| Downbeat May 2005 Review 858 Quartet Richter 858: Music by Bill Frisell Three Stars |
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| Like a "Beware of Pit Bull" sign, the roar of dissonant strings that introduces this sonic accompaniment to eight works by German visual artist Gerhard Richter signals that this isn't a neighborhood of peaceful Americana. Guitarist Bill Frisell's noisy evil twin is back, and in the company of three string players who like to manipulate sound as much as he does. With cellist Hank Roberts, violist Eyvind Chang and violinist Jenny Scheinman, Frisell undertakes the difficult task of interpreting abstract art. Recorde for a retrospective of Richter's work in 2002, the project also reunites Frisell with producer David Breskin, who was at the helm for 1984's Smash & Scatteration and Power Tools' Strange Meeting from 1987, two of Frisell's wooliest outings. At Breskin's request, Frisell composed eight pieces that reflect the nature of Richter's oil-on-aluminum abstracts. Although Breskin's concept was that Frisell would reflect Richter's squeegee work through his trademark use of digital signal processing and time shifting, the guitarist plays a more subtle role, keeping the acoustic string trio in the forefront. When he does assert himself-to establish a theme on "858-1," bounce electronic sounds off percussive figures on "858-5" or whomp down a James "Blood" Ulmer-like blues line on "858-7"-the effect is powerfu. Unfortunately, not every piece is as focused and compelling as "858-4," which moves from abstract long tones to a conclusion that bows deeply to Steve Reich. Too often, as on the darkly dissonant "858-6," Frisell loses himself in reflecting the simmering depth of Richter's paintings, and the lack of a stronger hand at the editing board is evident. -James Hale |