Bill Frisell/Thomas Morgan – Epistrophy – ECM Records ECM 2626 7739824 180-gram stereo double vinyl, 68:30 ****1/2:
(Bill Frisell – guitar; Thomas Morgan – double bass)
In 2016, guitarist Bill Frisell and double bassist Thomas Morgan performed sets at the Village Vanguard in New York. Their unconventional take on familiar and unfamiliar covers resulted in the 2017 release Small Town. With a trademark relaxed vibe, the duo tackled diverse musical compositions, including jazz (Paul Motian), r & B (Fats Domino), country (Carter Family) and even a stylized film song (“Goldfinger”). Frisell’s uncanny guitar technique (produced by his two guitars, a telecaster and hollow-body Gibson) were brimming with atmospheric resonance and creative subtlety. The innate chemistry between Frisell and Morgan was evident. Framed by the superior production by ECM (Manfred Eicher), this was a perfect match of a committed artist and an equally committed label.
A second live set has been released in 180-gram double vinyl. Epistrophy is a glowing collection of songs that are explored with meticulous sensitivity. With some connective elements to Small Town, this album is on some levels a companion piece, but in true jazz historical perspective a deeper tapestry. Side 1 opens with “All In Fun” from the 1939 Broadway musical Very Warm For May. This Kern/HammersteinII ditty has been a part of the American pop song culture for decades. Frisell, with crisp guitar lines (and some echo) distills the melodic essence in hushed atmospherics. But the dynamic guitar work touches on many areas of fluency, shifting from jazz to folk with a touch of blues. Morgan’s supple double bass injects a lilting rhythm with subtle jauntiness. His counter play and support of Frisell is noteworthy. At times, both instrumentalists seem to be soloing concurrently. The “twangy” finish is vintage Frisell. In an unusual medley, “Wildflower”/“Save The Last Dance For Me” manages to fuse bluegrass with rock ’n’ roll pioneer Doc Pomus. “Frisell’s lines on “Wildflower” exhibit a thicker country sound and have a strikingly lyrical roots context. On “Save The Last Dance For Me” there are familiar soul hooks. Lower-end chords and notation (with less effects) provide a grittiness to the performance.
Both musicians have played with drummer Paul Motian. Frisell was part of the renowned trio that boasted Joe Lovano. After covering Motian on their previous album, the duo returns with a complicated, nuanced version of “Mumbo Jumbo”. Here, there is more free-form, wilder explorations of the swirling, rolling cadences of Motian. Frisell infuses rhythmic intensity and Morgan’s elastic double bass mesh into a nuanced swinging jam. It is a departure from the previous tracks and Frisell’s guitar tones seem almost psychedelic. Taking on another John Barry Bond theme (“You Only Live Twice”), Frisell and Morgan intermingle cinematic pop with jazz insinuation. After a spacey opening, a simple two-chord bluesy vamp establishes a pulse. The song builds momentum to its recognizable, visceral melody. Enveloped by a wistful Brazilian cadence, the guitarist stretches out the aural landscape with reverberating ambiance. It has a certain resonance that would fit into a Sergio Leone or Quentin Tarantino soundtrack. A slow-fade ending is stunning. Side 3 offers three interesting numbers. “Lush Life”, written by a very young Billy Strayhorn for Duke Ellington is a jazz standard for the ages. There are too many versions to highlight. Frisell’s stellar arrangement is graceful. He embraces the achingly beautiful composition with meditative runs that showcase modulated chords. At the same time, his erudite inflection gives “voice” to the number and his improvisational acuity expands the moodiness and substance. Frisell and Morgan interpret a pair of Thelonious Monk tunes. The title track adroitly examines the unique timing and phrasing associated with Monk. Morgan’s hard-driving double bass propels Frisell to delve into the syncopated inflections of this great composer. In contrast, “Pannonica” feels elegiac, as the musicians gently wind around the song’s themes. There is a medium-swing transition that adds a festive, cool jazz shading that is coyly potent.
Amazingly, Side 4 manages to raise the bar even more. “Red River Valley” is an inspired choice as a jazz cover. Frisell begins with an abstract, ethereal intro, then seamlessly morphs into the traditional song core. This engaging rendition approximates the heartfelt country-flavored gospel of a bygone era. Frisell finger-snapping rhythms are infectious and the jazz elegance is palpable. It’s appropriate that this “quiet” album concludes with the melancholic pop standard, “In The Wee Small Hours Of The Morning”. Frisell’s erudite display of harmonics rivals the emotional aspects of the classic Sinatra version. Frisell and Morgan switch off lead and counter judiciously. It is a brilliant performance.
ECM has done a masterful job on this 180-gram album. The mic placement is excellent and reflects all of the tonal diversity of Frisell’s guitars. There is virtually no crowd noise and the hushed acoustics approximate studio acoustics. The gatefold packaging is top-notch, especially the abstract Monk-inspired cover painting by Charles Cajori. Jazz fans can only hope there is another release from these concert dates.
TrackList:
Side 1: All In Fun; Wildwood Flower/Save The Last Dance For Me
Side 2: Mumbo Jumbo; You Only Live Twice
Side 3: Lush Life; Epistrophy; Pannonica
Side 4: Red River Valley; In The Wee Small Hours Of The Morning
-Robbie Gerson
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