Elektra Nonesuch publish Bill Frisell’s ninth album : ‘Nashville’ (1997)

Bill Frisell‘s ‘Nashville’ is his ninth album recorded in 1995/1996 in Nashville and released on April 29, 1997 by Elektra Nonesuch.

Track Listing : 1.Gimme A Holler (Bill Frisell) – 05:02 . 2.Go Jake (Bill Frisell) – 04:27 . 3.One Of These Days (Neil Young) – 04:51 . 4.Mr. Memory (Bill Frisell) – 03:59 . 5.Brother (Bill Frisell) – 06:03 . 6.Will Jesus Wash The Bloodstains From Your Hands (Hazel Dickens) – 03:09 . 7.Keep Your Eyes Open (Bill Frisell) – 03:31 . 8.Pipe Down (Bill Frisell) – 06:50 . 9.Family (Bill Frisell) – 05:22 . 10.We’Re Not From Around Here (Bill Frisell) – 04:22 . 11.Dogwood Acres (Bill Frisell) – 05:28 . 12.Shucks (Bill Frisell) – 04:15 . 13.The End Of The World (Arthur Kent, Sylvia Dee) – 03:32 . 14.Gone (Bill Frisell) – 02:00

Musicians : Bill Frisell – Guitar . Viktor Krauss – Bass . Jerry Douglas – Dobro On (1 – 2 – 3 – 4 – 5 – 6 – 9 – 10 – 12). Ron Block – Banjo On (2 – 6 – 8 – 11 – 13 – 14) . Adam Steffey – Mandolin On (2 – 3 – 6 – 7 – 8 – 11 – 13 – 14) . Robin Holcomb – Vocals On (3 – 6 – 13) . Pat Bergeson – Harmonica On (2 – 8)

Production : Produced By Wayne Horvitz Greg Calbi – Mastering . Jason Lehning – Assistant Engineer . Roger Moutenot – Engineer, Mixing

Package : Barbara De Wilde – Design

Recorded September 1995 – November 1996 At Sound Emporium, Nashville, Tn.

Released On April 29, 1997 By Elektra Nonesuch.

(Source Bill Frisell‘s ‘Nashville’ | Official website)

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Downbeat
Ultimately it’s Frisell’s musical wanderlust that makes Nashville the perfect choice for Down Beat’s Jazz Album of the Year. Instead of recycling jazz’s past, Firsell’s work of art stands as an auspicious signpost that jazz in its extemporaneous glory will continue to evolve in unexpected and imaginative ways. […]

allmusic
While primarily instrumental and comprised largely of Frisell originals, Nashville does welcome vocalist Robin Holcomb for a pair of more traditional numbers – […]

JazzTimes
Through it all, Frisell’s guitaristic approach, often sounding like a cross between Chet Atkins and a Martian pedal steel player, shows respect for tradition by tugging it in new direction. […]

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Bill Frisell‘s ‘Nashville’

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