Tag: Bill Frissel Trio

Here's another Bill Frisell Trio concert that's definitely worth the listen, making every second spent on a re-listen priceless moments.

SInce hearing it for the first time yesterday—an event I can best describe if using the word "orgasm"—life is mostly priceless...

With two more years playing with bassist Thomas Morgan and drummer Rudy Royston since the 2021 Jazzaldia Frisell concert I had shared, and with a Fender rather than the Gibson, Frisell is delivering from a place of absolute comfort in this showing. And the world is better for it.

The energy bristles and snaps, peaks to its loudest through soft sentences and filled silences; it's infectious, coursing through listeners who are complicit, drawn into the exchange, hearing, reacting, electrified vigour having laken over when the distortion mounts and the reverb amps up... and where's the madman with 5 arms and 7 drum sticks? That dude looks way too chill...

The sound sculpting by Frisell on this one establishes why so many try so hard to emulate him, only managing to achieve it in an ephemeral manner that offers but a surface glimpse of the artist.

At the start of a concert I was at, John Scofield—a guitar great in his own right—had mentioned Frisell and the show he gave within the same festival, then went on to praise Frisell, saying, though I'm paraphrasing: "I also play with tone, and I can do loops, and I know how to use the same effects as Frisell, so, I figured I'd be able to do his stuff no problem, maybe even better... but, it turns out, Frisell does all three at the same time, and he adds emotion and passion on top... that, I can't do."

Rudy Royston... jeez, man! Like, holy crap! Some of the time changes he manages, inserting odd-beat oddities that fit right in, filling more space than one realised was there as he's continually accentuating, never simply setting time.

He's just at the edge of overstated and over-the-top at times but he never crosses that line, never going into "look at me," Steve Vai-styled gimmickry that easily wows publics but offers as much substance as a Big Mac.

Thomas Morgan, however, you kinda forget he's there at all, frankly, which, practically, makes his performance a "perfect" one if seen with the symbolic significance of a baseball pitcher throwing a perfect game.        

This version of "What The World Needs Now Is Love" is far superior than the Jazzaldia one, but, for one of the best, have a listen to the one in this 2017 Montreux Festival live show he did with his previous Tony Sherr, Kenny Wollesen trio.         

"You Only Live Twice" appears to now fill a spot in Frisell's changing repertoire of standards. While the Jazzaldia version had "wowed" me, this one solidified my "awe"; the three just make it groove, but do so by focusing on the melodic brilliance of the chart, not on its groovability potential.

On the other hand, 'Shenandoah" is one he seemed to have let go of for a bit, bringing it back for this live concert. 

Frisell recorded a version of the Americana trad-tune "Shenandoah" with Ry Cooder for his 1999 Good Dog, Happy Man album, and, although hearing two guitar masters with a love of Americana come together to cover it should provide the go-to reference for those wanting to hear Frisell's interpretation of this classic, it's the one I'm least likely to think of and to go to, the takes that managed to truly move me all coming out of his live trio performances. This version also now sits before his 'official' 1999, Cooder-collaborated cut.  

Bob Dylan's "A Hard Rain's a-Gonna Fall" is another that delivered an intimate, powerfully profound and moving Frisell reimagining that's no longer making a regular showing in his setlist. Eager to see this trio tackle it.

I'm actually glad he keeps altering as he also keeps on writing new charts, too, which is why he hasn't had anything I'd qualify as a stale period, nor the typical breakout-turned-stale career; always Friselling, he is! 

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Setlist

Guitarist Bill Frisell in concert with bassist Thomas Morgan and drummer Rudy Royston.

I'm a huge fan of Frisell's music and ingenuity, his careful phrasings, and improvisational skills; his live looping techniques and solo works are entirely responsible for my guitar hobby. He's also opened up a tonal dynamic previously not expanded on through plectrum instruments, and creates rich tapestries and atmospheres that make it equally valid to describe him as a sonic sculptor, but all's done gimmick free. Pure self expression, heartfelt and honest.

Times have changed, and digital led to an oversaturation, but those in the know will be hard pressed to disagree: Frisell is our time's Miles Davis, his contribution to the world of music is immense, having inspired countless musicians (Eddy Vedder of Pearl Jam names him as his greatest influence, for one) and a slew of emulators. But there's only one Frisell.

He's also the musician that's most in demand; you've probably heard him play on one album or another without being aware.  

I never tire of hearing him play. I've been following his career for 30 years now, had the pleasure of seeing him live nine times, and with 118 albums with him as leader (studio and live recordings) or on which he's featured, he's actually in second place for the artist I've the most albums of (John Zorn comes first, Fred Frith third; there's a fair bit of overlap between the three, though, Zorn's wildly avant-garde, quick-change Naked City, along with Wayne Horvitz and Joey Baron being my entry point to these musicians).        

He has a knack for surrounding himself with superbly expressive musicians that just "get" his music, whether his own compositions, of which there are many, or the various covers he's made a part of his 'standards', this being true across the various ensemble sizes he leads.

I was deeply disappointed when he moved away from his original trio with Kermit Driscoll and Joey Baron (what became of Driscoll is sad; wonder if he's still in jail), but Tony Scherr and Kenny Wolleson brought a different dimension that saw me being disappointed to see a gradual transition toward Morgan and Royston. But they, too, bring a different dimension. Royston—his snare work is something else—brings Baron's angular accents to Wollesen's lyricism.

And no matter how many versions of the same tune I've heard Frisell and band play, each one offers a unique experience. That's because Frisell, along with those he includes in his projects, all seem to excel in one area, this being what makes all the difference: listening. He doesn't force musicians to play his music, his way; the charts played merely serve as common ground for the musical exchange and conversation taking place, personalities and moods, the musicians' and crowd's, all factoring in.

Listened to this concert four times already; probably will listen to it again. Felt like sharing it.

The second half is sure to be more interesting if not a jazz fan, in which case I'd recommend starting at around 48 mins, and to then expand your listening range, moving away from that electronic-drenched, pop garbage.

His take of Burt Bacharach's "What the World Needs Now is Love" (near end) is simply gorgeous. And the "You Only Live Twice" Bond theme encore managed to surprise me.

Hope you enjoy.