Download - Downbeat

Pentatonic licks also emerge in measures 14
and 62, but Frisell plays the A♭ minor pentatonic
to match the A♭ minor chord, juxtaposing it
against the C minor pentatonic that he used
throughout so much of this improvisation. It’s
also effective when he plays the C minor pentatonic
with the flatted fifth in measure 61,
against the A♭ minor harmony, and then switches
to A♭ minor pentatonic in the next measure,
changing the scale he is using while the chord
remains the same.
Another distinctive aspect of Frisell’s sound
is his use of harmonic seconds. He allows notes
a half or whole step apart to ring simultaneously.
Examples can be heard in measures 5, 6, 7,
8, 10, 23, 27, 45, 51, 52 and 63. Often this
occurs over the Cm chord, where Frisell uses
the second and third together, creating a dissonance
that helps define the harmony.
In measure 63 he plays the root and second
together. By this time the listener is familiar
with the minor sound, so the lack of a third does
not disrupt the harmony, but instead reveals a
new angle on it. On the A♭m, he also plays second
and third together, creating the same texture
against this harmony (measures 5 and 45).
Frisell uses the same second and third
against the Fm chord in measure 53 and 57, but
here he inverts the interval, making it a major
seventh. He used this same interval back in
measure 24, but in a much more dissonant fashion
against the V chord.
More evidence of Frisell’s multigenre leanings
comes in bars 46–48. The sharp chord
hits on the backbeat, while the low notes hit
on the strong beats. This creates a powerful
reggae vibe.
Bill Frisell
Jimi Durso is a guitarist and bassist in the New
York area. He can be reached at jimidurso.com.
HYOU VIELZ
DB
June 2009 DOWNBEAT 107