By: Tyler Ross
Bill Frisell ranks in the top tier of guitarists from his generation, alongside such luminaries as John Scofield and Pat Metheny. His recorded output is arguably as eclectic as any living artist. Previous projects have ranged from trio records with jazz greats Dave Holland and Elvin Jones, contemporary collaborations with producers Hal Wilner and Lee Townsend, as well as a collection of Americana and folk-tinged albums for the Nonesuch record label.
The most remarkable aspect of Frisell’s career has been his ability to retain his unmistakable sound and compositional style, regardless of genre. Whether he’s performing his own compositions, or interpreting the music of artists as diverse as Bob Dylan and Thelonious Monk, Frisell’s uniquely recognizable guitar style is always present.
Since the release of his 1996 effort Nashville, Frisell has continued to explore American roots music with subsequent albums such as Good Dog, Happy Man and Gone, Just like a Train. For his latest release, Disfarmer,, Frisell has teamed up with longtime colleagues to create a collection of music based on the work of World War II-era portrait photographer Mike Disfarmer.
Joined by Greg Leisz on steel guitars and mandolin, Jenny Scheinman on violin, and Viktor Krauss on bass, Frisell has returned to a format similar to his highly acclaimed recording Nashville. On Disfarmer, the quartet creates waves of lush counterpoint with an apparent mindset that the ensemble is greater than the individual.
Solos are virtually nonexistent as the group interprets Frisell’s folk-based melodies. The result of this collective style of playing, with acoustic timbres, is hauntingly beautiful.
In the liner notes to the album Frisell discusses his experience while researching Mike Disfarmer. Disfarmer lived in rural Heber Springs, Arkansas and created his collection of portraits between 1939 and 1945. Using inhabitants of the town as subjects, Disfarmer’s portraits present a starkly honest representation of rural Americans from this period. Frisell spent time in the South and visited Disfarmer’s hometown to draw inspiration for the album.
To conclude the liner notes Frisell remarks, “I try to picture what went on in Disfarmer’s mind. How did he really feel about the people in this town? What was he thinking? What did he see? We’ll never know, but as I write this music, I’d like to imagine it coming from his point of view. The sound of him looking through the lens.”
Frisell’s collection comes in at over seventy minutes of music with twenty-six tracks. Many of the pieces are miniatures, and Frisell incorporates similar melodic themes within many of the pieces. This parallels Disfarmer’s photographs, in that much of his work was based on congruent themes such as subject material and the compositional aspect of the photographs themselves.
Highlights on the disc include Frisell’s treatment of the tune “Farmer,” which is just over one minute in length and features Frisell on solo acoustic guitar. The track leaves you wanting more, and Frisell delivers as the melody is presented in numerous fashions throughout the album.
Another standout track is “Lovesick Blues” written by Cliff Friend and Irving Mills. “Lovesick Blues” is performed as a duet between Frisell on electric guitar and Greg Leisz on pedal steel and displays both men’s ability to interact and create infectious contrapuntal improvisations.
With Disfarmer, Frisell has recorded another gem, and brought new acclaim to the American portrait artist Mike Disfarmer.
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