| | Bill Frisell History, Mystery CD Bill Frisell Discography of CDs
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Guitar maestro Bill Frisell outdoes himself in ambition and diversity on the two-disc HISTORY, MYSTERY. Performing with a rich string-laden octet, the artist threads together 30 tracks, some of which derive from his collaboration with cartoonist Jim Woodring entitled "Mysterio Sympatico," and others drawn from the music Frisell composed for the NPR series STORIES FROM THE HEART OF THE LAND.
As always, Frisell's eclectic style freely blends genres together, mixing chamber music with free jazz, front porch Americana with high-minded atmospherics. Three covers-Thelonious Monk's "Jackie-ing," Sam Cooke's "A Change is Gonna Come," and Boubacar Traore's "Baba Drame"-complement Frisell's originals. By turns moody and celebratory, playful and soulful, challenging and eminently listenable, HISTORY, MYSTERY is another fine entry in this singular artist's excellent discography.
Liner Note Authors: Jim Woodring; Bill Frisell.
Recording information: Avast Studios, Seattle, WA (??/2002-05/2007); Berklee Performance Center, Boston, MA (??/2002-05/2007); Hopkins Center, Hanover, NH (??/2002-05/2007); Lisner Auditorium, Washington DC (??/2002-05/2007).
Editor: Adam Muñoz.
Photographers: Jack Delano; Monica Frisell; Walker Evans.
Personnel: Bill Frisell (acoustic guitar, electric guitar, loops); Jenny Scheinman (violin); Eyvind Kang (viola); Hank Roberts (cello); Greg Tardy (clarinet, tenor saxophone); Ron Miles (cornet); Tony Scherr (bass instrument); Kenny Wollesen (drums).
Audio Mixers: Adam Muñoz; Shawn Pierce.
Down Beat (p.85) - 4.5 stars out of 5 -- "Frisell's melodies and moods have an easy appeal, from the Gypsy lull of 'Probability Cloud' to the Copland-esque moments of 'Boo And Scout.'"
JazzTimes (p.101) - "Bill Frisell's spare, mysterioso chordal voicings are as evocative and haunting as the intriguing black-and-white Farm Security Administration photos from the '40s that grace the front and back covers of HISTORY, MYSTERY." Bill Frisell History, Mystery Songs
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Click on the  buttons below to play song samples |
| | | | History, Mystery CD DISC 1: |
  | 1. | Imagination | $0.99 | |
| 2. | Probability Cloud | $0.99 | |
| 3. | Probability Cloud, Pt. 2 | |
| 4. | Out of Body | $0.99 | |
| 5. | Struggle | $0.99 | |
| 6. | Momentary Suspension of Doubt, A | $0.99 | |
| 7. | Onward | $0.99 | |
| 8. | Baba Drame | $0.99 | |
| 9. | What We Need | $0.99 | |
| 10. | Change Is Gonna Come, A | $0.99 | |
| 11. | Jackie-Ing | $0.99 | |
| 12. | Show Me | $0.99 | |
| 13. | Boo and Scout | $0.99 | |
| 14. | Struggle, Pt. 2 | |
| 15. | Heal | $0.99 | |
| 16. | Another Momentary Suspension of Doubt | $0.99 | |
| 17. | Probability Cloud (Reprise) | $0.99 | |
| | History, Mystery Songs DISC 2: |
| 1. | Monroe | |
| 2. | Lazy Robinson | |
| 3. | Question #1 | |
| 4. | Answer #1 | |
| 5. | Faces | |
| 6. | Sub-Conscious Lee | |
| 7. | Monroe, Pt. 2 | |
| 8. | Question | |
| 9. | Lazy Robinson, Pt. 2 | |
| 10. | What We Need, Pt. 2 | |
| 11. | Waltz for Baltimore | |
| 12. | Answer #2 | |
| 13. | Monroe, Pt. 3 | |
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This 1998 recording features the intimate communication of a father and son team working from papa Joe Maneri's now trademark system of microtonal improvisatory investigation. Mat being a violin virtuoso is a fine foil for his father's reeds and piano playing. Between written and spontaneous compositions, the duo looks for seams, cracks, lines, and scrapes in the body of sound, in the skeleton of a tune in the wavering tones of one another's sounds, and fills them with music from another realm, one that is not cerebral, but from the heart. Of the 12 selections here, there are four that hold all the secrets of the album within them. They are Mat Maneri's "Blessed," which holds the microtonal balance of the strings against an investigative run by Joe on tenor. The droning sounds like a sorrowful song, as Joe moves toward the piano and adds single notes, brightly colored on this backdrop. Maneri the younger changes the dynamic, first of the drone, and then the tonal body of the tune, shifting it into a series of steps and measures where pitch becomes the consideration of the piano. And then there are the two "covers," a ghostly "Body & Soul" that carries within it more emotions and tension than its authors could ever have envisioned, and the traditional "Never Said a Mumblin' Word." Maneri's extended chard voicings create the microtonal panel by which Mat is capable of entering a melody on bass violin. He plays it from the harmony first, and fleshes it out, leaving the piano to accent his construction. It's as lonely and forlorn as any version you've heard, but sounds nothing like any of them. Finally, there is the 11-minute "From Loosened Soil," which carries within it all the original elements of Joe Maneri's system, but it is no academic treatise. This ...
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The more things change in rock, the more they stay the same. Officially, rock's baby boomer era ended in the early '90s, when Nirvana and Pearl Jam exploded commercially and alternative rock became mainstream. From then on, generation X -- not the baby boom generation -- defined what was cutting-edge in rock. But the influence of boomer rock didn't disappear, and there are plenty of gen-X bands who have both '90s influences and '60s and '70s influences. Take Wayne, for example. Released in 2002, the alternative pop rockers' promising debut album, Music on Plastic, sounds contemporary by early-2000s standards, but also underscores their appreciation of '60s and '70s rock. The Beatles and Elton John are influences -- one of the tracks is a fine cover of John's "Goodbye, Yellow Brick Road" -- and so are alternative bands like R.E.M. and Radiohead. Another influence is, believe it or not, the Beach Boys. For a band who falls into the alternative pop/rock category, the Beach Boys might seem an unlikely influence. But the delicious harmonies on "Temporary" definitely bring to mind Brian Wilson and friends -- just play "Temporary" after listening to "Wouldn't It Be Nice," and you can hear how the Beach Boys have affected some of Wayne's songs. One thing Wayne gets from all of their influences -- baby boomer or gen-X -- is a strong sense of melody and harmony. All of the songs on this CD are extremely melodic and accessible; Wayne, unlike some alternative bands, never goes out of their way to be abstract or aloof, and their songs always have an easy-to-absorb, easy-to-hum quality. Without ...
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