Re: Frisell's Looping techniques

[dtapia@unoco.edu (Douglas Tapia)]

>Anybody check out the new Bill Frissell album, GONE LIKE A TRAIN?

Isn't he just bad?  I've always loved Frisell, and I'm not a guitarist.

>It's interesting to see Friessell tip-toeing into looping.

Well, if you can call having used looping for the last decade "tip-toeing,"
then yes.  No, Bill won't beat you over the head with his looping prowess,
which makes it all the cooler, and really fits with his playing style, as
you noted.

Bill makes excellent use of space, and less is generally more for him.
It's amazing to see Bill play live, especially with his old Quartet.  The
last time I saw this group perform, my friends and I noted that the rest of
the group (violin, trumpet, and trombone) had embraced the concept of
arhythmic looping as one of the over-arching concepts around which the
group was built.  They had no looping processors, but would play repetitive
motives which sounded like Frisell's looped materials.  Thus, Ron Miles
(tpt), and Curtis Fowlkes (tbn) provided and interesting polyrhythmic
texture for Bill to play over.

Hum. . . Looping as a legitimate composition tool. . . who would have 
guessed.

By the way all you gear heads, What IS Bill using to do all his looping?  I
had a friend tell me that it was some propriatary somthing.  Anybody know
for sure?

Oh, and in anwser to the "Why is it that only guitarists loop" thread:
I've been looping and twisting my Rhodes, Clav, and Organ for sometime.
(That just sounds wrong somehow)


Doug Tapia