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Jazz - Verschenen op 12 april 2019 | ECM

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Jazz
Guitar and bass duos are a rewarding subgenre of jazz—pairings like Jim Hall/Ron Carter or Ralph Towner/Gary Peacock come to mind—that’s recently been dominated by the extrasensory connection between the perennially underrated Thomas Morgan and the do-it-all guitarist Bill Frisell. Despite a title derived from the Thelonious Monk-penned standard that’s covered here, jazz is not an accurate description of Morgan and Frisell's increasingly intrepid shared vision. The closest label would be a highly idiosyncratic version of Americana. There's a sinuous take on the iconic "Red River Valley" and a straighter reading of Monk but also dashes of Billy Strayhorn ("Lush Life") and Frank Sinatra ("In The Wee Small Hours of the Morning"), resulting in a mysterious, all-encompassing flavor. As proof of their wide-ranging tastes and ability to make any music their own, a fearless, unlikely mashup of "Wildwood Flower" (made famous by the Carter Family) and the Doc Pomus classic "Save The Last Dance for Me," somehow brings out the essence of both tunes. While Frisell’s signature meandering, idea-heavy, reverbed style provides the bones throughout the nine tracks, it’s Morgan who fills out the flesh. Recorded live in the basement of New York City's iconic Village Vanguard, Epistrophy highlights the close-miked richness of both Frisell's resonant guitar tones and Morgan's soft-edged bass contours. Except for the inevitable coughs that occur during the performances and modest applause between tunes, crowd noise here is largely absent, leaving the guitar and bass to naturally entwine in a wonderfully perceptive and creative dance. © Robert Baird / Qobuz
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Jazz - Verschenen op 16 maart 2018 | Okeh - Sony Masterworks

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Jazz
The guitar isn’t the most used instrument among jazzmen, and revolutionary guitarists are quite logically very seldom. Bill Frisell is lucky enough to be one of them. Year after year (with a career spanning four decades!) and album after album (over forty records under his name, and three hundred as a sideman!), the American has imposed his singular voice, one of the most influential of the last twenty years. Frisell quickly set himself apart from his elders by taking his – instantly recognisable – style onto every possible repertoire. Post bop, free, noise, rock, country, 50s music, he dove into an incredible amount of partitions while staying true to his language and his style − simply put: remaining himself. Yet Music IS isn’t just another album designed to build up his already dense discography. He who shares his music first and foremost, felt the need to express himself on a solo project, a context he’s never really been fond of, often admitting in interviews that he gave his first solo concert years after starting his professional career… But Music IS is the result of a need to play, on acoustic and electric guitar, his own music. After revisiting the music of others, Bill Frisell has decided in this 2018 opus to gather new as well as older themes, some he hadn’t played for years. Listening to these fifteen tracks in one go is like travelling in the colourful meanders of this exceptional musician’s brain. Whether he refines his phrases to the extreme like his master Jim Hall, launches in oversaturated hand-to-hand fights or performs Americana in his own impressionistic way, Bill Frisell delivers improvisations of eternal beauty. Even though this album may feel like a testament piece, Music IS is the work of an artist more alive than ever. And without a doubt one of his most beautiful albums. © Marc Zisman/Qobuz
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Jazz - Verschenen op 3 oktober 2014 | Okeh

Hi-Res Booklet Onderscheidingen Sélection JAZZ NEWS
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Jazz - Verschenen op 19 februari 1993 | Nonesuch

Onderscheidingen The Qobuz Ideal Discography
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Jazz - Verschenen op 14 augustus 2020 | Blue Note Records

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Before we marvel at the high-altitude interplay of the Bill Frisell Trio or the sometimes extreme sonic gyrations of its leader, let's begin at the most basic level—with stark, simple, standalone guitar declarations. Frisell opens several pieces on Valentine this way, in the clear. He'll send a carefully plucked single note out into the air, and then, after it subsides, he'll drop another. Tone is his only lure, and it's all he needs to suggest the framework of a tune like "Levees:" The initial phrase operates like an opening scene in a film, establishing a thick and specific atmosphere. Out of that blossoms a six-minute exploration in which Frisell, bassist Thomas Morgan and drummer Rudy Royston travel between strict tempo and drifty listlessness, blues repetition and free-jazz high dives, jittery conversation and disquieting silences. From a single note, there are many resonances; Frisell has been doing this kind of quiet alchemy for years, of course. Valentine is among the most rousing works in his extensive discography in part because it's so relentlessly visual. On just about every piece, Frisell and his trio work transfixingly together to conjure dirt-road sojurns and nature vistas out of thin air. They create contemplative spaces the jazz academy never visits. They dance through a blithe, lighthearted reading of Burt Bacharach's "What The World Needs Now" and a disquieting sorrow-filled version of "We Shall Overcome." And on many of Frisell's skeletal originals (the stunning "Keep Your Eyes Open," for example), they transform their three-way improvised abstractions into clear, singable music that has the sturdy narrative arc of classic country music. As these journeys unfold, it becomes clear that right along with the spontaneity there's some deep intention at work. The stylistic juxtapositions and sudden changes in density are hardly random. Neither are the fragile little introductions—somehow they're all Frisell needs to telegraph where he's going. As in so many aspects of life, the tone is set from the top. © Tom Moon/Qobuz
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Jazz - Verschenen op 4 oktober 2019 | Blue Note Records

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The label Blue Note has welcomed so many pioneering, brilliant and revolutionary musicians over the years, so Bill Frisell’s arrival to the company that was founded in 1939 by Alfred Lion and Max Margulis hardly comes as a surprise. At 68 years old, the American is not only the most captivating guitarist of his generation but undoubtedly one of the most innovative and influential. In fact, over the past few years Frisell has been breaking down the stylistic boundaries that have confined him to the “jazz” section. His repertoire now combines traditional jazz and folk and he allows himself to venture into country and even rock. This first Blue Note album is a perfect reflection of Frisell’s indefinable style as he lets himself go wherever he desires. With his old friend and cellist Hank Roberts (his fellow student at Berklee College of Music in 1975), singer Petra Haden (Charlie Haden’s daughter with whom he has been collaborating since the early 2000s), and guitarist, bassist and singer Luke Bergman, Bill Frisell has revealed this Harmony as a unique combination of chamber music folk jazz and vocal harmonies. An atypical and intimate reading of classical American music symbolized by the presence of the traditional song Red River Valley and Billy Strayhorn’s standard Lush Life. © Marc Zisman/Qobuz
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Jazz - Verschenen op 26 mei 2017 | ECM

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Jazz - Verschenen op 14 april 1997 | Nonesuch

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Jazz - Verschenen op 9 augustus 2005 | Nonesuch - Warner Records

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Jazz - Verschenen op 14 mei 1999 | Nonesuch

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Jazz - Verschenen op 17 juli 2009 | Nonesuch

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Jazz - Verschenen op 29 januari 2016 | Okeh

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The role of music in classic film and television has always been considerable. With When You Wish Upon a Star, the ever-versatile guitarist Bill Frisell draws upon the sentimentality of music heard on screen and how it shapes and informs our emotional relationships to what we see. Frisell, whose own music has been featured in major motion pictures like Finding Forrester and The Million Dollar Hotel reflects: “Music is so rich with all the associations that go along with it, whether it’s the words or a memory you get when you hear it.” Violist Eyvind Kang, bassist Thomas Morgan, drummer Rudy Royston, and singer Petra Haden - who recently released her musical ode to classic film, Petra Goes To The Movies - will join Frisell in re-imagining time-honored gems like “When You Wish Upon a Star” and “Somewhere Over the Rainbow,” as well as music from television favorites including The Dick Van Dyke Show and The Honeymooners. © jazz.org
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Jazz - Verschenen op 6 januari 1998 | Nonesuch

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Jazz - Verschenen op 27 oktober 2008 | Nonesuch

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Jazz - Verschenen op 18 februari 2003 | Nonesuch - Warner Records

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Jazz - Verschenen op 16 januari 2001 | Nonesuch

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Jazz - Verschenen op 24 maart 1989 | Nonesuch

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Jazz - Verschenen op 19 februari 1993 | Nonesuch

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Jazz - Verschenen op 3 oktober 2014 | Okeh

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Jazz - Verschenen op 25 februari 2000 | Nonesuch

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Bill Frisell in het magazine