"It's hard to find a more fruitful meditation on American music than in the compositions of guitarist
Bill Frisell. Mixing rock and country with jazz and blues, he's found what connects them: improvisation
and a sense of play. Unlike other pastichists, who tend to duck passion, Mr. Frisell plays up the pleasure
in the music and also takes on another often-avoided subject, tenderness." - The New York Times
"Frisell is a revered figure among musicians - like Miles Davis and few others, his signature is built
from pure sound and inflection; an anti-technique that is instantly identifiable." - The Philadelphia Inquirer
"I like to have fun when I play and I like comedy - but it's not a conscious thing. I'm basically a pretty
shy person and I don't dance or get into fights. But there are all these things inside me that get out when
I perform. It's like a real world when I play, where I can do all the things I can't do in real life." -
Bill Frisell to The Village Voice
Over the years, Frisell has contributed to the work of such collaborators as Paul Motian, John Zorn, Elvis
Costello, Ginger Baker, The Los Angeles Philharmonic, Marc Johnson (in "Bass Desires"), Ronald Shannon Jackson
and Melvin Gibbs (in "Power Tools"), Marianne Faithful, John Scofield, Jan Garbarek, Lyle Mays, Vernon Reid,
Julius Hemphill, Paul Bley, Wayne Horvitz, Hal Wilner, Robin Holcomb, Rinde Eckert, The Frankfurt Ballet,
film director Gus Van Sant, David Sanborn, David Sylvian and numerous others, including Bono, Brian Eno,
Jon Hassell and Daniel Lanois on the soundtrack for Wim Wenders' film Million Dollar Hotel.
This work has established Frisell as one of the most sought-after guitar voices in contemporary music.
The breadth of such performing and recording situations 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 Frisell's role as composer and band leader which has garnered him 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. In light of this, it may be easy to overlook the fact that he
may also be one of the most promising composers of American music on the current scene." - Stereophile
"Bill Frisell is the Clark Kent of the electric guitar. Soft-spoken and self-effacing in conversation,
he apparently breathes in lungfuls of raw fire when he straps on his (guitar)...His music is not what
is typically called jazz, though it turns on improvisation; it's not rock'n roll; and it sure ain't
that tired dinosaur called fusion. In one of the biggest leaps of imagination since the Yardbirds and
Jimi Hendrix, Frisell coaxes and slams his hovering split-toned ax into shapes of things to come...
But besides being a guitar genius, he's turned into a terrific songwriter. Like Monk, Frisell's harmonic
and melodic ideas form a succinct, seamless mesh with outer sonic and rhythmic ideas about his ax." - Spin