Monday, September 24, 2007

Bill Frisell

This is for Fred. And I would like to say in honour of Bill's recent album but I don’t have it yet.

I make no question that I think Bill Frisell is the reason the guitar was invented. I might like other guitarists for certain reasons, but Bill Frisell is what guitar is supposed to be. Now, you might be thinking ‘well, WHICH Bill? Old, weird Bill? Country Bill? ECM Bill? Motian Trio Bill? Any number of other Bills? ’ and my answer is yes. ALL Bill. Bill is able to play anything and still sound like himself, what ever that may mean in that situation. So many people say this, but from thrash with Zorn to standards with a banjo, Bill is one of the few who can actually DO it, and has. Bill makes it his own, but still manages to blend and play everything right. Everything Bill plays is right, always. You get the feeling that there was no other choice than to play what Bill played at that point. Opinion? Technically, but go ahead, debate me.

In my conversations with Fred (who is not fond of Bill’s Americana/country undertones and strongly dislikes ‘Nashville’) I came up with an analogy for Bill. Bill’s playing and ideas are a carnival. I was going to explain out each aspect, but then realized that you should just make up your own mind when hearing him what part he is at that time. From the ferris wheel and bumper cars to the beer tent and the hog calling contests, it’s all there. Bill discography is massive and I include all his sideman stuff too as it is equally important in seeing where he is coming from. I don’t know a single person that does NOT at least really like Bill Frisell. Sure, some may like certain aspects or periods of his playing more than others, I recognize that although I love all of it, not everyone does. There are few musicians that I can honestly say that I like EVERYTHING they have done, very few (though I won’t name them here), but Bill is obviously one of them.

G

39 comments:

Unknown said...

Hmmmm....

You like Bill?

I do too, but you're right that there are certain barriers that stop me liking him more. The Bill on 'The Paul Bley Quartet' or 'Paths, Prints' is a great colourist, perfect in every way. He transcends genre and instrument - everything just sounds 'right'.

I start to have problems though when Elektra Nonesuch tried to make him the thinking man's Ry Cooder. The rot set in with the Buster Keaton records for me. Nashville was beyond the pale. Naked City were necessary at the time to shake up the Marsalis-led jazz fundamentalism, but by and large they're an irrelevant footnote these days (let's be controversial here!!).

What we're left with is a versatile guitarist who gives his all and has a voice - undisputed. Maybe it's my European perspective that hears more in Terje Rypdal's soundworld than Bill's? Afterall, give or take the odd mountain, Terje's landscapes are my landscapes too.

I agree that technical stuff doesn't come into it, and any number of fusion-nerds could play circles around Frisell or Rypdal in that area (though without necessarily playing anything meaningful).

In my conversations I've suggested to Gregg that Davd Torn is more interesting, but I think that's only because he stayed with and developed the same textural approach I hear in the best Frisell ECMs. His new album Prezens is as good, probably better, than anything I've heard from Bill. Sadly It's also fairly atypical of a pretty patchy career.

I'm not going to go all extreme and say you should listen to Derek Bailey and then re-assess every guitarist you've ever heard. There's nothing wrong with your opinion of Bill, and he's up there as one of the freshest voices in the last 25 years of jazz. The real issue for me is that his Americana sounds a bit quaint and twee - it isn't something I identify with easily.

That, to me is ultimately his limit. He transcends genre and instrument, but not place.

Now for the backlash!!!

Gregg Brennan said...

Ah Fred, I was waiting for your reply, my friend!

Just a few things and rebuttals, actually. I completely disagree that Nonesuch/Elektra TRIED to do anything. I think they LET him do what he wanted to do. Bill is a big Keaton fan (I always thought you could tell in his music) and those 2 albums seemed a natural project to me. And I am not talking about 'Nashville' with you anymore=)

Naked City is NOT a footnote, Fred! It is an important glimpse into much of what makes Zorn Zorn, but then, we've talked about him too....=)

You know I LOVE Terje, but Terje is Terje, he has his thing which I love also. My comments on Bill are not a 'Bill is my favourite guitarist' or anything like that, it's more that Bill is always correct, an indisputable fact! Remember too that although I may be stuck here for now, my perspective is as European as any and I can relate to Terje in ways I can't to others.

Patchy career!? Now you are TRYING to upset me, Fred! lol. I agree that my favourite Bill has for the most part been on ECM or Soul Note. Torn is great, for sure, but you see, Bill HAS continued to develop that thing, his Billness, if you will and still continues to do so- you just don’t like what he’s done to it! lol. On the other hand, his concept is fully realised in that he, as we agree on, always plays the right thing at the right time. So it's a tough call. Bill has grown and developed but spreads himself out much further than most musicians and absorbs so much more into his sound.


You know I love Derek Bailey too, though. But I know what you say, Bill transcends genre and instrument, but not place. But I think this is his point, he doesn't want to. He is in a position where he is able to do the music he wants to do, and only that and his love for Americana (something I certainly do NOT have at all) is able to be expressed. I do understand what your saying and to some extent I agree, but consider this: People like Charlie Haden, Paul Bley, Gary Peacock, Aldo Romano etc. are not playing anywhere CLOSE to the fringes of what they were in the 60's. Why not? I don’t think they don't feel like it anymore.


G

Unknown said...

First a clarification which I think supports your view of Bill...

It was Torn rather than Frisell I was meaning to describe as 'patchy' - Prezens is one great moment in a career that is undoubtedly a lot thinner than Bill's.

You're absolutely right that a lot of this comes down to personal preferences. I love a certain ECM sound from the late 70s and early 80s, and Bill was vital to it. I also hate Country music, and Bill has increasingly developed that strand of his personality. It follows that I find him less interesting now than I did then. Not really controversial that though, and you acknowledge that I'm speaking from te point of view of personal taste.

More controversial, but I stand by my views on Zorn (a whole topic in its self) - I see him more as an ideas man than a great jazz voice. A chameleon and an astute publicist (even when he's avoiding publicity) who has eclectic taste and throws together influences in combinations nobody before him has tried.

He now finds himself with L Ron Hubbard-like status when really all he's done is a post-modern rehash of old stuff (a la Tarrantino). Maybe his 'genius' is to try these things out in the first place?

Sometimes he doesn't seem to know when to stop - look at Masada! I admire Masada, but given a choice I'd choose mid 60s Jackie McLean or Ornette's Atlantics first. The Jewish-ness of the music and occasional thrash breaks by Baron aren't really selling points (to my ears). When I say Naked City are a footnote, I think that when a retrospective view is taken in a few decades time they'll be seen as an angry reaction to jazz orthodoxy and emblematic of the Downtown sound. The thing is, the Downtown/Knitting Factory sound has now been absorbed into the mainstream and is all but defunct. Nothing much has changed for the better, and huge areas of jazz are as stale and tedious as ever.

William Parker, even though his roots are also in earlier decades, looks like he'll leave a more substantial musical legacy.

Again, that's just another opinion and open to debate!!

Gregg Brennan said...

I will naturally respond very soon, Fred, but was wondering how I can edit my comments- I just noticed my silly double negative at the end there...

G

Gregg Brennan said...

Fred, should we just paste our emails in here?=)

Now I hate country music as much as the next guy, but when Bill does his thing in that area, I like it. It's like when a pretty girl says an ugly word, somehow it's not so ugly. I have not gone out and bought ANY country albums because of 'Nashville' or 'The Willies'. So for me, he doesn't transcend a country boundary, he is just Bill, doing his Bill thing. I don't accept Bill on a stylistic basis, I think this is the crux of why I like him so much. When listen to 'Nashville', I really don't hear 'country' or 'Bill doing country', I just hear Bill. I don't really think 'this Bill ' or 'that Bill', rather just another section of the pie. Seriously, it doesn't OCCUR to me what the music might BE, or might sound like stylistically. I don't see 'Nashville' as a 'country album', even if Bill wants me to. I don't know if this makes sense.

If I like a person and I mean really love what the do and are constantly moved by them, I will want to hear (or watch or read) anything they do, because I want to take in everything they have to say. If one of my favourite directors releases a safety video, I will need to see it and appreciate it on grounds that it's what he wanted to do (assuming it was) and not see it as a 'safety video', but as another aspect of an artist I love.


Let's avoid Zorn until we can focus solely on him=).

G

Anonymous said...

You guys may be wondering why I haven't chimed in yet...oh, I have chimes and chime I will, but I am at work now and cannot spend hours blogging.

I have been following this thread closely, and have lots of response to what has been said.

I may even have to start a John Zorn thread.

Unknown said...

[GREGG - For editing a response I think you have to cut and paste then re-post with the corrections. You then delete the old post. Clumsy really...]

I knew the Zorn comments would stir something up!! While we're on, why not have an Ornette thread? Doesn't he recycle almost as many tired licks as Haden? :)

I hear what you're saying about listening to Bill rather than genre. I suppose my positon is that I just can't do it - Nasville is so steeped in Country that I hear only sounds that alienate me.

I like the comparison to film directors - wanting to take in a great auteur's complete oeuvre (not bad - genre, auteur and oeuvre in the same paragraph!!). It's about the voice not the subject, or something like that?

Inevitably that type of approach lends its self to comparisons within the oeuvre, and we end up preferring one work to another based on how receptive we are to the particular milieu that is being explored in each project.

Looks like I'm coming round to your point of view in a way, although I think I was pretty close to begin with. If I like an artist then I want to see or hear everything they do too, although I tend to narrow things down to what I see as the essentials rather than listening to it all these days. To get there I need to go through the same process as you, but I suppose I just discard more easily. 'Nashville' has been out of the frame for at least a decade!!

Looking forward to Kevin's entree!!

Gregg Brennan said...

I'm going to poke you with a stick, Fred and say that by listening to 'Nashville' and only hearing country, you're being too closed minded=)

It is completely about the voice, not the subject, that's true and by liking some subjects more than others, doesn't mean you in any way discount the voice.

Now, I know you're into downsizing, so I'm not surprised that you are quicker to pick and choose what is essential from an artist, but you still need to hear it all, if you like them, do you not? Don't you want to know what they are saying Fred, DON'T you!?!?

I am glad you're coming around. NORMALLY, when anyone says anything negative about Bill Frisell, I just stop listening or walk away=)...


G

Anonymous said...

Ok, maybe I'll post a bunch of mini comments...

in response to Fred's comment "While we're on, why not have an Ornette thread? Doesn't he recycle almost as many tired licks as Haden? :)"

...while you can think anything you like about anyone, I was kind of shocked by this statement...there are a lot of other people I would pick on for recycling licks before Ornette Coleman and Charlie Haden for that matter.

In fact, one of the things that I think is so wonderful about Ornette Coleman is that when I am really hearing him, he presents to me melodies I have never heard before; melodies that are outside convention.

The line between being new as a musician and playing what you already know is a delicate one. One hand it is easy, on the other hand, if you have been playing for as long as Ornette it might get more difficult ... although I see newness as being able to go into new areas of your self and being as opposed to playing new melodies/licks.

So, take it easy on Charlie and Ornette. : )

Unknown said...

I think the point I made about Ornette and Haden was more in the spirit of polemic than me wanting to single either of them out as particularly bad offenders. There are so many others who are far worse that I don't even think I need to mention them because I'm sure we're all of the same mind.

There's something else behind what I said though, and I think I need to explain a little more. In Haden I hear the same revolutionary folk songs quoted in his sols ad infinitum, the same patterns and resolutions. One of the most gorgeous sounds ever produced by a double bassist playing jazz for sure, but what side of that line between recycling and personal exploration is he actually on?

As for Ornette, I'd never want to be too hard on him, but I've never feared publicly stating that for the best part of 30 years he has rested on his laurels. His innovations are behind him, and great as they were he has spent his latter years recycling them. That doesn't negate his contributions, but it does make me see him differently to a lot of people.

Wynton was rightly condemned for his conservatism by a range of people with an interest in exploratory music. Given that Ornette's playing is fundamentally unchanged in what is now almost 50 years, hasn't the time come to take a new critical persepctive on him too? Can't free jazz, even harmolodic music, be subject to the same revivalism as Jelly Roll Morton or Charlie Parker these days?

As I type I'm listening to an album by Marty Ehrlich. Not a great innovator, but I'm hearing a passion lacking in two or three decades of music by either Coleman or Haden. In response to Kevin's understandable dismay, I honestly think it's time that MORE people were shocked by balanced and fully reasoned examinations of notions previously considered sacrosanct. Much of what I've written so far hasn't been all that fully reasoned, but I'm happy to do so anytime.

As for Nashville, I've played it many times and tried very hard to like it. It actually made me realise just how much of Bill's voice was rooted in areas of music I have little affinity for - although it's an extreme example it definitely coloured my views of all of his subsequent work, but that's not the same as me giving it a summary dismissal.

I'd never dispute he's a consummate musician who rarely puts a foot wrong, but his message doesn't resonate as strongly with me because of the language and style he uses to deliver it. It comes down to the difference between respecting something and liking something. They don't always go together.

In the end I agree with so much that both of you have said, and I'd never say that newness is essential in music. I'd rather hear music played with conviction than something radical like a Zorn game piece. So many things like those works were undeniably new at the time, and are worth hearing at least once in your lifetime, but after a couple of decades trying to make sense of that stuff I've concluded that it's probably more fun to play than listen to.

For that reason, I'll shut up and go back to enjoying Marty Ehrlich play his butt off now... :)

Anonymous said...

I guess I sit in the middle of Fred and Gregg in saying that I respect and love Bill Frisell, but I would hardly say that I like or love everything he does. Of course, some of the stuff I do not like, is not necessarily Bill's "fault" ( i.e. Naked City or an early Paul Motian trio CD i heard a few weeks back ).

I do respect him as an artist who is operating across many musical boundaries without being stuck in them, and he does so kind of near the main stream which is pretty neat.

So, I am with Gregg in loving that Bill is doing his Billness in all of these different projects and not country or twang or world music or jazz. In fact, I particularly enjoy how he is able to integrate all of these types of music into his sound and make them his own. For example, I don't really care for country music either, but the way Bill brings some twang and country melody into his song is rather sweet...this is similar to how Ornette Coleman brings the essence of the blues into something without it being a 12 bar blues or the way Van Morrison or Loreens Mckennit can bring use the celtic influence without it being a "hoydy doydy doydy whisky whisky whisky" thing.

That said, I am open to everything Bill Frisell has ever done. I will listen to it at least once or twice or three times or more.

A few Bill Frisell recordings I treasure off the top of my head:
- Richter 858 ( or whatever it is called ) Brilliantly Consonantly Dissonant.
- A live country, bluesy, funky boot leg I found on the internet with him, Sam Yahel and Brian Blade.
- I think the West part of East/West...which is kinds like the above

Wait, I think I need to hear more Frisell, but I think I have heard a lot ( some Paul Motian, The Trans continentals, some of his group stuff with Baron and Roberts, etc. )

P.S. - I think Terje Rypdal is amazing!
P.S.S. - I hate Derek Bailey's music...I would rather listen to my cat running across my kitchen floor.
P.S.S.S. - Mart Ehrlich's music is generally the balm.
P.S.S.S.S. - Did I mention I think Brian Blade is probably the best "Feel Drummer" there is...I feel a new thread a' commin.

Unknown said...

A good positive note from Kevin to tie this thread up - in the same way I'd like to be positive and name my favorite Bill:

1: Where In The World? (Frisell)
2: Psalm (Paul Motian)
3: Fragments (Paul Bley)
4: Quartet (Frisell)
5: Absinthe (Naked City)

Only five, but so much ground covered. From the Americana (without being too heavy on the genre references) of his own mid-period records, to the experimentalism of Absinthe, which is a masterpiece of sustained atmosphere, nothing at all like the usual Naked City sound but still very Bill.

Now we move on to Zorn? I think Kevin has already summarised it so well, but I'll get thinking... :)

Anonymous said...

May I also add that I do not find it at all necessary for a musician to transcend their place that they call home ( which is a mixture of town, state and country and the quality and flavour of culture existing there ). Indeed, most musicians do not transcend this ( Terje Rypdal, Jan Garbarek and Trygve Seim ( frickin' love this guy ) all are noticeably European ) and I am fine with it; I even treasure that musicians not only can bring the essence of what they are as individuals to music, but also the essence of the culture they are a part of as well.

Ultimately, music does transcend those boundaries ( music isn't black or white or yellow ), but perhaps as listeners, and to get the full enjoyment, we need t o transcend our own preferences in order to hear the essence of place or culture in a particular peice of music.

I love how when listening to Pat Metheny I feel the wide open sky of Wisconsin ( without ever being there mind you ) or in listening to Garbarek I get what it is like for a spark or a tiny flame to move through the icelandic wind and ice or in Abdullah Ibrahim I get the African gospel feeling. While that is there, there is an even deeper sense of how great music appeals to us all on a level before culture; a oneness level.

I fancy Bill is aware of both of those levels.

Gregg Brennan said...

Kevin, what was the Motian trio album?! An early one? Those are gold! I am concerned for you....

I also love Naked City, even Absinthe. As much as I love Zorn, I agree that Parker is more spiritually gounded in meaning than Zorn, but we'll get to that in the Zorn place, I suppose. I still think to write off Zorn is a mistake...ok ok...the Zorn post, I know...

Anyway...

I agree too that not only is it not necessary to transcend culture, I'd rather it didn't happen at all. Garbarek and all the guys Kevin mentions (except for post 1980 Metheny, in which I hear something else entirely) take you to their place. I love that. Geographical location has such a strong influence on so many aspects of music and I feel that it really should, it's supposed to.

My favourite Bill? Heh..that's tough...I will refrain, too many to list, not surprisingly. I was trying to think of my least favourite, and I can't, I find too many redeeming qualities in each, even 'Nashville'. Do I like 'Nashville' as much as 'Live' or his ECM/sideman stuff? No, but I'm not prepared to list it as a least favourite because I enjoy it a lot, whereas with most others, including Parker and Zorn, I can certainly point to things I hate!

G

Anonymous said...

No No No, don't worry it was like a really early Paul Motian Trio...I didn't hate it, it just didn't appeal to me that much. However, some other Paul Motian Trio stuff is really great. In fact I would like to hear that new CD.

On Metheny, I really don't care for his band's music. Unforuntantely for them, it sounds a step above what you might hear in a mall. However, and even after 1980, Metheny's guitar playing and soloing still has the ability to conjure up visions of birds flying over open plains. I saw him live with the trio with Bill Stewart a while ago and I loved it.

I would have to agree with you that I am more likely to like Bill Frisell's stuff than both William Parker's and John Zorn. This says something for Bill's ability to appeal to people without losing him in the mix. Does he go out with the intention to appeal to people, most likely not, but he just does. This could be because he brings pop, blues, country, world, jazz together so genuinely.

Gregg Brennan said...

Yeah...I dunno Kevin....early Motian trio albums were all stellar...I dunno...if you could remember which one, at least I could direct my wrath appropriately.=) The new album is good, but 'I Have the Room Above Her' is better, I think.

Metheny post 1980 may still be able to conjure images of birds of the midwest, they are just limp and possibly dead.

G

Unknown said...

We're still doing Bill? I agree with Gregg about Metheny - I may stretch it to '81 though (80/81!!!).

I don't want to make it sound like a musician needs to transcend place to be valid - all of life's experiences inform a musician's outlook and make them what they are. This includes place.

My point was a bit more subtle and i probably made it badly. Sometimes place is represented by a parochial regional sound that is genre music in itself. The clever musicians like Garbarek allude to regional folk musics, but make them into something bigger and more complex. All I was saying about 'Nashville' is that to my ears it was too 'un-reconstructed'...

Sorry to take a pop at Nashville again, I'll stop it at once... :)

Gregg Brennan said...

HEY! Bill is NEVER done!!

And yes, 80/81, agree, I forgot about that, not sure how I could forget about the '/81' part of the title though...

Yeah yeah, you hate 'Nashville', we know...lol.

So I got 'Floratone' and it's really good. I remember thinking one tune is pure rubbish (not playing wise, just a sub par tune), but overall I liked it quite a bit. Matt Chamberlan seems to be the Jim Keltner of the 2000's, though sometimes I wish he would stop trying to be so cute with what he plays, and I stress sometimes. 'Floratone' is like 'Gone, Just Like A Train', updated. Some great stuff on it, Bill's such a great painter.

G

Unknown said...

Well, I laughingly call myself a guitar player, I used to play in a Country band and I like Bill, in all of his "Billness". I'd give my right arm to play like Bill ... oh, wait, that doesn't make sense!

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