Billy Drewes — Alto Sax. Curtis Fowlkes — Trombone. David Piltch — Bass. Kenny Wollesen — Drums. Production : Produced By Lee Townsend. Judy Clapp — Engineer. JazzTimes Yet Blues Dream is not a compelling album. Shadowy, but benign shapes-a shroudlike willow tree, a bunting-draped bandstand and a distant moonlit cabin-dominate this dream […]. PopMatters Hearing it again, over ten years since its release, I realize clearly that Blues Dream is a unique kind of classic — a kind of art music that defies easy category in jazz or classical or pop terms.
Blues Dream Bill Frisell - Ron Carter Bill Frisell - Soft-spoken and self-effacing in conversation, he apparently breathes in lungfuls of raw fire when he straps on his guitar His music is not what is typically called jazz, though it turns on improvisation; it's not rock'n roll; and it sure ain't that tired dinosaur called fusion.
In one of the biggest leaps of imagination since the Yardbirds and Jimi Hendrix, Frisell coaxes and slams his hovering split-toned ax into shapes of things to come But besides being a guitar genius, he's turned into a terrific songwriter.
Like Monk, Frisell's harmonic and melodic ideas form a succinct, seamless mesh with outer sonic and rhythmic ideas about his ax. A lot of people play the melody and rush right into their solo, almost with an attitude of 'Whew - that's out of the way, now let's really play! I like to keep that melody going. Sonny Rollins is the classic example of that - I've read that he thinks of the words while he's playing the sax, so the song really means something to him.
It's not just an excuse to play a bunch of licks over chord changes. The band even comfortably follows the leader onto Country and Western turf, as Frisell often approximates the whine of a lonely steel 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. But as I got older, it crept into my music a lot.
I'm not thinking, 'Now I'm going to write a cowboy song'. It just happens, then I usually think about what must have influenced it later. When I sit down to write something in a certain style, it doesn't work. I don't know if that's important or something I need to do, or if it doesn't matter. I don't care; I'm just thankful something comes out sometimes. And, like Davis, Frisell loves to have a lot of legroom when he improvises--the space that terrifies others quickens his blood.
His engagingly droll sense of humor is never far from the surface; no one else's persistent dissonances sound so consistently congenial. His guitar sound is unmistakable - billowing, breathlike, multi-hued, immense at times, almost palpable. Frisell's music is accessible and avant-garde, a lyrical victory of man over machine, of personality over mechanics, of message over mathematics.
His interest in guitar began with his exposure to pop music on the radio. King, Paul Butterfield and Buddy Guy. In high school, he played in bands covering pop and soul classics, James Brown and other dance material. In , Frisell moved for a year to Belgium where he concentrated on writing music. Bill moved to the New York City area in and stayed until He now lives in Seattle.
Then I saw Wes Montgomery and somehow that kind of turned me around. Later, Jim Hall made a big impression on me and I took some lessons with him. I suppose I play the kind of harmonic things Jim would play but with a sound that comes from Jimi Hendrix", Frisell told Wire. Subdued and lyrical in nature, In Line, the first of the ECM recordings, employed both electric and acoustic guitars in a series of solos including some overdubbing and duets with bassist Arild Andersen.
About Rambler, Fanfare said: "Bill Frisell has built a little masterpiece here - not just a showcase for his own instrumental creativity of which there is much in evidence , but a clever and poetic whole.
Produced by Lee Townsend, the album's diverse material - ranging from country swing to reggae, quasi-heavy metal and backbeat rock with a twist to Monk's "Hackensack" - nevertheless possessed the cohesive and unmistakable personality of a working band on to a sound of its own. High Fidelity called it "the fullest showing of Frisell's ability to date, especially his compositional range. Frisell has made his best album. With Frisell playing guitars, bass, banjo, ukulele and even clarinet, Is That You?
Musician called the album "a very personal vision, tearing down stylistic barriers with delicacy and sudden bursts of emotion. 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. It's in the same vein as those and just as great. Incredibly strong songs and performances from beginning to end. The Raveonettes- In and Out of Control My favorite of theirs.
The apex of their songwriting. IMO, more accessible than most of their other albums. If you're not familiar, they're in the vein of The Jesus and Mary Chain--hard-edged pop with 60s melodies--but with female vocals. The Like- Release Me Great garage rock by all-female band. Again, strong songs all the way through. I'm surprised this hasn't been mentioned yet as the entire album is about the love of music, collecting records and going to concerts. Their best album ever as far as I'm concerned.
Melodic synthpop, female vocals. The Primitives- Echoes and Rhymes A true return to form for the 80s alt-pop group that brought you "Crash".
Don't let the fact that it's all covers of songs from the 60s and 70s put you off. The Dahlmanns- All Dahled Up Superior power pop--great start to finish.
Kind of like the Ramones with girl group vocals. Great pop songs--melodic with clever lyrics. Fey vocals. Kind of 60s, kind of modern. Others have listed this.
Again, strong hooky songs, which is what I always enjoy. I guess this would be called "alternative rock" or "modern rock". One of the strongest overall pop albums of the new millennium. Lots of fun. Cyndi Lauper- Memphis Blues She's always been a fantastic vocalist, but this is by far the best overall album she's ever released. DesertHermit likes this. ARK , DesertHermit and henryjg like this.
Location: Merchantville NJ. This is tough I was torn between including this or the Civil Wars debut BrewDrinkRepeat , May 30, Location: North Carolina. Location: Murfreesboro, TN. Accelerate and Collapse Into Now to a much lesser degree.
But if you're tantalised by a tune, or need to search for a song - walk this way It's a Long Story, Pt. Bloomin' lovely 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 is a non-participant. So far as I can tell, Bill does not play on this record. The six minutes approx piece accompanying Jim Woodring's wordless book may well have no title.
They Have a Word for Everything. Soothing Harp. What Do We Do? Curtis Fowlkes — Trombone. Location: Murfreesboro, TN. Jazz Latin New Age. Lankford, Born In Country Music (Raised On Dixieland) - Dick Curless - The Last Blues Song (Vinyl, LP). Children's Christmas [Allegro].
Pleading At Midnight - Little Willie Littlefield - K.C. Loving (Vinyl, LP), Midnight In December - James Last - Christmas Dancing (Vinyl, LP, Album), Loves Unkind - Donna Summer - I Remember Yesterday (Vinyl, LP, Album), Plan.Life.Go (Reid Remix)