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49 of 55 people found the following review helpful:
4.0 out of 5 stars
Frisell's triumphant return to form...but where is his band?, September 4, 2004
"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.
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10 of 10 people found the following review helpful:
5.0 out of 5 stars
Top 10 of 2004, November 2, 2004
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!
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12 of 14 people found the following review helpful:
5.0 out of 5 stars
Continuing to push the envelope, September 3, 2004
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.
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