I think of Bill as a jazz impressionist. He plays jazz by implication. And, he uses space and effects in a way that lets the listener form an emotional connection with the notes. He's truly a unique player.
I saw Bill Frisell play last night in Kansas City. It is hard to explain he has such a unique harmonic approach. It is like he has created his own language. He played tunes from his new album. He played with 3 other musicians but he was just one of the 4 supporting the music. The funniest moment was when he was improvising and he spontaneously said "Oh shit" . It was a small room so everyone heard. He had got himself in a pickle and you could hear musically work him self out of the problem. The whole band took huge risks and were fearless.
The other thing I enjoy about watching him play is how he seems so delighted when he hits the right note and he deliberates on the next note. No auto-pilot here. Seen him 6 times live and its clear how much joy he gets from the music, like a teenager nailing his first lick.
i really love that aspect about seeing Frisell play live - he fairly often looks genuinely surprised and delighted by what beautiful thing he's stumbled upon, there's a real joy of discovery in his playing that you cannot fake.
thank u for featuring bill. i LOVE how he breaks all the jazz rules and leaves so much space and also effects. Modern goat. and love that he plays a lot of solid body guitars…he’s hanging onto his rock, blues and country/Americana roots no matter what.
@@jeffreybrady4841 I need to go with stuff that I somehow feel inspired to do a video on, so I can't really just do requests, I suspect it will seem fake. But if I come across something with Julian Lage that really resonatest with me then I will probably make a video on it.
ive listened to lots of his music ...I love the way he interprets songs....I love his use of free time .... totally underrated player .....he is a pioneer
Brilliant! I agree with everything you've said here. Bill has a wonderfully fresh way of incorporating influences from any genre into pretty much any tune in his own unique 'jazz', in the sense that it's still realised in the moment. It always sounds fresh, and his brand of harmonic minimalism always makes me, as listener, feel I'm taking part in a very intimate and special experience. I'm so grateful we have access to recordings of him playing, yet at the same time, when you're lucky enough to catch him live, you're left with the feeling that if the performance weren't recorded, that would be ok too, because the experience was truly about that moment and no other. Cheers!
First heard Frisell on CD back at Oberlin in the eighties… Bill is near and dear to our hearts in Colorado. Thanks for covering his art. And I can’t think of Frisell without remembering Ron Miles. We miss you, Ron. And nice to see Rudy in there. Stern, Metheny, Scofield, all part of that community of innovators. Love to you and yours, Bill. This was lovely to wake up to Jens. “We should all steal that ending chord," indeed. ☺️ Best, Daniel Ford. 🤙🏼
Totally agree about Bill Frisell’s status and great playing. I have the great good fortune to be living in Bill’s home city of Denver, Colorado and to be playing guitar in an ensemble studying and playing the music of the great Ron Miles, with many of his compositions and recordings featuring Bill Frisell on guitar. His parts are difficult to play precisely because of their subtle and rather minimalist form, in which every note is very precise and really counts, leaving little room for sloppy playing or error. Thank you so much for this post Jens: studying this piece by Bill as you have written it out will be of enormous help in learning and understanding his style. For others interested in Bill Frisell, there is an excellent new biography of him by Philip Watson called ‘Beautiful Dreamer’ - which Bill certainly is.
Thank you so much for this video Jens! You have illuminated some aspects of Bill Frisell's playing that have so far eluded me. I value all that you have done for helping me learn, and continue to learn.
Also his approach infers different harmonic substitutions that may not have been intended conceptually beforehand but are created by the isolation of the intervals he chooses to keep alongside the melody.
Ok Jens, you found me! I love Frisell and this is, in my opinion, one of the best solo guitar ever played. The sound, phrasing, notes ringing and disappearing. It reminds me Monk playing Duke Ellington songs (do you know that record?) Fantastic. Thanks for sharing to a wider audience. ❤
Jens, it is always amazing to watch your work. I am not able to follow the full depth of the music theory content but it inspires me to keep moving forward. I appreciate you spending time sharing your insights. And I particularly enjoy watching your pleasure at hearing some of these masters play music.
..Jens, thanks for this great video..i was at Berklee in 1979 and i walked into a small bar near Northeastern U and Bill Frisell was playing, i think solo too with that SG he’s playing in the older clip..he had such an incredible sound and was already fleshing out his unique style..he and Mike Stern blew me away on the first listen ..priceless..New York March 25, 2023..
Frisell's live album with Driscol and Baron was an album I just didn't get when I first heard it. It was recommended by my cousin whose opinion I valued so I decided to get it. I would sit in front of the stereo and play the album over and over. After a time I eventually realized there was nothing to get, it's just music and all you have to do is listen to it. The ear expands with exposure. And then it became one of my favorites. I'd highly recommend it, along with his album This Land if anyone is looking for a good jumping on point.
I've seen Bill play a couple of times and was totally and utterly lost in his music both times - no matter who was playing with him. Great video - thanks for sharing your thoughts on his playing.
Jens, thank you for posting this. It is one of the most helpful and insightful guitar videos I've seen. I've heard Bill Frisell on a number of albums and never really cared for his playing, as I listened to it. His playing seemed choppy and electronic to me. But after seeing you discuss his playing and the way he handles changes melodically, it has opened up a new understanding for me. I am going to listen to his playing more now, in light of your presentation of him. This non-traditional, "non-bop" way of playing is remarkable.
@@JensLarsen I found a live version of Moon River, with bass and drums, and it was terrific. Absolutely wonderful. Then I found a live version of the Beatles' "In My Life", also with bass and drums, in which Bill Frisell mostly stayed around the melody but made small but beautiful departures here and there. It seemed almost entirely in "non-bop" musical language. Thank you again for opening my eyes and ears to his playing.
Bill Frizell is an valuable reminder of how important music (jazz) needs a variety of styles and approaches. Jazz is almost a victim of the well defined skill set needed to survive but can create blinders around what can be possible. Unique and individual. Only so many Monks and Frizells
Thanks for this great perspective and analysis of Bill Frissell. He is a master of understatement in a the tradition of Jim Hall, who was similarly adventurous. It's deceiving and takes a lot of listening to fully appreciate his mastery. Thanks so much for breaking this down to help us appreciate even more the finer points of his playing.
It's no accident...growing up in the Denver area, Bill studied with Dale Bruning who himself emulated Jim Hall and Jimmy Raney (Dale and Jim were close friends). Bill actually used to play in that style also on a classic ES-175.
I’ve had the pleasure of seeing bill solo and with Thomas Morgan and I feel very lucky to have seen him. He plays like he speaks. Very thoughtful and also surprising. My favorite player.
Obviously, the delay and reverb are a BIG part of his thing and IMO, the notes that get held, end up filling in some of the harmony. Frisell is a monster!
Bill is an alien coming from planet Music. Saw him with Wollesen and Scherr at blue note in Milano and they blew my mind from the first note played, it was an amazing concert!
Do you like this approach to chord melody, or do you prefer something else? A more "traditional" take on harmonizing this song: th-cam.com/video/5DlCT5F9VRc/w-d-xo.html
My own approach has been influenced most by traditional chord melody players (especially those who predate Joe Pass), because I've always been more attracted to the role of harmony in the overall package than melody, and I just like the sound of the combination of block and arpeggios, but I love Frisell's highly individual, more stripped-down way of playing. He makes the listener appreciate the melody and, too, though he obviously has a full understanding of theory, he's not a slave to its rules and avoids harmonic excess in order to present how he hears and feels the song. Jazz is interpretive, and I think it takes as much patience, and probably much more personal insight, to find what the song really says to you and then express it instrumentally than it does to work out super tricky passages, possibly primarily for effect.
Jens, thanks, great analysis! This style is unusual but not unprecedented. I'm hearing a combination of Frisell's ear for Americana + Bach's approach to serializing vertical harmony. The Americana = spare open intervals, triads, and pedal-steel-style volume swells. (Aaron Copland captured "Americana" with open 5ths several decades before Wayne and Garth bragged about "power chords.") The Bachiana ≈ his Solo Cello Suites and Solo Violin Sonatas/Partitas - great music for single-string and occasional double-stop playing, where he had to spell out all the harmony sequentially. These also make great guitar music, in transcription. You already know how I love Johnny Smith's Bach-inspired original "Walk, Don't Run" (th-cam.com/video/0HwQxdrmwY8/w-d-xo.html). D'oh! I just remembered that (a) Smith also Bachianizes "Lullaby of Birdland" later in that ^ same set, and (b) Smith was Frisell's teacher and champion in college. So this combination is no accident. You can read Frisell's nice tribute to Smith here: jazztimes.com/features/tributes-and-obituaries/bill-frisell-remembers-johnny-smith/
@@JensLarsen I know their videos about him. But as you have a much larger audience, I thought you could make a lot of people discover this wonderful musician
Great breakdown! Bill drives right into the heart of the song. I tend to lump Frisell, Julian Lage, and Jim Hall has having distinct sounds but sharing a fundamental perspective if that makes sense.
I watched him play at the Village Vanguard a couple months ago. His trio was guitar, sax, and drums. I came in not knowing anything about him. I was surprised how "full" or "complete" his trio sounded without the low-end of the bass. Even with his sparse chord melody. A very humble person too.
Thanks so much for this. Frisell is my favorite living guitarist and it is really hard to capture what makes him special through any kind of analysis, but your video is extremely illuminating and insightful!
Thanks Jens.! I’m only a year into theory.. after playing rock and blues by ear for 51 years… but you’ve given me a lot of very interesting concepts to think about ..👍🏼❤️
I agree that the three key stylists are Metheny, Scofield and Frisell. I love that they've all played with each other and brought out very unique combinations. I have seen them all live and all blew me away, but I think deep down Frisell is my favourite for his restraint and for exactly what you explain in this video. The richness yet simplicity, his arrangements are sublime and very intimately orchestral, or chamber like (I suppose) whether playing solo or in small band settings. I think you could place all the other great contemporary jazz guitarists under the umbrella of one of these although I think the next generation is finding a new level. Kreisberg seems to bypass these guys a little. But I am no expert. Great video as usual, thanks for sharing.
Bill's guitar playing at times reminds me of some of the early Bill Evans work, like his gorgeous, slow ostenato intro to the Gershwin standard, "Porgy, You Is My Man." I believe that's on the Live, at the Village Vanguard, with the first trio. Jazz Cats gotta check out the piano masters, too. 😉
My first cd of his was Before we were born and then On Broadway vol 1... i was blown away this was the same person. Then i heard 'The Beach' of his Works lp ECM and ive never been the same person... in a good way ;o)
Nobody cares??? This is definitiv my favorite version of this song! Glad to come across this version in your lesson again. Have been watching Frisell's video aoprox. 20 times. Thank you for your valuable and inspiring analysis.
I've been copping this mode of chord melody haiku since the early 90s -- when it seemed to offer a way to get around some of the late Coltrane stuff on guitar with some kind of real musicality. I don't think it registered as the 'Frisell' thing it was until the. a few years later when suddenly I realized how much I'd been occupied by his approach -- part of which is also just the openness to cowboy chords and the country song book. That openness alone opened up the instrument for me. But then again, I have done it mostly by ear, so I miss the capacity to analyze and catch the sophistication he brings. Thanks for this, a favorite massively helpful video!
I tried one of those Klein guitars once. The one Bill used to play back in the day. It felt and sounded amazing I would love to have one of those but they are impossible to find
These approaches have a lot in common with some of the more advanced bluegrass flatpickers such as Tony Rice, David Grier and Grant Gordy. Listen to Rice's versions of Oh Shenandoah or Georgia on my Mind. Jazz guitarist Julian Lage has picked up a lot of his vocabulary. I believe Frisell also listened quite a bit to some of the Nashville studio giants like Hank Garland and Grady Martin. You can hear it in his playing.
Thanks for the insight into his playing style. I've seen him twice but I could never quite figure out what he was doing ( he was also using loops). Now at least I have some understanding of his approach.
Great video Jens! I’ve never really “got” Frisell but I have a lot of friends that are great players that dig his playing. I guess I need to do a deep dive and check him out. Great video.
@@JensLarsen - I get that but I’m a slow learner sometimes. I never got Ornette and the I heard Pat Metheny saying how much he loves his music. I am a big Metheny fan so, I figure there’s something there I’m missing. I’m a big fan of you as well so I need to give it another listen.
Thank you for covering this Frisell concept. His approach to solo guitar is probably the one I’m most inspired by. Julian Lage would be next and Methany. Great video and as always very informative.
I have seen frisel in concert several times. I saw him play with Julian lage which was”way out there” good. His Americana tunes such as Shenandoah take these song to a whole different level. Methany is Ali amazing
Bill, Pat ant John are my favourite jazz guitar players. I would also add Frank to the list. My favourite chord melody approach is Bill’s. Dave Holland does a similar approach on bass.
That's a hip overview, thank you for that! I think I noticed a couple of these 'stylistic devices' over the years, lol. E.g. breaking up spicier chord voicings, like demonstrated in the video, really creates cool effects. This technique is also a little bit along the lines of Ed Bickert - lot's of tension, briefly though, via less jarring voicings and more movement. Especially if one's not hoping for the next, huge altered chord to drop - more of a subtle approach with momentum .
I caught Bill live in concert back in 1995. It was pretty wild. The first time I heard his music I thought to myself, "This sounds like Jeff Beck trying to play like Robert Fripp." That's meant as a compliment.
Indeed, Frisell exhibits exceptional perception when it comes to voice leading and harmonization. For me, he belongs to the same "clan" with players such as Pass, Monder, Metheny and.. yes, Sco (to name a few of the prominent, when it comes to the approach). They all share common understanding on how to resolve voices, beyond the obvious and easily anticipated.
Olá, Jen's ! Você já fez algum vídeo sobre Terje Rypdal ? Um guitarrista com estilo único e que cria lindas melodias. O disco "Descendre" da ECM é maravilhoso! Obrigado por suas aulas e por compartilhar seus conhecimentos ! Thank you ! ✌️
Totally agree. I came up on Joe, Barney, Herb, and Howard Roberts, but Frisell is probably my fave. Personally, I can play "chord melody" and its good, but it sounds too much like block chords and lacks the movement of a voice, so I get it. I'll never be able to play like Wyble, but at least the hint of polyphony is my direction these days. Great video.
Discovered Bill,with the two great albums he did with Ginger Baker and Charlie Haden. Saw him once,and he explained to the audience why he doesn't stand out in front, "like a rock star" (his words),since he needs to face the bass and drums,not only listening, but watching the dynamics of the ensemble, for the best possible performance.
Jens, Bill Frisell went to East High in Denver, another graduate was Ron Miles . Ron and Bill double billed around Denver and Boulder and Rudy Royston, shown here, started out in Rons band . The interesting thing about Rons band is that he had two guitar players, neither of whom were Jazz players in a traditional sense, Todd Ayers was a heavy metal player and Farrell Lowe was an avant noise player. The album “My Cruel Heart “ showcases this lineup. Rons playing was painfully beautiful and he was a great band leader and composer, he was eclectic but completely engrossing live. Ron went on to play with Frisell often with various lineups and they cover Days of Wine and Roses on the 2012 album Quiver. Sadly Ron passed away in 2022 after recording “Rainbow Sign “ on Blue Note which features Frisell. Just had to give some love to Ron and Bill , and the much overlooked Denver/ Boulder jazz scene. As always, thanks for the great lessons.
Here's another Colorado Connection. Ron, Bill, Colorado's go-to pianist, Eric Gunnison, and that multi-dextrous drummer and notorious bad neighbor from hell, Ginger Baker all played in a project together in the early '00's. That musical project fell apart before Ginger was sent packing with his drums, his dogs, his guns, and his flaming red hair back to England-via-the Sahara-via-Nigeria-via-South Africa on and old "narcotics" charge, that very same narcotic repackaged today as Cannabis, and sold at you neighborhood King Soopers. Bill got pieces of an album out of the project; the CD titled "Coward of the Country". Maybe Ron did also? His death was a great loss to the Denver Metro jazz scene, and Ginger's loss to the music world at large.
great topic Jens ....... spot on ... with me any ways ... I find, again and again .... the MELODY rules....... fancy harmony licks ... copy and pasted in here and there to achieve a passing grade in harmony university ... doesn't stand a chance against the solid logic and singularity of a strongly projected MELODY ... just saying ... both are great approaches .... however ( and no one asked me lol!!!!!! ) more and more I find simple chords ( or none at all ) under a clearly defined melody seem to be a tastier way to go .... well, for me ... IMHO... I love this vid .... more like it please.
I think of Bill as a jazz impressionist. He plays jazz by implication. And, he uses space and effects in a way that lets the listener form an emotional connection with the notes. He's truly a unique player.
I saw Bill Frisell play last night in Kansas City. It is hard to explain he has such a unique harmonic approach. It is like he has created his own language. He played tunes from his new album. He played with 3 other musicians but he was just one of the 4 supporting the music. The funniest moment was when he was improvising and he spontaneously said "Oh shit" . It was a small room so everyone heard. He had got himself in a pickle and you could hear musically work him self out of the problem. The whole band took huge risks and were fearless.
Haha! Great story! Holdsworth said about improvising: "If you play in the dirt, then you are going to get mud on your face" 😁
The other thing I enjoy about watching him play is how he seems so delighted when he hits the right note and he deliberates on the next note. No auto-pilot here. Seen him 6 times live and its clear how much joy he gets from the music, like a teenager nailing his first lick.
i really love that aspect about seeing Frisell play live - he fairly often looks genuinely surprised and delighted by what beautiful thing he's stumbled upon, there's a real joy of discovery in his playing that you cannot fake.
I’m just glad Bill Frisell is getting his dues. I truly believe he has melded Blues, Rock, and Jazz in a new way. He’s worth studying.
He certainly is 🙂
Love Frisell because of the space he leaves between notes. Saw him live last year--unfogettable.
Yes! Amazing 🙂
Wonderful when you look into this more hidden advice to make prolific Jazz. There's no shortage to the use of theory.
I love the volume swells, which gives it a bit of a pedal steel effect without the bends.
he is certainly a pioneer! love his individuality, amazing really.
thank u for featuring bill. i LOVE how he breaks all the jazz rules and leaves so much space and also effects. Modern goat. and love that he plays a lot of solid body guitars…he’s hanging onto his rock, blues and country/Americana roots no matter what.
I fully agree - Bill Frisell's approach is very refreshing
Next video discussing the style of a Jazz guitarist will be on Grant Green 🙂
if I could make a wish: Ralph Towner - I would really like to understand more of his unique style of playing.
Julian Lage next too please
@@jeffreybrady4841 I need to go with stuff that I somehow feel inspired to do a video on, so I can't really just do requests, I suspect it will seem fake.
But if I come across something with Julian Lage that really resonatest with me then I will probably make a video on it.
ive listened to lots of his music ...I love the way he interprets songs....I love his use of free time .... totally underrated player .....he is a pioneer
Bill is indeed fantastic!
Bill is my favorite guitar player and he hardly gets any attention from the TH-cam guitar gurus…I’m so glad to see this video, thank you.
Glad you like it 🙂
Brilliant! I agree with everything you've said here. Bill has a wonderfully fresh way of incorporating influences from any genre into pretty much any tune in his own unique 'jazz', in the sense that it's still realised in the moment. It always sounds fresh, and his brand of harmonic minimalism always makes me, as listener, feel I'm taking part in a very intimate and special experience. I'm so grateful we have access to recordings of him playing, yet at the same time, when you're lucky enough to catch him live, you're left with the feeling that if the performance weren't recorded, that would be ok too, because the experience was truly about that moment and no other. Cheers!
First heard Frisell on CD back at Oberlin in the eighties… Bill is near and dear to our hearts in Colorado. Thanks for covering his art. And I can’t think of Frisell without remembering Ron Miles. We miss you, Ron. And nice to see Rudy in there. Stern, Metheny, Scofield, all part of that community of innovators. Love to you and yours, Bill. This was lovely to wake up to Jens. “We should all steal that ending chord," indeed. ☺️ Best, Daniel Ford. 🤙🏼
Frisell with Ron Miles on egg radio is on my all time fav tracks.
Good to see Bill Frisell getting some love!
Totally agree about Bill Frisell’s status and great playing. I have the great good fortune to be living in Bill’s home city of Denver, Colorado and to be playing guitar in an ensemble studying and playing the music of the great Ron Miles, with many of his compositions and recordings featuring Bill Frisell on guitar.
His parts are difficult to play precisely because of their subtle and rather minimalist form, in which every note is very precise and really counts, leaving little room for sloppy playing or error. Thank you so much for this post Jens: studying this piece by Bill as you have written it out will be of enormous help in learning and understanding his style.
For others interested in Bill Frisell, there is an excellent new biography of him by Philip Watson called ‘Beautiful Dreamer’ - which Bill certainly is.
The best video on Bills playing I’ve found so far, other than his own explanation.
Thank you 🙂 Glad you like it
Jens presents this marvelously. I got a lot of insights from this vid.
Glad to hear it 🙂
Thank you so much for this video Jens! You have illuminated some aspects of Bill Frisell's playing that have so far eluded me. I value all that you have done for helping me learn, and continue to learn.
Glad it was helpful!
Also his approach infers different harmonic substitutions that may not have been intended conceptually beforehand but are created by the isolation of the intervals he chooses to keep alongside the melody.
Ok Jens, you found me! I love Frisell and this is, in my opinion, one of the best solo guitar ever played. The sound, phrasing, notes ringing and disappearing. It reminds me Monk playing Duke Ellington songs (do you know that record?) Fantastic. Thanks for sharing to a wider audience. ❤
Jens, it is always amazing to watch your work. I am not able to follow the full depth of the music theory content but it inspires me to keep moving forward. I appreciate you spending time sharing your insights. And I particularly enjoy watching your pleasure at hearing some of these masters play music.
Glad you enjoy it!
..Jens, thanks for this great video..i was at Berklee in 1979 and i walked into a small bar near Northeastern U and Bill Frisell was playing, i think solo too with that SG he’s playing in the older clip..he had such an incredible sound and was already fleshing out his unique style..he and Mike Stern blew me away on the first listen ..priceless..New York March 25, 2023..
Thanks for sharing!
@@JensLarsen ..Jens, do you know if that old video where he’s playing the SG is available anywhere?..thanks in advance
..found it, thanks
I just caught this video on one of my favor people and musicians - Bill Frisell. Really good job, Jens. Thank you.
Glad you enjoyed it!
We saw Bill Frisell with Charles Lloyd a few years ago, and he was fantastic. Bill’s soloing had such a distinctiveness to it.
excelente lección la de este vídeo, gracias por tomarse el tiempo y espacio para compartir su experiencia y sabiduria.
Thank you! Glad you like the videos 🙂
Bill Frisell is amazing ! Unique and Beautiful ! Thank you ! ✌️
Indeed!
I love his style.
This! All the best musicians (in my opinion ofc) show the original melody the love it deserves before going into more adventurous territory
Frisell's live album with Driscol and Baron was an album I just didn't get when I first heard it. It was recommended by my cousin whose opinion I valued so I decided to get it. I would sit in front of the stereo and play the album over and over. After a time I eventually realized there was nothing to get, it's just music and all you have to do is listen to it. The ear expands with exposure. And then it became one of my favorites. I'd highly recommend it, along with his album This Land if anyone is looking for a good jumping on point.
I have that one as well, that is a great album 🙂
The version of Have A Little Faith is sublime.
I've seen Bill play a couple of times and was totally and utterly lost in his music both times - no matter who was playing with him. Great video - thanks for sharing your thoughts on his playing.
Glad you like it 🙂
Jens, thank you for posting this. It is one of the most helpful and insightful guitar videos I've seen. I've heard Bill Frisell on a number of albums and never really cared for his playing, as I listened to it. His playing seemed choppy and electronic to me. But after seeing you discuss his playing and the way he handles changes melodically, it has opened up a new understanding for me. I am going to listen to his playing more now, in light of your presentation of him. This non-traditional, "non-bop" way of playing is remarkable.
Thank you! That's really great to hear! Try to listen to his take on Moon River, I am sure you'll like it
@@JensLarsen Thank you, I will check it out.
@@JensLarsen I found a live version of Moon River, with bass and drums, and it was terrific. Absolutely wonderful. Then I found a live version of the Beatles' "In My Life", also with bass and drums, in which Bill Frisell mostly stayed around the melody but made small but beautiful departures here and there. It seemed almost entirely in "non-bop" musical language. Thank you again for opening my eyes and ears to his playing.
I've loved his music for a long time. I saw him live once. Magical concert.
Bill Frizell is an valuable reminder of how important music (jazz) needs a variety of styles and approaches. Jazz is almost a victim of the well defined skill set needed to survive but can create blinders around what can be possible. Unique and individual. Only so many Monks and Frizells
Glad you are covering Frisell. Rubato is his middle name. His playing is most organic because it breathes.
Yes, he is indeed great 🙂
Really nice with something different on the channel 👍 thank you Jens .
Glad you like it!
Thanks for this great perspective and analysis of Bill Frissell. He is a master of understatement in a the tradition of Jim Hall, who was similarly adventurous. It's deceiving and takes a lot of listening to fully appreciate his mastery. Thanks so much for breaking this down to help us appreciate even more the finer points of his playing.
YEs, those two are very related in style :)
It's no accident...growing up in the Denver area, Bill studied with Dale Bruning who himself emulated Jim Hall and Jimmy Raney (Dale and Jim were close friends). Bill actually used to play in that style also on a classic ES-175.
Love this! Love Bill! Relating his approach to Jimi’s is cool and new to me! Thanks so much!
Glad you enjoyed it!
Beatifull! I've heard bass players do it kind of that way, with only 4 strings it's a very thankful concept!
I’ve had the pleasure of seeing bill solo and with Thomas Morgan and I feel very lucky to have seen him. He plays like he speaks. Very thoughtful and also surprising. My favorite player.
that dust-covered “jazz rules”! book is hilarious, keep up the good work , you are part of the best thing about the www
Thank you, Joe 🙂
Wonderful video, Jens! Frisell is my spirit animal. Thanks for putting this together.
Glad you enjoyed it!
Love Bill Frisell, awesome and haunting
Obviously, the delay and reverb are a BIG part of his thing and IMO, the notes that get held, end up filling in some of the harmony. Frisell is a monster!
What a wonderful player Frisell is and a great breakdown too Jens. Fabulous.
Glad you enjoyed it
Bill is an alien coming from planet Music. Saw him with Wollesen and Scherr at blue note in Milano and they blew my mind from the first note played, it was an amazing concert!
Nice! They are great together!
Another gem found by Lars..The tabs are perfect.
Thank you 🙂
Hi Jens, jazz guitar is hard but I'm persevering
Stick with it 🙂
Bill is underrated, thanks Jens.
Do you like this approach to chord melody, or do you prefer something else?
A more "traditional" take on harmonizing this song: th-cam.com/video/5DlCT5F9VRc/w-d-xo.html
What do you think about this one? th-cam.com/video/7Ko78g_xmA4/w-d-xo.html
Prefer it, really. The spacious understatement. Frisell’s work is deep. I’d love to see more analysis. Thanks again, Jens.
My own approach has been influenced most by traditional chord melody players (especially those who predate Joe Pass), because I've always been more attracted to the role of harmony in the overall package than melody, and I just like the sound of the combination of block and arpeggios, but I love Frisell's highly individual, more stripped-down way of playing. He makes the listener appreciate the melody and, too, though he obviously has a full understanding of theory, he's not a slave to its rules and avoids harmonic excess in order to present how he hears and feels the song. Jazz is interpretive, and I think it takes as much patience, and probably much more personal insight, to find what the song really says to you and then express it instrumentally than it does to work out super tricky passages, possibly primarily for effect.
Jens, thanks, great analysis! This style is unusual but not unprecedented. I'm hearing a combination of Frisell's ear for Americana + Bach's approach to serializing vertical harmony. The Americana = spare open intervals, triads, and pedal-steel-style volume swells. (Aaron Copland captured "Americana" with open 5ths several decades before Wayne and Garth bragged about "power chords.")
The Bachiana ≈ his Solo Cello Suites and Solo Violin Sonatas/Partitas - great music for single-string and occasional double-stop playing, where he had to spell out all the harmony sequentially. These also make great guitar music, in transcription. You already know how I love Johnny Smith's Bach-inspired original "Walk, Don't Run" (th-cam.com/video/0HwQxdrmwY8/w-d-xo.html).
D'oh! I just remembered that (a) Smith also Bachianizes "Lullaby of Birdland" later in that ^ same set, and (b) Smith was Frisell's teacher and champion in college. So this combination is no accident. You can read Frisell's nice tribute to Smith here:
jazztimes.com/features/tributes-and-obituaries/bill-frisell-remembers-johnny-smith/
Greay video Jens, Thanks for the analysis. And of course I love Bill's style.
Glad you enjoyed!
Great ! Bill Frisell is brilliant
A video about Ted Greene would be welcome one day. He deserves more attention
Thanks! You should check out some of Ted's students like Tim Lerch and Adam Levy they make videos on him quite frequently.
@@JensLarsen I know their videos about him. But as you have a much larger audience, I thought you could make a lot of people discover this wonderful musician
Great breakdown! Bill drives right into the heart of the song. I tend to lump Frisell, Julian Lage, and Jim Hall has having distinct sounds but sharing a fundamental perspective if that makes sense.
Thanks! I also would group those 3 together, in some ways I think they are evolutions of the same thing 🙂
Great piece! I'm glad you are opinionated as ever. Kinda snarky at times. Well done! Good to have some fun , while talking about important players
Glad you enjoyed it, Mark 🙂
Merci beaucoup pour votre travail !
Glad you like it 🙂
Excellent video and great breakdown! Thank you.
Glad you enjoyed it!
I watched him play at the Village Vanguard a couple months ago. His trio was guitar, sax, and drums. I came in not knowing anything about him. I was surprised how "full" or "complete" his trio sounded without the low-end of the bass. Even with his sparse chord melody. A very humble person too.
Beautiful video, I love the freedom in the choices of how to use chord notes
Great lesson once again Jens...!!!
Glad you liked it!
Thank you for making such valuable content
Bill Frisell is an artist. I love that man's musical brain.
Thanks so much for this. Frisell is my favorite living guitarist and it is really hard to capture what makes him special through any kind of analysis, but your video is extremely illuminating and insightful!
Thank you! I am really glad you think so 🙂
I love it when Jens does a deep dive on something he finds really interesting. Great video format.
Glad you enjoyed it!
Thanks Jens.! I’m only a year into theory.. after playing rock and blues by ear for 51 years… but you’ve given me a lot of very interesting concepts to think about ..👍🏼❤️
Great to hear!
I agree that the three key stylists are Metheny, Scofield and Frisell. I love that they've all played with each other and brought out very unique combinations. I have seen them all live and all blew me away, but I think deep down Frisell is my favourite for his restraint and for exactly what you explain in this video. The richness yet simplicity, his arrangements are sublime and very intimately orchestral, or chamber like (I suppose) whether playing solo or in small band settings.
I think you could place all the other great contemporary jazz guitarists under the umbrella of one of these although I think the next generation is finding a new level. Kreisberg seems to bypass these guys a little. But I am no expert.
Great video as usual, thanks for sharing.
Bill's guitar playing at times reminds me of some of the early Bill Evans work, like his gorgeous, slow ostenato intro to the Gershwin standard, "Porgy, You Is My Man." I believe that's on the Live, at the Village Vanguard, with the first trio. Jazz Cats gotta check out the piano masters, too. 😉
I love this.
My first cd of his was Before we were born and then On Broadway vol 1... i was blown away this was the same person. Then i heard 'The Beach' of his Works lp ECM and ive never been the same person... in a good way ;o)
I love the editing on your videos -- so en point and funny
Thank you! 😁
It's like a newer generation of Ted Greene! I loved his book on Chord Chemistry. I see so many similarities. Thanks for sharing Jens!
I'm not well versed in the TG lineage just wanted to share his student Tim Lerch with you, in case you weren't familiar
Nobody cares??? This is definitiv my favorite version of this song! Glad to come across this version in your lesson again. Have been watching Frisell's video aoprox. 20 times. Thank you for your valuable and inspiring analysis.
It really seems like he takes a whole lot of inspiration from the classical guitar world, which I appreciate!
Ok, I don't really hear that. Can you give an example?
Bill in Argentina 2017 it was impressive!!!
I've been copping this mode of chord melody haiku since the early 90s -- when it seemed to offer a way to get around some of the late Coltrane stuff on guitar with some kind of real musicality. I don't think it registered as the 'Frisell' thing it was until the. a few years later when suddenly I realized how much I'd been occupied by his approach -- part of which is also just the openness to cowboy chords and the country song book. That openness alone opened up the instrument for me. But then again, I have done it mostly by ear, so I miss the capacity to analyze and catch the sophistication he brings. Thanks for this, a favorite massively helpful video!
I tried one of those Klein guitars once. The one Bill used to play back in the day. It felt and sounded amazing I would love to have one of those but they are impossible to find
Are they not made anymore?
@@JensLarsen noo they stopped making them years ago. I've seen a used one for $6000
@@Mikkokosmos ok. Didn't know that.
Brandon Ross (Harriet Tubman) is still paying his in concert.
These approaches have a lot in common with some of the more advanced bluegrass flatpickers such as Tony Rice, David Grier and Grant Gordy. Listen to Rice's versions of Oh Shenandoah or Georgia on my Mind. Jazz guitarist Julian Lage has picked up a lot of his vocabulary. I believe Frisell also listened quite a bit to some of the Nashville studio giants like Hank Garland and Grady Martin. You can hear it in his playing.
Thanks for the insight into his playing style. I've seen him twice but I could never quite figure out what he was doing ( he was also using loops). Now at least I have some understanding of his approach.
Glad you like it 🙂
His playing with Julian Lage is awesome. They play a lot of songs but their version of someday my prince will come is great!
Great video Jens! I’ve never really “got” Frisell but I have a lot of friends that are great players that dig his playing. I guess I need to do a deep dive and check him out.
Great video.
Glad you like it Rich! Actually it is perfectly fine if you don't like everything 🙂
@@JensLarsen - I get that but I’m a slow learner sometimes. I never got Ornette and the I heard Pat Metheny saying how much he loves his music.
I am a big Metheny fan so, I figure there’s something there I’m missing.
I’m a big fan of you as well so I need to give it another listen.
Good lesson
Glad you think so!
Thank you for covering this Frisell concept. His approach to solo guitar is probably the one I’m most inspired by. Julian Lage would be next and Methany. Great video and as always very informative.
Glad you like it!
I have seen frisel in concert several times. I saw him play with Julian lage which was”way out there” good. His Americana tunes such as Shenandoah take these song to a whole different level. Methany is Ali amazing
Yes, he is amazing live 🙂
Great content, as always!
Glad you think so!
Hey Jens. Great video as usual! Love Frissell. Just a simple heads up. I believe your chord chart at 4:47 shows x2 Ds rather than a D and a D#.
Thanks! That could be, it is almost impossible for me to catch all typos in music that I know really well or come up with myself 🙂
Bill, Pat ant John are my favourite jazz guitar players. I would also add Frank to the list. My favourite chord melody approach is Bill’s. Dave Holland does a similar approach on bass.
That's a hip overview, thank you for that! I think I noticed a couple of these 'stylistic devices' over the years, lol. E.g. breaking up spicier chord voicings, like demonstrated in the video, really creates cool effects. This technique is also a little bit along the lines of Ed Bickert - lot's of tension, briefly though, via less jarring voicings and more movement. Especially if one's not hoping for the next, huge altered chord to drop - more of a subtle approach with momentum .
I caught Bill live in concert back in 1995. It was pretty wild. The first time I heard his music I thought to myself, "This sounds like Jeff Beck trying to play like Robert Fripp." That's meant as a compliment.
The king
Agree with most all of your assessment. For me, the top three jazz guitarists of all time are Wes Montgomery, Allan Holdsworth and Bill Frisell.
Indeed, Frisell exhibits exceptional perception when it comes to voice leading and harmonization. For me, he belongs to the same "clan" with players such as Pass, Monder, Metheny and.. yes, Sco (to name a few of the prominent, when it comes to the approach). They all share common understanding on how to resolve voices, beyond the obvious and easily anticipated.
He is certainly one of the most important ones to be aware of 🙂
Reminds my right away of John McLaughlin, but then John has covered (innovated) so many styles, including Shakti.
Olá, Jen's ! Você já fez algum vídeo sobre Terje Rypdal ? Um guitarrista com estilo único e que cria lindas melodias. O disco "Descendre" da ECM é maravilhoso! Obrigado por suas aulas e por compartilhar seus conhecimentos ! Thank you ! ✌️
Thank you! Terje Rypdal is not really my thing, so it is not super likely that I will make a video on him 🙂
Jeans suas aulas de chord solo é fantástica meus parabéns tô aprendendo muinto
Totally agree. I came up on Joe, Barney, Herb, and Howard Roberts, but Frisell is probably my fave. Personally, I can play "chord melody" and its good, but it sounds too much like block chords and lacks the movement of a voice, so I get it. I'll never be able to play like Wyble, but at least the hint of polyphony is my direction these days. Great video.
Discovered Bill,with the two great albums he did with Ginger Baker and Charlie Haden.
Saw him once,and he explained to the audience why he doesn't stand out in front,
"like a rock star" (his words),since he needs to face the bass and drums,not only listening,
but watching the dynamics of the ensemble, for the best possible performance.
Jens, Bill Frisell went to East High in Denver, another graduate was Ron Miles . Ron and Bill double billed around Denver and Boulder and Rudy Royston, shown here, started out in Rons band . The interesting thing about Rons band is that he had two guitar players, neither of whom were Jazz players in a traditional sense, Todd Ayers was a heavy metal player and Farrell Lowe was an avant noise player. The album “My Cruel Heart “ showcases this lineup.
Rons playing was painfully beautiful and he was a great band leader and composer, he was eclectic but completely engrossing live.
Ron went on to play with Frisell often with various lineups and they cover Days of Wine and Roses on the 2012 album Quiver.
Sadly Ron passed away in 2022 after recording “Rainbow Sign “ on Blue Note which features Frisell.
Just had to give some love to Ron and Bill , and the much overlooked Denver/ Boulder jazz scene.
As always, thanks for the great lessons.
Here's another Colorado Connection. Ron, Bill, Colorado's go-to pianist, Eric Gunnison, and that multi-dextrous drummer and notorious bad neighbor from hell, Ginger Baker all played in a project together in the early '00's.
That musical project fell apart before Ginger was sent packing with his drums, his dogs, his guns, and his flaming red hair back to England-via-the Sahara-via-Nigeria-via-South Africa on and old "narcotics" charge, that very same narcotic repackaged today as Cannabis, and sold at you neighborhood King Soopers.
Bill got pieces of an album out of the project; the CD titled "Coward of the Country". Maybe Ron did also? His death was a great loss to the Denver Metro jazz scene, and Ginger's loss to the music world at large.
great topic Jens ....... spot on ... with me any ways ... I find, again and again .... the MELODY rules....... fancy harmony licks ... copy and pasted in here and there to achieve a passing grade in harmony university ... doesn't stand a chance against the solid logic and singularity of a strongly projected MELODY ... just saying ... both are great approaches .... however ( and no one asked me lol!!!!!! ) more and more I find simple chords ( or none at all ) under a clearly defined melody seem to be a tastier way to go .... well, for me ... IMHO... I love this vid .... more like it please.
Cool lesson
I think there's an error in the tab shown at 4:40?
The b9 on the b string is shown as another d and should be a fret higher
It's just to check if you guys are paying attention
@@JensLarsen 😂
Speaking of the SG and Vinny- that’s getting closer to my favorite player, Michael Landau.