Customer Reviews

Unspeakable

5 star:		(13)
4 star:		(7)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

"Unspeakable" features jazz guitarist Bill Frisell's boldest playing since his early 1990's records for Elektra. Once a member of John Zorn's infamous jazz punk band Naked City, Frisell was at one time capable of coaxing delicate Jim Hall-esque melodies out of his axe as easily as flooding your speakers with a wall of distortion and looped feedback.

His recent output, as many fans know has devolved into NPR friendly "Americana", devoid of the sort of musical risk taking that characterized his earlier output. It is important to note that these records were all produced by Lee Townsend and this particular album is his first in years with a different producer. Hal Willner and Bill Frisell have a long history of collaboration behind them, including all those fantastic tribute albums from the early 1990's, i.e: "Stay Awake," "Meditations on Mingus," "Amarcord Nina Rota." So it is no great surprise they are working together again. What is surprising however are the results of this union.

Although Frisell has once again delved into the grittier and more expressive side of his playing on this disc, he also seems somewhat held back by a constrained rhythm section, and that is where my conflict with this record lies. Bassist Tony Scherr (Sex Mob) and Drummer Kenny Wollesen (Sex Mob, Masada, numerous downtown ensembles) are fantastic players, why they have been relegated to lock step grooves and machine like 1-2-3-4 rhythms is beyond me. They are capable of so much more than this. The amazing telepathic rhythm section interplay once found on Frisell's records with Joey Baron and Kermit Driscoll is nowhere in evidence on this disc. I'm assuming Willner and Frisell were going for a sort of early Stax / Soul sound here, but sometimes it just comes off as slightly overproduced lounge jazz.

My first impression of this album was one of shock. Here was the guitarist I love playing in a style I've waited for years to hear him play in again, only to have that sound simply dropped down on top of machine like grooves accompanied by tepid arrangements and anonymous string and horn charts. The mind blowing confusion is further exacerbated the fact that all of the backing musicians on this disc are astonishingly gifted players, many of them solo artists in their own right, but what they've been relegated to are in effect generic session parts. Some of it sounds like middle of the road overproduced John Scofield. But further listens reveal the gems hidden in the rough.

There are moments on tracks like "White Fang," "Stringbean," and "Old Sugar Bear" which are as enthrallingly nasty as anything the man has played in years. You'll forgive the vamping rhythm section if only for the chance to hear him play this well again. On the flip side there are subtle atmospheric pieces, like "Gregory C" and "Fields of Alfalfa" complete with rubato rhythm section accompaniment that hearken back to his days at ECM. And that is certainly nice to hear after years of country tinged balladry.

A mixed blessing, "Unspeakable" is Frisell's finest album in many years and those yearning to hear him pull his distortion pedal out again will be pleased, but those expecting fantastic contributions from the incredible musicians that accompany him on this disc will be dismayed and potentially disappointed.

I first heard Bill Frisell back in 1986 and have never been disappointed with his musical choices ever since. Quite simply, he is the most talented, creative, and visionary guitarist that is putting out music today. The magic in Frisell's playing is not always in what he plays, but in what he chooses not to play. Too many guitarists, especially in the jazz realm, play way too many notes and seem to think that every space needs to be filled in a song. They don't seem to realize that an occasional open space actually enhances a composition and has a tension and a dynamic quality all its own. On "Unspeakable", Frisell's playing is more sophisticated than ever and his arrangements for strings are refined and fit perfectly within the song structures he has composed. Hal Willner's use of samples and turntables is creative and innovative. This is another winning collaboration for Frisell. The rhythm section of Tony Scherr (Bass) and Kenny Wollesen (Drums) set up groves that any guitarist or instrumental soloist would salivate over. The great Don Alias (Of Weather Report and Joni Mitchell fame) offers wonderful percussion performances throughout. Again, Frisell releases a piece of work which is very much his own, defying genre. I've only had the CD for two days, but so far my favorite tracks are: 1968, White Fang, Del Close, Alias, Who Was That Girl, Fields of Alfalfa, Tony, and Old Sugar Bear. Listen to him really dig in at around the 5-minute mark of "Old Sugar Bear." This is a must have for real guitar fans. This CD has everything from Jazz to Acid Funk, House Beats to Country and Classical Voicings. Also, for anyone who enjoys listening to music that is the sum of all of its parts, not just one instrument, this is a CD you would enjoy.

I own several of Bill Frisell's discs and although he continues to reinvent himself with each disc, his sound became a little too predictable for me over the past few years. With that said, I approached "Unspeakable" with some skepticism. Would this be something I've heard before?

Simply, no. There is a depth and soul to this disc that was either missing or hidden to me on other recent discs. The strings themselves add a complex layer to the inspired playing by Frisell. Delays, loops and turntables add a funky flare that compliment the distorted guitar tones perfectly.

Don't be scared off if you are a fan of releases like "Blues Dream" and "Gone, Just Like a Train". You'll still hear Frisell's own Americana style here - just with a funk and soul flavor that will have you saying Wow!

I like this album a lot. While it's not a complete triumph like "Gone Just Like a Train" it does have a nice blend of tempos and is a more varied listen than was "The Willies" or "The Intercontinentals." Frisell's playing here is the most rhythmic I've heard from him since the Naked City days, although it is not nearly that noisy. This has probably the best integration of samples into what is very organic-sounding music. Hal Willner is to be commended. Those who enjoy this recording will find it similar to the excellent "My Lab" album by Tucker Martine and Wayne Horvitz and also featured Frisell on many tracks.

A totally rocking album, confirming yet again - as if needed -
Frisell's joyous unpredictability and sure-footedness in whichever new direction he chooses to explore and charm us next.

The line-up looks potty - strings, horns, turntable, synth - but by track 3 you're wishing they'd tossed in the Hipperholme Male Voice Choir.

The 14 generous tracks all drive to an exotic hypnotic beat, for which props to Kenny Wolleson (drms), Tony Scherr (bass) and Don Alias (percuss). I fully expect to hear NPR grabbing chunks of this gem for their expert musical links.

The day I bought the bizarrely named - and equally off-putting jacketed - 'Unspeakable', I was chauffeuring four fellow wedding guests on a 2-hr each way run, and we actually detoured en route for each to buy their own copy - an extra as prezzie for the discerning groom, and a dupe for me for the car. Typical Bill to additionally score a musical Michelin vaut-le-detour star.

What better closing note to this well-meant but inadequate rave than to cite the savvy NY Times'reminder that, "The Paul Motian-Joe Lovano-Bill Frisell trio has been around for 20 years, and it's remarkable that a group whose three members do so many other things has held together.

Each has a history and discography a mile long, and they're all at their freest in this group."

Of course, I am a hugely biased fan of Bill Frisell, own several of his CDs and have seen him play live on several occasions in a variety of musical contexts.

Unspeakable is the very best music album of any kind I have listened to in several years. It is hypnotically transplendent and so highly addictive I could not take the CD out of my car for several weeks. In fact, I gave this CD as a gift to several of my very close friends.

This 2004 gem is without a doubt, one of the most exciting and interesting jazz albums I own. Frisell has an incredibly unique voice with a truly eclectic range and it's impossible to mistake him for anyone else. I remember seeing the movie "Finding Forrester" some time ago and as soon as I heard the first few notes of the score, I knew it was he.

I already had quite a number of albums he has played on as a guest, including some by the bassist Marc Johnson and fellow guitarist Mike Stern, but this was the first album of his that I decided to buy. His approach to melody and improvisation (on this album particularly) took some getting used to and is certainly unusual but I totally get him now and can see clearly why he is one of the most respected jazz guitarists of his generation. This is a great album.

Frisell's "Unspeakable" recording is smooth and relaxing to listen to. It is the type of music where you can simply relax and get lost in the hypnotic quality, or you can listen carefully and hear interesting textures and overlays. He chooses each note with care, and each of those notes fits well within the context of the song. It is produced well so that you can hear each note ring fully and gracefully. It is nice to hear a master musician use an understated approach to composition, and this approach works well to effectively pull the listener into the song.

To the one-star reviewers of this album, I have one suggestion: Grab another wine cooler and put that Kenny G album back in the CD player. Feeling better? Good! Now let the rest of us who enjoy "real" jazz music savor this CD from one of the music world's most remarkable guitarists.

You may not always know exactly what to expect with each new release (and I own nearly a dozen), but Frisell's stunning guitar work is always the focal point.

Frisell wrote or co-wrote all but two ("Fields of Alfalfa" and "Old Sugar Bear")of the album's 14 tracks. The latter is the only clunker on the disc. Clocking in at 7:10, the first four minutes is mostly tape samples before the rest of the band kicks in and settles into a funky guitar and horn-driven groove.

Stylistically, the album ranges from the smooth jazz of the opening track,"1968," and the R&B funk of "White Fang" to the exquisite balladry of the closing track "Goodbye, Goodbye, Goodbye." All told, this is a thoroughly satisfying album and a welcome addition to your Bill Frisell CD library. [Running Time - 72:47] HIGHLY RECOMMENDED

I was a bit skeptical after seeing the line up on this album - containing such a large ensemble. Voilins, Horns, DJ stuff, etc. The sound of "unspeakable" is esoteric and original. The album has a good balance of dance-like tracks and some nice earthy, ambient-like tracks.

This is the most ambitious Frisell outing in a long time. Again, "unspeakable" sounds like nothing he's done previous - so long time Frisell fans can expect to be pleasantly surprised.