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Charles Lloyd Inauguration Day release: Masters of War

Charles Lloyd release or Masters of War by Bob DylanCharles Lloyd & The Marvels have released “Masters of War,” a cover of Bob Dylan’s searing anthem that features a powerful vocal by Lucinda Williams. The track was recorded live with guitarist Bill Frisell, pedal steel guitarist Greg Leisz, bassist Reuben Rogers and drummer Eric Harland at the Lobero Theatre in Santa Barbara, California on November 28, 2016, and is available today to download or stream. Click HERE to listen.

Grammy Nomination - 2016

Bill Frisell When You Wish Upon A Star


Pleased to announce Bill's 2016 CD release When You Wish Upon A Star was nominated for a grammy award for "Best Contemporary Instrumental Album".

Uncle Paul's Jazz Closet

Uncle Paul's Jazz Closet


The compositions of Paul Motian from 1973-1989   

Paul Bley (1932-2016)

Paul Bley

Bill's remarks on jazz pianist Paul Bley (1932-2016) as told to Ethan Iverson on his blog "Do the Math".


When You Wish Upon A Star

Bill's 2016 release When You Wish Upon A StarAvailable in January of 2016, When You Wish Upon a Star, guitarist Bill Frisell draws upon the classic film and television music we have heard on screen and how it shapes and informs our emotional relationships to what we see.  Frisell, whose own music has been featured in major motion pictures like Finding Forrester and The Million Dollar Hotel performs with singer Petra Haden, violist Eyvind Kang, bassist Thomas Morgan, drummer Rudy Royston in re-imagining time-honored gems such as When You Wish Upon a Star, To Kill a Mockingbird, The Shadow of Your Smile, Moon River, You Only Live Twice, Frisell's own theme for Gary Larson’s television special, Tales from the Far Side and others (for full track listing go to -  Produced by Lee Townsend; engineered by Tucker Martine and Adam Muñoz and mastered with Greg Calbi.

Fretboard Summit, 2015


Bill jamming for David Crosby

The Summit took place November 6-8, 2015 at the Costanoa Resort, outside of Santa Cruz, California. It’s a unique, sprawling property where cell phones don’t work and the Pacific Ocean is just a short hike away. We had the entire resort to ourselves and around 300 guitar fanatics from around the world came together for three days of private concerts, lectures, workshops, interviews and guitar talk. It was an event curated entirely by the Fretboard Journal, featuring some of our favorite subjects and musicians. 

More info at


All Hands - Nepal relief organization

Bill's daughter Monica was in Nepal during the summer of 2015 with All Hands Volunteers helping with the earthquake relief effort.  For more information click HERE


Ornette Coleman (1930–2015)

Bill with Ornette Coleman

June 11, 2015 Letter to John Rogers

Dear John.
I was so sad to hear the news today. This is hard. It is so difficult to find words right now. The brightest, most beautiful, powerful, shining, guiding light has been Ornette Coleman. There is no way I can adequately thank you for taking me to his home and introducing us. Spending time with him and having the chance to play music with him has been one of the most extraordinary experiences of my life. Indescribable. I will never forget it. I am truly blessed.
John Roger's website
"John Rogers is a photographer living in New York City who specializes in jazz. A few weeks ago, he approached NPR with the idea to document the unique connection he shared with his friend Ornette Coleman. He was working on it when Coleman died last week at 85. Rogers finished the story for us HERE." —Ed./NPR  published 6/15/15

Remembering a Musician Who Specialized in Empathy


The Haden family along with others perform at Charlie Haden's memorial


Charlie Haden's memorial at Town Hall on January 13th, 2015

Bill along with Charlie Haden's family, Ravi Coltrane, Brandee Younger, Mark Fain and others perform in celebration.

“Charlie didn’t have sarcasm or irony,” the bassist Putter Smith said at Charlie Haden’s memorial concert at Town Hall on Tuesday. “He had true empathy.”


Empathy is a word heard a lot around jazz musicians, sometimes to the point of cliché. It is understood as a useful background principle. Ideally, improvisers on a bandstand — and many of the greatest ones alive were onstage or in the audience on Tuesday — are making real-time exchanges, and not for a fixed result. In the best cases, they’re trying to extend a communal action beyond what they think they know. If they’re in it for private, short-game reasons, the audience hears it, and the music goes nowhere.


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