(03.1992.)
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CD 'C60:48-18' ELEKTRA NONESUCH (9 79301-2)
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23.02.1992.
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Billy The Kid. (Aaron COPLAND) (1-7)
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1. The Open Prairie.
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(3:11)
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2. Street Scene in a Frontier Town.
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(1:45)
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3. Mexican Dance and Finale.
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(3:44)
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4. Praire Night (Card Game at Night), Gun Battle.
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(5:02)
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5. Celebratin After Billy's Capture.
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(2:17)
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6. Billy in Prison.
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(1:33)
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7. The Open Prairie Again.
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(2:34)
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8. The "Saint-Gaudens" in Boston Common. "Col. Shaw and his colored regiment" (Excerpt #1) from Three Places in New England. (Charles IVES)
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(0:41)
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9. Just Like A Woman. (Bob DYLAN)
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(4:49)
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10. I Can't Be Satisfied. (McKinley MORGANFIELD)
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(3:00)
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11. Live To Tell. (MADONNA, Patrick LEONDARD)
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(10:10)
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12. The "Saint-Gaudens" in Boston Common. "Col. Shaw and his colored regiment" (Excerpt #2) from Three Places in New England. (Charles IVES)
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(3:05)
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13. No Moe. (Sonny ROLLINS)
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(2:37)
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14. Washington Post March. (John Phillip SOUSA)
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(2:05)
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15. When I Fall In Love. (Edward HEYMAN, Victor YOUNG)
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(3:26)
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16. Little Jenny Dow. (Stephen FOSTER)
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(3:30)
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17. Have A Little Faith In Me. (John HIATT)
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(5:39)
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18. Billy Boy. (Traditional)
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(1:38)
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Bill FRISELL:
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guitar
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Joey BARON:
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drums
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Don BYRON:
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clarinet bass clarinet |
Kermit DRISCOLL:
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bass
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Guy KLUCEVSEK:
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accordion
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All music arranged by Bill FRISELL. These performances are dedicated to my teachers, Jack STEVENS and Dale BRUNING. Produced by Bill HORVITZ. Engineered by Joe FERLA. Recorded March 1992 at RPM Studios, New York City. Assistant Engineer: Robert Smith. Mixed at Bad Animals Studios, Seattle. Assistant Engineer: Sam HOFSTEDT. Mastered by Greg CALBI, Sterlin Sound, New York City. Executive Producer: Robert HURWITZ. Design by John HEIDEN. Cover photograph: Race, 4th of July, 1941, Vale Oregon, by Russell Lee, Libr ary of Congress, Farm Security Administration Collection. Inside front cover: Railway, Winter 1976, Surf California, by John HEIDEN. Inside back cover: Miners' houses, Vcinity Birmingham Alabama, December 1935, by Walker EVANS, Library of Congress, Farm Sec urity Administration Collection. Band photograph by Deborah FEINGOLD. Handlettering by Monica FFRISELL. Representation: Tonefield Productions, POB 848, Berkeley, CA 94701-0848. [100%]
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Recenzje
CMJ New Music Report, Issue: 326 - Apr 2, 1993
The latest from mild-mannered guitarist Bill Frisell finds he and his band tinkering with songs of American composers ranging from Stephen Foster to Sonny Rollins to, of all people, Madonna. Frisell's understanding of the vitality of truly "American" songs is what makes this sizable undertaking complete. Have A Little Faith, with its subtle improvisations, attention to structure and underlying ear for sheer panoramic beauty, attempts to convey the grandeur of Americana. The same purple-mountain majesty lent to Aaron Copland's "Billy The Kid" is given Madonna's "Live To Tell," which spreads itself out over 10 minutes, floating gracefully, eventually resolving in passionate distorted bursts from Frisell's guitar. Throughout Faith there is both a sense of mischief and reverence in Frisell's delivery. John Phillip Sousa's "Washington Post March," despite its rigid meter, is gleeful and carefree, whereas the take on Bob Dylan's "Just Like A Woman" is as aching and moving as Dylan could have ever intended. Try the above plus John Hiatt's "Have A Little Faith In Me" and Muddy Waters' "I Can't Be Satisfied."
Steve Ciabattoni
CMJ New Music Report, Issue: 326 - Apr 2, 1993
The segue from Bolden to bluesman Muddy Waters doesn't require too great a stretch. This three-minute ditty, powered by Joey Baron's snappy percussion and Don Byron's piquant clarinet, is one of guitarist Frisell's ingenious, albeit slightly twisted, tributes to the great American composers. Only an inner- (as opposed to outer-) directed player like Frisell could come up with 60 minutes of broad-shouldered sounds that don't split apart at the seams. Baron, Byron, bassist Kermit Driscoll and accordionist Guy Klucevsek add luster to the leader's lilt (a Hendrixian conception refracted through Jim Hall) on this effective homage to songwriters Stephen Foster, John Phillip Sousa, Charles Ives, Aaron Copland, Bob Dylan, John Hiatt, Sonny Rollins and, believe it or not, Madonna. For programming purposes, zero in on "I Can't Be Satisfied," Rollins' "No Moe" (2:37) or Sousa's "Washington Post March," (2:05), an anthemic slice of Americana that makes a pit stop in Polkaville with Byron's licorice stick, Klucevsek's cheesily appetizing accordion and the leader's wicked guitar lines whipping up a semi-sarcastic souffléadjacent to the parade grounds. Hail to the chef.
Gene Kalbacher
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