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Bill Frisell: Gone, Just Like a Train

 A l b u m   D e t a i l s


Label: Elektra Nonesuch
Released: 1998.01.20
Time:
 68:50
Category: Jazz
Producer(s): Lee Townsend
Rating:
Media type: CD
Web address: www.billfrisell.com
Appears with:
Purchase date: 2016
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Blues for Los Angeles (B.Frisell) - 5:18
[2] Verona (B.Frisell) - 3:09
[3] Godson Song (B.Frisell) - 4:38
[4] Girl Asks Boy (Part 1) (B.Frisell) - 3:36
[5] Pleased to Meet You (B.Frisell) - 4:12
[6] Lookout For Hope (B.Frisell) - 10:20
[7] Nature's Symphony (B.Frisell) - 4:58
[8] Egg Radio (B.Frisell) - 5:06
[9] Ballroom (B.Frisell) - 3:22
[10] Girl Asks Boy (Part 2) (B.Frisell) - 2:30
[1] Sherlock Jr. (B.Frisell) - 2:51
[12] Gone, Just Like a Train (B.Frisell) - 5:30
[13] The Wife and Kid (B.Frisell) - 5:49
[14] Raccoon Cat (B.Frisell) - 3:24
[15] Lonesome (B.Frisell) - 4:17

 A r t i s t s ,   P e r s o n n e l


Bill Frisell - Acoustic & Electric Guitar, Liner Notes
Viktor Krauss - Bass
Jim Keltner - Drums, Percussion

Lee Townsend - Producer
Noel Grey - Associate Producer
Louisa Spier - Associate Producer
Judy Clapp - Engineer, Mixing
Jeffrey Shannon - Assistant Engineer
Brett Swain - Assistant Engineer
Greg Calbi - Engineer
Mark Slagele - Assistant Engineer
Gwen Terpstra - Design
Jim Woodring - Art Direction

 C o m m e n t s ,   N o t e s


1998 CD Nonesuch  - 7559-79479-2

Recorded in 1997 at the O'Henry Sound Studios, Burbank, CA. Mixed at Different Fur Recording, San Francisco. Mastered at Masterdisk, New York City.



Guitarist, composer, and bandleader Bill Frisell, an artist who has been called, “the most significant and widely imitated guitarist to emerge in jazz since the beginning of the 1980s” (New York Times), has been widely acknowledged for his restless eclecticism. He moves in yet another musical direction with Gone, Just Like a Train. Recorded in Burbank in 1997, it features Frisell with renowned drummer Jim Keltner and bassist Viktor Krauss in a jam-oriented rock-inflected set that reflects the wide emotional range of Frisell’s compositions.

Frisell first became aware of Jim Keltner when he heard John Hiatt’s record Bring the Family, with Ry Cooder and Nick Lowe. He was immediately fascinated by the recording and by Keltner’s playing and made an arrangement of Hiatt’s “Have a Little Faith in Me,” from which his 1994 Nonesuch recording Have a Little Faith takes its name. In recounting this first collaboration with Keltner, Frisell said, “He’s one of the most inventive, good-feeling, creative, humble, giving, soulful musicians I’ve ever played with.”

Frisell’s collaboration with Viktor Krauss began on his 1997 record Nashville, which MUSICIAN called, “among the earthiest and most deeply felt of Frisell’s many fine recordings.” The guitarist contacted Krauss, who has worked as Lyle Lovett’s exclusive bass player, at the very last minute for those sessions. Frisell later said: “I can’t imagine what might (or might not) have happened if he hadn’t been there. He turned out to be the magic glue that held everything together.” This, and the fact that Krauss is also a big Keltner fan, meant he “had to be the guy” for the new record.

Bill Frisell calls Gone, Just Like a Train “a dream project come true.” He says that Keltner and Krauss "have a lot going on under the surface. Things aren’t always what they seem. Paradox. What I love about music is what cannot be explained. Mystery. These guys have it.”

© 2016 Nonesuch Records



Drawing from all over the musical spectrum, Frisell selects drummer Jim Keltner (best known for his records with George Harrison, Eric Clapton and other rock stars) and bassist Viktor Krauss (a fixture in Lyle Lovett's country band), and comes up with an immensely likable, easy-grooving CD that defies one to put a label on it. If anything, Frisell leans toward a drawling country twang heavily indebted to Chet Atkins in his guitar work here, but there is a freewheeling jazz sensibility at work on every track. Keltner contributes the heavy rock element with his emphatic strokes, occasionally pushing Frisell in that direction on the title track and the lengthy "Lookout for Hope." Yet Keltner is also capable of surprising subtlety, and Krauss provides firm, unflashy underpinning. Above all, this is thoughtful, free-thinking, ear-friendly jamming that was recorded in bustling Burbank, CA. but sounds as if it was laid down in a relaxed cabin in the hills.

Richard S. Ginell - All Music Guide



Bill Frisell is a soulful jazz minimalist with a sophisticated sense of harmony, a daring rhythmic approach, and an instantly recognizable, personal sound - part jazz, part rockabilly, part blues, part psychedelia - a remarkable melodist who can transmute single notes into sapphire tears. Yet while his fellow improvisors have pursued more and more complex forms, Frisell seems to be reaching back to the simplest folk forms to animate his post-modernist's view of Americana, and Gone, Just Like a Train is a cultural whistle-stop that conveys his land's epic rhythmic dynamism, regional diversity, and backwaters of mystery and quiet wonder. It's as if the Modern Jazz Quartet interpolated Cream, and together with his remarkable collaborators, bassist Viktor Krauss and drummer Jim Keltner, the Bill Frisell Trio successfully plumbs a variety of expressive forms within the raging seas of intellectual complexity that have traditionally defined the domain of modern jazzman.

Chip Stern - Amazon.com



Frisell has a mysterious take on the guitar, one that can suggest and function in just about any style there is, conjure a wide range of textures and tones, work in a variety of registers (sometimes at the same time), and effortlessly slip from inside to outside. With assistance from bassist Viktor Krauss and drummer to the superstars Jim Keltner (Cooder, Dylan, Clapton, Harrison), he draws on all of those resources for this follow up to 1997's Nashville.

Using open-tuned acoustic guitar, Frisell establishes some nice, relatively conventional spaces during "Verona" and "Raccoon Cat," vignettes that are practically naive in their light, countrified simplicity. Darker and weirder in demeanor are "Blues For Los Angeles," which opens the album and unfolds over a plodding walking groove, and "Loo#kout For Hope;" both numbers feature a multidimensional mix of scorching guitar work, wobbling tremolo, and jumping harmonics. The title track is a kind of a country blues tango, which in a way summarizes Frisell's approach, where seemingly opposing influences work simultaneously. And while the package's tray card lists 15 tracks, the CD has 16, this last one a peculiar little snippet that briefly reprises the opener.

Jim Ferguson - May 1998
© 1999–2015 JazzTimes



Gone, Just Like a Train is the tenth album by Bill Frisell to be released on the Elektra Nonesuch label. It was released in 1998 and features performances by Frisell, Viktor Krauss and Jim Keltner. The cover art is by comics artist Jim Woodring. The Allmusic review by Richard S. Ginell awarded the album 4 stars calling it "an immensely likable, easy-grooving CD that defies one to put a label on it... this is thoughtful, free-thinking, ear-friendly jamming that was recorded in bustling Burbank, CA. but sounds as if it was laid down in a relaxed cabin in the hills".

wikipedia.org



Einst galt Bill Frisell dank eigenwilliger Spieltechnik als Jazzavantgardist. Inzwischen verblüfft er die Country-Gemeinde. In seinem Trio spielen Viktor Krauss, im Hauptberuf Bassist bei Lyle Lovett, sowie Jim Keltner, der für Eric Clapton, Ry Cooder, Bob Dylan und Steely Dan trommelte. Frisell hat seinen Spaß an sanften Slides, gedehnt weinenden Saiten und romantischen Melodien. Virtuos ergänzt das Trio die volksliedartig schlichten Instrumentalnummern um dezent schräge Töne. Die Lagerfeuer-Romantik indes bleibt erhalten.

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