Bill Frisell - Gone, Just Like a Train
Artist: Bill Frisell
Title Of Album: Gone, Just Like a Train
Category Jazz/Folk, Jazz/Blues, Jazz Instrument, Guitar
Label Nonesuch
Orig Year 1998
All Time Sales Rank 285 Top 500
Extractor: EAC 0.99 prebeta 4
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, Noncompliant
Eac.log, File.cue
Accurately ripped (confidence 44)
Source: Original CD
Size Torrent: 380 Mb
Artwork Incluse
Personnel:
Bill Frisell (acoustic & electric guitars);
Viktor Krauss (bass);
Jim Keltner (drums, percussion).
Track:
1. Blues for Los Angeles
2. Verona
3. Godson Song
4. Girl Asks Boy (Part 1)
5. Pleased to Meet You
6. Lookout For Hope
7. Nature's Symphony
8. Egg Radio
9. Ballroom
10. Girl Asks Boy (Part 2)
11. Sherlock Jr.
12. Gone, Just Like A Train
13. The Wife and Kid
14. Racoon Cat
15. Lonesome
16. More Blues for Los Angeles
Listen to all:
http://www.amazon.com/gp/recsradio/radio/B000005J57/ref=pd_krex_dp_a
http://www.youtube.com/watch?v=VrTO-7hpu-Y&feature=related
Bill Frisell is a soulful jazz minimalist with a sophisticated sense of harmony, a daring rhythmic approach, and an
instantly recognizable, personal sound--as if Carl Perkins and Duane Eddy took on Otis Rush and Bill Evans in a bridge
tournament. Every note is carefully sculpted, imbued with a bluesy, lightly Echoplexed halo, and elongated like taffy in
a manner suggestive of the enigmatic Peter Green. Upon occasion, Bill will transmogrify into an 800-lb gorilla with a
touch of distortion, but more often than not this affable galoot is content to make bricks with straw--a remarkable
melodist who can transmute single notes into sapphire tears.
For those more impressed with the meat than the motion, Frisell's floor routine may seem simplistic. Besides, why would
someone who can play bebop be so fascinated with bells that jingle-jangle-jingle? So while I doubt that jazzman Bill
Frisell is really dead, long live Cowboy Bill.
While Frisell's fellow improvisers have immersed themselves in the sophisticated harmonic cycles of The Real Book, our
post-modernist Slowhand has seemingly retreated to Mel Bay's Guitar Method, Level One. One can visualize Mel himself in
his inner sanctum, auditioning Bill's brilliant new trio recording Gone, Just Like A Train (blue ital.) and hoisting
tankard after tankard of pale ale in praise of this most unlikely of guitar heroes, tears rolling down his cheeks as he
cries between hiccups, "G Major, D Major, E Minor--God bless you, Bill!"
In the tradition of Nashville (blue ital.), last year's acclaimed string-bandrecording, Frisell's remarkable new trio on
Gone, Just Like A Train (blue ital.) is a cultural whistlestop tour of folk sources that conveys this land's epic
rhythmic dynamism, regional diversity, and backwaters of mystery and quiet wonder. It's as if the Modern Jazz Quartet
had interpolated Cream. Together with his remarkable collaborators, bassist Viktor Krauss and drummer Jim Keltner,
Frisell successfully plumbs a variety of simple expressive forms within the raging seas of intellectual complexity that
have traditionally defined the domain of the modern jazzman.
For Stereophile (underline) readers, Gone, Just Like A Train (blue ital.) is a guaranteed five-star dog-yummy for your
sound system. Frisell, producer Lee Townsend, and engineer Judy Clapp have done a remarkable job. Few things are more
revealing than a trio recording, and each instrument here is rendered with remarkable depth, clarity, and detail. The
soundstage is immense and airy, and the mix is notable for the manner in which each tune achieves subtle changes in
placement, presence, and perspective while maintaining a consistent sonic viewpoint.
Every tune on Gone, Just Like A Train (blue ital.) is a lyric jewel. For the free formalists among you, there's the
extended blowing on "Lookout for Hope," with its intimations of six against four, as Krauss holds down the groove with
heroic restraint and a resounding bottom, and Keltner and Frisell engage in bluesy, airborne dialog--as loose and
swinging an interpretation of the backbeat as I've ever heard.
Then there's the epic quietude and resonant splendor of "Lonesome," as Frisell evokes a rich tapestry of southwestern
imagery with his ringing two- and three-note chords and Johnny Smith-like touch. On "Godson Song" he plumbs the depths
of silence with steel-guitar-like swells as Keltner essays broken abstractions of the pulse, while "Pleased to Meet You"
and "Girl Asks Boy" are all wide-eyed folkish innocence. And "Sherlock Jr." and the title tune range freely between
country and astral before settling just south of the border.
People, get ready--if you love electric guitar, bass, drums, and the real roots of blues, country, rockabilly, and
modern jazz, this train is bound for glory.--Chip Stern, Stereophile, April 1998.
