Skip to Navigation

Gone, Just Like a Train

Gone, Just Like a Train cover art
79479

Track Listing

Click tracks with speaker icon to listen

News & Reviews

  • Financial Times: Five Stars for Bill Frisell and His "Spot-On Scores" to Films at Barbican Show

    Fresh off yesterday's five-star review in The Guardian, Bill Frisell's tour-closing concert at the Barbican earns another five stars, from the Financial Times. For the show, the Frisell Trio performed Bill's "spot-on score" that gave "a zesty sheen" to the films of Buster Keaton, Jim Woodring, and Bill Morrison, with the Trio's musical efforts "equal partner in the audiovisual experience." The paper sums up Bill's works as "a soundscape pregnant with humour, menace and the struggle to survive."

  • Guardian: Five Stars for Bill Frisell Trio's Film Music at the Barbican

    Bill Frisell concluded his Trio tour—playing music to the films of Buster Keaton, Bill Morrison, and Jim Woodring—at the Barbican in London on Saturday as part of the London Jazz Festival. The Guardian gives a perfect five stars to the performance, in which the Trio gave "all the light and shade needed to underpin three very different film-makers' visions ... Best of all were the Buster Keaton movies The High Sign and One Week, integrating music and vision so brilliantly it was impossible to think of the event as pure film or just jazz."

About this Album

Guitarist, composer, and bandleader Bill Frisell, an artist who has been called, “the most significant and widely imitated guitarist to emerge in jazz since the beginning of the 1980s” (New York Times), has been widely acknowledged for his restless eclecticism. He moves in yet another musical direction with Gone, Just Like a Train. Recorded in Burbank in 1997, it features Frisell with renowned drummer Jim Keltner and bassist Viktor Krauss in a jam-oriented rock-inflected set that reflects the wide emotional range of Frisell’s compositions.

Frisell first became aware of Jim Keltner when he heard John Hiatt’s record Bring the Family, with Ry Cooder and Nick Lowe. He was immediately fascinated by the recording and by Keltner’s playing and made an arrangement of Hiatt’s “Have a Little Faith in Me,” from which his 1994 Nonesuch recording Have a Little Faith takes its name. In recounting this first collaboration with Keltner, Frisell said, “He’s one of the most inventive, good-feeling, creative, humble, giving, soulful musicians I’ve ever played with.”

Frisell’s collaboration with Viktor Krauss began on his 1997 record Nashville, which MUSICIAN called, “among the earthiest and most deeply felt of Frisell’s many fine recordings.” The guitarist contacted Krauss, who has worked as Lyle Lovett’s exclusive bass player, at the very last minute for those sessions. Frisell later said: “I can’t imagine what might (or might not) have happened if he hadn’t been there. He turned out to be the magic glue that held everything together.” This, and the fact that Krauss is also a big Keltner fan, meant he “had to be the guy” for the new record.

Bill Frisell calls Gone, Just Like a Train “a dream project come true.” He says that Keltner and Krauss "have a lot going on under the surface. Things aren’t always what they seem. Paradox. What I love about music is what cannot be explained. Mystery. These guys have it.”

Credits

MUSICIANS
Bill Frisell, electric and acoustic guitars
Viktor Krauss, bass
Jim Keltner, drums and percussion

PRODUCTION CREDITS
Produced by: Lee Townsend
Recorded at O’Henry Sound Studios, Burbank
Recording and Mixing Engineer: Judy Clapp
Assistant Engineers: Brett Swain, Jeff Shannon
Mixed at Different Fur Recording, San Francisco
Assistant Engineer: Mark Slagele
Mastered at Masterdisk; New York City
Engineer: Greg Calbi
Production Assistance: Louisa Spier, Noel Grey

All compositions by Bill Frisell

Design by Gwen Terpstra
Art by Jim Woodring

Please install the Adobe Flash player in order to see this content.