(JazzPlanet) Bill Frisell - East West (Eac Flac Cue) TNTVillage UF

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Bill Frisell - East , West (Disc 1 - West)
  • (2) Blues for Los Angeles - Bill Frisell.flac (73.5 MB)
  • (5) Pipe Down - Bill Frisell.flac (69.5 MB)
  • (3) Shenandoah - Bill Frisell.flac (64.8 MB)
  • (6) A Hard Rain's A-Gonna Fall - Bill Frisell.flac (58.9 MB)
  • (1) I Heard It Through the Grapevine - Bill Frisell.flac (40.9 MB)
  • (4) Boubacar - Bill Frisell.flac (37.2 MB)
  • Bill Frisell - East , West (Disc 1 - West).log (7.5 KB)
  • East , West (Disc 1 - West) flac.cue (1.1 KB)
  • East , West (Disc 1 - West).cue (1.1 KB)
  • Bill Frisell - East , West (Disc 1 - West).m3u8 (0.5 KB)
Bill Frisell - East , West (Disc 2 - East)
  • (4) Ron Carter - Bill Frisell.flac (74.4 MB)
  • (6) Goodnight Irene - Bill Frisell.flac (48.2 MB)
  • (2) The Days of Wine and Roses - Bill Frisell.flac (46.4 MB)
  • (7) The Vanguard - Bill Frisell.flac (26.9 MB)
  • (8) People - Bill Frisell.flac (24.5 MB)
  • (9) Crazy - Bill Frisell.flac (21.4 MB)
  • (1) My Man's Gone Now - Bill Frisell.flac (18.7 MB)
  • (10) Tennessee Flat Top Box - Bill Frisell.flac (15.6 MB)
  • (5) Interlude - Bill Frisell.flac (9.9 MB)
  • (3) You Can Run - Bill Frisell.flac (4.3 MB)
  • Bill Frisell - East , West (Disc 2 - East).log (11.1 KB)
  • East , West (Disc 2 - East) flac.cue (1.7 KB)
  • East , West (Disc 2 - East).cue (1.6 KB)
  • Bill Frisell - East , West (Disc 2 - East).m3u8 (0.8 KB)
Scans
  • CD1 + Inside (content) scan.jpg (2.7 MB)
  • Inside 2 scan.jpg (2.4 MB)
  • Booklet covers scan.jpg (2.2 MB)
  • Inside 3 scan.jpg (2.2 MB)
  • Inside 1 scan.jpg (1.8 MB)
  • CD2 + Inside (content) scan.jpg (1.6 MB)
  • Back inside scan.jpg (1.3 MB)
  • East West scan.jpg (1.1 MB)
  • Back outside scan.jpg (1.1 MB)
  • CD1 scan.jpg (1.1 MB)
  • CD2 scan.jpg (642.0 KB)
  • info frisell.txt (9.1 KB)

Description

Bill Frisell - East West (2 CD Live) 2005











Artist: Bill Frisell
Album Title: East West (2 CD Live)
Release Date: Aug 09, 2005
Recording information: The Village Vanguard, New York, NY (12/09/2003-05/11/2004); Village Vanguard, New York, NY (12/09/2003-05/11/2004); Yoshi's, Oakland, CA (12/09/2003-05/11/2004).
Label Nonesuch (USA) 79863
Genre: Jazz
Styles: Fringes of Jazz, Progressive Jazz
Source: 2 Original CD
Size torrent: 653 MB


Extractor: Exact Audio Copy V1.0 beta 3
Used drive : HL-DT-STDVDRAM GSA-E10L
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Codec: Flac 1.2.1; Level 8
Single File.flac, Eac.log,
File.cue Multiple wav file with Gaps (Noncompliant)
CD 1 Accurately ripped (confidence 2) (AR v2)
CD 2 Accurately ripped (confidence 2) (AR v2)
Artwork Incluse


Tracks List

Tracks:

West:
01 I Heard It Through the Grapevine
02 Blues for Los Angeles
03 Shenandoah
04 Boubacar
05 Pipe Down
06 A Hard Rain's A-Gonna Fall

East:
01 My Man's Gone Now
02 The Days of Wine and Roses
03 You Can Run
04 Ron Carter
05 Interlude
06 Goodnight Irene
07 The Vanguard
08 People
09 Crazy
10 Tennessee Flat Top Box




Personnel:

Bill Frisell (guitar, acoustic guitar, electric guitar); Bill Frisell (loops);
Tony Scherr (acoustic guitar, bass instrument);
Viktor Krauss (bass instrument);
Kenny Wollesen (drums, percussion).



Listen to all

http://www.amazon.com/gp/recsradio/radio/B0009K7RLG/ref=pd_krex_dp_a

http://www.youtube.com/watch?v=Ae2KIktr3p4

http://www.youtube.com/watch?v=feIiA__MiMM

http://www.youtube.com/watch?v=35Sx-IuXloM&feature=related

http://www.youtube.com/watch?v=Svzv-YkUzdk

http://www.youtube.com/watch?v=1v-MGE2pziQ

http://www.youtube.com/watch?v=QNnSfdoaIlA

review

The allusion of the title East/West is an apt one; this live double-CD set is a study in contrasts. Recorded just six months apart with two different trios, Bill Frisell really shows both sides of his musical personality. The "East" disc was recorded in December of 2003 at the Village Vanguard with Frisell on guitar (acoustic and electric) and loops, Tony Sherr on acoustic bass and a bit of acoustic guitar, and Kenny Wollesen on drums and percussion. The program here consists largely of well-known standards with a couple brief improvisations and a single Frisell composition. The "West" disc was recorded at Yoshi's in May of 2004 and features Frisell (guitars, loops), Viktor Krauss (acoustic bass), and, well, Kenny Wollesen on drums (no other percussion), but this time the program is half Frisell compositions, a couple pop songs, and the traditional "Shenandoah." On the "East" disc, only three of the ten tunes are longer than five minutes, but on the "West" disc only one track is shorter than eight minutes! The preponderance of standards on the "East" disc keeps the players mostly on the inside tip, even eliciting laughter from some audience members when Frisell hits the intro to the old warhorse "People" (to which he replies, "you think I'm joking or what?"). They do loosen up a bit at the end, for a wonderful arrangement of Willie Nelson's "Crazy" with two acoustic guitars and looping aural detritus, and there's a fun gallop through "Tennessee Flat Top Box." The group improvisations also add a bit of spark. Folks who discovered Frisell in the late '90s with albums like Nashville are going to love this set.

Then there are the folks who discovered Frisell in the '80s as a major player in the downtown new music scene along with folks like John Zorn and Wayne Horvitz (fellow bandmates in the groundbreaking and genre-smashing Naked City band). For them, Frisell seemed to be losing his edge a bit as his trademark skronk was traded for acoustic textures. Richter 858 and the Grammy-winning (!) Unspeakable saw him revisiting that earlier sound to some degree, mainly through more extensive use of delays and loops, but the "West" disc here shows he's really back. "Heard It Through the Grapevine" starts out a bit slow, but right from the outset the delay plays a large role, ping-ponging ugly harmonics back and forth as an intro before hitting the first verse. It gradually picks up momentum, until the delays return and Frisell adopts a roaring backward-sounding tone for the end. "Blues for Los Angeles" has even more great looping, some pretty menacing sounds, and some fantastic soloing. "Pipe Down" (originally on Nashville) gets a much slower deconstructed treatment, then kicks into high gear with a serious groove. This set is way more adventurous than the "East" one, and might surprise some old fans who haven't been paying close attention of late. Frisell retreats a bit from the edge for the last track, a nice reading of "A Hard Rain's a-Gonna Fall" where the delay plays little to no role. With both bands, the rhythm section offers great support, but interestingly, Tony Scherr gets a bit of solo space while Viktor Krauss gets none. Then there's the fact that the album is called East/West, but the "West" disc (the later of the dates) is programmed as the first disc, so you listen to the sets in reverse chronological order as well as the opposite of what the title implies (perhaps "West/East" would have been more appropriate). And while this set is indeed a study in contrast, the common thread is the absolute guitar mastery and singular style and tone of Frisell. His use of double stops, open string voicings, and chordal leads in his playing, not to mention that slippery tone, makes him one of the most recognizable voices in music no matter what the context. And it's clear that Frisell is at home in any context, from playing chestnuts like "The Days of Wine and Roses" to John Zorn speed metal. The fairly naked trio context of East/West really gives the listener a chance to appreciate exactly what he can do, no matter which musical direction they're coming from.


_____________________________________________________________________________________________________________

Though he's passed through several phases during the last two decades, guitarist Bill Frisell has manifested an uncanny ability to transport listeners across gaps in time, space, and style. His jump-cut playing with Naked City did this in a blunt and abrupt fashion; recordings from his country-tinged period tugged at the very roots of American string music; and his 2003 Nonesuch recording, The Intercontinentals, leapt boldly across international boundaries.

In a similar fashion, the double live set East/West, assembled from recent dates in New York and Oakland, respectively, is a flying carpet all its own. But what is striking is how very effectively the recording accomplishes this feat, given its extended duration and the fact that these sixteen pieces were spliced together from several days' worth of live performances. If nothing else, you have to credit Frisell with consistency—an attribute that also applies to his trio mates, Kenny Wollesen (drums), Tony Scherr (bass on East), and Viktor Krauss (bass on West).

This music displays several uncommon characteristics: it conveys a deep respect for memory, both musical and cultural; it's somewhat pastoral and imbued with a related organic fertility; and it's saturated with resonant tones. Whether the backbeat or the downbeat takes the pole position depends on whether a given piece may be based in rock/blues/country or jazz (almost all the former). Frisell definitely has an ear for dissonance, but he mostly prefers to use it as a spice, rather than a main ingredient.

The West disc has the most coherent flow. It gets off to a comfortably familiar start with "I Heard It Through the Grapevine," then digs deep into driving, rocking blues on the next piece. So far, so good, so American... but then a six-minute slice of mutated West African blues shows up in the form of "Boubacar" just down the road. This ultra-resonant piece works the backbeat in a much more relaxed, meditative fashion.

The ten pieces on East are more fragmentary, though they have their own high points. A timbrally clean take on "The Days of Wine and Roses" takes a little while to get into its groove, but once the rhythm section kicks in, everything starts swinging nicely. Frisell's relatively short phrases have a conversational aspect, making use of irregular spacing and occasional dissonance. The bright fourteen-minute original "Ron Carter" has some nice give-and-take counterpoint. The one and only real low point is the annoying but mercifully brief "Tennessee Flat Top Box," which takes finger-snapping bluegrass straight into a black hole of noise to wrap the disc up.

Depending on your tastes, especially with respect to loops and effects, the backbeat, blues, and country, you'll get more out of some of these pieces than others. But taken as a whole, this is a creative and consistent collection that begs repeated listens and stands with the very best of Frisell's recorded work.



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