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Bill Frisell|Good Dog, Happy Man

Good Dog, Happy Man

Bill Frisell

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No doubt pleased with his countrified direction on Gone, Just Like a Train, Bill Frisell gives us a lot more of basically the same thing here -- only with expanded numbers in the ranks. Bassist Viktor Krauss and drummer Jim Keltner return, now accompanied by Wayne Horvitz's understated organ and piano; Greg Leisz on an assortment of fretted instruments, including the Dobro, pedal steel guitar and mandolin; and on "Shenandoah," Ry Cooder's atmospheric guitars. The first tracks of Good Dog, Happy Man pick up right where Gone, Just Like a Train left off -- low-key, perhaps too low-key -- but tracks like "Big Shoe" and "Cadillac 1959" add a bit of swagger to the lope and "Poem for Eva" sports the best tune. Again, Frisell often captures a loose, evolutionary jamming quality in these sessions, playing the country accents off of his jazz sensibilities. Unlike its predecessor, though, you can't imagine this being recorded on a backwoods front porch, for there are some production tricks and distant-sounding electronic loops that give away its Burbank studio origins. Purists on either side of the jazz/country divide are hereby warned to back off so that the rest of us can enjoy this.
© Richard S. Ginell /TiVo

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Good Dog, Happy Man

Bill Frisell

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1
Rain, Rain
00:02:45

Lee Townsend, Producer - JUDY CLAPP, Engineer - Bill Frisell, Composer, MainArtist

© 1999 Nonesuch Records ℗ 1999 Nonesuch Records

2
Roscoe
00:03:43

Lee Townsend, Producer - JUDY CLAPP, Engineer - Bill Frisell, Composer, MainArtist

© 1999 Nonesuch Records ℗ 1999 Nonesuch Records

3
Big Shoe
00:03:49

Lee Townsend, Producer - JUDY CLAPP, Engineer - Bill Frisell, Composer, Writer, MainArtist

© 1999 Nonesuch Records ℗ 1999 Nonesuch Records

4
My Buffalo Girl
00:08:52

Lee Townsend, Producer - JUDY CLAPP, Engineer - Bill Frisell, Composer, MainArtist

© 1999 Nonesuch Records ℗ 1999 Nonesuch Records

5
Shenandoah (For Johnny Smith)
00:06:10

Traditional, Composer - Lee Townsend, Producer - JUDY CLAPP, Engineer - Bill Frisell, MainArtist

© 1999 Nonesuch Records ℗ 1999 Nonesuch Records

6
Cadillac 1959
00:06:26

Lee Townsend, Producer - JUDY CLAPP, Engineer - Bill Frisell, Composer, MainArtist

© 1999 Nonesuch Records ℗ 1999 Nonesuch Records

7
The Pioneers
00:05:17

Lee Townsend, Producer - JUDY CLAPP, Engineer - Bill Frisell, Composer, MainArtist

© 1999 Nonesuch Records ℗ 1999 Nonesuch Records

8
Cold, Cold Ground
00:09:04

Lee Townsend, Producer - JUDY CLAPP, Engineer - Bill Frisell, Composer, MainArtist

© 1999 Nonesuch Records ℗ 1999 Nonesuch Records

9
That Was Then
00:05:31

Lee Townsend, Producer - JUDY CLAPP, Engineer - Bill Frisell, Composer, MainArtist

© 1999 Nonesuch Records ℗ 1999 Nonesuch Records

10
Monroe
00:04:21

Lee Townsend, Producer - JUDY CLAPP, Engineer - Bill Frisell, Composer, Writer, MainArtist

© 1999 Nonesuch Records ℗ 1999 Nonesuch Records

11
Good Dog, Happy Man
00:02:34

Lee Townsend, Producer - JUDY CLAPP, Engineer - Bill Frisell, Composer, MainArtist

© 1999 Nonesuch Records ℗ 1999 Nonesuch Records

12
Poem for Eva
00:03:42

Lee Townsend, Producer - JUDY CLAPP, Engineer - Bill Frisell, Composer, MainArtist

© 1999 Nonesuch Records ℗ 1999 Nonesuch Records

Album Description

No doubt pleased with his countrified direction on Gone, Just Like a Train, Bill Frisell gives us a lot more of basically the same thing here -- only with expanded numbers in the ranks. Bassist Viktor Krauss and drummer Jim Keltner return, now accompanied by Wayne Horvitz's understated organ and piano; Greg Leisz on an assortment of fretted instruments, including the Dobro, pedal steel guitar and mandolin; and on "Shenandoah," Ry Cooder's atmospheric guitars. The first tracks of Good Dog, Happy Man pick up right where Gone, Just Like a Train left off -- low-key, perhaps too low-key -- but tracks like "Big Shoe" and "Cadillac 1959" add a bit of swagger to the lope and "Poem for Eva" sports the best tune. Again, Frisell often captures a loose, evolutionary jamming quality in these sessions, playing the country accents off of his jazz sensibilities. Unlike its predecessor, though, you can't imagine this being recorded on a backwoods front porch, for there are some production tricks and distant-sounding electronic loops that give away its Burbank studio origins. Purists on either side of the jazz/country divide are hereby warned to back off so that the rest of us can enjoy this.
© Richard S. Ginell /TiVo

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