Lookout For Hope (Import) (CD) ~ Bill Frisell Cover Art

Lookout For Hope (Import) (CD)

By: Bill Frisell

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Product Description

Track Listing

DISC 1 for Lookout For Hope (Import) (CD) Album By Bill Frisell
1   Lookout For Hope  
2   Little Brother Bobby  
3   Hangdog  
4   Remedios  
5   Beauty  
6   Lonesome  
7   Melody For Jack  
8   Hackensack  
9   Little Bigger  
10   Animal Race  
11   Alien Prints (For D Sharpe)  
 

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Product note

Personnel: Bill Frisell (acoustic & electric guitars, banjo); Hank Roberts (vocals, cello); Kermit Driscoll (bass); Joey Baron (drums).
Recorded at Power Station, New York, New York in March 1987.
This 1987 album is a perfect showcase for Frisell's '80s quartet, which included drummer Joey Barron, bassist Kermit Driscoll and cellist Hank Roberts. Given his penchant for creating shimmering tones with his own guitar strings, Frisell's choice to construct an ensemble dominated by string players makes perfect sense. He also has a history of writing not just for the instruments at hand but, more importantly, for his players and for their unique voices.
At times, Frisell's quartet sounds like a drum-powered chamber group. At other times, they play like a wailing rock band. Tony Williams and John McLaughlin explored similar cross-fertilization several decades prior. Interplay is at its beautiful peak with the sustained life of Frisell's quartet, especially with this somewhat unorthodox instrumentation. One listen to the album-closing "Alien Prints," a dedication to late drummer D. Sharp, serves as a fine introduction to the beauty of this group and to Frisell's perfectly suited writing as well.

Album Description

This 1987 album is a perfect showcase for Frisell's '80s quartet, which included drummer Joey Barron, bassist Kermit Driscoll and cellist Hank Roberts. Given his penchant for creating shimmering tones with his own guitar strings, Frisell's choice to construct an ensemble dominated by string players makes perfect sense. He also has a history of writing not just for the instruments at hand but, more importantly, for his players and for their unique voices.
At times, Frisell's quartet sounds like a drum-powered chamber group. At other times, they play like a wailing rock band. Tony Williams and John McLaughlin explored similar cross-fertilisation several decades prior. Interplay is at its beautiful peak with the sustained life of Frisell's quartet, especially with this somewhat unorthodox instrumentation. One listen to the album-closing "Alien Prints", a dedication to late drummer D. Sharp, serves as a fine introduction to the beauty of this group and to Frisell's perfectly suited writing as well.

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