Customer Reviews

Ghost Town

5 star:		(21)
4 star:		(4)
3 star:		(2)
2 star:		(5)
1 star:		(3)

 

 

Criticism of this most latest effort from Bill Frisell seems tofocus on what the cd is not.

Agreed:

This is absolutely not BadMehldau.

Nor is it Wes Montgomery or Joe Pass.

And it isn't 'jazz' in the very narrow sense of where one might find a Barney Kessell record.

So what?

I believe that the defining characteristic(s) of a great musician have to do with possessing a unique sound and an ability and willingness to communicate an original musical vision.

And Frisell is a unquestionably a unique and highly gifted performer. He is a great musican and artist. Well grounded in idioms as diverse as bop, country, pop, free improv and bluegrass Frisell has created a synthesis of those (and other) forms which is completely his own.

Recognizable from the first note, this cd plays very much like one of his solo concerts though augmented by studio overdubs. Deceptively simple, the attention to melody, the rich and often unexpected harmonics and the spare, thoughtful improvisations all work to create very wonderful music.

A particular highlight for me is the medley 'Ghost Town/Poem for Eva'. Lovely melodies, elegantly conveyed. Think of 'Poem for Eva' as the best tune the Everly Brothers failed to write.

Bill Frisell compiled one of the very best bodies of recorded work during the 1990's. This begins the 2000's at the same high level.

All these sycophantic 5 star reviews of all of Frisell's albums is getting tiresome. I own them all and count myself a serious, engaged fan of Frisell's. I listen to the music seriously and ambiently as well. He's a guy who seems unable to make up his mind whether he wants to be a legendary session player, adding his trademark guitar sound and riffs to collaborations, or whether he wants to fulfill some of his earlier promise as a true innovator and potential guitar genius. Guys like Mark O'Connor have managed to accomplish both, albeit on a different instrument, but Frisell seems to me to be absolutely in the first camp, that of session performer. But let's not overpraise someone with a fairly consistent sound and some nice chops all too rarely shown off. A few years ago, Frisell looked ready to unleash his genius and soul, such as on his wild solo on "East Timor" on Ginger Baker's "Unseen Rain" (which holds up nicely). But instead of moving forward, he settled into Joey Baron Zorn-influenced jazz sessions that are largely unremarkable. Frankly, I find the material no better than John Abercrombie's work. Then Frisell looked like he was going to break out in a new genre, the kind of New Grass jazz material pioneered by O'Connor and Edgar Meyer (recommended: Skip Hop and Wobble), which Yo Yo Ma got on their train with on his successful Appalachian Journey, and Frisell put out his superb "Nashville." Again, he didn't go anywhere with it by himself, and he has churned out variations on it in various session recordings. Yet again he settles into session playing which I find unambitious and, to be frank, often soulless. I find it to be great shame, since that solo on "East Timor" shows the guy can draw on something inside that goes beyond the safe zone he so often inhabits.

That said, Ghost Town is to me by far his most successful and consistent albums from Nashville through 2004 (when I'm writing now).

Before you mark my review as unhelpful because I have criticized a purported guitar god, I am truly trying to be helpful by suggesting this cd over Blues Dream or Good Dog Happy Man or Intercontinentals or Unspeakable, for those who are not big fans but would like to pick up another Frisell since Nashville.

Here's another fine Bill Frisell effort which surpasses, I think, the Costello/Bacharach or "Good Dog Happy Man" albums. Frisell continues exploring minimalism here, and he moves further away from the sweeping, chorused electric sounds which characterized his early 90's work. This record focuses more on the acoustic sound which began to creep in with the Buster Keaton albums. What really makes it go are fine melodies within most of the tracks and an adventurous, musical spirit which one can feel (and hear) in the music.

I just finally bought this one, and it has quickly become my favorite of Frisell's works. He has finally returned to the minimalist style from "In Line" that won me over to him in the first place. Again, Frisell brings up images of some of Steve Tibbetts' compositions from Northern Song and a few later albums, but the compositions are still stamped with Frisell's own unique country/folk-inflected style. However, what has always impressed me the most about Frisell is what sticks out the most here (hence my opinion of Ghost Town)-- like Miles Davis, Frisell can convey feelings of enormous range and complexity with very minor and subtle changes in his tone and tempo. Those who find Frisell's playing one-dimensional because of his reluctance to go for John McLaughlin's speed should take a close listen to this album.

Ok here it is Folks,

Bill Frisell's Ghost Town is not meant to listen to if you want to dance, get up and shout at the moon, or workout with a reckless abandon. It's an album that takes you away to a very creative, peaceful, hypnotic place that only you're self on a quiet night or day can be truly self absorbed in this Masterpiece. If you play the guitar, (I do) - you should realize this is not just doodling around on a multi track device, it's well thought out and deep. It amazes me how some people can rate this and use the names of progressive fusion guitar player's names, this album is not about that, nor do I think that was Bill Frisell's approach toward writing the material. If you are longing for an instrumental album that's full of guitar chops this is definitely not the album for you. This album simply put is Masterful in its sensitivity, empty space, melody, and unique style to say the least.

I had the pleasure of seeing Bill Frisell do a solo performance 2 years ago so I knew he had the ability to be entertaining on his own. I was quite excited when I heard he was releasing a CD of solo performances. My excitement was justified. The flavor of "Ghost Town" is in keeping with Mr. Frisell's recent releases ("Good Dog, Happy Man", "Gone, Just Like a Train", and "Nashville"). There's a rootsy, Americana theme throughout. However, his use of delay loops give the CD a wonderful idiosyncratic feel. A delightful CD.

Bill Frisell isn't for everyone, and it's been easier for him to lose old fans who liked his shredding than to gain new fans (on what radio station would you hear something like this?). His recent records are more about texture and the tune than about soloing, and they're getting more mellow. But I think that direction has been very successful, and should have broader appeal. I didn't think I'd like a solo album (considering how great his bands have been and how important the interaction/improv is), but this album is an effective look inside his head: funny, creepy, and often beautiful stuff. There are many highlights, including a great cover of John McLaughlin's "Follow Your Heart." But if you prefer a band record, try Nashville or (the one record everyone agrees on) Have a Little Faith first - or the older ECM stuff, which got pretty crazy.

'Ghost Town' is the first Bill Frisell album I've purchased. I was first introduced to Frisell on NPR, where he played a few solo pieces. I must admit that he blew me away as I drove off to my lunch break. I decided that I MUST HAVEthe man's lastest album so today I picked it up. I've listened to the CD twice now and I'm still as excited about it as I was when I first heard Frisell on the radio. The melodies are haunting and beautiful and Frisell easily exposes the American Spirit through the vibrations of the strings on his guitars.
I don't care if 'Ghost Town' isn't jazz -- and those that disregard this album because it doesn't sound like jazz are just cheating themselves out of a great musical experience.
In the immortal words of the Grateful Dead, "If you get confused, just listen to the music play!"

This is very beautifull original solo acoustic guitar. At times its gritty Americana and atmospheric.

If your expecting a jazz ensemble noodling about in progessive, audience alienating riffs....your missing the point. This music is about the beauty in the tone of Wood & Steel.

Great Album!

For appreciators of Frisell's approach, "Ghost Town" is a must purchase. It is something of a return to his first album, "In Line" on ECM,which was mostly just himself with overdubs and loops, etc. However, the new album reveals lots of tidbits from the various directions he has pursued over the 2o years since his first release, with references to his latest series of "Americana" outings but also to various pieces from the late eighties and early nineties (e.g. compare "Justice and Honor" with "Hope and Fear" from the older "Is that you?"). And the banjo is there, as it always has been.

The pieces here are as bare and minimalistic as Frisell has ever been, with a spare, eery quality to the recording that makes one think of a dark snowy winter's night. I especially like his electric guitar loop-based numbers here, like "Outlaw" and "Under a golden sky." These are really beautiful and hypnotic. Some of his most haunting works, they remind this listener of the place where some of Keith Jarrett's better solo piano outings transport the listener. They are worth the price of admission in themselves.

I hesitate in recommending this to first time Frisell listeners. This is more an album for those intent on following his evolution and tracing all the musical references he makes to earlier pieces. Better to start with "Gone just like a train" or "Have a little faith" I think. Or "In Line," the predecessor of Ghost Town. But eventually work toward "Ghost Town" if you have the patience and desire. It is a rich picture into the mind and heart of a unique musician.