Guitarist Bill Frisell, the jazz guy, issues a terrific tribute to John Lennon today, titled All We Are Saying. But this isnâ€™t, you know, his first intersection with rock music.
That got your pals over at SomethingElseReviews.com thinking about … The Very Guest of Bill Frisell — with stopovers at Cream (Ginger Baker, anyway), Elvis (Costello, that is) and the Rolling Stones (by way of Jagger’s one-time muse Marianne Faithfull), among others â€¦
ELVIS COSTELLO – DEEP DEAD BLUE (1995): A live document from Frisellâ€™s appearance with Elvis Costello at Londonâ€™s Meltdown Festival the same year, Deep Dead Blue is the capstone on a musical relationship that also includes a series of brilliant do-overs of songs from Costelloâ€™s Burt Bacharach project on 1999â€™s The Sweetest Punch. Here, Frisell does a masterful job — heâ€™s subtle, supportive yet at the same time distinctive â€“ while reinterpreting some mid- and late-1980s Costello deep cuts. There are also a few items of jazzier fare, like Charles Mingusâ€™ â€œWeird Nightmareâ€ and â€œGigi,â€ from Lerner and Loewe. The only complaint: The setâ€™s all too brief, at less than 30 minutes long.
LUCINDA WILLIAMS – WEST (2007): Lucinda Williams talks about love, and heartbrokenness, but in an especially raw way — even for this legendarily confessional singer-songwriter. Producer Hal Wilner, having been handed some rough demos by Williams, elected to keep the often devastatingly unguarded scratch vocals and build the album around them. Frisell, however, keeps it from becoming a wrist-slashing drag, often nudging West into more redemptive places, while performing with a tone as warm as it is inviting.
VERNON REID – SMASH AND SCATTERATION (1985): A memorably offbeat mashup, with Frisell and Vernon Reid — well before he came to fame as part of the heavy-rocking Living Colour. There are hints of both guitaristsâ€™ future successes in Americana and metal, but (fair warning, here) neither Frisell nor Reid stick to their scripted roles — something that might be a challenge to fans of eitherâ€™s later work. Frisell, for instance, makes use of a tinny beat-box and analog synthesizers. Whoa. Even more jarringly, youâ€™ll find Reid on the banjo. Wait, what? Through the sheer force of their combined energy and delight, however, much of it works, anyway.[ONE TRACK MIND: Guitarist Bill Frisell talks about his new John Lennon tribute project, working with legendary jazz bassist Ron Carter … and Madonna?]
MARIANNE FAITHFULL – STRANGE WEATHER (1987): Frisell made a number of textured, nuanced contributions to this world-weary record, a late-career triumph that marked Marianne Faithfullâ€™s long-hoped for recovery from her nearly two-decades long struggle with heroin. The result is an intriguing mixture of smack-rhythm rock, neon-lit cabaret and nicotine-stained soul. Strange Weather, with Wilner again producing, included covers of tunes by Tom Waits — the title track, which has become a concert staple — Bob Dylan, Dr. John and Huddie â€œLead Bellyâ€ Ledbetter. The albumâ€™s brooding highlight, however, is an achingly melancholic remake of the Rolling Stonesâ€™ â€œAs Time Goes By.â€
GINGER BAKER â€“ FALLING OFF THE ROOF (1995): Appearing with the legendary drummer from Cream, you might be expecting power-trio blues-rock. Nope. Instead, Frisell and bassist Charlie Haden, on their second trio recording with Ginger Baker, continue exploring straight-ahead jazz. Frisellâ€™s spare atmospherics perfectly suit the drummerâ€™s authoritative tone, working at times in contrast and at others as friendly confederate. Oh, and anybody looking for a connection back to Bakerâ€™s days with Clapton would have to study hard, but itâ€™s there: The imaginatively titled â€œVino Vecchioâ€ — meaning â€œold wineâ€ in Italian — is built on the foundation of Creamâ€™s â€œSweet Wine.â€
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