Firehouse 12  45 Crown Street  New Haven, CT 06510  203.785.0468
         












The Bill Frisell Trio SOLD OUT
Part of the Spring '07 Jazz Series
Monday, June 18, 2007
8:30p $30 The on-line box office is closed.
Please call (203) 785-0468 for tickets.
10:00p $30 The on-line box office is closed.
Please call (203) 785-0468 for tickets.
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Performers
[Click on the performer for more information]

Bill Frisell : guitar
Kenny Wollesen
Tony Scherr

Bill Frisell on his trio with Tony Scherr & Kenny Wollesen: "My trio with Tony Scherr and Kenny Wollesen is probably the most flexible, spontaneous group I play with. The program can change from night to night depending on what kind of mood we're all in, the size or sound of the room, the audience, what we have or had not had to eat that day, how much sleep we've had recently, how far we've traveled, etc. etc. We never plan a set before hand. With Tony and Kenny I have the luxury of playing just about anything that comes into my head at any moment. This could be music from any of my albums, standard songs, folk songs, or whatever. These guys really inspire and challenge me everytime we get together."

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, Van Dyke Parks, 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, Julius Hemphill, Paul Bley, Wayne Horvitz, Hal Willner, Robin Holcomb, 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.

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.

Much has been made of the uncategorizable nature of Frisell's music and the seamlessness with which his bands have navigated such a variety of styles. "Frisell's pals just happen to be superb musical chameleons, up to every change of gears and genre the guitarist's catch-all music throws at them. The band even comfortably follows the leader onto Country and Western turf, as Frisell often approximates the whine of a lonely steel guitar." (Minneapolis Star Tribune). Bill's comments to the same publication: "When I was in Colorado, I never really played that country stuff or even liked it that much, though it was all over the radio. But as I got older, it crept into my music a lot." In fact, the Chicago Tribune observed that "Frisell possesses not only impressive compositional skills but also a remarkable ability to encompass seemingly antagonistic musical genres." Commenting on his eclectic compositional inclinations, Frisell told Down Beat: "When I write something, it just sort of comes out. I'm not thinking, 'Now I'm going to write a cowboy song'. It just happens, then I usually think about what must have influenced it later. When I sit down to write something in a certain style, it doesn't work. I don't know if that's important or something I need to do, or if it doesn't matter. I don't care; I'm just thankful something comes out sometimes."

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