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Bill Frisell

The defining characteristic of any given jazz musician is frequently his sound. The more control a player has over the nature of that sound, the more likely he is to project a distinctive musical personality. For example, a saxophonist has virtually unlimited physical control of the sound that comes through his horn, and therefore a wide range of tonal expression at his command, which partially explains the disproportionate number of saxophonists in the pantheon of great jazz musicians. On the other hand, few electric guitarists inhabit that realm, in part because the typical jazz guitar sound differs little from player to player. In general, guitarists do not have the same degree of physical control. Without the use of signal processing -- which jazz purists shun -- they're mostly stuck with the generic sound that comes out of their amp. Hence, guitarists have historically tended to "sound" more or less the same.

Bill Frisell is a notable exception. Among jazz guitarists, Frisell is unique in his exploitation of variable timbre. Frisell's sound swells and breathes like a saxophonist's (interestingly, Frisell played clarinet as a child). In many ways his sound is reminiscent of a pedal steel guitar. And although his work is steeped in jazz, Frisell is a man of catholic tastes. His music includes characteristics of rock, country, and bluegrass, among various other styles. Such liberality explains his willingness to expand his tonal palette beyond that of the typical jazz guitarist. Where so many conventional jazz guitarists define themselves by how many notes they can play, Frisell has carved a niche by virtue of his sound. His ability as an original, lyrical player of melody combines with a unique (if much imitated) sound to make him one of the most singular musicians of his generation.

Born in Baltimore, Frisell grew up in Denver, Colorado. He began playing the clarinet in the fourth grade and took up guitar a few years later for his personal amusement. He continued with the clarinet, playing in school concerts and marching bands. Frisell briefly considered playing classical clarinet professionally. He played guitar in rock and R&B bands as a teenager (high school classmates included Philip Bailey, Andrew Woolfolk, and Larry Dunn, future members of the funk group Earth, Wind & Fire). He discovered jazz in the music of Wes Montgomery and began to study it. Dale Bruning, a Denver-based guitarist and educator, fed his fascination with jazz.

Frisell decided to make guitar his primary instrument. After briefly attending the University of Northern Colorado, he moved to Boston in 1971 to attend the Berklee School of Music. There he studied with Michael Gibbs and John Damian. While at Berklee, Frisell connected with other like-minded players (Pat Metheny was a classmate). He also studied with Jim Hall, who became an important influence, especially in terms of harmony. In the mid-'70s, Frisell began moving away from pure bebop and began fusing jazz with his other musical interests. At about this time, he began developing his atmospheric, quasi-microtonal style. He discovered that, by using a guitar with a flexible neck, he could manipulate the instrument's intonation. A combination of experimental techniques and signal processors like delay and reverb gave Frisell a sound unlike any other guitarist.

In the late '70s, he traveled to Belgium. There he met Manfred Eicher, the founder of ECM Records. Beginning in the early '80s, Frisell recorded prolifically for the label as leader and sideman, with such musicians as Paul Motian and Jan Garbarek. He continued with the label throughout the decade, earning a reputation as ECM's "house guitarist." Frisell became much acclaimed by critics for his sophisticated yet accessible work. He moved to New York in the '80s where he worked with many of the most creative musicians active on the city's "downtown" jazz scene.

In the '80s and '90s, he recorded and performed with a huge variety of artists, not all of them jazz musicians. Collaborators included rock and pop musicians (drummer Ginger Baker, singers Marianne Faithfull and Elvis Costello), experimental jazz musicians (saxophonist/composers John Zorn and Tim Berne), and at least one classical composer (Gavin Bryars). Frisell composed soundtracks for the silent films of Buster Keaton. His 1996 album, Quartet, won the Deutsche Schallplattenpreis, the German equivalent of the Grammy. Frisell became an annual winner of various magazine polls for his solo work and recordings.

By the end of the '90s, Frisell was one of the most well-known jazz musicians in the world, with an audience and an aesthetic that transcended the boundaries of any given style. It should be mentioned that, while he is best known for his somewhat "ambient" guitar technique, he is a swinging, harmonically fluent jazz player when the occasion warrants. Frisell moved to Seattle, Washington in 1989 and stayed active as the 21st century opened, releasing Ghost Town in 2000, followed by a set with Dave Holland and Elvin Jones in 2001. Blues Dream also appeared that same year, followed by The Willies in 2002. East/West and Richter 858 were both released in 2005, and a set with Ron Carter and Paul Motian in 2006. History, Mystery followed in 2008.

In 2010, a trio recording entitled Beautiful Dreamers was released by Savoy Jazz. A collection of covers and originals, it featured Frisell in the company of violinist Eyvind Kang and drummer Roy Royston. Frisell also appeared as a sideman on Reveille, the debut solo offering from Kermit Driscoll, former bassist of the guitarist's earlier working trio. Abigail Washburn's 2011 album, City of Refuge, featured Frisell as lead guitarist. He kicked off his own series of releases in 2011 with Lagrimas Mexicanas, a series of duets with Brazilian guitarist and vocalist Vinicius Cantuária; the album was produced by Lee Townsend and released on the Entertainment on Disc/eOne imprint. Townsend also produced Frisell's return to Savoy Jazz, Sign of Life. That album featured a reunion of the 858 Quartet with Frisell on guitars, Jenny Scheinman on violin, Eyvind Kang on viola, and Hank Roberts on cello.

In 2011, Frisell delved into the music of John Lennon with All We Are Saying.... A longtime fan of the Beatles singer/songwriter, Frisell was joined once again by violinist Scheinman, as well as guitarist Greg Leisz, bassist Tony Scherr, and drummer Kenny Wollesen on such classics as "Across the Universe," "Imagine," "You've Got to Hide Your Love Away," "Julia," "Beautiful Boy," and others. Hewing closely to Lennon's original versions, Frisell found ways to explore the melody and emotional content of Lennon's songs without having to overtly change the harmonic content of the material. Frisell's 2012 also saw the return of Floratone -- his collective with Lee Townsend, Matt Chamberlain, and Tucker Martine. Floratone II was released on March 6, 2012. He also reestablished his connection with John Zorn's music, appearing as part of the ensemble for the composer's Gnostic Preludes with harpist Carol Emmanuel and Kenny Wollesen on vibraphone. The album was issued on Tzadik a week after Floratone II. He released another album for the label in early 2013. Entitled Silent Comedy, it featured the guitarist in a solo setting. Frisell the composer returned in a big way in June of that year, employing his 858 Quartet and drummer Rudy Royston. Together they recorded Big Sur, his debut for Sony's relaunched OKeh imprint. In 2013, Frisell appeared with his Gnostic Trio bandmates (harpist Carol Emmanuel and vibist/percussionist Kenny Wollesen) on John Zorn's In Lambeth: Visions from the Walled Garden of William Blake.

Frisell kicked off 2014 with an appearance on Scheinman's Sony Masterworks set The Littlest Prisoner, scored and recorded the soundtrack to Bill Morrison's documentary The Great Flood, and duetted with Greg Cohen on the bassist's Golden State album. Guitar in the Space Age!, Frisell's tribute to some of the guitar music of the late '50s and early '60s, was issued by OKeh in October. His next label offering was When You Wish Upon a Star, a tribute to film composers, television scores, and the musicians who played on them. Along with tributes to Elmer Bernstein and Ennio Morricone, among others, the set featured covers of the Disney tune in the title, the theme from the James Bond film You Only Live Twice, and "The Shadow of Your Smile" from the motion picture score of The Sandpipers. Issued in early 2016, the recording hit number two on the jazz charts. ~ Chris Kelsey & Thom Jurek
full bio

Selected Discography


Track List: Big Sur

1. The Music Of Glen Deven Ranch

2. Sing Together Like A Family

3. A Good Spot

4. Going To California

5. The Big One

6. Somewhere

7. Gather Good Things

8. Cry Alone

9. The Animals

10. Highway 1

11. A Beautiful View

12. Hawks

13. We All Love Neil Young

14. Big Sur

15. On The Outlook

16. Shacked Up

17. Walking Stick (For Jim Cox)

18. Song For Lana Weeks

19. Far Away


Track List: Silent Comedy

1. Bagatelle

2. John Goldfarb, Please Come Home!

3. Babbitt

4. Silent Comedy

5. Lake Superior

6. Proof

7. The Road

8. Leprechaun

9. Ice Cave

10. Big Fish

11. Lullaby


Track List: All We Are Saying...

1. Across The Universe

2. Revolution

3. Nowhere Man

4. Imagine

5. Please, Please Me

6. You've Got To Hide Your Love Away

8. In My Life

9. Come Together

10. Julia

11. Woman

13. Love

14. Beautiful Boy

15. Mother

16. Give Peace A Chance


Track List: Sign Of Life, Music For 858 Quartet

1. It's A Long Story (Pt. 1)

2. Old Times

3. Sign Of Life

4. Friend Of Mine (Pt. 1)

5. Wonderland

6. It's A Long Story (Pt. 2)

8. Youngster

9. Recollection

10. Suitcase In My Hand

11. Sixty Four

13. Painter

14. Teacher

15. All The People, All The Time

16. Village

17. As It Should Be


Track List: Beautiful Dreamers

2. Winslow Homer

4. Worthy Endeavor (For Cajori)

5. It's Nobody's Fault But Mine

6. Baby Cry

7. Benny's Bugle

8. Tea For Two

9. No Time To Cry

11. Goin' Out Of My Head

12. Worried Woman

13. Keep On The Sunny Side

14. Sweetie

15. All We Can Do

16. Who Was That Girl?


Track List: History, Mystery

Disc 1

1. Imagination

2. Probability Cloud

4. Out Of Body

5. Struggle

6. A Momentary Suspension Of Doubt

7. Onward

8. Baba Drame

9. What We Need

10. A Change Is Gonna Come

12. Show Me

13. Boo And Scout

15. Heal

16. Another Momentary Suspension Of Doubt

17. Probability Cloud

Disc 2

1. Monroe

2. Lazy Robinson

3. Question #1

4. Answer #1

5. Faces

6. Sub-Conscious Lee

8. Question #2

11. Waltz For Baltimore

12. Answer #2


Track List: Further East/Further West

1. Lookout For Hope

2. Monroe

3. Big Shoe

4. Egg Radio

5. Lost Highway

6. Masters Of War

7. What The World Needs Now Is Love

8. Somewhere Over The Rainbow

9. Prelude/Body And Soul

10. Paradox

11. Cluck Old Hen


Track List: East/West

Disc 1

1. I Heard It Through The Grapevine (Live)

2. Blues For Los Angeles (Live)

3. Shenandoah (Live)

4. Boubacar (Live)

5. Pipe Down (Live)

6. A Hard Rain's A-Gonna Fall (Live)

Disc 2

1. My Main Man's Gone Now (Live)

2. The Days Of Wine And Roses (Live)

3. You Can Run (Live)

4. Ron Carter (Live)

5. Interlude (Live)

6. Goodnight Irene (Live)

7. The Vanguard (Live)

8. People (Live)

9. Crazy (Live)

10. Tennessee Flat Top Box (Live)


Track List: Unspeakable

1. 1968

2. White Fang

3. Sundust

4. Del Close

5. Gregory C.

6. Stringbean

7. Hymn For Ginsberg

8. Alias

9. Who Was That Girl?

10. D. Sharpe

11. Fields Of Alfalfa

12. Tony

13. Old Sugar Bear

14. Goodbye Goodbye Goodbye


Track List: The Intercontinentals

1. Boubacar

2. Good Old People

3. For Christos

4. Baba Drame

5. Listen

6. Anywhere Road

7. Procissao

8. The Young Monk

9. We Are Everywhere

10. Yala

11. Perritos

12. Magic

13. Eli

14. Remember


Track List: The Willies

1. Sittin' On Top Of The World

2. Cluck Old Hen

3. Everybody Loves Everybody

4. I Want To Go Home

5. Single Girl, Married Girl

6. Get Along

7. John Hardy Was A Desperate Little Man

8. Sugar Baby

9. Blackberry Blossom

10. If I Could I Surely Would

11. Clock Old Hen (reprise)

12. Cold, Cold Heart

13. I Know You Care

14. Goodnight Irene

15. Big Shoe

16. The Willies


Track List: Bill Frisell With Dave Holland And Elvin Jones

1. Outlaws

2. Twenty Years

3. Coffaro's Theme

4. Blues Dream

5. Moon River

6. Tell Your Ma, Tell Your Pa

7. Strange Meeting

8. Convict 13

9. Again

11. Justice And Honor

12. Smilin' Jones


Track List: Blues Dream

1. Blues Dream

2. Ron Carter

3. Pretty Flowers Were Made For Blooming

4. Pretty Stars Were Made To Shine

5. Where Do We Go?

6. Like Dreamers Do (Part One)

7. Like Dreamers Do (Part Two)

8. Outlaws

9. What Do We Do?

10. Episode

11. Soul Merchant

12. Greg Leisz

13. The Tractor

14. Fifty Years

15. Slow Dance

16. Things Will Never Be The Same

17. Dream On

18. Blues Dream (Reprise)


Track List: Ghost Town

1. Tell Your Ma, Tell Your Pa

2. Ghost Town / Poem For Eva

3. Wildwood Flower

4. Creep

5. Variation On A Theme (Tales From The Farside)

6. Follow Your Heart

7. I'm So Lonesome I Could Cry

8. What A World

9. My Man's Gone Now

10. Outlaw

11. When I Fall In Love

12. Big Bob

13. Winter Always Turns To Spring

14. Justice And Honor

15. Fingers Snappin' And Toes Tappin'

16. Under A Golden Sky


Track List: Good Dog, Happy Man

1. Rain, Rain

2. Roscoe

3. Big Shoe

4. My Buffalo Girl

5. Shenandoah (for Johnny Smith)

6. Cadillac 1959

7. The Pioneers

8. Cold, Cold Ground

9. That Was Then

10. Monroe

11. Good Dog, Happy Man

12. Poem for Eva


Track List: Gone, Just Like A Train

1. Blues For Los Angeles

2. Verona

3. Godson Song

4. Girl Asks Boy (Part 1)

5. Pleased To Meet You

6. Lookout For Hope

7. Nature's Symphony

8. Egg Radio

9. Ballroom

10. Girl Asks Boy (Part 2)

11. Sherlock Jr.

12. Gone, Just Like A Train

13. The Wife And Kid

14. Raccoon Cat

15. Lonesome

16. Bonus Track 1


Track List: Nashville

1. Gimme A Holler

2. Go Jake

3. One Of These Days

4. Mr. Memory

5. Brother

6. Will Jesus Wash The Bloodstains From Your Hands

7. Keep Your Eyes Open

8. Pipe Down

9. Family

10. We're Not From Around Here

11. Dogwood Acres

12. Shucks

13. The End Of The World

14. Gone


Track List: Music For The Films Of Buster Keaton: The High Sign / One Week

2. The High Sign Theme / Help Wanted

3. Target Practice

4. The Blinking Buzzards

5. Good Shot-Swearing In-Shooting Gallery

6. Chase / Cop

8. Chase / Caught

9. The High Sign Theme

10. One Week Theme / The Wedding

11. Reckless Driving

12. Construction

13. Oh, Well / The Piano

14. Fight

15. Oh, Well / Bath Scene

16. Housewarming Party And Storm

17. One Week Theme / Aftermath

18. Here Comes The Train

19. Oh, Well


Track List: Have A Little Faith

1. The Open Prairie

2. Street Scene In A Frontier Town

3. Mexican Dance And Finale

4. Prairie Night (Card Game At Night), Gun Battle

5. Celebration After Billy's Capture

6. Billy In Prison

7. The Open Prairie Again

8. The 'Saint-Gaudens' In Boston Common: 'Col. Shaw And His Colored Regiment' (Excerpt #1)

9. Just Like A Woman

10. I Can't Be Satisfied

11. Live To Tell

12. The 'Saint-Gaudens' In Boston Common: 'Col. Shaw And His Colored Regiment' (Excerpt #2)

13. No Moe

14. Washington Post March

15. When I Fall In Love

16. Little Jenny Dow

17. Have A Little Faith In Me

18. Billy Boy


Track List: :Rarum V - Selected Recordings


Track List: When You Wish Upon A Star

1. To Kill A Mockingbird, Pt. 1

2. To Kill A Mockingbird, Pt. 2

3. You Only Live Twice

4. Psycho, Pt. 1

5. Psycho, Pt. 2

6. The Shadow Of Your Smile

7. Bonanza

8. Once Upon A Time In The West (Theme)

9. As A Judgement

10. Farewell To Cheyenne

11. When You Wish Upon A Star

12. Tales From The Far Side

13. Moon River

14. The Godfather

15. The Bad And The Beautiful

16. Happy Trails


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Phenomenal I want to listen to this again.
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This guy can Jam!
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One of the most diversified guitarists in the world for sure. Consummate musician
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Pat Metheny and Leo Kottke are not similar artists as listed above. Carla Bley, Dave Holland, and among others, the late Kenny Wheeler are somewhat similar to Mr. Frisell... but he is really one of a kind; an original creative artist with an entirely personal approach to the guitar. I find his music more open and innovative than Pat Metheny's or Al DiMeola's, and John Scofields and less formulaic than theirs.
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His tone is freakish!
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My favorite live show return to forever romantic warrior was the album they played note for note. Amazing show in 1972
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Re: Earl - I would say that the big three of jazz are Metheny, Scofield, and Meola. Stern is totally awesome, but I would rate him and Frisell as being at the same level as guitarists like Pat Martino, George Benson, and Jim Hall.
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MAD FLOW !!!! Lil bit country, lil blues
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The track 1968 is SOOOO FUNKY!!!
The orchestratio n of strings astounds but, the percussionis t is so on point !!
YEAH !!!!! Digging FRISELL X
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PROBABILITY CLOUD could be a soundtrack to a movie :) I LIKE IT X
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PIPE DOWN !!!! Ahhhhhh yeah !!!!! X
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mobley.david s
The first time I heard him play a chord, I had to know who this guy was. I heard singing angels and a soft orchestra swaying to the pulse of a human heart. And no, I was not on drugs. I have never heard him play a generic note in any of his songs, and every chord breathes his inimitable character. Now, there are thousands of guitarists out there trying to unlock his secret. Good luck, guys...witho u t Bill's hands, you'll never get it.
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Absolutely love your sound !!! X
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You gave me a lot of good memories thank you Bill
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Phenomenal love everything about him reminds me of a man named Mark
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I've got to agree with many comments before me. Frisell is a unique talent that appeals to this jazz ear. Lovely music, as they say in Lancashire (where I was born) Ta (thanks)
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I first heard Bill Frisell on Lyle Mays eponymous first CD. His sound is ephemeral. While the guitar is such an individual instrument Frisell is still able to create a unique sound that is immediately recognizable . He makes up one fourth of the big four: Metheny, Stern, Scofield comprise the rest of the giant 4 of guitar jazz..
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A *I* can say is, thanks for all the great music, Bill!
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listening to tune baba drame . it really generates cosmic flow
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My first experience with Frisell was his work on Lyle Mays first self-titled CD in 86. He sounds folksy and jazzy almost simultaneous l y n o t many musicians force to listen carefully to each note. Frisell does..
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he is unique.Is he one of the greats? 'Doesn't matter, he is original
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Somehow Bill Frisell managed to fly under my radar for years. Late discovery for me, but so more powerful since the discography is so incredibly reach. Instant promotion to my "Top 100 Musicians List of All Times". Thank you, Bill!
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I met this guy years ago before he was was well known, just a decent, friendly guy with a sense of humility and a passion for music. This is the first time I'm really listening to his music, and it blows me away. I ordered the Kermit Driscoll, Joey Baron, Bill Frisell Live CD– any other suggestions?
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if you cannot appreciate this guitarist, then too bad. Maybe you're not looking for a real guitar PLAYER with very little in the form of boundaries.
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nsmarick - perhaps you should try listening. His music always sounds better when you listen to it.
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For the most part, I find Frisell subtle to the point of boring. Overrated.
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soundsationa l transportati o n to corners of realms longing to be remembered and those striving to stay unknown
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East/West blew my mind. My favorite of his. The "east" disc to be exact.
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Kind of weird not to mention "Nashville," the first C&W-based album to be named Downbeat album of the years.
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Everything this man creates is excellent. I wouldn't call Unspeakable a snooze fest. History, Mystery is just incredible. There's too many volume swells and "sound scarcity," if you will, in the earlier albums. But that doesn't stop me from loving every second of Bill's music. Granted, he does lean two different ways with his stuff, but you're (readers) missing out if you don't get some of his later stuff. It's all great.
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I LOVE the early albums.... Lookout for Hope, Is That Really You, Buster Keaton, POWER TOOLS!!!! . Have a Little Faith. I think the latter stuff is a snooze fest. I think there should be 2 Frisell Stations. One for the wild groundbreaki n g stuff and one for the americana stuff.

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schultzdigit a l
bill is the man.

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