Bill Frisell: Sign of Life Review

By: Faraz Chaudry

Bill Frisell Sign of Life

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With teachers like Johnny Smith and Jim Hall, Bill Frisell has always had one foot in the Jazz world. The other was free to explore countless other genres and styles including fusion, fingerstyle, and even progressive folk. He also has a penchant for ample sonic manipulation, including eccentric effects and loops. That’s why his new album, Sign Of Life: Music For 858 Quartet, is such a far departure. In this instance, he creates melodies and arrangements by exploiting his bluegrass and folk chops, inducing an engrossing vibe and sound.

Frisell plays as part of the 858 Quartet, the other three-fourths comprised of violin, viola and cello. This instrumentation is perhaps the most striking feature of the album as it allows for a peculiar authenticity, yet with a distinctly modern flavor. The focus is still very much on Frisell’s lines, which are blues-y but extremely restrained. His sound is clean and smooth, produced by an unencumbered electric guitar. There are limited sections of improvisation which are most often framed by long vamps and repetitive accompaniment.

The first track, “It’s A Long Story [Part 1],” was the most appealing to me with a beautiful melody further bolstered by harmonies that delicately trickle in one by one. An interesting thing happens, however, when you reach Track 6, “It’s A Long Story [Part 2],” a very similar melody returns but in a more dissonant voice and arrangement.

This continues as the album progresses; the tunes become increasingly ethereal and esoteric. The accessible folky melodies are replaced by either fleeting lines or verbose vamps. However, there are quite a few musical gems interspersed all through the 17 tracks. More importantly, throughout the album there is something every guitarist will find intriguing.

Bill Frisell’s capacity as a guitarist and composer are undeniable in this work, but few of the melodies and arrangements are of the enduring variety, which makes it difficult to stay fully engaged for 53 minutes. I found that the key to fully enjoying an album as unconventional as this is listening in the proper environment: The delicate and airy excitation of this work is best suited to a warm summer night on the porch…If that’s your sort of thing.

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