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	Encyclopedia: Bill Frisell
		Frisell 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.
		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.
		Bill Frisell took the Downtown New York jazz scene to Nashville, and Marc Ribot did the same thing for Cuba with his Los Cubanos Postizos and Muy Divertido.
	www.nationmaster.com /encyclopedia/Bill-Frisell (992 words)

	Bill Frisell - Wikipedia, the free encyclopedia
		William Richard "Bill" Frisell (born March 18, 1951) is an American jazz guitarist.
		He is, along with John Scofield and Pat Metheny, one of the best-known and perhaps best-regarded jazz guitarists of the last decade.
		In the mid-1990s, Frisell disbanded his quartet and moved to Seattle, Washington.
	en.wikipedia.org /wiki/Bill_Frisell (358 words)

	Petra Haden & Bill Frisell (Site not responding. Last check: 2007-11-06)
		Bill and Petra first joined forces to record the CD after Bill was captivated by one of Petra's live performances.
		Bill describes this discovery: I have known and played with Petra's father Charlie since the early 80s so I knew of her for quite awhile, but never had a chance to meet her until she came to play in Seattle at the OK Hotel with Miss Murgatroid a few years ago.
		A stalwart on the music scene, Bill Frisell is celebrated for his singularly original approach to the guitar which blends rock and country with jazz, blues and electronic loops.
	www.sovereignartists.com /petraandbill/web (371 words)

	village voice > music > Bill Frisell's Unspeakable; Charlie Hunter's Friends Seen and Unseen by Francis Davis
		From Bill Justis to Jimi Hendrix, rock guitarists have shown what the instrument is capable of, and we long ago reached the point where jazz risks ignoring their technical advances at its own peril.
		With Frisell, his rhythm section, the strings, Don Alias's hand drums, Wilner's turntables, and a horn section arranged by Steven Bernstein all going at once, parts of "Stringbean" and a track named for the percussionist are as coded with information—and as edgy—as Miles Davis circa Agharta and Pangaea.
		Frisell's style is all vowels, and mostly soft ones at that.
	www.villagevoice.com /issues/0437/davis.php (738 words)

	Bill Frisell (Site not responding. Last check: 2007-11-06)
		Frisell, who has recorded in several pianoless bassless groups with Motian, with Marc Johnson's Bass Desires and as a guest on many other artists' albums, is heard at his best on his own sessions.
		Bill Frisell brings together bits and pieces of all sorts of American music -- folk, bluegrass, country, blues, early rock and roll -- mixes them up, and pulls out music that sounds completely novel, yet achingly familiar all at once.
		Frisell has that ability, to transform the music he touches into something that's a natural extension of his voice, while reaching beyond the concerns of just one person.
	www.mnsutton.com /bill_frisell.htm (395 words)

	Songline/Tonefield Productions - NEWS
		The Autumn of 2001 saw the Nonesuch release of Bill Frisell with Dave Holland and Elvin Jones, on which Bill was joined by two jazz legends to interpret a number of the most enduring compositions from his songbook as well as Henry Manicini’s “Moon River” and Stephen Foster’s “Hard Times” in another Townsend-produced set.
		In late 2001, Frisell assembled an intriguing quartet with Brazilian composer, singer, guitarist and percussionist Vinicius Cantuária, Greek-Macedonian musician Christos Govetas on oud, bouzouki and vocals and Mali’s Camara on percussion and vocals.
		Frisell’s 2003 recording with Petra Haden, the self-titled Petra Haden and Bill Frisell, is a collection of their interpretations – some sparsely arranged and others more lushly orchestrated - of songs by Elliot Smith, Foo Fighters, Tom Waits, George Gershwin, Henry Mancini, Stevie Wonder, traditional material, as well as songs written by Frisell and Haden.
	www.songtone.com /artists/Frisell/main.html (5444 words)

	BBC - Jazz Review - Bill Frisell, East West
		Frisell's repertoire is dominated by standards, some less obvious than others, and peppered with his own dedications to inspirational figures.
		Frisell continues exploring the realms of digital effects boxes, though keeping his manipulations well in check, tweaking with a touch of repeat here, covertly mangling into a backwards splice there.
		This is the one where Frisell grabs his axe roughly by the neck, and subjects it to every loving-position in the book, all the while exposed by an obsessive zoom lens, his trio partners leaving him ample space to preen.
	www.bbc.co.uk /music/jazz/reviews/billfrisell_eastwest.shtml (611 words)

	MetroActive Music \| Bill Frisell
		With this lineup, Frisell reveals himself as a country-jazz pioneer who creates bucolic soundscapes as pretty as a stroll on a late-summer evening; a bandleader and composer whose lyrical, intricate works tell profound musical truths; and a singular guitar player who seamlessly melts chunks of disparate musical genres into an exquisite sound all his own.
		Frisell, after all, spent years wielding his ax as a member of John Zorn's Naked City ensemble, furthering the avant-garde's assault on the postmodern frontier.
		With Zorn, Frisell participated in a self-conscious dissection of the idea of jazz, playing a precise, often jarring cut-and-paste pastiche that sounded at times like a hyperkinetic cartoon soundtrack and at others like a punk-jazz affront to common sensibilities.
	www.metroactive.com /papers/cruz/06.13.01/frisell-0124.html (944 words)

	Bill Frisell - Verve Records
		Bill's solo album, Ghost Town was described as "moody, articulate music is a milestone in the career of a true innovator - enchanting as anything he has done and a clear window into his muse" (CMJ).
		For Frisell's acclaimed CD Blues Dream, released on Nonesuch in early 2001, the New Quartet of Greg Leisz, David Piltch and Kenny Wollesen is joined by a horn section of Ron Miles (trumpet), Billy Drewes (alto saxophone) and Curtis Fowlkes (trombone).
		In late 2001, Frisell assembled an intriguing quartet consisting of Brazilian composer, singer, guitarist and percussionist Vinicius Cantuária, Greek-Macedonian musician Christos Govetas on oud, bouzouki and vocals and Mali’s Camara on percussion and vocals.
	www.vervemusicgroup.com /artist.aspx?ob=per&src=prd&aid=5435 (3478 words)

	Bill Frisell MP3 Downloads - Bill Frisell Music Downloads - Bill Frisell Music Videos (Site not responding. Last check: 2007-11-06)
		Frisell became an annual winner of various magazine polls for his solo work and recordings.
		It should be mentioned that, while Frisell 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, WA, in 1989, where he lives as of this writing.
	www.mp3.com /bill-frisell/artists/59876/biography.html (923 words)

	The Seattle Times: Pacific Northwest Magazine
		Frisell moved to the Bainbridge house from Seattle over the winter because it has enough room for his wife to do her art painting and for him to finally have a home studio, where he can write, jam, test arrangements and record.
		FRISELL WAS waiting at a stop light near Sixth and Madison in downtown Seattle one weekday afternoon as he tried to wend his way down to Colman Dock and a ferry ride home.
		Frisell occasionally plays around town, at venues like the Tractor Tavern and the recently closed O.K. Hotel and has hooked up with top area musicians, but his musical approach has been influenced as much by the whimsy and imagination of cartoonists Woodring and Larson.
	seattletimes.nwsource.com /pacificnw/2001/0422/cover.html (2847 words)

	Bill Frisell guitars for sale
		Well, Bill decided to clean out his closet and here is what turned up.
		Bill had his favorite electronics guru rewired it to his specifications.
		Bill had it rewired to a more standard setup with concentric volume and tone controls.
	www.myjazzhome.com /frisell/bfpricelist.html (638 words)

	Bill Frisell: Selected Recordings: Rarum V - PopMatters Music Review
		Just in case his quiet demeanor and general "nice guy-ness" don't get the message across about guitarist Bill Frisell, how about this: On his contribution to ECM's new :rarum series, where artists were asked to compile their favorite tracks from the label's vaults, Frisell chose to close with a song on which he doesn't play.
		Frisell recorded only three albums for ECM before moving to Elektra and then Nonesuch Records in the late 1980s, but there is a wealth of material to choose from for his collection thanks to his frequent appearances on discs by Paul Motian, Paul Bley, Jan Garbarek and others.
		Frisell writes that while the group had played together extensively on a tour before this date, Garbarek didn't allow the playing of any new music until time to record.
	www.popmatters.com /music/reviews/f/frisellbill-rarum.shtml (1109 words)

	Bill Frisell: The Intercontinentals
		The course that Bill Frisell has taken since his 1997 album Nashville has proven vexing to many who were originally pulled in by the guitarist’s more straightforward jazz work with Paul Motian or his avant-squonk work with John Zorn’s Naked City.
		There’s no question that Frisell trained as a jazz guitarist and that he can play in the idiom, but his more recent music has veered into an area that truly defies genre, even though many try to pin him to one or another.
		Frisell may not be playing what many jazz fans consider jazz, nor is he playing “world” music with any claims to authentically reproducing the music of a specific region.
	www.jazzitude.com /frisell_intercontinentals.htm (697 words)

	The Bill Frisell Discography Homepage
		On recordings which are collections of various material, or recordings where Frisell does not play on the whole recording, the specified recording date and the personnel refer only to the track(s) on which Frisell appears.
		Words in italics are Bill's own, or the words of his producers and / or his fellow musicians, taken from various sources, including correspondence with me. The recording numbers used are most often taken from the spine of the vinyl album, or side of the compact disc or cassette.
		Frisell studied at the University of Northern Colorado before enrolling at the Berklee College of Music in Boston, where he studied with John Damian, Herb Pomeroy and Michael Gibbs.
	www.bryanaaker.net /discog.html (1013 words)

	Rochester International Jazz Festival - ARTIST LINEUP (Site not responding. Last check: 2007-11-06)
		"Bill Frisell is the Clark Kent of the electric guitar.
		Bill's comments to the same publication: "When I was in Colorado, I never really played that country stuff or even liked it that much, though it was all over the radio.
		The New Yorker notes: “Bill Frisell plays the guitar like Miles Davis played the trumpet: in the hands of such radical thinkers, their instruments simply become different animals.
	www.rochesterjazz.com /artist_lineup?artist_id=4 (923 words)

	Petra Haden and Bill Frisell: self-titled - PopMatters Music Review
		Petra Haden and Bill Frisell collaborate on their eponymous album with a natural aplomb that epitomizes the beauty of music's interactive quality.
		The song is a perfect vehicle for Petra and Bill; Frisell's subtle guitar effects and sparks, and Haden's shifting voice perfectly encapsulate the ethereal and wistful theme.
		Bill's work, "Throughout", closes the album on a similar note, placing Petra's oohs over another guitar waltz, although most of the dynamism comes from Frisell's harmonies this time.
	popmatters.com /music/reviews/h/hadenpetra-hadenfrisell.shtml (1254 words)

	Bill Frisell: Blues Dream (2001): Reviews
		With the twangy, kaleidoscopic blend of country blues, downtown jazz and so many other unexpected flavors and sounds on Bill Frisell's latest album, Blues Dream, one can't help but be reminded a little of the updated American folkloric music score in the Coen Brothers' latest film.
		With the addition of trumpet, trombone, and alto sax to his quartet sound, however, Frisell is on the job with a jumbo-sized sonic palette.
		Frisell’s fondness for putting unusual combinations of instruments together adds to the overall effect, leaving the listener to wonder why no one has ever tried this before.
	www.metacritic.com /music/artists/frisellbill/bluesdream (468 words)

	Blogcritics.org: We Are Everywhere
		Bill Frisell has become one of the most easily recognizable guitarists in jazz, and it's not without an effort to incorporate himself into as many styles as one person could in a lifetime.
		On nearly every release, Frisell has been accompanied by his usual assortment of looping and sound-treatment devices, items that most traditional jazz guitarists eschew in favor of the bare tones of their instrument's wood, strings and in the case of electrics, pickups.
		Frisell's fascination with the down-south backwoods is still loud and clear, and is accentuated by Greg Liesz' soulful slide and pedal-steel guitars and the violin of Jenny Scheinman.
	blogcritics.org /archives/2003/04/22/231332.php (884 words)

	Western Front Online - Jazz of sorts (Site not responding. Last check: 2007-11-06)
		Frisell himself said he finds it difficult to describe his work in just one term.
		Frisell said the reason his music sounds different from other contemporary musicians comes from his appreciation of all types of music.
		Frisell said his career as a musician has echoed the music he plays.
	www.westernfrontonline.com /vnews/display.v/ART/2004/02/27/403fc3d97beef (557 words)

	Acoustic Guitar Central: Jazz Giant Bill Frisell
		Jones is one of the most powerful rhythmatists ever to smack a skin, best known for his membership in the groundbreaking, early-'60s John Coltrane Quartet, and Holland has been one of the premier acoustic bassists on the scene since his tenure with Miles Davis in the late '60s.
		Bill Frisell with Dave Holland and Elvin Jones continues to frustrate those who would put Frisell's music in a box.
		For those wondering about Frisell's intent in combining such disparate music, the impish smile that emanated from his face as he interacted with Leisz and Cantuária explained it clearly: he simply loves all the music he has learned and is learning to play.
	www.acousticguitar.com /issues/ag113/feature113.html (3270 words)

	TIME Special Advertising Feature: Bill Frisell, Creators at Carnegie
		Frisell's upcoming Nonesuch recording was produced by Willner and will be released this spring.
		Frisell and his band The Intercontinentals were recently nominated for a Grammy Award in the contemporary world music category for their 2003 Nonesuch recording The Intercontinentals.
		Blending Frisell's own brand of American roots music and his improvisational style with the influences of Brazilian, Greek and Malian sounds enabled him to expand upon his compositional technique in unique ways.
	www.time.com /time/2003/carnegie/frisell.html (333 words)

	Bill Frisell - great jazz guitarists
		But until Frisell's The Intercontinentals the robust, haunting sound of Malian blues guitar was largely untouched by six-stringing jazzoids.
		The aptly named Frisell ensemble here includes Brazilian guitar and vocal great Vinicius Cantuaria (playing solid drums half the time), Mali's premier percussionist Sidiki Camara, Greek oud and bouzouki virtuoso Christos Govetas, pedal steel guitarist Greg Leisz, and violinist Jenny Scheinman.
		In the constant sonic middle ground are the trifecta of oud, violin, and bass, merging the melody and rhythm brilliantly.
	www.playjazzguitar.com /bill_frisell.html (769 words)

	Bill Frisell \| Unspeakable
		Such is the case with guitarist Bill Frisell, who over a twenty-five year career has contributed to everything from the Nordic cool of Jan Garbarek's quartet to the downtown edge of John Zorn's Naked City.
		Frisell builds rich layers of guitars, and continues to mine the ”everyone solos and nobody solos” ground that has been the trademark of his work for many years.
		That Frisell has chosen to use his guitar as a sonic paintbrush rather than a simple purveyor of chops means that there are those who will be disappointed; but for those who prefer their music to tell stories and create vivid images, Unspeakable is another high point in an already significant body of work.
	www.allaboutjazz.com /php/article.php?id=14532 (497 words)

	The Bill Frisell Song Finder Page
		Bill has a penchant for re-working/re-recording previous tunes, and not just on the more overtly retrospective collections such as Live or This Land.
		Two pages about Bill, and the track, can be viewed from here, as indeed can a wealth of material about the Nobel Prize winning author himself.
		Bill Frisell Official Homepage, containing information re: Bill's Nonesuch output, news, forth-coming gigs, a biography etc, which is, by & large, mirrored on the pages of Songline / Tone Field;
	www.geocities.com /BourbonStreet/Delta/2495/bill_frz.htm (1981 words)

	E.J.N. - BILL FRISELL
		Frisell is not only a master of an unusual guitar-based sonic tapestry, he's one of the few composers capable of writing for an interactive ensemble.".
		This Land, Frisell's fifth Elektra Nonesuch recording, consists of all original material with the band and a horn section of Don Byron (clarinets), Billy Drewes (alto saxophone) and Curtis Fowlkes (trombone).
		On this exceptionally melodic and rhythmic instrumental collection of original compositions, Frisell is joined by Viktor Krauss and by Jim Keltner, all star drummer of choice for Bob Dylan, Ry Cooder, T-Bone Burnett, George Harrison, John Lennon and The Traveling Wilburys.
	www.ejn.it /mus/frisell.htm (2730 words)

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