BILL FRISELL

Expect a mildly sophisticated well-played and varied album that is almost absent of jazz, though some guitar chords are jazzy. Frisell makes no pretension that this is foremost a tribute to the country music. Recommended for all Frisell fans and instrumental country music.

On albums like this, Frisell always manages to bring in a couple of nice standards hidden among his own compositions, and this time around, he brings in the standard "Moon River" from Mancini and the folk song "Hard Times" from Foster, the later he turns into a loosely swinging, yet Americana, style. But the original songs have their own degrees of charm, wit and adventure. Beginning with "Outlaws", you are introduced to the carefree style of the album, with a nice mix of harmonic sweetness mixed with unexpected doses of dissonance. It's a perfect introductory piece to this album. However, there is still a lot of laid back, easy going sound here to enjoy, it's not all avant garde. Frisell has proven he has a love for the folk/Americana sound and he explores how well this sound fits together with his jazz numbers, for instance, try "Twenty Years" and the raunchiness of the blues/folk style in "Convict 13", a track that also brings in some cool dissonance just to knock you off kilter a bit. The drum solo that starts out "Again" allows Jones to let loose on his own, and the amount of freedom given to Holland to explore how his avant style all mixes in with Frisell's ingenuity and style makes this an exciting album. The real highlight of the album though, is "Tell Your Ma, Tell Your Pa", a track that easily melds all styles that gets followed by a surprisingly bluesy "Strange Meeting", all the while, that sweet loose style hold all of the album together in ways you wouldn't expect. It all culminates in the happy melody of "Smilin' Jones" which begins as a melody you could easily whistle, and moves along almost becoming, in its own right, a psychedelic jam by the end.

This all fits together so well, and helps remind me why Frisell is one of my favorite jazz-based guitarists. His expression is unlike most jazz fusion artists in that he doesn't have to overstate his presence for him to be noticed. His music is not in your face, however, it won't take long for it to ring true into your soul. It is surprising that this album has mostly gone ignored in the Archives, yet it is one that should be heard by jazz guitarists that want to hear how to explore a different style, and this is what helps you become noticed, not following the norm, but creating your own style. Frisell might not be the most recognized jazz guitarist in the world, but after hearing this, you will believe, along with me, that he should be.

The 16 pieces vary from one to 6½ minutes. Having quite a lot to do with Ambient, this music could be playing on the background while working in an office or something like that. One might also enjoy it with full concentration, lying down eyes closed and letting the music caress the mind. But be aware of some rough edges too; after six peaceful tracks that flow harmonically, the shortest piece 'Think About It' has a heavily amplified, extremely dry and gritty electric guitar sound. Particularly 'In Line', and why not some other tracks as well, reminds me of ROBERT FRIPP and his Frippertronics. Other reference could be DANIEL LANOIS at his most experimental. The spaceyness!

Frisell has embraced many styles in his career, and to some minor degree that versatility can be sensed here. For example, some acoustic pieces such as 'The Pioneers' have rather earthy mood, a touch of Americana so to speak, while some others have a dreamier and hazier atmosphere. My initial reception is pretty positive, but on the long run this album would hardly become notably dearer to me, even if I had it on my own shelves (I borrowed the cd from library). Perhaps it lacks definitive highlights and sounds a bit too introspective and narrow in its one-man approach. Like he was playing primarily for himself, not the audience. Some tunes are re-workings of Frisell's older compositions, says All Music Guide. Lukewarm three stars.

But here, Frisell's avant country jazz seems to be the central tone. And it works. Especially surprising is Reid's banjo work. Size 10 1/2 Sneaks is almost pure bluegrass, except for all of the electronics warping the tone.

The best points are the songs where either guitarist cuts loose. Ried had a fantasic solo on Dark Skin, and his solo piece, Burden Of Dreams. And Frisell squeezes some wild sounds out of his guitar synth on his solo, Fr, Fr, Frisell.

If you are looking for traditional fusion, look elsewhere. But if you want to hear some fine work from two very different, but imaginative guitarists, give this a shot.

The Intercontinentals are quite different album for Frisell - he's seriously uses world music there. But the difference is again ob very his own manner:album is very aerial,relaxed mid- tempo fusion again,even with some dose of Americana almost in every song. The main difference is his international band plays music,rooted in African,Eastern or South European tradition (heavily mixing it with so well known Frisell.

It's interesting,that even if the difference between The Intercontinentals and many other more classic Frisell's albums are quite obvious, you will need some listening just to get it. The main reason is possibly that so specific Frisell's musical techniques,when even not musical material is matter. Working with different musical material Frisell put his signature on final result,you can't make a mistake - it's Frisell's music first of all.Even if you will hear some funk or Brazilian vocals on one or another composition.

I believe Bill's journey to world music is really positive change - his music became too predictable last years,he really needed some new ideas and sounds. Happily,new material (of unusual for him origin) didn't change his music radically, just added some new spices in old good dish.

My rating is 3+.

Beside of few excurses to some hardcore areas (as with Zorn's Naked City), Frisell's lands are quite comfortable Americana-based down tempo aerial fusion. I really like many of his albums, and this new one is similar to them. But there are both pros and cons.

For fans of Bill's music there are no surprises, and they will find expected doze of his usual melancholic melodic very acoustic down tempo country/bluegrass influenced jazzy sound. But even being of his music's fan, I would like to hear something new, some new ingredients, new accents, possibly even some experimentation. Unhappily, not on this album.

Sound is safe and pleasant. Excellent easy accessible listening for long autumn evening, reading book near fireplace. As well, as almost any other his album. Nice music, you just need to ask yourself, if you're interested in one more " classic" Frisell album.

Classic jazz guitar trio plays all the list of great jazz compositions in their own translation. And first of all it is translation to Frisell's musical language - relaxed guitar jazz with lot of country,blues and Americana influences, supported by great acoustic jazz rhythm section.

Listener will find many of compositions he knows played in unusual manner. Acoustic nostalgic tunes don't sound as fusion or post bop you expect. It's just Frisell world of sounds and atmosphere, and if you like (slightly sentimental) soul of your music more then technical acrobatics, I believe you will like this album as well.

There are just they two playing on this album, but music isn't what you can expect from usual guitarists duet. First of all, them both use plenty of electronics, from guitar synths to dx drum synth (Vernon Reid plays banjo as well). Then, music there is quite experimental mix of usual Frisell's down tempo country and western techniques with big amount of free jazz, electronics and even some hardcore.

Possibly, the mix is not very organic, but many moments will really attracts listener. Some melodic, even nostalgic compositions are mixed with many quite free form electronic/guitar experimental ones. Electronic drums sound often dated and very artificial, happily there are not too much of them.

I believe everyone who knows Frisell's solo works like him mostly because of his eclecticism: here you will find excellent example of it. Far not best Frisell's work, this album is really one of the his most experimental. With it's own pros and cons. But really interesting enough to be listened.

My rating is 3,5, rounded to 4.

Album's opener, Disfarmer's Theme, sounds cold, heavy, almost aggressive with distorted guitar and repetitive rhythmic structures. Almost like Trey Gunn's stick on some his solo, TU or KTU works. Wow, Frisell goes hardcore, remembering Naked City?

No, he doesn't. From second song you will return to classic Frisell's mid tempo lazy atmosphere of jazzy americana. Melodic compositions, plenty of emotional and nostalgic elements, funny "That's All Right, Mama" version. Slowly, song by song Frisell falling from a bit more cool fusion to his bluegrass influenced waters. Second album's part is often more nice melodic instrumental music, not even jazz fusion.

Nothing unusual, many Frisell previous works are recorded in similar key. The only possible minus of this, fresh work - the album is obviously too long. Really nice, but very classic to Bill, compositions, in fact absolutely nothing new, just old good music. But - 26 songs? Too much in one place even for fans.

My rating - 3,5, rounded to 4.