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Orchestras
Orchestras in Bloomington, MN
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Guitarist
Bill Frisell
marries intimate parlor jazz lyricism with wide-screen orchestrations on his lushly realized 2024 double-album
Orchestras
. Produced by
Lee Townsend
, the LP is culled from a handful of concerts
Frisell
gave from 2021 to 2022; the first with the 60-piece
Brussels Philharmonic
conducted by
Alexander Hanson
, and the second with the 11-piece
Umbria Jazz Orchestra
under the musical direction of
Manuele Morbidini
. All of these feature arrangements by the esteemed British composer/arranger
Michael Gibbs
and find
joined by his trio with bassist
Thomas Morgan
and drummer
Rudy Royston
.
's playing has always been a dichotomy; intimate and folky one minute and wide-swinging with spectral harmonics the next. He can play dissonant with an open-ended free jazz intensity, yet he often sticks to melody, lovingly eking out the sparest lullaby. He brings both of these sides together throughout
, often expanding upon songs he'd previously recorded in small group or solo settings on past albums. The first disc with the
is more traditional-sounding and features warm renditions of
Billy Strayhorn
's "Lush Life" and
Gibbs
' "Sweet Rain," both of which recall the classic '60s orchestral jazz collaborations of
Miles Davis
and
Gil Evans
. There's also an exuberantly rootsy take on
's "Rag" that nicely expands the whirling tune into a grand, cinematic cowboy waltz that sounds like
Ennio Morricone
taking on a song by
Johann Strauss II
. The second disc with
is more angular in tone as
digs into the stormy modalism of "Lookout for Hope" and offers a spooky chamber take on his classic "Strange Meeting." Interestingly, there are two versions of
Ron Carter
's "Doom" presented, one with each ensemble and which illuminate subtle differences; the
version sounding like a lost film noir theme and the
Umbria Jazz
version like a spare deconstruction of said theme. As a soloist,
himself often leans toward deconstruction, as on "Beautiful Dreamer," where he solos first, scribbling out hints of
Stephen Foster
's folky tune before joining in with
at the end for a deeply felt sing-along-style rendition of the melody. Rife with moments of artfully sustained anticipation,
is one of
's most accessible and virtuosic recordings. ~ Matt Collar
Bill Frisell
marries intimate parlor jazz lyricism with wide-screen orchestrations on his lushly realized 2024 double-album
Orchestras
. Produced by
Lee Townsend
, the LP is culled from a handful of concerts
Frisell
gave from 2021 to 2022; the first with the 60-piece
Brussels Philharmonic
conducted by
Alexander Hanson
, and the second with the 11-piece
Umbria Jazz Orchestra
under the musical direction of
Manuele Morbidini
. All of these feature arrangements by the esteemed British composer/arranger
Michael Gibbs
and find
joined by his trio with bassist
Thomas Morgan
and drummer
Rudy Royston
.
's playing has always been a dichotomy; intimate and folky one minute and wide-swinging with spectral harmonics the next. He can play dissonant with an open-ended free jazz intensity, yet he often sticks to melody, lovingly eking out the sparest lullaby. He brings both of these sides together throughout
, often expanding upon songs he'd previously recorded in small group or solo settings on past albums. The first disc with the
is more traditional-sounding and features warm renditions of
Billy Strayhorn
's "Lush Life" and
Gibbs
' "Sweet Rain," both of which recall the classic '60s orchestral jazz collaborations of
Miles Davis
and
Gil Evans
. There's also an exuberantly rootsy take on
's "Rag" that nicely expands the whirling tune into a grand, cinematic cowboy waltz that sounds like
Ennio Morricone
taking on a song by
Johann Strauss II
. The second disc with
is more angular in tone as
digs into the stormy modalism of "Lookout for Hope" and offers a spooky chamber take on his classic "Strange Meeting." Interestingly, there are two versions of
Ron Carter
's "Doom" presented, one with each ensemble and which illuminate subtle differences; the
version sounding like a lost film noir theme and the
Umbria Jazz
version like a spare deconstruction of said theme. As a soloist,
himself often leans toward deconstruction, as on "Beautiful Dreamer," where he solos first, scribbling out hints of
Stephen Foster
's folky tune before joining in with
at the end for a deeply felt sing-along-style rendition of the melody. Rife with moments of artfully sustained anticipation,
is one of
's most accessible and virtuosic recordings. ~ Matt Collar
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