Bill Frisell’s Orchestras feels like a revelation. It’s a double album that places his unmistakable guitar sound in rich, cinematic settings. Working with the Brussels Philharmonic under Alexander Hanson and the Umbria Jazz Orchestra, Frisell revisits pieces from his catalog, but this time with a sense of grandeur that still feels intimate and unassuming.
What really makes this album special is the way Frisell’s understated, almost conversational guitar playing meshes with Michael Gibbs’ sweeping, deeply emotional arrangements. It opens with Gibbs’ “Nocturne Vulgaire,” which starts with dramatic, movie-like swells before Frisell slides in with that iconomic warm, bluesy touch that we’ve all come to love. Stephen Foster’s “Beautiful Dreamer” turns into a wistful waltz with a Southern glow, while Frisell favorites like “Throughout” and “Richter 858 No. 7” take on new dimensions—the first feels like a delicate, heart-tugging dance, while the second builds into something big and bold, full of rhythmic momentum and orchestral grandeur.
The second disc digs even deeper. Tracks like “Strange Meeting” and “Lookout for Hope” are just gorgeous. Frisell’s guitar melodies sing out in this gentle, almost shy way that hits you right in the feels. Royston’s drumming brings a spark of energy, especially on “Levees,” where bold horn lines and Frisell’s lyrical playing weave together beautifully. Whether he’s lighting up bright, ringing tones or leaning into something softer and more introspective, Frisell’s guitar is always the emotional center of the album.
Orchestras feels like a love letter—not just to Frisell’s own body of work, but to the possibilities of what his music can still become. It’s warm, imaginative, and deeply human—a reminder of why Frisell has always been in a league of his own.
