Editorial Review:

Album Description:
Two CD set. Bill Frisell's History, Mystery is a series of short pieces, alternately elegant and playful, written by Frisell for an octet comprised of the guitarist himself and a group of longtime collaborators-friends. One evocative snippet melds into another to form a virtually seamless work that unfolds over the course of this double-disc package. It has an engrossingly theatrical quality, as if it were the score to some unseen play. Some of these tracks were originally written for Mysterio Sympatico, a 70-minute multi-media dialogue between Frisell and fellow Seattle based artist/comic book author Jim Woodring that premiered in 2002 at St. Ann's Warehouse in Brooklyn, featuring Frisell's compositions and Woodring's surreal projections, and that has subsequently been reprised around the country.









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Disc 1:

1. Imagination
2. Probability Cloud
3. Probability Cloud Part 2
4. Out of Body
5. Struggle
6. A Momentary Suspension of Doubt
7. Onward
8. Baba Drame
9. What We Need
10. A Change Is Gonna Come
11. Jackie-Ing
12. Show Me
13. Boo and Scout
14. Struggle Part 2
15. Heal
16. Another Momentary Suspension of Doubt
17. Probability Cloud

Disc 2:

1. Monroe
2. Lazy Robinson
3. Question #1
4. Answer #1
5. Faces
6. Sub-Conscious Lee
7. Monroe Part 2
8. Question #2
9. Lazy Robinson Part 2
10. What We Need Part 2
11. Waltz For Baltimore
12. Answer #2
13. Monroe Part 3

Rating: - Frisell Montage
Overview:
In History, Mystery Bill Frisell combines elements of the many different styles and genres he has dabbled with over the years into one cohesive story telling album. You can hear elements of Appalachia (ala The Willies), string orchestrations (ala Unspeakable), ambient soundscapes (ala Floratone), great horn lines (Blues Dream), African jazz (ala the Intercontinentals) and quirky odd Friselldoms (ala The Rambler). Basically Bill has gone into his bag of tricks and combined the many magical things he can do into one dreamy CD. At first listen it's a bit much to take in and for fans who are not wild about violins, the string orchestrations might seem a bit too far from jazz. However, after several listens the clever crafting of the songs and the great interactions between the musicians reveal themselves. The overall mood of the album is somber, tragic, intense and dramatic.

Performers: Bill Frisell (electric & acoustic guitars & electronics), Ron Miles Cornet, Greg Tardy (tenor sax, clarinet), Jenny Scheinman (violin), Eyvind Kang (viola), Hank Roberts (cello), Tony Scherr (bass), Kenny Wolleson (drums)

Song Highlights:
Probability Cloud - This song reminds me a lot of Miles Davis' performance of Manuel de Falla's "Will O Wisp" from Sketches from Spain. It has a bit of Spanish tango feel to it. The combined orchestration of strings and horns in the main melody line is beautifully done.

Struggle - Just a killer bass line melody with backing strings. This is perhaps the catchiest song on the CD. Frisell's harmonics over the time are perfectly placed to. Not too much, just a touch here, a note there, plenty of space to let it breath.

Baba Drame - Better than the original Frisell version from Intercontinentals. It sounds like the song was meant for a string section.

Struggle Part 2 - Completely different version of Struggle. Same song, different mood. This version is great because Frisell really lets loose and rocks out a killer guitar solo.

Waltz for Baltimore - Featrues lengthy passionate sax solo by Greg Tardy. Greg really gets all his frustrations out in this brilliant solo.

This might be remembered as Frisell's greatest album. I'm not ready to say it's my favorite, but its really growing on me, and I feel there's a lot of subtle things left for me to discover here.

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Rating: - Not much to say
I have been listening to Bill for years now and he has always had an impact on my artistic vision. Being a musician myself, I have enjoyed a rich appreciation for Frisell's music, both inspiring and listenable. It isn't very often that an artist is able to revamp a style, yet here he has done it once again. Combining orchestral instruments in a jazz context is nearly impossible without sounding forced. As you know if you enjoy Bill's music, he rarely if ever forces anything and this record is perfect! Every time I hear a new recording I think it's my favorite, but "History" is special in that the song order creates a unique flow lost in the digital world. Remember, "Gone, Just Like a Train", it's that good... Enjoy!

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Rating: - Miniatures writ large
Bill Frisell leads an octet over the 30 mostly short songs that make up "History, Mystery". He has a very good group -- Ron Miles on trumpet, Greg Hardy on sax, Jenny Schienman, Eyvind Kang & Hank Roberts on strings, Tony Scherr on bass, and Kenny Wollesen drumming. The songs generally have a creative dreaminess about them. The closest touchstone to this CD is Frisell's "Have A Little Faith". One thing contributing to dreaminess is that many of the songs show up more than once, so there's 40 seconds of "Answer #1" then later 110 seconds of "Answer #2". For all of the interesting miniatures, the longer songs with longer solos stand out -- "Baba Drame", "A Change Is Gonna Come", "Struggle", and "Waltz For Baltimore". Greg Hardy's solo in "A Change Is Gonna Come" is a highlight of the CD. Given that this CD has more players, Frisell's guitar is downplayed and he also doesn't step on his distortion pedal. It's more about Frisell the bandleader and composer and not the guitar hero. At 90 minutes, it's a long CD, but it doesn't seem long, which is a compliment. Bill Frisell fans should absolutely pick this one up. Anyone curious about Frisell would find this a good starting place as well.

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Rating: - reptetive, sad, pleasant
The pieces of music on this album were done by a professional bunch of folk who for some time have been going on in a certain direction. It's the first Frisell album I ever bought, so I can't say much about the guy's past. Anyawy, most pieces on this album are sad. Some of them are repetitive and boring. Few have interesting compositions. All in all it's a pleasant affair. It's the kind of music some people would want to listen to sitting in an old rocking chair and looking at the post-sunsent with a glass of fine Cognac on the side, thinking about nothing in particular.

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Rating: - just a listener
this is only the second recording released by frisell that i've heard that I like. musicians, most of them guitar players, sing praises to frisell's mastery as a jazz guitarist. i'm not a musician, just someone listening to music I like, mostly jazz, and i am attentive to the suggestions of my betters, the musicians. so i've been listening to frisell, hoping that some day the light bulb will go on and i'll understand what makes him a great jazz guitarist on his trio recordings, where his sound, to my untrained ears, drones on and on, and when it isn't droning it disturbs me with a hokeyness unexpected to jazz.

well, history, mystery isn't a trio outing, it's an octet of a string trio (the other recording by frisell I like is richter 858) and a jazz quartet and frisell on guitars, covering a range of americana, which is say some of it sounds hokey to me and some of it drones on, but with thirty selections there's breathing, exhaling and inhaling, and frisell's musical ideas and vision become democratic and not the stuff solely for the music specialist.

frisell is committed to american music of the united states. jazz is american music, arguably, america's only music, in which case any american music frisell plays is jazz. personally, not a form of reasoning i'm prepared to follow, nor am I saying this is frisell's question: is jazz americana music or is americana music jazz?

however, it is evident in history, mystery, more than in other frisell recordings i've heard, that he's working on something important musically, in the manner of charles ives.