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I like the contrast of Frisell's and Robben Ford's guitar playing.
The Gunter Hampel New York Orchestra, "Fresh Heat---Live at Sweet Basil",
Birth Records 0039, rec. 2/4/85 10pm-2am. Vinyl only.
Stephen Haynes and Vance R. Provey (trumpets), Curtis Fowlkes and Ceta
(trombone), Bob Stewart (tuba), Perry Robinson (clarinet), Mark Whitecage
and Thomas Keyserling (alto sax and flute), Bob Hanlon (tenor sax and
flute), Lucky Ennett (tenor sax), Gunter Hampel (vibes, bari sax, flute,
composer and arranger), Jeanne Lee and Art Jenkins (voice), Bill Frisell
(guitar), Kyoto Fujiwara (bass), Marvin "Smitty" Smith (drums).
High-energy, up, swinging, outside big-bandish music. Frisell takes a turn
when they play fours in the second tune but otherwise you can't hear him. I
like this album a lot, though; great live feel.
Billy Hart, "Oshumare", Gramavision 18-8502-2, rec. 1985
Jabali Billy Hart (drums), Dave Holland (bass), Branford Marsalis (tenor
sax), Steve Coleman (alto sax), Bill Frisell (electric guitar), Kenny
Kirkland (keyboards), Mark Grey (keyboards), Didier Lockwood (violin).
Peppy, but also some substance. Lots of chops. I like this album. One
composition, "Waiting Inside", by Frisell.
Billy Hart, "Rah", Gramavision 18-8802-2, rec. Sept 1987
Dave Liebman (soprano sax), Caris Visentin (oboe), Eddie Henderson
(fluegelhorn), Ralph Moore (tenor sax), Kevin Eubanks (guitar), Bill Frisell
(guitar), Mark Grey (synthesizer), Kenny Kirkland (piano), Eddie Gomez
(bass), Buster Williams (bass), Billy Hart (Drums).
A lot like "Oshumare". A little deeper, maybe. Two tunes, "Breakup" and
"Reminder", by Frisell.
Julius Hemphill, "Big Band", Elektra/Musician 9 60831-2, rec. Feb. 1988
Julius Hemphill, Marty Ehrlich, J.D. Parran, John Purcell, and John
Stubblefield (reeds), David Hines and Rasul Siddik (trumpet), Frank Lacy and
David Taylor (trombones), Vincent Chancey and John Clark (French horn), Jack
Wilkins and Bill Frisell (guitar), Jerome Harris (electric bass), Ronnie
Burrage (drums), Gordon Gottlieb (percussion).
Outside big band music. Very energetic and amazing. Frisell solos twice.
Horvitz/Morris/Previte, "Todos Santos", Sound Aspects CD 019, rec. Jan 1988
Six tracks are Wayne Horvitz (acoustic and amplified piano, DX-7), Butch
Morris (cornet), and Robert Previte (drums, DX-7, drum-machine, and
marimba). The other three are Doug Wieselman (Tenor sax, Clarinet) and Bill
Frisell (guitars).
An album of Robin Holcomb compositions, but not played by her. Mostly quiet
and contemplative, and mostly non-improvised, I think. It's an interesting
blend of folk and jazz; chord progressions seem to drift strangely, but then
come back to a solid tonal base. Very noisy recording, even on CD; I find
that listening to it on headphones is too distracting.
Wayne Horvitz, "This New Generation", Elektra/Musician 9 60759-2, rec. 9/85
Wayne Horvitz (keyboards, drum programming, harmonica), Chris Brown
(gazamba, wing - 4 cuts), Bill Frisell (guitar - 3 cuts), Dave Hofstra
(bass, tuba - 4 cuts (same 3 as Frisell)), Joey Peters (electronic drums - 2
cuts), Bobby Previte (drums, drum programming, keyboards - 3 cuts (same 3 as
Frisell)), Elliot Sharp (guitars, bass - 4 cuts), Doug Wieselman (clarinet,
tenor sax, rhythm guitar - 8 cuts (same 3 as Frisell)), Robin Holcomb
(keyboards - 1 cut), Jim Mussen (emulator drums operation - 2 cuts), Nica
(vocals - 1 cut), Jon Rose (unintentional cello - 1 cut).
"All selections are previously available on the recording _Dinner_at_Eight_,
except [four cuts] from _The_President_". The four cuts from
_The_President_ are awesome; the other eleven are quite weak---thin DX-7
ostinatos and uninteresting melodic lines in the saxophone, with lots of bad
drum programming.
Wayne Horvitz, "The President", ???
I only know about this from the liner notes to "This New Generation".
Wayne Horvitz---The President, "Miracle Mile", Elektra Nonesuch 9 79278-2,
copyright 1992.
Wayne Horvitz (keyboards, amplified piano, harmonica), Stew Cutler (guitar),
J.A. Deane (trombine, electronics), Kermit Driscoll (electric bass), Bobby
Previte (drums), Doug Wieselman (tenor sax, clarinet). "Additional
Musicians:" Bill Frisell (guitar), Denny Goodhew (saxes), Elliot Sharp
(guitar), Ben Steele (guitar controlled sampler).
I can barely hear Frisell in the background of track 3 for a few seconds.
This suffers from some of the same problems as the non-Frisell tracks on
"This New Generation", but to a much lesser extent. (The drum machine
problem is gone, thanks to Previte's great live drumming.)
Marc Johnson, "Bass Desires", ECM 1299 (827 743-2), rec. May 1985
Marc Johnson (bass), Bill Frisell (guitar, guitar synth), John Scofield
(guitar), Peter Erskine (drums).
Amazing talent, and a very good record. The first two tracks, including
Coltrane's "Resolution" from "A Love Supreme" are excellent and highly
charged; I wish the rest of the album were a little more upbeat. I love
Frisell's comping to Scofield's solos, and his guitar synth solo on
"Resolution" is outstanding.
Marc Johnson's Bass Desires, "Second Sight", ECM 1351 (833 038-2), rec 5/87
(same cast as above, but no guitar synth for Frisell)
Similar to the first album. Two tunes by Frisell. The first piece seems a
little disjointed. The two Scofield tunes are quite good, including the
surfy "Twister". This album has a "contented" quality that's hard for me to
describe.
Henry Kaiser, "Re-Marrying for Money", SST Records CD 222, rec. 11-21-85
Henry Kaiser (electric guitar), Hilary Hanes (bass), John Hanes (drums).
"Special guest guitarists" (one track each): John Abercrombie, Bruce
Anderson, Bill Frisell, Amos Garrett, Fred Marshall, Glenn Phillips.
"This album has been previously issued, with much less material, on the
German Minor Music label as _Marrying_For_Money_." Only one track with
Frisell, but it's 16:28 long. It's a live improvised duet, "the first time
that my friend Bill Frisell and I played together," pretty outside. The
rest of the album is heavy rock-oriented, with lots of guitar sound.
Joe Lovano Wind Ensemble, "Worlds", Label Bleu LBLC 6524 HM 83, rec 5/5/89
Joe Lovano (tenor and soprano saxes, clarinet), Bill Frisell (guitar), Tim
Hagans (trumpet), Paul Motian (drums), Judi Silverman (soprano voice), Henri
Texier (bass), Gary Valente (trombone).
This was recorded live in concert. Very intense compositions, and lots of
virtuosic playing. Extended solos, frequently accompanied by only one or
two other musicians, and frequently two players soloing as a duet. Very
horn-like singing from Judi Silverman, soloing like a soprano sax. I like
this album a lot.
Lyle Mays [self-titled], Geffen 9 24097-2, rec. 1985
Lyle Mays (piano, synths, autoharp), Alejandro N. Acu~na (drums), Billy
Drewes (alto and soprano sax), Bill Frisell (guitar), Marc Johnson (acoustic
bass), Nana Vasconcelos (percussion).
A little lite for my tastes. Everything to me is either over-poppy or
amorphous. Not much soloing by Frisell, and not great material, IMHO.
Lyle Mays, "Street Dreams", Geffen 9 24204-2, copyright 1988
Lyle Mays (piano, keyboards). "Featuring" Bill Frisell (guitar - 7 cuts),
Marc Johnson (acoustic bass - 7 cuts), Steve Rodby (electric bass - 2 cuts),
Peter Erskine (drums - 5 cuts), Steve Gadd (drums - 2 cuts), Steve Jordan
(drums - 1 cut), Vicki Randele (percussion, "vocorder [sic]", voice - 6 cuts).
Also a host of studio horn players (Bob Mintzer: "contractor", whatever that
means) and a chamber orchestra.
Same as above. Definite fluff.
Sato Michihiro, "Rodan", Hat Art CD 6015, rec April 11-16, 1988
Sato Michihiro (tsugaru shamisen on all tracks), Bill Frisell (guitar - 5
cuts), Fred Frith (guitar - 6 cuts), Tenko (voice - 3 cuts), Mark Miller
(bass - 2), Nicolas Collins (electronics - 4 cuts), Christian Marclay
(turntables - 4 cuts), Steve Colemann (alto sax - 2 cuts), Toh Ban Djan
(Ikue Mori (drums, drum machine) and Luli Shioi (bass, voice) - 1 cut),
Semantics (Elliott Sharp (double neck guitar/bass), Samm Bennett (drums),
Ned Rothenberg (alto sax) - 1 cut), Tom Cora (cello - 1 cut), Joey Baron
(drums - 1 cut), Mark Dresser (bass - 2 cuts), Gerry Hemingway (drums - 1
cut).
Zorn-produced experimental improvised shamisen music. What else can I say?
(Alphabetized under Mingus:) "Hal Willner Presents Weird Nightmare:
Meditations on Mingus", Columbia CK 52739, copyright 1992
A house band of Don Alias (percussion), Bill Frisell (guitar), Michael Blair
(drums), Greg Cohen (bass), Don Byron (clarinet), Art Baron (trombone), and
Francis Thumm (Partch instruments), and guest musicians too numerous to
mention, including Bobby Previte, Henry Threadgill, Marc Ribot, Elvis
Costello, Vernon Reid, Geri Allen, Henry Rollins, Chuck D (from Public
Enemy), Keith Richards, Diamanda Galas, Robert Quine, Ray Davies, and Doctor
John.
An album of Mingus covers. Most pieces have a few parts for "Partch
instruments", strange musical instruments invented by the American composer
Henry Partch. There was a big thread about this album a while ago, and
everybody seemed to hate it, except the part where Chuck D raps over
Frisell's guitar solo. This album is dark and contemplative, and sort of
clever, which I think is great, but everybody else thinks it's not true to
the spirit of Mingus. In any case, it features lots of Frisell.
Bob Moses, "When Elephants Dream Of Music", Gramavision GR8203, rec.
4/11-12/82. Vinyl only.
Joe Bonadio (percussion), Marion Cowings (voice - 2 cuts), Ayieb Dieng
(percussion), Michael Formanek (acoustic bass), David Friedman (vibes,
marimba), Bill Frisell (electric guitar), David Gross (alto sax), Doc
Halliday (tenor and soprano sax), Terumasa Hino (cornet), Howard Johnson
(electric contrabass clarinet, tuba), Shelia Jordan (voice - 1 cut), Jeanne
Lee (voice - 1 cut), Jahnet Levatin (voice - 1 cut), Lyle Mays
(synthesizers), Rahboat Ntumba Moses (drums, humdrums, voice), Jim Pepper
(tenor sax), Paula Potocki (voice - 1 cut), Barry Rogers (trombones), Chris
Rogers (trumpet), Paul Socolow (electric bass - 1 cut), Jeremy Steig (bass
flute - 1 cut), Steve Swallow (electric bass), Nana Vasconcelos (percussion,
voice), Bob Weiner (drums - 1 cut), Toni Wilson (voice - 1 cut).
Big and free, but swinging. A loose sound, with lots of collective
improvisation. I like this album a lot, although there's not much Frisell.
Bob Moses, "Visit With The Great Spirit", Gramavision GR8307, rec 1983.
Vinyl only.
Tiger Okoshi (trumpet, flugelhorn, electric trumpet), Bob Mintzer (tenor
sax, electric bass clarinet), David Liebman (soprano sax - 4 cuts), George
Garzone (soprano sax, tenor sax - 4 cuts), David Gross (alto sax, flute - 5
cuts), Howard Johnson (bari sax, tuba, electric contrabass clarinet), Tony
Coe (tenor sax), John D'earth (electric trumpet - 2 cuts), David Sanborn
(alto sax - 1 cut), Michael Gibbs (trombone - 2 cuts), Jerome Harris
(electric bass, guitar), Lincoln Goines (electric bass - 3 cuts), Steve
Swallow (electric bass - 1 cut), Eddie Gomez (bass - 1 cut), Steve Kuhn
(piano - 2 cuts), Delfmar Brown (synthesizer - 1 cut), Cliff Korman
(synthesizer - 1 cut), Bill Frisell (guitar - 4 cuts), John Scofield (guitar
- 1 cut), Manoel Manteiro (surdo, repinique, berimbau, cuica, tamborim,
misc. percussion, voice - 4 cuts), Bill Martin (snare drum, talking drum,
ganza, go go bell, tamborim, misc. percussion - 4 cuts), Claudio Silva
(pandeiro, surdo, go go bell, voice - 3 cuts), Ron De Francesco and Jahnet
Levatin (misc percussion - 1 cut), Danny Gottlieb (gong), Hiroshi Hieda,
Rayko Shiota and Kyoko Baker (voice), Rahboat Moses (drums, repinique,
timbales, talking drums, hum drums, cuica, voice, wood flute, synthesizer).
Similar to "When Elephants Dream of Music". I haven't heard it in a while
(my record player broke...) so I can't really comment on it.
Paul Motian Band, "Psalm", ECM 1222 (847 330-2), rec. December 1981
Paul Motian (drums), Bill Frisell (guitar), Ed Schuller (bass), Joe Lovano
(tenor sax), Billy Drewes (tenor and alto sax).
ECMish, i.e., slow, ambient, and timbrally beautiful. This album is also
surprisingly energetic and focused for early ECM. Motian's drumming is, as
always, as much about color as about timekeeping.
Paul Motian, "The Story of Maryam", Soul Note 1074, rec. July 83
Jim Pepper (tenor and soprano sax), Joe Lovano (tenor sax), Bill Frisell
(electric guitar), Ed Schuller (bass), Paul Motian (drums)
Very similar to "Psalm", perhaps a little less atmospheric and a little more
"composed".
Paul Motian Quintet, "Jack Of Clubs", Soul Note 121124-2, rec 3/26-28/84
(same musicians as above)
Again, similar to previous Paul Motian albums. A little more outside in
spots, especially the "duet" solos like just the two saxes, or just guitar
and drums.
Paul Motian Trio, "It Should Have Happened a Long Time Ago", ECM 1283, rec.
July 1984
Paul Motian (drums, percussion), Bill Frisell (guitar, guitar synthesizer),
Joe Lovano (tenor sax).
These three guys made about a million albums together. All are very loose
rhythmically and very colorful, with fantastic interaction between the three.
The lack of a bass player is a major asset---it makes the form and rhythm
much more free and makes it easier for the three musicians to interact.
Paul Motian Quintet, "Misterioso", Soul Note 121174-2, rec. 7/14-16/86
(same musicians as "Jack of Clubs")
Similar again to previous albums. Rhythmically, the tunes are a little more
obvious---more swing and less wash of sound, which makes the album feel
somewhat more straight-ahead to me.
Paul Motian Trio, "One Time Out", Soul Note 121 224-2, rec. 9/21-22/87
Joe Lovano (tenor sax), Bill Frisell (electric guitar), Paul Motian (drums)
More outside and more frenetic than "It Should Have Happened...", but with
its share of lush, loose, ambient tunes also.
Paul Motian, "On Broadway - Vol. 1", JMT 834 430-2, rec. November 1988
Paul Motian (drums), Joe Lovano (tenor sax), Bill Frisell (electric guitar),
Charlie Haden (bass).
An album of standards from Broadway musicals, like "Liza", "Somewhere Over
The Rainbow", "They Didn't Believe Me", etc. I think it's fantastic. A lot
of the color and freedom of the Paul Motian Trio albums, but Haden's bass
gives the music a much more definite form and pulse. This album has a
laid-back, sort of "competent", feel, which I guess means that they all know
the tunes so well and are so comfortable with each other that they sound
like they're having a great time.
Paul Motian, "On Broadway - Vol. 2", JMT 834 440-2, rec. September 1989
(same musicians as above)
Same idea and same sound as volume 1; includes "I Got Rhythm", "All the
Things You Are", "Body and Soul". This album is generally slower and not so
swinging as volume 1, but more ambient and timbrally aware.
Paul Motian, "Bill Evans", JMT 834 445-2, rec. May 1990
(same musicians as above, but Marc Johnson instead of Charlie Haden on bass.)
Similar in concept to the "On Broadway" records, but it's all Bill Evans
compositions. The sound is also similar to the "On Broadway" albums, more
like the first than the second.
"Monk in Motian", JMT 834 421-2, rec March 1988.
Paul Motian (drums), Joe Lovano (tenor sax), Bill Frisell (guitar), with
Dewey Redman (tenor sax
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