Bill Frisell - electric and acoustic guitars,
6 string banjo, loops & bass
recording and mixing engineer:
mastering engineer: Greg Calbi
Tell your Ma, Tell your Pa
Ghost Town / Poem for Eva
Variation On a Theme
(Tales from the Farside)
Follow Your Heart
I'm So Lonesome I Could Cry
What a World
My Man's Gone Now
When I Fall in Love
Winter Always Turns to Spring
Justice and Honor
Finger Snappin' and Toes Tappin'
Under a Golden Sky
All paintings by Claude Utley.
Package design by Gwen Terpstra.
GHOST TOWN REVIEWS
Frisell (multi-tracked) builds moody spiraling
guitar pieces and alone, where he explores spatial possibilites
with a minimalist’s ear… a milestone in the career
of a true innovator – enchanting as anything he has done
and a clear window into his muse. - CMJ
"Handling all the instruments on Ghost Town (guitars,
6-string banjo, bass, and loops), Bill Frisell merges his head-long
dive into roots music with his trademark loops and sonic ingenuity
- all to stunning effect. Frisell's compositions run the gamut
from pure Americana ("Fingers Snappin' and Toes Tappin'") to tweaked-out
soundscapes ("Creep" and "Outlaw"). On the standard "When I Fall
in Love," he plays the tune's melody on the 6-string banjo over
beautifully comped chords that pulse with slow tremolo. Hank Williams'
"I'm So Lonely I Could Cry" receives similar treatment - only
this time Frisell picks the tune's mournful melody on acoustic
guitar. On "Variations on a Theme (Tales from the Farside)," he
kicks in the distortion to solo over a haunting two-chord vamp."
"Frisell and producer Lee Townsend allow each song's individuality
to emerge, yet Ghost Town has a coherent sound and mood.
Don't miss this amazing, contemplative record by a modern guitar
genius." - Guitar Player
"Bill Frisell's Ghost Town is not a desolate place
where hopes blow around like tumbleweeds and memories have dried
to dust, but a lyrical Utopia where the one-of-a-kind guitarist
can indulge his love of glowing heartland melodies in splendid
Taking a break from the illustrious crossover bands with which
he has traveled through Nashville and other roots-music
intersections, Frisell goes solo on a collection of originals,
country staples and popular standards. The bright, vibrant sound
he and his longtime producer Lee Townsend get from his layered
picking and strumming lights up the room. The plaintive beauty
he coaxes from the songs, never breaking a sweat but never relinquishing
a meaningful tension on the strings either, can light up your
Frisell is not one of your newfangled genre-benders. He is less
interested in stylistic diversification than locating the ageless
underground well in which jazz and blues flow into folk and country.
Coming from another artist, rendering the standard "When I Fall
In Love" on banjo might smack of musical posturing. But here,
lightly embroidered with some overdubbed counterpoint, it is as
relaxed and openly romantic as a Nat King Cole vocal. Departing
the long, purple night of the soul portrayed by Hank Williams'
"I'm So Lonesome I Could Cry", Frisell offers a lucidly understated
early-a.m. reverie that finds self-knowingness in being alone
rather than tearfulness.
While there is no explicit evidence on Ghost Town of
his recent discovery of early string heroes such as Dock Boggs
and Roscoe Holcomb, tracks such as "Wildwood Flower" carry the
full weight of their back-country blues. For all his optimism,
Frisell is hardly a Norman Rockwellian innocent, as one jazz reviewer
recently characterized him. There is complex feeling in his reflections
of Americana, and, as expressed through his spooky looping, even
a dark side." - No Depression
"Guitarist Bill Frisell has come a long way since his last
fully solo album, 1983's "In Line." He has traveled from the cool
abstractions of an ECM, avant-jazz sensibility toward a style
suffused by the rich, warm sounds and good humor of vernacular
Americana. In fact, though filed at retail with Frisell's other
jazz-oriented work, the evocatively titled "Ghost Town" has more
in common with folk music - even more so than his recent country-tinged
masterpiece, "Nashville." Playing acoustic and electric guitars
(as well as the occasional banjo) through an array of effects,
Frisell conjures off-kilter prairie hymns and bent Appalachian
waltzes; in addition to new material, he reprises such original
tunes as his theme to "Tales From The Farside" and essays vintage
numbers like "I'm So Lonesome I Could Cry" and "Wildwood Flower."
One of the fastest-selling Frisell albums to date, "Ghost Town"
sounds like a classic already." - Billboard