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Listen to Samples and Buy MP3s
Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or
view the MP3 Album.
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Editorial Reviews
From the Artist
In conversation with All Hat's composer, Grammy-winner Bill Frisell "It's hard to find a more fruitful meditation on American music than in the compositions of guitarist Bill Frisell. Mixing rock and country with jazz and blues, he's found what connects them: improvisation and a sense of play. Unlike other pastichists, who tend to duck passion, Mr. Frisell plays up the pleasure in the music and also takes on another often-avoided subject, tenderness." --The New York Times
Q. What first attracted you to work on All Hat? The script--All Hat is such a great story--and the chance to actually work on a film from beginning to end. In the past I've contributed songs to films, but nothing where I was in on it from beginning to end and doing the score. It's so interesting to work from the script stage, in this case I started working at script stage and was looking at scene edits before the film was finished shooting, and then took various passes during the editing.
Q. Describe your approach to scoring the film. I write lots and lots of music with a vague idea of what I'm after, inspired by characters, a small detail, a sunset, will inspire melodies. It's hard for me to write one thing on command. I won't write one melody for a character, I'll write twenty and then sift through it all. When Len and Jenn first came down to see me I had narrowed it down to a few major themes which I played for them, and then I gradually honed in on what seemed right.I was able to bring in a bunch of people that I play with regularly and we sat down and jammed in front of a cut in Seattle, I had written the music, but it was such a luxury to have these people in front of me, we would take music I wrote for a scene but experiment with it quickly because we are so familiar with each other, and make changes to make the music work.
Q. Is your approach to making a soundtrack different from making an album? There's a lot of similarities, though with the film you can't let the music just completely take off at any moment, the music is shaped by what's going on on the screen. When you're making an album you can let the music decide where the ups and downs are, whereas with a film you follow the ups and downs of the film--that's what I like about it, the film can push the music in ways that you wouldn't necessarily think of if you were just playing which to me feels like an education in music. The soundtrack was produced by Lee Townsend, the band is comprised of many of the musicians Bill played with on his Grammy®-winning East West live album--Greg Leisz on pedal steel, Viktor Krauss (Alison's virtuoso brother) on bass, Jenny Scheinman on violin, Scott Amendola on drums and Mark Graham on harmonica.
Product Description
The soundtrack was produced by Lee Townsend, the band is comprised of many of the musicians Bill played with on his Grammy®-winning East West live album--Greg Leisz on pedal steel, Viktor Krauss (Alison's virtuoso brother) on bass, Jenny Scheinman on violin, Scott Amendola on drums and Mark Graham on harmonica.
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Most Helpful Customer Reviews
5 of 5 people found the following review helpful:
4.0 out of 5 stars
Typical Frisell,
Amazon Verified Purchase(What's this?)
This review is from: All Hat - O.S.T. (Audio CD)
Anything Bill Frisell records is worthwhile buying. This disk seems fragmented as its backround for a film. His style is grounded in music for the country folk but he has played all the ways from honky-tonk to jazz deconstructed and then some. People complain that he doesn't stay "country". They should not hobble this creativity because, like me, there are people who love Frisell's inventiveness. He can do no wrong with his guitar, musically speaking.
1 of 1 people found the following review helpful:
4.0 out of 5 stars
Enjoyable but not his best,
By Jazzluvr (Southwest) - See all my reviews
Amazon Verified Purchase(What's this?)
This review is from: All Hat - O.S.T. (Audio CD)
The above review says it all. Just wanted to add that if the samples seem interesting but not quite what you are looking for, that you listen to some of his other work. My own favorite, for whatever reason, is Good Dog, Happy Man, followed by the Intercontinentals (great stuff), but I also like many others and the work he does with Paul Motian as well as the most recent Hemispheres with Jim Hall.
Bill has a magical tone that seems instantly recognizable and can say a lot with a few notes.
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