Tuesday, May 22, 2018

Herr, Frisell, Johnson, Driscoll - 1979 - Good Buddies

Herr, Frisell, Johnson, Driscoll 
1979 
Good Buddies


01. Acapulco Bells
02. Frog Legs Vampin' In The Moonlight
03. I Think I Know What You Mean
04. Sans Blues Thank You
05. What Do You Mean, What Do You Mean?
06. Good Buddies

Michel Herr - piano, synthesizer
Bill Frisell - guitar
Vinton Johnson - drums, percussion
Kermit Driscoll - electric bass

Recorded at studio Shiva, Brussels.


The defining characteristic of any given jazz musician is generally his sound. The greater control a new player has on the nature of this sound, the much more likely he’s to project a unique musical personality. For instance, a saxophonist provides practically unlimited physical control of the audio that comes through his horn, and for that reason an array of tonal appearance at his order, which partially points out the disproportionate amount of saxophonists within the pantheon of great jazz music artists. Alternatively, few electrical guitarists inhabit that world, in part as the normal jazz electric guitar audio differs small from participant to player. Generally, guitarists don’t have exactly the same amount of physical control. Minus the use of transmission control — which jazz purists shun — they’re mainly stuck with the common audio that arrives of the amp. Therefore, guitarists possess historically tended to “audio” pretty much exactly the same. Expenses Frisell is really a significant exclusion. Among jazz guitarists, Frisell is exclusive in his exploitation of adjustable timbre. Frisell’s audio swells and breathes just like a saxophonist’s (oddly enough, Frisell performed clarinet as a kid). In lots of ways his audio is similar to a pedal metal electric guitar. And even though his work is certainly steeped in jazz, Frisell is certainly a guy of catholic preferences. His music contains characteristics of rock and roll, nation, and bluegrass, among many other designs. Such liberality points out his determination to broaden his tonal palette beyond that of the normal jazz guitarist. Where a lot of regular jazz guitarists define themselves by just how many records they are able to play, Frisell provides carved a distinct segment by virtue of his audio. His capability as a genuine, lyrical participant of melody combines with a distinctive (if very much imitated) audio to create him perhaps one of the most singular music artists of his era. Delivered in Baltimore, Frisell was raised in Denver, Colorado. He started playing the clarinet within the 4th grade and used electric guitar a couple of years afterwards for his personal leisure. He continued using the clarinet, playing in college concerts and marching rings. Frisell briefly regarded playing traditional clarinet appropriately. He played electric guitar in rock and roll and R&B rings as an adolescent (senior high school classmates included Philip Bailey, Andrew Woolfolk, and Larry Dunn, long term members from the funk group Globe, Wind & Open fire). He found out jazz within the music of Wes Montgomery and started to research it. Dale Bruning, a Denver-based guitarist and educator, given his desire for jazz. Frisell made a decision to make acoustic guitar his primary device. After briefly going to the University or college of North Colorado, he relocated to Boston in 1971 to wait the Berklee College of Music. There he analyzed with Michael Gibbs and John Damian. While at Berklee, Frisell linked to additional like-minded players (Pat Metheny was a classmate). He also analyzed with Jim Hall, who became a significant influence, especially with regards to harmony. Within the middle-’70s, Frisell started leaving real bebop and started fusing jazz along with his additional musical passions. At concerning this period, he started developing his atmospheric, quasi-microtonal design. He found that, with a acoustic guitar with a versatile throat, he could manipulate the instrument’s intonation. A combined mix of experimental methods and indication processors like hold off and reverb provided Frisell an audio unlike every other guitarist. In the past due ’70s, he journeyed to Belgium. There he fulfilled Manfred Eicher, the creator of ECM Information. Beginning in the first ’80s, Frisell documented prolifically for the label as head and sideman, with such music artists as Paul Motian and Jan Garbarek. He continuing using the label through the entire decade, getting a popularity as ECM’s “home guitarist.” Frisell became very much acclaimed by critics for his advanced yet accessible function. He transferred to NY within the ’80s where he caused some of the most innovative music artists energetic on the city’s “downtown” jazz picture. Within the ’80s and ’90s, he documented and performed with an enormous variety of performers, not all of these jazz music artists. Collaborators included rock and roll and pop music artists (drummer Ginger Baker, performers Marianne Faithfull and Elvis Costello), experimental jazz music artists (saxophonist/composers John Zorn and Tim Berne), with least one traditional composer (Gavin Bryars). Frisell made up soundtracks for the silent movies of Buster Keaton. His 1996 recording, Quartet, received the Deutsche Schallplattenpreis, the German exact carbon copy of the Grammy. Frisell became an annual champion of various journal polls for his single function and recordings. By the finish from the ’90s, Frisell was probably one of the most well-known jazz music artists on the planet, with an target audience and an visual that transcended the limitations of any provided style. It ought to be described that, while he’s most widely known for his relatively “ambient” electric guitar technique, he’s a swinging, harmonically fluent jazz participant when the event warrants. Frisell transferred to Seattle, Washington in 1989 and remained active because the 21st hundred years opened, launching Ghost City in 2000, accompanied by a collection with Dave Holland and Elvin Jones in 2001. Blues Wish also made an appearance that same calendar year, accompanied by The Willies in 2002. East/Western world and Richter 858 had been both released in 2005, along with a established with Ron Carter and Paul Motian in 2006. Background, Mystery implemented in 2008. This year 2010, a trio documenting entitled Gorgeous Dreamers premiered by Savoy Jazz. A assortment of addresses and originals, it presented Frisell together with violinist Eyvind Kang and drummer Roy Royston. Frisell also made an appearance like a sideman on Reveille, the debut single giving from Kermit Driscoll, previous bassist from the guitarist’s previous operating trio. Abigail Washburn’s 2011 recording, Town of Refuge, presented Frisell as business lead guitarist. He kicked off his personal series of produces in 2011 with Lagrimas Mexicanas, some duets with Brazilian guitarist and vocalist Vinicius Cantuária; the recording was made by Lee Townsend and released over the Entertainment on Disk/eOne imprint. Townsend also created Frisell’s go back to Savoy Jazz, Indication of Lifestyle. That record highlighted a reunion from the 858 Quartet with Frisell on guitars, Jenny Scheinman on violin, Eyvind Kang on viola, and Hank Roberts on cello. In 2011, Frisell delved in to the music of John Lennon with All WE HAVE BEEN Stating…. A longtime enthusiast from the Beatles vocalist/songwriter, Frisell was became a member of once more by violinist Scheinman, in addition to guitarist Greg Leisz, bassist Tony Scherr, and drummer Kenny Wollesen on such classics as “Over the World,” “Visualize,” “You need to Cover Your Appreciate Away,” “Julia,” “Gorgeous Boy,” among others. Hewing carefully to Lennon’s unique versions, Frisell discovered methods to explore the melody and psychological content material of Lennon’s tracks and never have to overtly modification the harmonic content material of the materials. Frisell’s 2012 also noticed the come back of Floratone — his collective with Lee Townsend, Matt Chamberlain, and Tucker Martine. Floratone II premiered on March 6, 2012. He also reestablished his reference to John Zorn’s music, showing up within the ensemble for the composer’s Gnostic Preludes with harpist Carol Emmanuel and Kenny Wollesen on vibraphone. The recording was released on Tzadik weekly after Floratone II. He released another recording for the label in early 2013. Entitled Silent Humor, it presented the guitarist inside a single placing. Frisell the composer came back within a big method in June of this year, using his 858 Quartet and drummer Rudy Royston. Jointly they documented Big Sur, his debut for Sony’s relaunched OKeh imprint. In 2013, Frisell made an appearance along with his Gnostic Trio bandmates (harpist Carol Emmanuel and vibist/percussionist Kenny Wollesen) on John Zorn’s In Lambeth: Visions in the Walled Backyard of William Blake. Frisell kicked off 2014 with an appearance on Scheinman’s Sony Masterworks established The Littlest Prisoner, have scored and documented the soundtrack to Costs Morrison’s documentary THE FANTASTIC Overflow, and duetted with Greg Cohen over the bassist’s Golden Condition record. Guitar in the area Age group!, Frisell’s tribute for some of your guitar music from the past due ’50s and early ’60s, was released by OKeh in Oct. His following label providing was IF YOU WANT Upon a Celebrity, a tribute to film composers, tv scores, as well as the music artists who played in it. Alongside tributes to Elmer Bernstein and Ennio Morricone, amongst others, the established featured addresses from the Disney listen in the name, the theme in the James Connection film YOU MERELY Live Double, and “The Darkness of the Smile” in the motion picture rating from the Sandpipers. Issued in early 2016, the documenting hit number 2 over the jazz charts.

Born in Brussels on February 16, 1949, Michel Herr is active as a pianist, composer, arranger since the seventies, mainly on the jazz scene, but also writing for movies and various media.

As a jazz pianist, he had the opportunity to play with an impressive list of well known jazz musicians 

Americans such as Joe Lovano, Joe Henderson, Chet Baker, Archie Shepp, Charlie Mariano, Pepper Adams, Johnny Griffin, Slide Hampton, Lee Konitz, Bill Frisell, Charlie Rouse, Art Farmer, Steve Grossman, Judy Niemack, Lew Tabackin, John Abercrombie, etc...
Europeans such as Palle Mikkelborg, Paolo Fresu, Daniel Humair, J-F Jenny-Clarke, Aldo Romano, Palle Danielsson, Arild Andersen, Norma Winstone, Richard Galliano, Riccardo Del Fra, François Jeanneau..., etc
and of course the cream of the Belgian musicians : Philip Catherine, Steve Houben, Bert Joris, Phil Abraham, Fabrice Alleman, Richard Rousselet, Jean-Pierre Catoul, Peter Hertmans, Bruno Castellucci, Act Big Band etc...
Since 84 and for many years, he played piano and keyboards with harmonica player Toots Thielemans. He performed with him throughout the world (Europe, USA, Japan, Africa), appeared in many major festivals (Northsea, Montreal, Antibes, Jazz Jamboree in Warsaw, Stockholm, Oslo, etc...) and participated in many TV shows, records, film soundtracks, etc. He toured with him in the US and in Japan, a.o. with bassists Rufus Reid, Ray Drummond or Riccardo Del Fra and drummers Adam Nussbaum or Billy Hart.

But Michel Herr is much more that a sought after accompanist : he always has been the leader of his own groups, in which he presents his own compositions.

At the beginning of his career, in the seventies, he led Solis Lacus, an influential fusion band, and later, an acoustic trio.
With German saxophonist Wolfgang Engstfeld he co-led an international quartet which included US drummer Leroy Lowe and various bassists : Palle Danielsson, Isla Eckinger, Riccardo Del Fra, Hein Van De Geyn, Detlev Beier.

With Dutch bassist Hein Van De Geyn and American drummer Leroy Lowe he recorded the trio CD : "Intuitions". Sax Prize 1989 (Belgian Critics Award as Best Belgian jazz album of the year). Rated "Five Spots" in the French jazz magazine Jazz Hot.

Today Michel Herr leads several bands (from the trio to the big band). His latest projects are :
The Michel Herr European Quintet, with Bert Joris, Wolfgang Engstfeld, Riccardo Del Fra and Dré Pallemaerts.
The quintet's first CD, "Notes Of Life" (Igloo) received very enthusiatic reviews.

Michel Herr Unexpected Encounters, a nine-piece ensemble combining his European Quintet with a string quartet.

Michel Herr & Life Lines, a nine or ten piece band featuring his own compositions and arrangements, with top Belgian players : Steve Houben, Bert Joris or Gino Lattuca, Fabrice Alleman, Phil Abraham, Marcus Bartelt, Jacques Pirotton, Sal La Rocca or Sam Gerstmans and Bruno Castellucci or Dré Pallemaerts.

Moreover, he plays a.o. with the Fabrice Alleman Quartet, one of Belgium's top modern jazz bands. They won the Nicolas Dor Prize at the '97 Liège Festival. In the Belgian jazz referendum organized by Belgian radios RTBF and VRT, their album "Loop the Loop" was elected Best Belgian CD of the year 1998.
The second album, "Side of Life", was widely acclaimed, too, and their appearance in 2006 at the Liège Jazz Festival with US trumpet player Randy Brecker was one of the highlights of the festival (broadcasted on RTBF tv).


In recent years, Michel Herr refocused his activities on writing (numerous compositions and arrangements), and occasionally conducting and producing. 

4 comments:






  1. http://www.filefactory.com/file/2cvtngv5lj75/5626.rar

    ReplyDelete
  2. This is great! Thanks! Track 4 is among the best fusion melodies I know (without descending into Smooth Jazz).

    ReplyDelete