This long-awaited solo album from Bill Frisell, who has spent a considerable portion of his career collaborating with others, reflects just how far the guitarist has come since making his first recordings for ECM in the early 1980s. As a leader and sideman on more than 250 albums, Frisell has proven himself time and again to be an expert at engaging his fellow musicians in meaningful musical conversations and playful call-and-response. In short, he plays well, and often, with others—and that’s what makes his unaccompanied performances on Music IS so revealing. - DownBeat Editors' Pick

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REVIEW:

Since his debut recording 35 years ago, Bill Frisell has been remarkably prolific, resulting in 36 albums as a leader. On Music IS the guitarist re-examines some of his earlier works while showcasing five new compositions, all in an unaccompanied setting.

Frisell starts many tunes with an almost naive simplicity but gradually builds sonic cathedrals by using looped layers and gorgeously finessed chordal voicings; “Pretty Stars” and “Thankful” are examples of this approach. Another Frisell signature, the Monkian herky-jerky quirkiness in some of his rhythmic cadences, manifests on his sparse reworking of “Winslow Homer,” which he gradually builds up to a virtual guitar choir through overdubbing. “Change Is in the Air” is a fragile, chamber-like minor key lament that relies on multiple guitar tracks for lush effect. He makes judicious use of swirling loops and backwards effects on the somber “What Do You Want?” and the hypnotic “In Line” while the grunge element in Frisell’s playing rears its dissonant head on “Kentucky Derby.” Other intimate gems here include a haunting remake of the lonesome-sounding “Ron Carter,” an artful re-imagining of “Rambler,” and “Monica Jane,” a poignant ode to his daughter.

-- The Absolute Sound (Bill Milkowski, 8/2018)