With some forty albums in a 40-year career, guitarist Bill Frisell needs no introduction. As regular as a watch, or almost, but never stuck in a given stylistic timeline, Frisell has redefined the concept of musical evolution by always staying on the move, jumping from one genre to another, without ever getting lost or giving up his hyper-personal way of conceiving creativity. For Orchestras, his 41st opus, Frisell ventures into a rare collaboration with large ensembles. Here he is, playing with a symphony orchestra (the Brussels Philharmonic) and a Big Band (the Umbria Jazz Orchestra). One at a time, as you may have guessed.
We’re a long way from “soloist with strings”, even if the latter are treated sumptuously by the brilliant arranger Michael Gibbs, a Frisell loyalist. The arrangements are top-notch, refined and complementary to the musical complexity that Frisell likes to bring to his compositions. Here, then, are some standards (superb Lush Life) but above all classics from the Frisell repertoire. Gibbs seems to have indulged himself, calling on all sections of the Brussels Philharmonic to shine, with woodwind and violin solos highlighted in the most beautiful way. Over this princely cushioning, Frisell delicately fingers his instrument. His notes, timbre colors and fractions of melodies are spiced up with intelligent parsimony.
These are the kind of concerts we’d like to see in the Montreal Jazz Fest program! We’ve got two world-class symphony orchestras in this city – how easier could it be? What are we waiting for in the offices of Montreal’s most famous festival?
The portion with the Umbria Jazz Orchestra is just as impressive in its musicality, but of course less surprising in its relationship with the guitarist’s unique playing.
This is an album we’ll love to listen to again and again, to immerse ourselves in the abundance of textures that unfold.
