Frisell Plays Lennon
Consummate guitarist, composer  and musical interpreter Bill Frisell has assembled a trusted ensemble consisting of Jenny Scheinman (violin), Tony Scherr (bass), Greg Leisz (guitars) and Kenny Wollesen (drums) to record his take on the classic songs of John Lennon. Titled “ALL WE ARE SAYING,” the project has long been in the works—one could go as far back as the first time he heard the Beatles at the age of 13.  Fast forward a few decades and Frisell is asked to put together an impromptu set in honor of John Lennon as part of a special event in Paris.  The preparation, performances and reception to these compositions was an inspiration nurtured to fruition with this project.  Recorded at Fantasy Studios in Berkeley and produced by Lee Townsend.
 
Described by the Wall Street Journal as “the most innovative and influential jazz guitarist of the past 25 years” Frisell’s artistry has earned across the board praise for his instinctual musicianship—working both within and beyond the parameters of jazz music as he effortlessly incorporates elements of Americana, world, blues, classical, creating a rich and unique aural tapestry.
 
Says Frisell: “John Lennon's music has been with me, the band, everybody, the world...seems like forever. The songs are part of us. In our blood. There was nothing we really needed to do to prepare for this. We've been preparing our whole lives. The songs are there. All we had to do was play them. Everyone involved with this has their own personal, deep, long, relationship to John Lennon's music. It connects us all and brings us together. I feel blessed having the chance to play this music with these people”.
 
“All We Are Saying” song list:
 
Across the Universe
Revolution
Nowhere Man
Imagine
Please Please Me
You've Got to Hide Your Love Away
Hold On
In My Life
Come Together
Julia
Woman
# 9 Dream
Love
Beautiful Boy
Mother
Give Peace a Chance

Bill Frisell - “Sign of Life – Music for 858 Quartet”
The 858 Quartet was originally conceived a number of years ago when Frisell was commissioned to compose music inspired by the artist Gerhard Richter’s 858 series of paintings which was exhibited by the San Francisco Museum of Modern Art.  The new recording is a result of a composing retreat that Frisell undertook last fall Vermont.  All of the material was written in the month of October and recorded in November.  This represents the shortest gestation period of any Frisell recording to date.  Produced by longtime collaborator Lee Townsend and recorded at Fantasy Studios in Berkeley, California in late 2010, “Sign of Life” features Frisell on guitar, Jenny Scheinman on violin, Eyvind Kang on viola and Hank Roberts on cello.

“Sign of Life finds Frisell exploring chamber-group dynamics and interplay in ways that toggle between composition and improvisation, reverberating soundscapes and spiky minimalism... Owing to Frisell¹s familiar touch, tone and affection for roots music, a few tunes on Sign of Life should instantly appeal to his Nashville-bred following ... and the arrangements take full advantage of the ensemble¹s rich sonorities and intuitive level of play.”
-  Mike Joyce, Jazz Times

"Frisell in peak form... the band's extemporaneous arrangements deliver intricately worked variations on fiddle and guitar breakdowns and big vista American pastoralism .... The sound sparkles like springwater." - Phil Johnson, The Independent - London

Bill Frisell's Sign of Life (Savoy Jazz) is one of the most gorgeous new albums I've heard in a while. It's in the tradition of his "Americana" albums (Disfarmer; History, Mystery; Ghost Town; Gone, Just Like a Train; This Land), but here he burrows deeper into the roots. There are traces of folk, bluegrass, minimalism, western-blues, as well as certain modes and improvisational cadences of jazz. The ensemble is the 858 Quartet (Frisell on guitar; Jenny Scheinman, violin; Eyvind Kang, viola; Hank Roberts, cello), first formed (and last recorded) five years ago, to accompany a museum exhibition of Gerhard Richter's new paintings, which the German artist called the "858 series."

Frisell composed the new album—all 17 tracks—at the Vermont Studio Center, where his wife, the playful abstract painter Carole d'Inverno, was on a month-long retreat. The liner notes quote John Cage and others on the blessings of silence, of a pause from daily industry, and there is a hushed awe about Sign of Life, an expression of intense calm.  The musicians are top-notch, in fine form, and the sound—produced by Lee Townsend, engineered by Adam Munez, mastered by Greg Calbi—is stunningly vivid.  Fred Kaplan, Stereophile.

"The music is transcendent; alternately light and airy, moody and introspecitve."  - Vintage Guitar

The music on Sign of Life: Music for 858 Quartet was loosely composed by Frisell, and took shape in group rehearsals. 858's other members include violinist Jenny Scheinman, violist Eyvind Kang, and cellist Hank Roberts. Recorded at Fantasy Studios in San Francisco and produced by Lee Townsend, the 17 selections on this set feel very organic. The album opens with Americana-tinged themes in the two-part "It's a Long Story" that nod to country, folk, and even Curtis Mayfield's "People Get Ready" in its melody. "Old Times" hints at bluegrass, blues, and ragtime, but because of the complex interplay between the four players, reaches far past them into a music that is 858's own. "Friend of Mine" is another two-part tune; that said, where a pastoral theme is suggested in part one, a more mischievous one responds in the second some eight tracks later. Elsewhere, improvised classical motifs, jazz modes, and folk and other roots musics shimmer through these compositions, sometimes simultaneously and often spontaneously.... Sign of Life is a curious, quirky, and deceptively low-key affair that is musically labyrinthine and ambitious; it's full of gorgeous spaces, textures, utterly instinctive interplay, and unexpected delight.  Thom Jurek, All Music Guide

Bill Frisell rarely follows conventional musical pathways. The guitarist has released albums of Americana, world, blues and classical music—all with a jazz edge. Improvisation is at the heart of what Frisell does, magically forming loose ideas into compelling and frequently exigent listening experiences.
Sign of Life, recorded with the virtuosic 858 Quartet—violinist Jenny Scheinman, violist Eyvind Kang and cellist Hank Roberts—challenges the
perceptions of a classical quartet.  Frisell’s emotive depth and textural layering push the music toward an artier realm bordering on contemporary classical, but with a spatial, earthbound feel.  Elements of Aaron Copeland mix with Marvin Gaye, Eastern rhythms collide with ‘70s-soundtrack-esque passages and even old-timey traditions make a brief appearance. It’s a diverse album that reveals new delights with each spin. - Glenn Burn Silver, Relix

Bill Frisell and Vinicius Cantuaria -  Lagrimas Mexicanas
A collaborative project featuring Brazilian singer-songwriter Cantuaria (vocals, percussion and guitar) with Frisell (guitars and loops) on ten co-written original compositions.  This is layered, texturally rich, rhythmically vibrant and melodically engaging music from two masters set for release in January on Entertainment One Music in North America and the Naïve label in Europe.  Recorded in at Avast in Seattle and Fantasy Studios in Berkeley with engineers Jason Lehning and Adam Muñoz, mixed at Fantasy with Muñoz and mastered at Sterling Sound in New York with Greg Calbi.  Produced by Lee Townsend.

The guitars of Bill Frisell and Vinicius Cantuária melt together in my car speakers as if impossibly designed to echo the beauty in this very moment...
For those familiar with these two artists, either individually or in their previous collaborative incarnations including Frisell's own Intercontinentals or Cantuária's absorbing Horse and Fish, their high level of artistic integrity and deep level of musical simpatico is a given.  However, on Lágrimas Mexicanas their collaboration reaches a milestone with their first true duet record.  In fact, Frisell and Cantuária are the only two musicians on the entire record, credited with vocals, percussion, acoustic and electric guitars and loops.  The only outside contribution comes in the form of production from long time Frisell collaborator; Lee Townsend.

The album opens with the pulsing funk of "Mi Declaracion" before setting off on it's broader exploration of the common and uncommon ground shared by jazz, blues, americana and the music of Mexico.  The essence of the album, for me, is captured on "Calle 7" and "Lágrimas De Amor" (featuring Cantuária's beautifully distinctive vocal cadence), with the album reaching it's artistic peak on the atmospheric "Briga De Namorados".  The blink-and-you-miss-it gem of "La Curva" has a simple and almost archetypal quality, as if the melody has always been there, floating in the ether.  But the sweetest offerings of the collection are in those moments when it is simply one acoustic guitar and one electric guitar, Cantuária and Frisell "reacting to the sound of the thing" as Bill puts it, individual notes tumbling and fusing, dancing and consorting until they cease to be separate instruments or in fact instruments at all.  The sweetest offerings are in those moments, where it is simply one beautiful sound.  Hopefully this is only the first of many sonic expeditions for these two prolific and pioneering artists.  -  J. Hayes, No Depression

“With Cantuária's caressing vocals to the fore, these sublime and seemingly telepathic musicians produce delicate and intricate music which takes inspiration from, among others, Mexican ranchera, Afro-Brazilian rhythms and samba.  Sung largely in Spanish with Portuguese and English interludes, Lagrimas Mexicanas is an album of quite magnificence that gently insinuates itself on first hearing and which reveals extra layers and depths on each subsequent encounter.” - Dave Haslam, R2.

*****
Big Apple bossa, with an arty twist or two
Having made his name sprucing up bossa nova alongside New York’s avant-garde set, this isn’t the first time Brazilian ex-pat Vinicius Cantuária has taken the city’s ethnic pulse, nor indeed the first time he’s worked with jazz guitarist Bill Frisell.  Lágrimas Mexicanas differs, however, in being arguably his most empathetic and subtly worked experiment to date, drawing deep on NYC’s Hispanic heritage, raking up sparks from the tenderest of melodies.  Most of the album title’s tears are cried in the course of seven-minute opener Mi Declaración, a dolorous funk requiem rooted way south of the border and which is a study in contrast, coming next to the ravishing saudade of Aquela Mulher.  Calle 7 takes an airy, bittersweet, and thoroughly contemporary turn around Brooklyn.  But it’s on the title-track that Cantuária’s swarthy intensity and Frisell’s spiky intellect really click into a higher gear: it’s brilliantly propulsive, almost martial groove is peppered with grapeshot feeback and coils of grimy reverb.

On El Camino, meanwhile, the combination of Frisell’s out-on-a-limb guitar transmissions and Cantuária’s wordless, woebegone musings raises the ghost of Ry Cooder’s Paris, Texas, and harks back to Frisell’s past cinematic dabblings.  In between, the charming acoustic tracks La Curva and Cafezinho  flash glimpses of the pair’s chemistry and lend the album an uncommon equilibrium.  For this is quite possibly the most perfectly sequenced and consistently listenable set you’ll hear all year, right down to the exquisitely blurred vowels of closer Forinfas, wherein Cantuária approximates a gauche Harry Nilsson. - Brendon Griffin, Songlines (UK)

Vinicius Cantuária & Bill Frisell: “Lágrimas Mexicanas” (Entertainment One). After collaborating off and on for 25 years, this first full-length pairing of Frisell and the Brazilian singer-songwriter is a study in the jazz guitarist's ability to thrive in any genre. Frisell's Americana twang and echoing feedback mixed with twilit Bossa Nova is irresistible.  — Chris Barton, LA Times

Vinicius Cantuária is one of the leading lights of contemporary bossa nova; Bill Frisell is an experimental jazz guitarist who has collaborated with everyone from Elvis Costello to John Zorn. They’ve worked together before, but “Lágrimas Mexicanas” represents their first album-length collaboration, and it’s a quiet stunner. Frisell’s textured, atmospheric guitars and subtle electronic loops settle into the spaces between Cantuária’s gentle vocals, acoustic guitar and live percussion, giving these tracks a lush, cinematic vibe that will bewitch both traditional world music fans and lovers of global-groove artists like Thievery Corporation and David Byrne. - Metromix

Lágrimas Mexicana is a completely unique collection of songs that draws heavily from traditional Latin and Brazilian rhythms, and weds them to 21st century jazz improvisation and sonic effects in a luxuriant braid of colors, textures, styles, and languages. Having known one another for 25 years, Brazilian guitarist, songwriter, and percussionist Vinicius Cantuaria and American guitarist Bill Frisell have occasionally played on one another's albums. They have long sought the opportunity to collaborate on an album-length project. After Cantuaria moved to Brooklyn from Brazil, it presented itself. Arriving in New York, Cantuaria was deeply taken with the sheer diversity of the Spanish-speaking people and sounds he encountered on the streets, from Cubans, Dominicans, Puerto Ricans, Colombians, Venezuelans, and Mexicans; they drew him in, and his songwriter's instincts began to address what he'd heard. Here he plays acoustic guitar, percussion, and sings in his beautiful airy baritone. Frisell, who understood and orchestrated Cantuaria's vision, plays electric guitar and employs loops and efx that meld provocatively yet seamlessly with these songs. The various languages -- Spanish, Portuguese, and English -- concern themselves with the various manifestations of love, from spiritual to carnal to platonic. - by Thom Jurek, All Music

A 21st-Century Global Concoction
Because Vinicius Cantuaria and Bill Frisell share so many traits -- a love of jazz/indigenous folk hybrids, a taste for refinement and restraint that doesn't exclude either acoustic finger-picking or electronic technology, and a preference for delicate, sophisticated textures -- Lagrimas Mexicanas is a potently understated, multifaceted gem.   Emusic.com

The Great Flood

The Great Flood will be an evening long suite - 75 minutes of original music to be composed and performed by Bill Frisell with accompanying film and staging by Bill Morrison, reflecting on the Mississippi River Flood of 1927 and the ensuing transformation of American society, culture and music.  Please watch the video clip for the details on this very exciting project!  

Thank you, from Bill Frisell & Bill Morrison

Frisell's "Beautiful Dreamers" Recently Released on Savoy
Bill Frisell recently signed with Savoy/429 Records and released “Beautiful Dreamers” —a stunning recording consisting of new original compositions and striking reinterpretations featuring Eyvind Kang (viola) and Rudy Royston (drums). Produced by Lee Townsend, engineered by Adam Muñoz at Fantasy Studios in Berkeley and mastered with Greg Calbi at Sterling Sound in New York, “Beautiful Dreamers” captures the magic of one of Frisell's most personal statements in seamless and stimulating musical dialogue with his band mates Kang and Royston.

When listening to Bill Frisell play, it’s easy to forget you’re hearing an electric guitar. Through touch, tone and voicings that are free of the usual six-string tropes, his instrument can sound, variously, like a pedal steel, a toy piano, a string quartet, a church bell, a plane in the distance, even a human voice.

This remarkable gift continues to serve him well on his 29th solo album, whether he’s covering Stephen Foster (“Beautiful Dreamer”), Benny Goodman (“Benny’s Bugle”) or Teddy Randazzo (“Goin’ Out of My Head”), or playing his own spooky, cinematic tunes like “Baby Cry,” “Winslow Homer” and “Better Than a Machine.” The striking originality of the arrangements Frisell creates with viola player Eyvind Kang and drummer Rudy Royston can even transform ancient Tin Pan Alley fare like “Tea for Two” or “Keep on the Sunny Side” into something startlingly fresh and modern.

Recorded at Fantasy Studios and produced by longtime collaborator Lee Townsend, this record doesn’t really sound much like jazz as much as compelling, emotionally resonant, genre-free music. Sure, it swings in places, and there’s some fiery improvisation. But after decades of trodding such a brave and singular path, maybe Frisell deserves his own genre. How about “friz”? - Bill DeMain, JazzTimes (Oct. 2010)

"Magical!" .... Mike Hobart, Financial Times (London)

“On Beautiful Dreamers, Frisell uses works by Stephen Foster, Blind Willie Johnson, The Carter Family and Benny Goodman, along with Burt Bacharach-style pop, as springboards for wiry, bluesy, and distinctly rocking works of his own. The two sets of compositions co-exist on Beautiful Dreamers as musical cousins. Their stylistically familial ties surface with every listen. And Beautiful Dreamers is an album you will want to revisit often..... Like so many Frisell groups, this trio unfolds its music with a sound that is light yet lush, in a manner that is purposeful but unhurried... But the highlight sits in the middle of the album with a Frisell original dedicated to the late songsmith Vic Chesnutt, titled “Better Than a Machine”. In this dreamscape recording of Americana accents, the tune beams as a blast of bright, poppish sunshine. It's indeed the moment when the already attractive Beautiful Dreamers becomes even lovelier.”  By Walter Tunis, www.kentucky.com

Bill Frisell's Music for Orchestra
Bill premiered his new piece for orchestra, “Collage For the Day”, arranged and conducted by Michael Gibbs with the BBC Symphony Orchestra and guest soloist Joey Baron at the Barbican in London in November.  

The Financial Times described it as follows:  "Gibbs’s arrangements wove the orchestra in and round Frisell’s lead, providing majestic support, textural embellishment and melodic statement. A lone trumpet emerged from the guitar’s fuzz-box harmony; an orchestral climax dissolved into a duet between Frisell and free-spirit drummer Joey Baron, only to re-emerge as vigorous strings; a final orchestral flourish zipped over elliptic western swing; two violas delivered heartbreak melody. The richly deserved encore was a subdued string-supported ballad that ended with Frisell’s solitary bottleneck slide. "

Bill Frisell / Buddy Miller / Marc Ribot / Greg Leisz
In January, Bill recorded a collaborative album with long-time friends and musical colleagues Buddy Miller, Marc Ribot and Greg Leisz along with bass player Dennis Crouch and drummer Jay Bellerose.  Miller produced the record at his home studio in Nashville.  Miller and Ribot also sing along with guest vocalists  Emmy Lou Harris, Patty Griffin, Shawn Colvin, Leeann Womack and Mark AnthonyThompson (Chocolate Genius). It is out now on New West Records.

Bill Frisell - Blues Dream Live DVD

Bill Frisell - Disfarmer - What the Critics Have to Say

"Like David Lynch, post jazz guitarist Bill Frisell has a knack for insinuating an odd haze around the most wholesome aspects of Americana. Disfarmer, named after the cranky Arkansas photographer who created gripping images of his neighbors, finds Frisell teamed with steel guitarist Greg Leisz, violinist Jenny Scheinman and bassist Viktor Krauss for a set of 26 evocative miniatures. Each one flits by like a half-remembered dream, yet paradoxically their sum amounts to one of Frisell's loveliest, most consistently affecting recent creations." - Steve Smith, Time Out, New York

"The music of omnivorous guitarist Bill Frisell reflects an eclectic range of influences .... On "Disfarmer," he draws inspiration from the Depression-era portraits of little-known Arkansas photographer Michael Disfarmer. The result is a provocative soundscape that features a mixture of acoustic and electric guitars.... Creatively restless, Frisell is best suited for exploring vast territory and responding with imaginative integrity, which is evidenced on "Disfarmer." - Dan Ouellette, Billboard

"Exquisite." - Independent on Sunday

"Frisell's filmic themes summon up the ghosts of a lost America. The results are gently beautiful." The Times

"The tunes prove so hauntingly evocative that they conjure the spirits of long-vanished people and places without the need for visual accompaniment." - Metro

"The hymns and hoedowns of 'Disfarmer' are both affectionate and atmospheric." - Daily Telegraph

"You practically feel the Arkansas soil slipping through your fingers." - The Sun

"Frisell's pacing is magnificent, and the album sweeps along with purpose like a gorgeous, spacious epic. It is full of sounds that suggest settings and characters, including the mysterious eccentric who inspired the recording." - Houston Chronicle

Buster Keaton with music from Bill Frisell on DVDs
For a number of years, Bill has been performing his film scores for Buster Keaton movies live to enthusiastic audiences all over the world. Out now for the first time, his music for the Keaton classics Go West, The High Sign and One Week are being released with the films on DVD by Songtone/Tone Field Productions, available exclusively on Bill's website. Bill's longtime musical colleagues Kermit Driscoll (bass) and Joey Baron (drums) join Bill in enhancing not only the well known slapstick and comedic aspects of Keaton's work, but the inherent pathos and social commentary, as well. Purchase a copy here!

"Evincing his best qualities as both guitarist and composer, Frisell harvests evocative, melancholy Americana from deceptively modest, episodic themes. Coloring the scenes with acoustic as well as his trademark electric, Frisell produces strangely cinematic motifs on guitar, and his rhythm cohorts - longtime bassist Kermit Driscoll and drummer Joey Baron - provide abundant narrative drive." - Billboard

Bill Frisell's Monthly Download Series
Live shows available to the public!  Back in November of 2008, Songtone introduced the Bill Frisell Live Download Series.  This is a bi-monthly release of select live performance recordings from the soundboard. The shows are exclusively available here and will be made available in the lossless FLAC format along with MP3 and AAC files.  Each performance download includes image files for the CD label, cover art and tray insert which also print onto the Neato Label format.  Some performances may include extra images or video clips depending on the live performance itself.  Due to Frisell’s diverse groups this is a unique way to access his music which might otherwise never see a CD release.  Click HERE for samples.  Enjoy!

"One of the biggest problems facing contemporary jazz musicians is that they often have far more projects on the go than could ever be recorded and released commercially by conventional record labels—even small and relatively responsive indie labels. Special projects abound, or personnel changes for a tour are forced when members of a regular group are unavailable, the plight of the 21st century working musician being how to remain viable and available. Of course, it's not necessarily a problem, because regardless of the reason, it means that today's leader ends up touring in more combinations than could ever be documented through normal channels—and some of these special, one-time/one-tour projects yield tremendous gold—even leading to further collaboration. If only there was a way the pathological fan could hear all of it."

"Fans of sonic guitar sculptor Bill Frisell can rejoice, as the Live Download Series is making available a growing catalog of high quality soundboard recordings of performances by groups that have been documented on commercial albums, like the guitarist's first quartet, with cellist Hank Roberts , bassist Kermit Driscoll and drummer Joey Baron; the sextet responsible for one of Frisell's compositional high water marks, This Land (Elektra/Nonesuch, 1994); and his early 21st century trio, with bassist Tony Scherr and drummer Kenny Wollesen. But as thrilling as it is to hear a 1989 performance by Frisell and his quartet, performing music from Rambler (ECM, 1984), Lookout for Hope (ECM, 1988) and Before We Were Born (Elektra/Nonesuch, 1989), it's even more exciting to find the hidden gems—previously unrecorded groups like Frisell's trio with organist Sam Yahel and drummer Brian Blade ; or very limited-run tours like a 2005 performance from London, England's The Barbican, where Frisell, violinist Jenny Scheinman and guitarist Greg Liesz delivered a stunning tribute to The Beatles' John Lennon. "  --- John Kelman, All About Jazz

Click here for song samples and more info.

Bill Frisell "Solos" DVD now available exclusively from billfrisell.com and songtone.com
Bill's 2004 solo session from the atmospheric Berkeley Church in Toronto is now available for the first time on DVD. Beautifully shot by Director Daniel Berman, it includes such beloved original compositions as "Keep Your Eyes Open", "Throughout", "Ron Carter", "Boubacar" and "Poem For Eva" as well as songs by other composers that have long been associated with Bill's most powerful performances like "Shenandoah", "Wildwood Flower", "I'm So Lonesome, I Could Cry", "Masters Of War" and "My Man's Gone Now". As such, it can be viewed as a definitive Frisell solo statement. Click here for more info.

Jim Hall / Bill Frisell "Hemispheres"
Bill Frisell has joined together with one of his musical mentors, the legendary guitarist Jim Hall, to record "Hemispheres", a double CD on the Artist Share label for release in late November, 2008. One CD showcases Bill and Jim's duo collaboration while the other disc features a quartet with Scott Colley on bass and Joey Baron on drums. Click here for more info.

Bill Frisell "History, Mystery" (Grammy Nominated for Best Instrumental Jazz Album)
On his new album, Bill Frisell explores a fuller palette of orchestral colors and timbres than any he has previously written for. "History, Mystery" features an Octet of strings, horns and rhythm section with some of his closest collaborators - Jenny Scheinman (violin), Eyvind Kang, (viola), Hank Roberts (cello), Ron Miles (cornet), Greg Tardy (clarinet and tenor saxophone), Tony Scherr (bass) and Kenny Wollesen (drums).  Employing a symphonic sensibility of recurring thematic elements, "History, Mystery" premieres many new Frisell compositions as well as a few of his arrangements of favorite pieces by other songwriters.  Producer Lee Townsend and engineer Shawn Pierce recorded the group in various combinations and contexts, live and in the studio, to construct and shape the album.

Special Guest Appearances:

Bill also appears on these recent releases:

McCoy Tyner "Guitars" on Half Note Records.

Lucinda Williams' "West" on Lost Highway Records.

Paul Simon's "Surprise", produced in collaboration with Brian Eno, on Warner Bros. Records.

Renee Fleming's recording, "Haunted Heart", an album of ballads, standards and popular songs which also features pianist Fred Hersch on the Decca label.

T-Bone Burnett's soundtrack for the recent film on Johnny Cash, "Walk the Line" along with Marc Ribot and Jim Keltner.

Loudon Wainwright III's "Recovery" on Yep Roc Records and "Here Come the Choppers" on Sovereign Artists which also features Greg Leisz, David Piltch and Jim Keltner on the Sovereign Artists label.

Hal Willner's "Rogue's Gallery - Pirate Ballads, Sea Songs & Chanteys" along with Bono, Richard Thompson, Lucinda Williams, Loudon Wainwright III, Baby Gramps, Bryan Ferry, Rufus Wainwright, Joseph Arthur, Sting, Eliza Carthy, Van Dyke Parks, Jolie Holland, Lou Reed, Martin Carthy, Nick Cave, Robin Holcomb and others on the Anti label.

Carrie Rodriguez' "Seven Angels On a Bicycle" on the Back Porch/EMI label.

Chip Taylor and Carrie Rodriguez' "Live the Rurh Triennale" on Train Wreck Records.

Vic Chesnutt's "Ghetto Bells". It is on the New West label.

Viktor Krauss "II" on the Back Porch/EMI label.

Jakob Bro's "The Stars Are All New Songs" on Loveland Records.

Cuong Vu's ³It's Mostly Residual², on the ArtistShare label.