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Bill Frisell: Have a Little Faith

 A l b u m   D e t a i l s


Label: Elektra Nonesuch
Released: 1992
Time:
 60:46
Category: Jazz
Producer(s): Wayne Horvitz
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] The Open Prairie [from Billy the Kid] (Copland) - 3:11
[2] Street Scene in a Frontier Town [from Billy the Kid] (Copland) - 1:45
[3] Mexican Dance and Finale [from Billy the Kid] (Copland) - 3:44
[4] Prairie Night (Card Game at Night) / Gun Battle [from Billy the Kid] (Copland) - 5:02
[5] Celebration After Billy's Capture [from Billy the Kid] (Copland) - 2:17
[6] Billy in Prison [from Billy the Kid] (Copland) - 1:33
[7] The Open Prairie Again [from Billy the Kid] (Copland) - 2:34
[8] The Saint-Gaudens in Boston Common: Excerpt 1 (Ives) - 0:41
[9] Just Like a Woman (Dylan) - 4:49
[10] I Can't Be Satisfied (Morganfield) - 3:00
[11] Live to Tell (Leonard, Madonna) - 10:10
[12] The Saint-Gaudens in Boston Common: Excerpt 2 (Ives) - 3:05
[13] No Moe (Rollins) - 2:37
[14] Washington Post March (Sousa) - 2:05
[15] When I Fall in Love (Heyman, Young) - 3:26
[16] Little Jenny Dow (Foster) - 3:30
[17] Have a Little Faith in Me (Hiatt) - 5:39
[18] Billy Boy (Traditional) - 1:38

 A r t i s t s ,   P e r s o n n e l


Bill Frisell - Guitar, Arranged
Don Byron - Clarinet, Bass Clarinet
Guy Klucevsek - Accordion
Kermit Driscoll - Bass
Joey Baron - Drums

Wayne Horvitz - Producer
Robert Hurwitz - Executive Producer
Joe Ferla - Engineer
Robert Smith - Assistant Engineer
Sam Hofstedt - Assistant Engineer
Greg Calibi - Mastering
John Heiden - Design
Russell Lee - Photography

 C o m m e n t s ,   N o t e s


1993 CD Elektra Nonesuch - 7559-79301-2

Recorded in March, 1992 at the RPM Studios NYC. Mixed at Bad Animals Studios, Seattle. Mastered at Sterling Sound, New York City.



Frisell’s quintet lineup interprets Ives, Copland, Hiatt, Dylan, even Madonna. The New York Times calls Frisell “a gifted improviser more than willing to offer unusual juxtapositions. Bits of country music float by, a jazz idea, a blast of rock.”

© 2016 Nonesuch Records



Bill Frisell has long been one of the most unique guitarists around. Able to switch on a moment's notice from sounding like a Nashville studio player to heavy metal, several styles of jazz, and just pure noise, Frisell can get a remarkable variety of sounds and tones out of his instrument. This set features Frisell in a quintet with Don Byron (on clarinet and bass clarinet), Guy Klucevsek on accordion, bassist Kermit Driscoll, and drummer Joey Baron. To call the repertoire wide-ranging would be an understatement. In addition to eight melodies from Aaron Copland's Billy the Kid, Frisell and company explore (and often reinvent) pieces written by Charles Ives, Bob Dylan, Muddy Waters, Madonna, Sonny Rollins, Stephen Foster, and John Phillip Sousa. This is one of the most inventive recordings of the 1990s and should delight most listeners from any genre.

Scott Yanow - All Music Guide



Have a Little Faith guitarist Bill Frisell italicized his stature as a composer and arranger within a combo setting that achieves a perfect balance of form and free-wheeling interpretive intensity. Frisell's core working section of the time (drummer Joey Barron and bassist Kermit Driscoll) are augmented by clarinet innovator Don Byron and a very fine accordionist, Guy Klucevsek , which gives this music chamber-like tonal colors, while allowing Frisell to elicit expansive big band gestures through a repertoire of material that is never hectic, just blithely eclectic-staking a claim for Frisell in the pantheon of great American composers and songwriters with whom he allies himself here. Thus there's a blissfully funky reading of blues giant McKinley "Muddy Waters" Morganfield's "I Can't Be Satisfied" and - from the other side of the universe - a loveably raucous take on John Phillip Sousa's "Washington Post March." Elsewhere, Frisell navigates the waters of such enigmatic modernists as Charles Ives, Aaron Copland, Sonny Rollins, Bob Dylan, and John Hiatt with equal affection and grace.

Chip Stern - Amazon.com



Many new jazz albums sound like famous old ones - maybe slightly better recorded, but basically the same old thing. So the more creative jazz albums of the past 10 years have been less obviously "jazzy", testing the boundaries and using the language of that music in fresh new contexts.

This 1993 project is a great example of a dissident jazz album, an intelligent examination of American composers from Foster and Sousa to Dylan and Madonna. Frisell's mastery of the guitar gives him a big palette of sounds, from precise single notes for melodies to wide-spread chordal landscapes.

The line-up for most tracks is a quintet with bass, drums, clarinettist Don Byron and Guy Klucevsek's shimmering accordion - an odd but brilliantly conceived combination of timbres. Two miniature slivers from Charles Ives's Three Places In New England help us to hear that complex composer anew. A daring adaptation of Aaron Copland's Billy The Kid suite is full of midwestern "can-do" confidence, mixed with a smidgeon of John Zorn's anarchy.

The choice of repertoire is inspired. There's an urgent version of Sonny Rollins's No Moe, a heart-rending When I Fall in Love, and a razzy I Can't Be Satisfied, which tips its hat to Dixieland, country, avant-garde and funk. John Hiatt's Have a Little Faith In Me is a long, relaxed jam. There's some fine creative interplay, especially between the long-established trio of Frisell, drummer Joey Baron and bassist Kermit Driscoll. On guitar, Frisell can sail as freely and stratospherically as a horn player. Yet, like a great jazz singer, he can also personalise the simplest phrase with a small change of sound.

John L Walters - 28 September 2001
© 2016 Guardian News and Media Limited



Have a Little Faith is the fourth album by Bill Frisell to be released on the Elektra Nonesuch label. It was released in 1992 and features performances by Frisell, Don Byron, Kermit Driscoll, Guy Klucevsek and Joey Baron covering a range of American classical and popular music. The Penguin Guide to Jazz selected this album as part of its suggested "Core Collection" calling it a "marvellous examination of Americana'". The Allmusic review by Scott Yanow awarded the album 5 stars out of 5, stating "This is one of the most inventive recordings of the 1990s and should delight most listeners from any genre."

wikipedia.org



Mit einer Combo, die eine perfekte Balance zwischen Form und freilaufender, interpretativer Intensität erreicht, steigert Have a Little Faith-Gitarrist Bill Frisell sein Ansehen als Komponist und Arrangeur. Frisells damalige Hauptmitarbeiter (Drummer Joey Barron und Bassist Kermit Driscoll) wurden komplettiert durch das Klarinettenwunder Don Byron und den ausgezeichneten Akkordeonspieler Guy Klucevsek. Dies gibt der Musik eine kammermusikähnliche Klangfarbe, und erlaubt es Frisell, ausgedehnte Big-Band-Einlagen durch ein Repertoire an Material einzuspielen, das nie hektisch, sondern lediglich munter eklektisch anmutet. Dies sichert Frisell seinen Anspruch auf einen Platz im Tempel der großen amerikanischen Komponisten und Songwriter, in deren Gesellschaft er sich mit dieser Arbeit einreiht. So gibt es eine heiter-funkige Interpretation des Bluesgiganten McKinley 'Muddy Waters' Morganfields "I Can't Be Satisfied" und - vom anderen Ende des Universums - eine reizend rauhe Darstellung von John Phillip Sousas "Washington Post March". Woanders reitet Frisell, mit gleicher Liebe und Grazie, auf den Wellen so rätselhafter Modernisten wie Charles Ives, Aaron Copland, Sonny Rollins, Bob Dylan und John Hiatt.

Chip Stern - Amazon.de



Das amerikanische Fachmagazin "Guitar Player" nannte ihn ein "Genie der Gitarre", der "Musician" schwärmte vom "originellsten Gitarristen der letzten 20 Jahre". Solche Attribute erscheinen angesichts des neuen Albums von Bill Frisell nicht zu hoch gegriffen. Denn "Have A Little Faith" demonstriert geradezu prototypisch seine stilistische Bandbreite und seine ebenso sensible wie flexible Spielweise. Frisell malt mit dieser Platte ein klingendes Portrait der USA in vielen schillernden Facetten. Das Spektrum reicht dabei vom Blues bis zur Moderne: In Aaron Coplands atmosphärischen Szenen aus "Billy The Kid" beschwört Frisell Western- Wehmut. Mit Auszügen aus "Three Places In New England" von Charles Ives kommt die romantische Beschaulichkeit der Ostküste zu ihrem Recht. Der "Washington Post March" von John Phillip Sousa setzt verspielte Blasmusik- Akzente, und vom Rocker John Hiatt stammt das Titelstück "Have A Little Faith In Me". Einen unerwartet einschmeichelnden Genuß bietet Madonnas Pop-Hit "Live To Tell", dessen melodische Schwere Frisell hemmungslos auskostet. Noch mitreißender gelingt ihm "Just Like A Woman" von Bob Dylan. Ohne die einfühlsamen Mitmusiker wäre dieser amerikanische Traum freilich nur halb so schön. Vor allem Klarinettist Don Byron und Akkordeonist Guy Klucevsek sorgen für treffliche Akzente; Bassist Kermit Driscoll und Drummer Joey Baron bilden ein ebenso verläßliches wie einfallsreiches Rhythmusgespann. Mit "Billy The Kid" fängt dieser Bilderbogen an, mit dem Traditional "Billy Boy" verabschiedet sich Bill von seinen gebannten Hörern. In knapp 61 Minuten hat er sie auf eine Reise durch Raum und Zeit geführt, hat mit sparsamen Gitarrenläufen amerikanische Mythen beschworen und scheinbar unvereinbare Musikrichtungen unter einen Hut gebracht. Er weckt Sehnsucht nach der Weite der Vereinigten Staaten, er artikuliert den alten Traum von der Freiheit, der trotz der bedrückenden US-Realität immer wieder auflebt, solange nur ein bißchen Vertrauen im Spiel ist. Bill Frisell und seine Truppe haben jedenfalls vollstes Vertrauen verdient.

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