“My teacher Dale Bruning had told me about Jim, and then he came to Denver to play at the Senate Lounge,” Bill recalled. We were introduced by a mutual friend, guitarist, Lou Reed sideman and well known curmudgeon Roert Quine, who had deemed me worthy enough to tell Frisell, "That guy's alright." Bill's first album galvanized a generation of guitar players for its sheer 'otherness' at a time when Pat Metheny's warm, appealing Lexicon Prime Time delay-inflected signature was the most copied sound on the planet among aspiring guitarists.įrisell first met Hall in Denver in 1970. Frisell had released his debut recording on ECM, 1983's In Line, around the time I had met him. By then, Bill had already recorded as a sideman for a number of ECM artists, including bassist German bassist-composer Eberhard Weber, Norwegian bassist-composer Arild Andersen, Norwegian saxophonist-composer Jan Garbarek and American drummer-composer Paul Motian, with whom he would continue to play and record for the next three decades. I've known Billy since the early '80s, back when he was sporting a Ned Flanders mustache and just beginning to get accolades for his work as 'house guitarist' for ECM Records.
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