Over the years, Bill Frisell has contributed to the work of such collaborators as Paul Motian, John Zorn, Elvis Costello, Ginger Baker, The Los Angeles Philharmonic, Suzanne Vega, Loudon Wainwright III, Vic Chesnutt, Rickie, Lee Jones, Ron Sexsmith, Vinicius Cantuaria, Marc Johnson (in “Bass Desires”), Ronald Shannon Jackson and Melvin Gibbs (in “Power Tools”), Marianne Faithful, John Scofield, Jan Garbarek, Lyle Mays, Vernon Reid, Paul Bley, Wayne Horvitz, Rinde Eckert, The Frankfurt Ballet, film director Gus Van Sant, David Sanborn, David Sylvian, Petra Haden and numerous others, including Bono, Brian Eno, Jon Hassell and Daniel Lanois on the soundtrack for Wim Wenders’ film Million Dollar Hotel. Certainly this work has established him as one of the most sought-after guitar voices in music. The breadth of such performing and recording opportunities is a testament not only to his singular guitar conception, but his musical versatility as well. This, however, is old news by now. In recent years, it is his role as a composer and band leader which has generated increasing notoriety. For over ten years, Bill Frisell has quietly been the most brilliant and unique voice to come along in jazz guitar since Wes Montgomery. I happen to find the diverse nature of Mr. Frisell’s bodies of work to be just as touching and timeless as individual colors that a painter chooses to reflect their thought.
Bill Frisell takes a moment with MisterG
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