The High Sign/One Week: Music For The Films Of Buster Keaton

構成数 : 1枚
合計収録時間 : 00:36:59
Personnel: Bill Frisell (acoustic & electric guitars); Kermit Driscoll (acoustic & electric basses); Joey Baron (drums, percussion). Recorded at Mobius Music, San Francisco, California. Personnel: Bill Frisell (acoustic guitar, electric guitar); Kermit Driscoll (acoustic bass, electric bass); Joey Baron (drums, percussion). Audio Mixer: Judy Clapp. Recording information: Mobius Music, San Francisco, CA. Photographer: Jacqueline Kim. Plug Bill Frisell into any instrumental situation from Paul Motian and Ginger Baker, through John Zorn and Julius Hemphill and he automatically begins to think and react as if he'd written and arranged the music himself. In his reliance on subtleties of inflection, form and harmonic nuance, his playing is a welcome relief from the empty wanking of today's fusion stringmeisters. Frisell's organic fusion of musical elements is notable for its lack of contrivance or technical excess, and his intuitive use of texture, space and simple thematic motifs makes him a natural for the cinematic arts. But in fashioning interactive, live scores for the silent movies of Buster Keaton, Frisell has upped the ante for himself as both an improviser and composer. "The High Sign" is a sinister case of murder and mistaken identity, while "One Week" is the myth of Sisyphus transposed on to a young couple attempting unsuccessfully to assemble their pre-fab home of tomorrow. From the ragtime-like "Target Practice" to the spastic starts, stops and pratfalls of "Good Shot," bassist Kermit Driscoll and drummer Joey Baron delight in deconstructing Frisell's themes to fit the action. From the down-homey blues of "Oh, Well" through the fractured fairytales of "Fight," Bill Frisell displays a fearless creative spirit--unafraid to speak simply and directly, steadfastly refusing to hide behind empty artifice.
録音 : ステレオ (Studio)