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Bill Frisell - (2014) - Guitar In The Space Age! [MP3] [H33T] [TBiC]

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Music : Jazz : MP3/Over 256Kbps
Bill Frisell -
(2014) - Guitar In The Space Age! [FLAC] [H33T] [TBiC]
3/31/2015

 

 

 

Artist:     Bill
Frisell
Album:      Guitar In The Space Age!
Genre:      Jazz, Folk, Classical,
Fusion, Modern Creative, New Acoustic, Post-Bop, Progressive Jazz, World Fusion, Chamber Music, Film Score, Guitar Jazz,
Jazz Instrument, Neo-Traditional, Folk, Progressive Folk
Year:       2014
Tracks:    
14
Play Time:  00:55:15
Size:       133.76 MB
Codec:     
MPEG 1 Layer III
Quality:    320 kbps CBR
Channels:   44100 khz / Stereo
Tags:       ID3v1 ID3v2.3
Covers?:    Yes 
PlayList?:  .m3u and/or
.wpl

 

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 from 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 Cantu?ria; 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.

In 2013, Frisell appeared with his Gnostic Trio bandmates (harpist Carol
Emmanuel and vibist/percussionist Kenny Wollessen) on John Zorn's In Lambeth: Visions from the Walled Garden of William
Blake.

Frisell kicked off 2014 with an appearance on Scheinman's Sony Masterworks set, The Littlest Prisoner,
scored and recorded the soundtrack to Bill Morrison's documentary The Great Flood, and as the duet partner of Greg Cohen
on the bassist's Golden State album. Guitar in the Space Age! Frisell's tribute to some of the guitar music of the late
'50s and early '60s, was issued by OKeh in October.

 

Guitar in the Space Age! finds guitarist Bill
Frisell going back in time to the guitar music of the country, surf, blues, and early rock & roll of the late 1950s
through the mid-'60s: the music that initially inspired him. His band -- Greg Leisz on guitar and pedal steel, drummer
/vibraphonist Kenny Wollesen, and bassist Tony Scherr -- are all longtime associates. Though most of these songs are
classics -- there are two originals -- Frisell reimagines them in a jazzman's context while remaining faithful to
familiar presentations. This is demonstrated amply on the opening surf nugget "Pipeline." Rather than go
straight for the jugular the way most (gimmicky) remakes do, he slows its pace by half and focuses on the intricate
melody at work, slightly skewing its rhythmic attack toward moody post-bop swing. Pete Seeger's "Turn, Turn,
Turn" mirrors the Byrds' version with its guitar jangle, but also blurs the space between folk's simple
presentation, rock & roll's hooky harmonies, and jazz's nuance. Junior Wells' "Messin' with the Kid"
contains some of the swaggering boogie of the original, but there's more restrained precision in Frisell's staccato
playing, as well as an intense wah-wah groove; it's at a low boil rather than a roiling one. Brian Wilson's "Surfer
Girl" asks the question as to why the Beach Boys' famed composer doesn't get the interpretive treatment from
jazzmen that other pop acts of the era do. Link Wray's "Rumble" gets the serious wailing blues-cum-surf
workout it's always deserved, with an orgy of tremolo and reverb reflecting its debt to the composer. "Rebel
Rouser" reveals more clearly than any other version its lyric inspiration -- "When the Saints Go Marching
In" -- without giving up the strutting twang. The intro to "Baja" -- Lee Hazlewood's 1963 hit for the
Astronauts -- with Leisz on alternate lead guitar showcases remarkable interplay with multi-textured dynamics and
popping rock & roll drums. "Reflections from the Moon" and "Bryant's Boogie," by instrumental
country duo Speedy West and Jimmy Bryant, respectively, shine in their hard-swinging jazz syncopations and advanced
harmonics. The closer is an absolutely majestic version of Joe Meek's "Telstar," with Leisz's pedal steel
extrapolating on Frisell's gorgeous articulation of the melody. Scherr wraps his bass between the two as Wollesen
simultaneously swings and rocks. Guitar in the Space Age! is a joyous recording. Far from an exercise in mere nostalgia,
it reveals new reasons as to why these tunes are eternal. Frisell and his collaborators understood exactly what they
were going for, and it sounds like they had a hell of a great time getting there. 

 

01 - Pipeline - 07:07 -
16.78 MB - 320 kBit/s
02 - Turn, Turn, Turn - 02:41 - 6.65 MB - 320 kBit/s
03 - Messin'
With The Kid - 02:59 - 7.37 MB - 320 kBit/s
04 - Surfer Girl - 04:14 - 10.22 MB - 320
kBit/s
05 - Rumble - 04:56 - 11.82 MB - 320 kBit/s
06 - The Shortest Day - 04:58 -
11.87 MB - 320 kBit/s
07 - Rebel Rouser - 03:39 - 8.89 MB - 320 kBit/s
08 - Baja -
03:38 - 8.84 MB - 320 kBit/s
09 - Cannonball Rag - 02:57 - 7.27 MB - 320 kBit/s
10 -
Tired Of Waiting For You - 06:02 - 14.34 MB - 320 kBit/s
11 - Reflections From The Moon -
03:22 - 8.22 MB - 320 kBit/s
12 - Bryant's Boogie - 03:09 - 7.74 MB - 320 kBit/s
13 -
Lift Off - 02:18 - 5.78 MB - 320 kBit/s
14 - Telstar - 03:15 - 7.97 MB - 320 kBit/s


 

Enjoy your
download,

!!!  ROCK ON  !!!

Tim

P.S.  Don't be afraid to download something/someone
you've never heard of, that's the beauty of the internet, you might find a new favorite.  If not, that's why God gave us
delete buttons.

TBiC

 
                                                             

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