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Track Listings
| 1. Blues Dream |
| 2. Ron Carter |
| 3. Pretty Flowers Were Made For Blooming |
| 4. Pretty Flowers Were Made To Shine |
| 5. Where Do We Go |
| 6. Like Dreamers Do |
| 7. Outlaws |
| 8. What Do We Do |
| 9. Episode |
| 10. Soul Merchant |
| 11. Greg Leisz |
| 12. Tractor |
| 13. Fifty Years |
| 14. Slow Dance |
| 15. Things Will Never Be The Same |
| 16. Dream On |
| 17. Blues Dream |
Product Description
Amazon.co.uk Review
For those who have been wondering where Mr Bill's musical wanderings would lead him, Blues Dream provides the ambitious answer. Nearly all Frisell's fascinations are here: the pastoralism of Have A Little Faith, a Nashville tinge, and the cinematic sounds of Quartet. There's also the electronic loop atmospheres of his ECM and early Elektra years and the alternating Ellingtonian and Salvation Army horns of his quintet period. All of this is melded into 18 new compositions commissioned by the Walker Arts Centre. A textural richness comes courtesy of Greg Leisz's various guitars backing Frisell's own guitar and a stunning integration of three horns: Curtis Fowlkes' trombone, Ron Miles' trumpet and Billy Drewes' saxophones. As you listen to this string of broad-shouldered pieces, tributes to greats such as Ron Carter and strangely blues-inflected soundscapes, it's apparent that the solos of Frisell's first solo album, Ghost Town, can operate as a sort of sketch or "cartoon" for this, the full painting; or a short that is then expanded into a feature. Frisell's career is taking on the aspect of a well-crafted film or novel that explores different story lines before bringing them together for the finale (and this might be the prelude to the finale). --Michael Ross
CD Description
BLUES DREAM is another in a series of guitarist Bill Frisell's painterly, roots-inflected explorations of American music. Here, Frisell is joined by a horn section which includes trumpeter Ron Miles and trombonist Curtis Fowlkes (of the Jazz Passengers), and the sound of hard brass in the mix crisply offsets his idiosyncratic, bent-note, impresssionistic techniques. Actually, the guitarist gets off more than a few rock-licks on the R&B jam "Ron Carter", a tribute to the bassist that, interestingly, sounds nothing like the elder jazzman's own music. Frisell returns to a more familiar pastures on "Pretty Flowers Were Made For Blooming" and its uptempo cousin, "Pretty Stars Were Made To Shine", which sound as though they were cribbed directly from the Carter Family Songbook. But, on "Like Dreamers Do (Pts. 1 & 2)", the presence ofthose horns prevents the leader from getting too lost in his Americana reveries. Consequently, BLUES DREAM is one of the strongest sounding solo outings of Bill Frisell's career.
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