Music for the Films of Buster Keaton: Go West

Submitted by nonesuch on Thu, 05/29/2008 - 19:14
Release Date
DescriptionExcerpt

This “soundtrack”—performed by Frisell, bassist Kermit Driscoll and drummer Joey Baron—was originally designed as live accompaniment to pioneering film comedian Keaton’s silent film. Says Billboard, “Frisell has crafted one of his finest, most evocative albums.”

Description

The CD of this album is available to purchase at ArkivMusic.

“The most inventive and compelling guitarist to emerge in more than a decade” (Oakland Tribune), composer/guitarist/bandleader Bill Frisell trains his unique compositional lens on the silent film works of 1920s comedic phenom Buster Keaton, forging Music for the Films of Buster Keaton: Go West and The High Sign / One Week, two remarkable recordings representing the sixth and seventh additions to Frisell's Nonesuch catalog.

Music for the Films of Buster Keaton provides a deeper look at Frisell’s longstanding fascination with Americana (also explored in his earlier Nonesuch releases This Land and Have a Little Faith). In a musical storytelling of the rises, falls and comedic/tragic mishaps of Buster Keaton’s most memorable screen personae, the voice of Frisell’s signature guitar presides conversing, pondering, scheming over vignettes of fluctuating rhythms, tempos and moods, weaving the particular atmosphere of placid tumult so intrinsic to Keaton’s work and life. After a New York City performance accompanying the films, the New York Times said, “Mr. Frisell’s scores perfectly balance the need to be abstract and the need to be literal ... [He has] recurring motifs that suggest the new American possibility of the time, motifs redolent of the sort of optimism heard in some country music, blues and jazz.”

Both Go West and The High Sign / One Week feature the Bill Frisell band, a tightly knit trio in which longtime collaborators Kermit Driscoll (bass) and Joey Baron (drums) flank Frisell’s inimitable fretwork, exhibiting a level of communication for which Frisell’s ensembles are renowned. Formed in 1986, the band often conspired with such notable talents as clarinetist Don Byron, trombonist Curtis Fowlkes, and accordionist Guy Klucevsek, among others.

ProductionCredits

PRODUCTION CREDITS
Produced by Lee Townsend
Recorded at Möbius Music, San Francisco
Recording Engineer: Oliver DiCocco
Assistant Engineer: Christian Jones
Mixed at Different Fur Recording, San Francisco
Mixing Engineer: Judy Clapp
Assistant Engineer: Mark Slagle
Mastered by Greg Calibi at Masterdisk, New York

Design by John Gall
Buster Keaton photographs courtesy the Douris Corporation and the Rohauer Collection

Nonesuch Selection Number

79350

Number of Discs in Set
1disc
ns_album_artistid
38
ns_album_id
88
ns_album_releasedate
ns_genre_1
0
ns_genre_2
0
Album Status
Artist Name
Bill Frisell
MusicianDetails

MUSICIANS
Bill Frisell, acoustic and electric guitars
Kermit Driscoll, acoustic and electric basses
Joey Baron, drums and percussion

Cover Art
UPC/Price
Label
CD+MP3
Price
0.00
UPC
075597935028BUN
Label
MP3
Price
11.00
UPC
603497073962
  • Music for the Films of Buster Keaton: Go West
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Track Listing

News & Reviews

  • Ahead of the long-awaited world premiere of Omar, the opera composed by Rhiannon Giddens and Michael Abels, at the Spoleto Festival USA in Charleston, SC, next Friday, Giddens has released her own recording of the song “Julie’s Aria” from the opera. The recording was made by Giddens with guitarist Bill Frisell and her frequent collaborator Francesco Turrisi. Omar is based on the life and autobiography of enslaved Muslim scholar Omar Ibn Said, who was forcefully brought to Charleston from Africa in 1807. “My work as a whole is about excavating and shining a light on pieces of history that not only need to be seen and heard," Giddens says, "but that can also add to the conversation about what’s going on now. This is a story that hasn’t been represented in the operatic world—or in any world.” Omar will also be performed by LA Opera, Lyric Opera of Chicago, Boston Lyric Opera, San Francisco Opera, and Carolina Performing Arts at the University of North Carolina Chapel Hill.

  • Cornetist, composer, and educator Ron Miles died at his home in Denver, Colorado, on Tuesday, March 8, due to complications from polycythemia vera, a rare blood disorder, at the age 58. He can be heard on several Nonesuch recordings, performing with Joshua Redman on the 2018 Grammy-nominated album Still Dreaming and with Bill Frisell on History, Mystery (2008), Blues Dream (2001), and Quartet (1996).

Buy Now

  • About This Album

    The CD of this album is available to purchase at ArkivMusic.

    “The most inventive and compelling guitarist to emerge in more than a decade” (Oakland Tribune), composer/guitarist/bandleader Bill Frisell trains his unique compositional lens on the silent film works of 1920s comedic phenom Buster Keaton, forging Music for the Films of Buster Keaton: Go West and The High Sign / One Week, two remarkable recordings representing the sixth and seventh additions to Frisell's Nonesuch catalog.

    Music for the Films of Buster Keaton provides a deeper look at Frisell’s longstanding fascination with Americana (also explored in his earlier Nonesuch releases This Land and Have a Little Faith). In a musical storytelling of the rises, falls and comedic/tragic mishaps of Buster Keaton’s most memorable screen personae, the voice of Frisell’s signature guitar presides conversing, pondering, scheming over vignettes of fluctuating rhythms, tempos and moods, weaving the particular atmosphere of placid tumult so intrinsic to Keaton’s work and life. After a New York City performance accompanying the films, the New York Times said, “Mr. Frisell’s scores perfectly balance the need to be abstract and the need to be literal ... [He has] recurring motifs that suggest the new American possibility of the time, motifs redolent of the sort of optimism heard in some country music, blues and jazz.”

    Both Go West and The High Sign / One Week feature the Bill Frisell band, a tightly knit trio in which longtime collaborators Kermit Driscoll (bass) and Joey Baron (drums) flank Frisell’s inimitable fretwork, exhibiting a level of communication for which Frisell’s ensembles are renowned. Formed in 1986, the band often conspired with such notable talents as clarinetist Don Byron, trombonist Curtis Fowlkes, and accordionist Guy Klucevsek, among others.

    Credits

    MUSICIANS
    Bill Frisell, acoustic and electric guitars
    Kermit Driscoll, acoustic and electric basses
    Joey Baron, drums and percussion

    PRODUCTION CREDITS
    Produced by Lee Townsend
    Recorded at Möbius Music, San Francisco
    Recording Engineer: Oliver DiCocco
    Assistant Engineer: Christian Jones
    Mixed at Different Fur Recording, San Francisco
    Mixing Engineer: Judy Clapp
    Assistant Engineer: Mark Slagle
    Mastered by Greg Calibi at Masterdisk, New York

    Design by John Gall
    Buster Keaton photographs courtesy the Douris Corporation and the Rohauer Collection

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