1 	All In Fun	8:36
2	Wildwood Flower / Save The Last Dance For Me 	(9:34)
3 	Mumbo Jumbo	8:08
4 	You Only Live Twice	8:10
5 	Lush Life	4:38
6 	Epistrophy	7:27
7 	Pannonica	7:03
8 	Red River Valley	8:09
9 	In The Wee Small Hours Of The Morning	6:55
Double Bass – Thomas Morgan
Guitar – Bill Frisell 

Guitarist Bill Frisell and double bassist Thomas Morgan first appeared as a duo on 2017's Small Town. Recorded in 2016 at the Village Vanguard, it offered conversations in jazz, folk, R&B, and pop with an intimacy and improvisational elocution seldom matched in recordings cut with a live audience. Epistrophy was culled from the same Vanguard run proving the earlier recording no fluke. Like its predecessor, this nine-song set is comprised of jazz standards, folk and pop songs, show tunes, movie themes, and a Paul Motian original. (Both men played with him.)

If anything, the choice of material here is cannier than Small Town's, opening with "All in Fun" from the 1939 musical Very Warm for May. The loose, relaxed intro showcases the guitarist's abundant gift for lyricism and inventive rhythmic notions. The bassist answers and embellishes with a gentle swing before the tune becomes a more open-ended improvisational device. The Carter Family's "Wildwood Flower" also appeared on Small Town, but here it's part of a melody that concludes with a heartbreakingly beautiful reading of Doc Pomus & Mort Shuman's Drifters' classic "Save the Last Dance for Me." The interplay on the latter, with its in-the-moment harmonic and rhythmic exchanges, is truly remarkable. They resurrect Motian's lovely yet slightly angular "Mumbo Jumbo" with Frisell extrapolating on the melody and chord voicings that open onto Morgan's suggestions via harmonic counterpoint in the knottier passages. Where the earlier album boasted John Barry's theme from Goldfinger, "You Only Live Twice" appears here, with Frisell articulating some of his loveliest rubato playing, languidly quoting from Ferrante & Teicher's Midnight Cowboy theme. Morgan responds to the guitarist's lines in tango rhythms. Billy Strayhorn's "Lush Life" is revealed in all of its Debussy-ian glory and stands in sharp -- but wonderful -- contrast to the approach on the two Thelonious Monk tunes in the title track and "Pannonica," where angles, knots, and subtle humor are offered as holistic harmonic devices. These tunes, with their good-natured inquisitiveness and mischief, are both set highlights. "Red River Valley" (Frisell first cut it with Gary Peacock on 1994’s Just So Happens) is sprightly, swinging, and full of subtle grooves in its lyrical articulation, before the closer: a read of the standard "In the Wee Small Hours of the Morning" that echoes Frank Sinatra's immortal vocal reading from the mid-'50s. Its economical approach whispers with bittersweet tenderness and delivers gorgeous soloing from Morgan and Frisell. Epistrophy is a companion to Small Town, but it is also an extension of the intimate, communicative union shared by this duo in near symbiosis. Together they create a gold standard for live performance. --- Thom Jurek, AllMusic Review

Podobnie jak „Small Town” - wydanie dla ECM z 2017 roku, które The Guardian określił jako „hipnotyzujący, pomysłowy i nawiedzony”- album „Epistrophy” gitarzysty Billa Frisella i basisty Thomasa Morgana powstał na podstawie serii koncertów duetu z marca 2016 roku w Village Vanguard w Nowym Jorku. Na Albumie znajdują się poetyckie wersje utworów duetu z albumu „Americana” („All in Fun”, „Red River Valley”, „Save the Last Dance for Me”), jak również nowa wersja kompozycji Paula Motiana („Mumbo Jumbo”), którego zarówno gitarzysta, jak i basista dobrze znali.

Frisell i Morgan doskonale uchwycili esencję „Lush Life” Billy'ego Strayhorna i „In The Wee Small Hours of the Morning” Franka Sinatry. W centrum albumu znajdują się dwie kompozycje Theloniousa Monka: funkowa „Epistrophy” i spokojna ballada „Pannonica”. Podobnie jak w przypadku „Goldfinger” na „Small Town”, Frisell i Morgan wykonali własną interpretację tytułowej kompozycji Johna Barry'ego z filmu o Jamesie Bondzie – „You Only Live Twice”. ---wsm.serpent.pl

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1. Love Sick 1:04
2. Winslow Homer 3:32
3. Beautiful Dreamer 3:02
4. A Worthy Endeavor (for Cajori) 5:25
5. It's Nobody's Fault But Mine 4:34
6. Baby Cry 6:21
7. Benny's Bugle 3:31
8. Tea For Two 4:28
9. No Time To Cry 1:36
10. Better Than A Machine (For Vic Chestnutt) 2:49
11. Goin' Out Of My Head 2:47
12. Worried Woman 4:44
13. Keep On The Sunny Side 2:26
14. Sweetie 4:28
15. All We Can Do 6:16
16. Who Was That Girl? 6:16

Bill Frisell - guitar
Eyvind Kang - viola
Rudy Royston – drums

Most people slow down as they get older but, in the case of musicians, there are those who seem to actually step up the pace. Bill Frisell may be approaching 60, but he's busier than ever—so much so, in fact, that the intrepid guitarist has left his record label of over twenty years (Nonesuch), because it was unprepared to keep up with his need to release more than one album per year. Beautiful Dreamers is Frisell's first Savoy Jazz release but it won't be the last, as the intrepid guitarist heads into the studio in October with his string-driven 858 Quartet, to record a follow-up to Richter 858 (Songlines, 2005), for release early in 2011.

Those who caught Frisell during the 2010 summer festival season—including TD Ottawa International Jazz Festival and Norway's Kongsberg Jazz Festival)—will be familiar with the joyful interaction of his Beautiful Dreamers trio, but there's at least one significant difference between its live shows and self-titled debut. In performance, both Frisell and longtime musical cohort/violist Eyvind Kang use a bevy of effects—distortion, pitch shifting, looping and more—to expand the range of an unorthodox trio that also includes drummer Rudy Royston. The disc, on the other hand, is a largely unprocessed affair, though Frisell does use an octave divider on the quirky "Homer Blues," and some dense overdrive on the near-rocking "Dec. 25th," where Royston's go-go beat propels what was, in concert, a lengthy highlight, but is, here, an almost too-short miniature.

Almost, that is. Like other recent discs including Disfarmer (Nonesuch, 2009) and History, Mystery (Nonesuch, 2008), few of Beautiful Dreamers' racks crack the six-minute mark. But Beautiful Dreamers clearly understands the difference between live performance and permanent documentation; none of the material overstays its welcome, but neither does it appear hurried, as Frisell and Kang orbit around each other with brooding introspection on "T5 Pt. 1," a spare extension of Where in the World? (Nonesuch, 1991)—or, even better, one of Frisell's early high watermarks, This Land (Nonesuch, 1994).

Beautiful Dreamers deserts the overt Americana of Good Dog, Happy Man (Nonesuch, 1999), yet there's still something indefinably American about the guitarist's writing, which accounts for ten of the disc's sixteen tracks. His covers traverse a broad terrain of distinctly American music, ranging from the visceral blues of Blind Willie Johnson's "Nobody's Fault" and Benny Goodman's swinging "Benny's Bugle" (where Royston channels Gene Krupa, but without the bluster and bombast), to a wry take on the Little Anthony and the Imperials hit, "Goin' Out of My Head" (Kang's pizzicato the melodic front line), and the iconic title track, which coalesces from the ether, its familiar theme only emerging at the song's end.

In the most understated way possible, Beautiful Dreamers' special intimacy, quiet joy and constant sound of surprise represent a shift in Frisell's music. Moving away from project specificity and, instead, towards a consolidation of the guitarist's multifaceted interests, it's a beautiful way, indeed, to kick-start this relationship with a new label. ---John Kelman, allaboutjazz.com

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01. Rain, Rain (2:45) 
02. Roscoe (3:44) 
03. Big Shoe (3:50) 
04. My Buffalo Girl (8:52) 
05. Shenandoah (6:10)                play
06. Cadillac 1959 (6:26) 
07. The Pioneers (5:18) 
08. Cold Cold Ground (9:04) 
09. That Was Then (5:31) 
10. Monroe (4:21) 
11. Good Dog, Happy Man (2:34)       play
12. Poem for Eva (3:42)

Bill Frisell: electric and acoustic guitars, loops and music boxes 
Greg Leisz: pedal steel, Dobro, lap steel, Weissenborn, National steel guitar and mandolin 
Wayne Horvitz: organ, piano, samples 
Viktor Krauss: bass 
Jim Keltner: drums and percussion 
Ry Cooder: electric guitar, Ripley guitar on “Senandoah”.

No doubt pleased with his countrified direction on Gone, Just Like a Train, Bill Frisell gives us a lot more of basically the same thing here -- only with expanded numbers in the ranks. Bassist Viktor Krauss and drummer Jim Keltner return, now accompanied by Wayne Horvitz's understated organ and piano; Greg Leisz on an assortment of fretted instruments, including the dobro, pedal steel guitar and mandolin; and on "Shenandoah," Ry Cooder's atmospheric guitars. The first tracks of Good Dog, Happy Man pick up right where Gone, Just Like a Train left off -- low-key, perhaps too low-key -- but tracks like "Big Shoe" and "Cadillac 1959" add a bit of swagger to the lope and "Poem for Eva" sports the best tune. Again, Frisell often captures a loose, evolutionary jamming quality in these sessions, playing the country accents off of his jazz sensibilities. Unlike its predecessor, though, you can't imagine this being recorded on a backwoods front porch, for there are some production tricks and distant-sounding electronic loops that give away its Burbank studio origins. Purists on either side of the jazz/country divide are hereby warned to back off so that the rest of us can enjoy this. - by Richard S. Ginell, AMG

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1. Pipeline 7:06
2. Turn, Turn, Turn 2:40
3. Messin' with the Kid 2:59
4. Surfer Girl 4:14
5. Rumble 4:56
6. The Shortest Day 4:57
7. Rebel Rouser 3:39
8. Baja 3:37
9. Cannonball Rag 2:56
10. Tired of Waiting for You 6:02
11. Reflections from the Moon 3:21
12. Bryant's Boogie 3:09
13. Lift Off 2:17
14. Telstar 3:15

Bill Frisell – guitar
Greg Leisz - pedal steel and guitar
Tony Scherr – bass
Kenny Wollesen - drums, vibraphone

This is an old-school electric guitar fan’s album, played by one of the most creative guitar fans in the world. Bill Frisell is a lifelong lover of the quintessentially American invention, drawing on everything from Charlie Christian swing through 50s tremolo twangs to cutting-edge pedal technology. But it’s also a fine display of bluegrass and rock-inspired contemporary music, in which Frisell’s intelligent, jazz-informed sensibility is applied to 1950s and 60s classics by Duane Eddy, the Beach Boys, the Kinks and more. On a casual listen, he might seem to be treating the Chantays’ Pipeline or the Junior Wells blues Messin’ With the Kid as if he’s still a teenage guitar prodigy who has just excitedly learned them off the singles – but in fact this is as serious, witty, layered and subtle as any of his more abstract work. Check out a rapturously tender Surfer Girl, a delicately spacey Tired of Waiting for You – and Kenny Wollesen’s deep, casually flappy percussion, which elegantly counterbalances the metallic clangs all the way through. --- John Fordham, theguardian.com

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1. Mother Daughter | Youngster
2. Old TImes
3. Friend Of Mine
4. Skippy
5. Sign Of Life
6. Benny’s Bugle

Bill Frisell - guitar
Jenny Scheinman - violin
Eyvind Kang - viola
Hank Roberts - cello

Guitarist Bill Frisell formed this occasional group in 2002 to produce music inspired by eight Gerhard Richter abstract paintings entitled 858-1 to 858-8, which were eventually packaged as the 2005 CD Richter 858. Though hints of Frisell's famous country-jazz impressionism and waltzing momentum were present, this was music far closer to the cool ambiguities of the paintings themselves. The lineup included guitar, violin, viola and cello, so they were, in effect, an electric guitar-led string quartet, and played with an idiosyncratic, folksy, contemporary-classical solemnity. ---theguardian.com

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1. The animal race
2. Little brother Bobby
3. Hangdog
4. 1951
5. Love motel
6. The lone ranger

Bill Frisell - guitar
Kermit Driscoll - bass
Joey Baron - drums
Hank Roberts – cello

WDR 3 Radio - Das Concert Juli 2004

Guitarist Bill Frisell has become well-known for his eccentric and highly versatile style. Able to sound like Jim Hall, a heavy metal player, or a Nashville studio guitarist at a moment's notice, Frisell has created sounds on the guitar that have never been heard before.

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