolleson duet with Frisell emulating a steel pan before gradual disintegration. Frisell rendered "Someone to Watch Over Me," "It Ain't Necessarily So" (as a mazurka), and "My Man's Gone Now" in close-to-the-vest melodic variations over subtly shifting rhythms. Leisz switched to mandolin for a pre-WWI flavored "Swanee" (in cut time) that ended with a reference to "Old Folks at Home."

The remaining tunes, original compositions, evoked a variety of moods: an old-time blues; a New Orleans-tinged piece with two-way guitar interplay; a quiet Mexican folk song (near "La Paloma") with Frisell on six-string acoustic guitar, Wolleson accenting with fingers (left hand) on snare drum and a brush (right hand) on cymbals; a groove tune with an "In A Silent Way" feel warmed up by Frisell; and a couple of continually evolving Texas-flavored numbers.

The two guitarists often played subtly interwoven variations, relying heavily on sonic variation achieved through electronics. Frisell frequently adjusted his guitar amplifier settings, some of which appeared to be hooked into programmed loops. Wolleson, the jewel of the band, freely danced around the string players. Relying entirely on instinct he provided the dynamic yang. Bassist David Piltch has gigged with Tom Harrell and other swing-informed jazz musicians but he to play with a static, predictable feel to fit the music's humble mood. He bowed simple lines during his occasional solos.

James Carney (February 2) and Steve Coleman (February 23) are scheduled to continue the jazz concerts at the Skirball.





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