Music: Bill Frisell

Feb 1, 2010 12:00 PM, By Blair Jackson

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“When we did the initial set of sessions up in Seattle at Avast,” Townsend recalls, “they had performed the music a little on their trip, but we brought in [bassist] Victor Krauss for the recording, so that immediately changed things a bit. It was kind of an exploration — seeing how everything sounded not only with Victor, but which instrumentation would work best with each song. When we finished with that, we realized there were a few nuggets, but also some things we thought could be fleshed out better.

“There are a couple of different kinds of records that happen with Bill — ones where the material is kind of fleshed out in the studio and others where it's a little more road-tested. This one was somewhere in between, but mostly the former. For the next set of sessions we did at Sound Emporium, we had the same instrumentation but a little more seasoning — the second time around everyone was way more comfortable with the material. We had Disfarmer photos taped up everywhere. It was a very cool vibe.”

Though Frisell and company will typically record live in the studio, usually laying down somewhere between two and eight takes per song, he and Townsend are certainly not averse to overdubbing; indeed, it's part of how they achieve such interesting textural depth on some tunes. “I think the most tracks we had on any song on this album was about 32,” Townsend says. “It might have three guitar tracks — maybe an acoustic and two electrics, a loop [Frisell has long employed loops and other electronics as part of his guitar arsenal], a couple of Greg [Leisz], three tracks of two passes of Victor, a bunch of violins — it can add up.”

Martine says that he used basically the same miking schemes in Seattle and Nashville, including an RCA 77DX on the fiddle; a Royer 121 and a Shure SM57 on the pedal steel amp; an M49 on the Dobro; an RCA Varacoustic on mandolin; a Gefell M300 for Frisell's acoustic guitar parts and KM84s on his amps; and for the stand-up bass, Martine says, “an RCA 44 by the F hole, a KM84 between the fingers and the bridge for articulation, and a Demeter DI.

“There was one song where I re-amped Jenny's violin through a small amp cranked up loud for some extra grit,” Martine continues. “All of the reverb added during the mixdown was the great-sounding chambers at Fantasy. Also, I used a fairly quick delay from a PCM 41 on the pedal steel on a lot of songs, usually panned to the opposite side. It was [recorded to Pro Tools and] mixed to Studer A80 half-inch at 30 ips.”

The Films of Buster Keaton, Music by Bill Frisell DVD gives us a glimpse of Frisell 15 years ago, when he was in a trio with bassist Kermit Driscoll and drummer Joey Baron. It's interesting to contrast the type of music Frisell wrote for these three shorts — The High Sign, One Week and Go West — with the more typical piano or organ or orchestra scores we usually associate with silent films. Baron's drums and percussion provide much of the comic punctuation for pratfalls onscreen, but otherwise these are solid trio outings with Frisell's musical personality shining brightly.

“What was so cool about the Buster Keaton thing,” Frisell says today, “was that I had no idea what I was doing and there were no rules and no one telling me what to do — it wasn't like a Hollywood movie or something. It was the best way that could've happened: I was left to make every possible mistake, and in making those mistakes I think I learned a lot. I could try all these strange things, like having a ballad playing during a wild fight scene; I could try anything. It was a great way to get my feet wet.” Those Townsend-produced sessions were recorded at Mobius Music in San Francisco by Oliver DiCicco and mixed at Different Fur in S.F. by Judy Clapp.

And then there's the Solos DVD, which is a fantastic introduction to Frisell's artistry. It was shot up close and personal with multiple cameras in the abandoned-looking 19th-century Berkeley Church in Toronto, with no audience — just Frisell alone with a Telecaster, a couple of Fender amps and a few pedals, wending his way through a great selection of his original tunes from different eras: “Throughout” from his early ECM Records days, “Ron Carter” from Blues Dream, “Keep Your Eyes Open” from Nashville, “Boubacar” from Intercontinetals, and a few well-chosen covers, such as Dylan's “Masters of War,” the traditional country-folk tunes “Shenandoah” and “Wildwood Flower,” and The Gershwins' “My Man's Gone Now.” It was artfully directed by Daniel Berman and co-produced by Berman, Lee Townsend and Paul McNulty. “That was a great old church,” Frisell comments. “I must admit, even after all these years, playing by myself is sort of intimidating, but that turned out nicely.” The DVD also includes informative interview segments with Frisell.

But wait, there's more! Upon returning to the U.S. from Italy, Frisell was scheduled to record a guitar-stravaganza in Nashville with Buddy Miller, Marc Ribot and Greg Leisz (and a rhythm section and probably some singers), and then there's a second Floratone album to be made with his collaborators in that lineup — Martine, Townsend and Matt Chamberlain — and a gig playing the Buster Keaton music live to film, and — well, let's just say it was lucky I caught him during his break because there might not be another one for quite a while. Frisell wouldn't have it any other way.






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