| | Bill Frisell Blues Dream CD Bill Frisell Discography of CDs
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BLUES DREAM is another in a series of guitarist Bill Frisell's painterly, roots-inflected explorations of American music. Here, Frisell is joined by a horn section which includes trumpeter Ron Miles and trombonist Curtis Fowlkes (of the Jazz Passengers), and the sound of hard brass in the mix crisply offsets his idiosyncratic, bent-note, impresssionistic techniques. Actually, the guitarist gets off more than a few rock-licks on the R&B jam "Ron Carter," a tribute to the bassist that, interestingly, sounds nothing like the elder jazzman's own music. Frisell returns to a more familiar pastures on "Pretty Flowers Were Made For Blooming" and its uptempo cousin, "Pretty Stars Were Made To Shine," which sound as though they were cribbed directly from the Carter Family Songbook. But, on "Like Dreamers Do (Pts. 1 & 2)," the presence of those horns prevents the leader from getting too lost in his Americana reveries. Consequently, BLUES DREAM is one of the strongest sounding solo outings of Bill Frisell's career.
Recorded at O'Henry Sound Studios, Burbank, California.
Personnel: Bill Frisell (acoustic & electric guitars, loops); Billy Drewes (alto saxophone); Ron Miles (trumpet); Curtis Fowlkes (trombone); Greg Leisz (lap steel, pedal steel, Scheerhorn resonator & National steel guitars, mandolin); David Piltch (bass); Kenny Wollesen (drums, percussion).
Entertainment Weekly (1/26/01, p.103) - "...[Frisell] reaches new atmospheric heights....brilliant guitar work..." - Rating: B
The Wire (5/01, p.61) - "...A compendious evocation and synthesis of a range of genres that never sounds merely eclectic....on a far superior level to most contemporary jazz albums....one of Frisell's most ambitious productions to date..."
CMJ (2/19/01, p.15) - "...The soundtrack to a sleepwalk, a blurred ghost image of American music..."
Down Beat (5/01, pp.61-2) - 4.5 stars out of 5 - "...Call it sophisticated hick music....It's the good, bad and the ugly, as his essentially cinematic approach to storytelling contains both fragments and extended pieces....suggesting the Wild West with a twist one moment, a gospel, down-by-the-river meeting the next..."
JazzTimes (5/01, p.122) - "...Another winsome album....reiterating his bucolic synthesis of American roots music....an American original..." Blues Dream Music | List Price | $18.98 (You save $4.19) | | Category | Rock/Pop Albums, Jazz CDs, Jazz Instrument, Blues, Classics (Silents / Avant Garde), Guitar | | Label | Nonesuch | | Orig Year | 2001 | | All Time Sales Rank |  23248  | | CD Universe Part number | 1578675 | | Catalog number | 79615 | | Discs | 1 | | Release Date | Jan 30, 2001 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Lee Townsend | | Engineer | Judy Clapp | | Personnel | Greg Leisz - lap steel, pedal steel, Scheerhorn resonator & National steel guitars, mandolin
Bill Frisell - acoustic & electric guitars, loops
David Piltch - bass
Kenny Wollesen - drums, percussion
Billy Drewes - alto saxophone
Also: Curtis Fowlkes, Ron Miles |
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This solid entry in the Classics Chronological Series contains all of the titles recorded by Count Basie and his orchestra between January 17 and July 25, 1952, a period during which this band was signed to Norman Granz's Clef record label. Basie, who had been forced to scale his group down to septet and octet dimensions for more than a year beginning in 1950, had begun recording with a powerful new 16-piece unit in April of 1951. Nine months on, this ensemble was well on the way to virtually redefining the art of big-band jazz. Input from arranger/composers Sy Oliver, Buster Harding, and Neal Hefti add a luster to the proceedings ...
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Déjà Vu is a reissue of a disc originally released in 1995 as The Trio, featuring Orrin Evans on piano, Matthew Parrish on bass, and Byron Landham on drums. Great playing abounds on this early session. Its interest is heightened by the appearance of several pieces that Evans would go on to record on his later Criss Cross albums: "Explain It to Me," "Dorm Life," "Big Jimmy," and Monk's "Rhythm-a-Ning." The opening "I Want to Be Happy," played in a straight-ahead, lilting 3/4, is quite different from the daring treatment the standard would receive five or so years later on Evans' Listen to the Band. Previously unheard Evans originals also appear, such as "Monroe" and "5-4-94," the latter a solo piano feature. The showstopper is an extended, medium-swing reading of Cole Porter's "I Love You." Now that Evans has established himself as a pianist to be reckoned with, Déjà Vu provides a timely look back. ~ David R. Adler
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