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Bill Frisell: Nashville

 A l b u m   D e t a i l s


Label: Elektra Nonesuch
Released: 1997.04.29
Time:
 63:18
Category: Folk Jazz, Progressive Bluegrass
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] Gimme a Holler (Frisell) - 5:02
[2] Go Jake (Frisell) - 4:27
[3] One of These Days[]  (Young) - 4:51
[4] Mr. Memory (Frisell) - 3:59
[5] Brother (Frisell) - 6:03
[6] Will Jesus Wash the Bloodstains from Your Hands (Dickens) - 3:09
[7] Keep Your Eyes Open (Frisell) - 3:31
[8] Pipe Down (Frisell) - 6:50
[9] Family (Frisell) - 5:22
[10] We're Not from Around Here (Frisell) - 4:22
[11] Dogwood Acres (Frisell) - 5:28
[12] Shucks (Frisell) - 4:15
[13] The End of the World (Kent/Dee) - 3:32
[14] Gone (Frisell) - 2:00

 A r t i s t s ,   P e r s o n n e l


Bill Frisell - Guitar
Viktor Krauss - Bass
Jerry Douglas - Dobro on [1-6,9-10,12]
Ron Block - Banjo on [2,6,8,11,13,14], Acoustic Guitar on [3,7]
Adam Steffey - Mandolin on  [2,3,6-8,11,13,14)
Robin Holcomb - Vocals on [3,6,13]
Pat Bergeson - Harmonica on [2,8]

Wayne Horvitz - Producer
David Bither - Associate Producer
Roger Moutenot - Engineer, Mixing
Jason Lehning - Assistant Engineer
Greg Calbi - Mastering
Barbara deWilde - Design
Kevin Ellsworth - Cover Photography

 C o m m e n t s ,   N o t e s


1997 CD Nonesuch - 7559-79415-2

Recorded and mixed September 1995 and October-November 1996 at Sound Emporium, Nashville, TN. Mastered at Masterdisk, New York, NY.



Bill Frisell’s Nashville evokes a distinct American regional flavor and marks an entirely new chapter in a career that the forward-thinking musical community has applauded for its innovation and diversity. In natural succession to recordings like This Land and Have a Little Faith, Nashville provides a deeper look into Bill Frisell’s long-standing fascination with Americana. As with his previous Nonesuch recording, Quartet, it is a departure from the traditional jazz quartet, both in its instrumentation and repertoire.

Recorded in the country-music capital of the world with some of this country’s finest musicians, Nashville features Adam Steffey (mandolin) and Ron Block (banjo), of Alison Krauss’s band Union Station; Jerry Douglas (dobro), widely known for his work with artists ranging from Jerry Garcia to Hank Williams, Jr.; and Viktor Krauss (bass), a veteran of Lyle Lovett’s band. Frisell originals and a few covers make up this record, including Neil Young’s “One of These Days” and Skeeter Davis’s 1963 hit “The End of the World,” both sung by Robin Holcomb.

Frisell is commonly called the most inventive guitarist at work in the world, and this is nowhere more evident than on Nashville, a recording that represents a genuine synthesis from an artist who has said, “It sure is nice to move around and hear the music from a different perspective.”

© 2016 Nonesuch Records



When guitarist Bill Frisell started creating his discography in the early '80s, he was a humble iconoclast who circulated on the fringes of various musical localities, including-but not restricted to-jazz, new music, rock, vaguely cinematic ideas, and, yes, C&W. In the last few years, Frisell seems to have been tracing the roots of his polyglot style, from "cover" tunes (John Hiatt, Copland, Ives, Sonny Rollins, etc.) to his new scores for Buster Keaton flicks, and a splash of neo-Americana. And now, perhaps inevitably, Frisell goes to Nashville. For his latest project, Frisell went to meetin' with some of Nashville's finest, and more progressive session players, and struck up great sympatico, especially with the dobro master Jerry Douglas and banjoist Ron Block. Frisell's sweet 'n' slightly twisted songwriting flair is on the money here-from the barnstormer "Go Jake" to the lazy gait of "Shucks"-and he pulls out covers like Neil Young's "One of These Days" and Hazel Dickens' "Will Jesus Wash the Bloodstains from Your Hands," sung with true grit by Robin Holcomb. Through it all, Frisell's guitaristic approach, often sounding like a cross between Chet Atkins and a Martian pedal steel player, shows respect for tradition by tugging it in new direction.

Josef Woodard - September 1997
© 1999–2015 JazzTimes



The vague country elements long dwelling on the fringes of Bill Frisell's music rise to the forefront on Nashville, an exquisitely atmospheric collection recorded in Music City with the aid of dobro legend Jerry Douglas, Union Station members Adam Steffey and Ron Block, and Lyle Lovett & His Large Band's bassist Viktor Krauss. Produced by Wayne Horvitz, the record is both genuine and alien - while played with real affection for the country form and without any avant posturing, its sound is original and distinct, a cinematic variation on C&W tenets. While primarily instrumental and comprised largely of Frisell originals, Nashville does welcome vocalist Robin Holcomb for a pair of more traditional numbers - Hazel Dickens' "Will Jesus Wash the Bloodstains from Your Hands" and the Skeeter Davis hit "The End of the World" - as well as a cover of Neil Young's "One of These Days."

Jason Ankeny - All Music Guide



Bill Frisell is a gentle giant of modern guitar, pure in his jazz-influenced mission to uncover and reinvent American music across a disparate styles. At once unmistakable for the fluid, elastic sound of his instrument and restless in his pilgrimage across often widely varied sources, Frisell can find the lyrical gold beneath pop, rock, and classical sources - devling into Madonna, Aaron Copeland, and John Hiatt with equal success. Nashville finds Frisell exploring the kindred small group dynamics and string-bending aesthetics of country and bluegrass in the company of a shrewdly-chosen players including members of Alison Krauss' esteemed Union Station band, virtuoso dobro player Jerry Douglas, and vocalist Robin Holcomb, who confers an earthy beauty to the set's three vocals culled from Neil Young ("One of These Days"), Hazel Dickens ("Will Jesus Wash the Bloodstains from Your Hands"), and Skeeter Davis's country crossover, "The End of the World." Keening lyricism, soul-deep emotions, and the kinship of wonderful musicians communicating across putative stylistic borders make Nashville a stunning achievement.

Sam Sutherland - Amazon.com



Bill Frisell is a guitar genius. Any of his multitude of collaborators - from John Zorn and Arto Lindsay to Elvis Costello and Marianne Faithfull - can attest to that. What's becoming increasingly clear, though, is that he is also a brilliant composer. A bona fide American original, Frisell has found kindred spirits in the likes of Stephen Foster, Charles Ives, John Philip Sousa and Aaron Copeland. A seemingly guileless musical chameleon, he's also explored all sorts of interpretative connections, ranging from Muddy Waters and Sonny Rollins to Bob Dylan and Madonna. It's not so surprising, then, that Frisell would turn his attentions to country - a style that's always been implicit in his muti-hued, often humorous playing.

If the emblematically titled Nashville marks a departure for Frisell, it's mainly in terms of its unadorned openness. With bassist Viktor Krauss by his side and a changing ensemble that includes Union Station stalwarts Ron Block on banjo and Adam Steffey on mandolin, as well as Jerry Douglas on dobro and Pat Bergeson on harmonica, Frisell sheds his usual array of effects and gets buck naked, picking out a gently swaying hybrid of jazz and bluegrass.

The opening composition, "Gimme A Holler", rocks back and forth like a porch swing, with Frisell and Douglas trading licks that roll on like the lulling trance of a long summer afternoon. Other tracks, such as "Go Jake" and "Pipe Down", evoke a more playful mood, with Bergeson's harp sounding some rural hiccups. The three covers - Neil Young's bittersweet "One Of These Days", Hazel Dickens' biting "Will Jesus Wash the Bloodstains From Your Hands?" and the Skeeter Davis hit "The End of the World" - are also the only vocal numbers. All three feature Frisell's longtime pal Robin Holcomb, a singer whose eclectic background and shimmering voice are a perfect foil for the set's subtle intensity.

While so much modern American music is about Saturday night (and sometimes Sunday morning ), Nashville is more about such ordinary times as Tuesday morning, or after supper on Thursday. Frisell's real genius, it now seems, is for finding the profound nuances of those kinds of moments and echoing them in steel strings.

Archive - June 30, 1997
© 2016 Freshgrass (nodepression.com)



Nashville is the ninth album by Bill Frisell to be released on the Elektra Nonesuch label and his first to be recorded in Nashville, Tennessee. It was released in 1997 and features performances by Frisell, Viktor Krauss, Jerry Douglas, Ron Block, and Adam Steffey with guest appearances from Robin Holcomb on vocals and Pat Bergeson on harmonica. The Allmusic review by Jason Ankeny awarded the album 4½ stars stating "record is both genuine and alien - while played with real affection for the country form and without any avant posturing, its sound is original and distinct, a cinematic variation on C&W tenets".

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