Nonesuch's 1997 Nashville Press Kit
Bill Frisell Quartet Sets Spring/Summer Tour New Album, Nashville, Generating Raves

Having recently returned from an extensive European tour with stops in Italy, France, Belgium, Switzerland, Holland, Germany, Spain and several other countries, Nonesuch recording artists Bill Frisell will bring his quartet for a series of dates throughout the spring and summer in both the United States and Canada. In addition to Bill Frisell on guitar, the quartet includes Ron Miles on trumpet, Curtis Fowlkes on trombone and Eyvind Kang on violin.

Frisell's new album,
Nashville, is already generating extensive praise for it's music, which features the guitarist joined in a mostly acoustic setting by Adam Steffey(mandolin) and Ron Block(banjo and guitar) from Alison Krauss' Union Station; legendary dobro player Jerry Douglas; Lyle Lovett's bass player Viktor Krauss and vocalist Robin Holcomb. “Nashville marks a brave departure. Delightful, pretty, stirring, too,” said The Atlanta Journal-Constitution in it’s “A” review. “He’s recorded music that is neither jazz nor bluegrass exactly, but some sublimated essence of both,” the paper added, in describing the beautifully creative, yet accessible sounds on the disc. Nashville is also making an impression in other ways, including charting on Billboard magazine’s contemporary jazz list and landing the most added album two weeks-in-a-row on the Gavin Americana chart.

Nashville is a logical progression for this “genius of the electric guitar,” (Spin) who over the course of his 10-album career at Nonesuch has covered everything from original Buster Keaton film scores, to covers of songs by Stephen Foster, Bob Dylan, and Madonna, to jazz compositions intended as soundtracks to Gary Larson cartoons.

Included in the new album’s 14 tracks are three vocals by long-time collaborator Robin Holcomb: Neil Young’s “One of These Days,” Hazel Dickens’ “Will Jesus Wash the Bloodstains From Your Hands” and a cover of the Skeeter Davis classic, “The End of the World.”
For Immediate Release
May 16, 1997

Bill Frisell’s Nashville has taken big strides in it’s second week of release. The initial impact of this record is evident in radio, retail and the press.

*
Nashville, released on April 29, is the #1 most added at Americana radio, two weeks in a row.

*At retail,
Nashville has scanned nearly 2000 units in it’s first two weeks of release.

*
Nashville debuts at #21 on Billboard Contemporary Jazz Chart.

The early press response is equally impressive:

“Frisell’s
Nashville…comes across as a postcard from some wistful utopia, the perfect home you never had but long for nevertheless…” [Jazziz]

Nashville is among the earthiest and deeply felt of Frisell’s many fine recordings.” [Musician]

Nashville marks a brave depature. Delightfull,pretty, stirring…with instrumentals that evoke tender mercies and dusk settling over the pines.” [The Atlanta Journal-Consitution]

Nashville…is sure to turn a few heads…Brezy, sentimental…” [Billboard]

“A thoroughly intriguing album…[Frisell’s] guitar playing takes in this country’s expansive skies, dirt roads and gray cities, its long and lonesome miles of railroad tracks, it’s smokestacks and cornfields, and renders them all in sound.” [CMJ]
A strain of Americana has always run through Bill Frisell’s work, especially in his most recent Nonesuch recordings—Quartet, Music for the Films of Buster Keaton, This Land and Have a little Faith(an album of covers with tunes by Bob Dylan, John Hiatt, Modonna, Stephen Foster, Aaron Copland and Sonny Rollins).  With Nashville, set for release in April 1997, Frisell has assembled some of the finest musicians in the country music capital, including Adam Steffey(mandolin) and Ron Block(banjo and guitar) from Alison Krauss' Union Station; and vocalist Robin Holcomb. Nashville is a collection of 11 original tunes and covers by Neil Young, Hazel Dickens, and Skeeter Davis, revealing the roots of a style that has long informed Frisell's signature sound. Within the context of Nashville, Frisell's long-standing fascination with Americana is brought into greater focus than ever.

With over 80 recordings to his credit, and 10 as leader on Nonesuch, Frisell's broad palette of collaborators includes Ginger Baker, Gavin Bryars, Don Byron, Elvis Costello, Marianne Faithful, Wayne Horvitz, Lyle Mays, Paul Motion, Hal Wilner, and John Zorn, among others. Widely appauded by musicians, critics and listeners alike, Frisell consistently tops the
Down Beat critic's poll.

Dubbed a "masterpiece" by The New York Times, Frisell's 1996 release
Quartet featured original compositions for Gary Larson's "Far Side" cartoons, played by an unusal ensemble: Frisell on electric and acoustic guitar, Ron Miles on trumpet, Eyvind Kang on violin and tuba, and Curtis Fowlkes on trombone.

For his 1995 Nonesuch project, Frisell trained his unique compostional lens on the the silent works of 1920s comedic wonder Buster Keaton,forging
Music for the Films of Buster Keaton: Go West and The High Sign/One Week. In a musical storytelling of the rises, falls and comedic/tragic mishaps of Buster Keaton's most memorable screen personae, the voice of Frisell's signature guitar presides--conversing, pondering, scheming--over vignettes of fluctuating rhythms, tempos and moods, weaving the particular atmosphere of placid tumult so intrinsic to Keaton's work and life.

"The most inventive and compelling guitarist to emerge in more than a decade (Oakland Tribune), composer/guitarist/bandleader Bill Frisell was born in Baltimore and grew up in Denver, marching in the school band as a clarinetist and ultimately discovering his love for the guitar through his exposure to pop music on the radio. His great enthusiasm for the Chicago Blues--and his high scjhool participation in bands covering the tunes of James Brown and other pop/soul paradigms further led to Frisell's complex affinity for contemporary American music.

His studies took him to the University of Northern Colorado and ultimately the Berklee College of Music in Boston. In 1978, he spent a year in Belgium concentrating his full efforts on composing music, and there moved to New York City, where he spent the next ten years in fruitful collaboration with some of the most creative talents of the downtown new music/jazz scene. In 1989, Frisell moved to Seattle, where he continues to make his home.
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