Introspection can be born from any number of events. Losing a valued mentor is a moment that would give anyone pause. Esthesis Quartet members Dawn Clement and Elsa Nilsson searched deep inside to come to terms with the loss of their mentor, Ron Miles. Along with bandmates Emma Dayhuff and Tina Raymond, the quartet creates a program of music inspired by self-reflection, contemplation and self-discovery on their new album, Sound & Fury, that features the fantastic Bill Frisell on guitar.

A sublime and transcendent memorial to one of Zorn’s earliest mentors—Ennio Morricone. Featuring the soulful guitar of Bill Frisell set within the magical sonorities of vibraphone, harp and bells the music takes on an epic orchestral sweep with the added presence of special guest keyboard wizard John Medeski on organ and piano. Filled with beautiful harmonies, a driving rhythmic pulse and stunning lyri-cism, this is some of the most lush and spiritual music Zorn has ever written. Truly music of the Angels—intimate chamber music to heal an aching heart performed by one of the world's most ethereal ensembles.

"Destined to go down in history as a jazz classic" was the verdict with which The Guardian greeted this album on its release in 1997, saying, "Wheeler’s compositions and four of the world’s greatest improvisers make for a tranquil set that rewards with every listening. This is beautiful, golden music." Angel Song is among the apexes of the label’s catalogue, uniting four master-improvisers - each with a unique artistic identity - in an intimate, drummer-less quartet session. Kenny Wheeler is the composer of the nine hauntingly lyrical chamber-elaborations and endows them with his singular timbre on flugelhorn and trumpet in expressive melodic exchanges with alto saxophonist Lee Konitz. Dave Holland’s bass-foundation is as compelling as ever, giving Bill Frisell all the freedom for harmony-encompassing improvisation…

Preceded by "Nove Cantici per Francesco d’Assis"” and "Virtue (for Julian of Norwich)", "Teresa de Avila" is the third and final CD in Zorn’s trilogy inspired by towering figures of Christian mysticism. Written for the all-star acoustic guitar trio of Bill Frisell, Julian Lage and Gyan Riley whose performances are steeped in a feeling of love and mutual respect, the music is both beautifully simple and strangely complex, drawing equally on classical modernism, bluegrass, jazz, Jewish and renaissance music. Filled with compositional surprises, mysterious moods, beautiful harmonies and a stunning lyricism, Teresa de Ávila is a must-have for all fans of acoustic guitar music. This is one of the most personal and varied books of music Zorn has yet written—a lovely tribute to the enduring legacy of one of the world’s most beloved spiritual figures. Includes an extended appreciation by renown philosopher Arnold Davidson.

Structured like a religious mass, these seven lovely nocturnes take you to an otherworldly space of beauty and tenderness, unlike any other Zorn compositions you have ever heard. Gorgeous and restful music from a compositional seeker who continues to defy categorization, “Perchance to Dream…” is one of the most unusual and haunting collections in his catalog.

This is the fifth CD of new music written expressly for the all-star guitar trio of Bill Frisell, Julian Lage and Gyan Riley. Here Zorn draws inspiration from the enigmatic tales of Argentine philosopher/ writer Jorge Luis Borges. Like a collection of short stories, each composition is a miniature world in itself and touches on philosophy and mysticism as well as music. Blending folk, classical, jazz, bluegrass, world music and more, this is truly music of the 21st century—unclassifiable and unique. Filled with telepathic interplay and surprising compositional twists and turns, the music is achingly beautiful and intensely evocative. Another gorgeous creation from Downtown alchemist John Zorn and this incredible trio of musical masters!

Taking Turns, recorded in New York’s Avatar Studio a decade ago, finds Danish guitarist Jakob Bro joined by a multi-generational cast of improvisers, highly distinctive players all. Lee Konitz, Andrew Cyrille, Bill Frisell, Jason Moran and Thomas Morgan lend their energies to a session that bypasses conventions of the “all-star” band and puts the emphasis on teamwork. Bro’s space-conscious music encourages fresh responses: an atmospheric hint, or a fragment of gentle melody, opening up new trails to explore. “My compositions are about catching a glimpse of a feeling, sketching it down and then unfolding it as we record”, said Jakob Bro at the time.

The vague country elements long dwelling on the fringes of Bill Frisell's music rise to the forefront on Nashville, an exquisitely atmospheric collection recorded in Music City with the aid of dobro legend Jerry Douglas, Union Station members Adam Steffey and Ron Block, and Lyle Lovett & His Large Band's bassist Viktor Krauss. Produced by Wayne Horvitz, the record is both genuine and alien – while played with real affection for the country form and without any avant posturing, its sound is original and distinct, a cinematic variation on C&W tenets. While primarily instrumental and comprised largely of Frisell originals, Nashville does welcome vocalist Robin Holcomb for a pair of more traditional numbers – Hazel Dickens' "Will Jesus Wash the Bloodstains from Your Hands" and the Skeeter Davis hit "The End of the World" – as well as a cover of Neil Young's "One of These Days."

One of the classic lineups in jazz is the organ trio—a unit that typically consists of Hammond organ, guitar or sax, and drums. The sound associated with this tradition is often marked by a joyously flowing funkiness. But the group on Breaking the Shell is a different kind of organ trio, one that plays minutely-textured free jazz. The excellent release features guitarist Bill Frisell, drummer Andrew Cyrille, and—here's the instrumental gamechanger—Kit Downes on pipe organ. Opener "May 4th" quietly pulls you in with Downes's intriguing melodic fragments, Frisell's lyrical guitar, and Cyrille's brushed drums. The result is diffuse, but nevertheless hangs together, in part because of the effective use of quavering drones. In a way, "May 4th" is simply an interesting sketch, a slice of eerie ambience, but it also offers a glimpse of the inventive timbres and playing to come.

What can you expect but good things from a date featuring three players of such high pedigree. With Dave Holland and Elvin Jones representing the steadfast rhythm sections of old, and with Frisell's post-modern tones being among the finest voices moving jazz forward, a date like this should easily yield some classic moments. But Frisell comes up with only partial melodies and bare bones sketches for the band to play. Jones sounds at times utterly bored with his rhythm duties, desperate for a chance to stretch out. Frisell himself is often hesitant. Henry Mancini's "Moon River" and Stephen Foster's century-and-a-half old "Hard Times" together offer brief glimpses of levity, but cannot save the set entirely.

From the beginning of Blues Dream, the listener knows that something special is going on. The spare notes of Ron Miles' trumpet and the relaxed guitar work of Greg Leisz lay the groundwork for a spacious sound on the title cut. This openness remains throughout the album, even when alto and trombone are added into the mix. The instrumental "Ron Carter" begins with the loose, electrified feel of an early Miles Davis fusion piece, with Bill Frisell's distorted guitar exploring the space of the piece without resorting to excessive volume. The short and sweet "Pretty Stars Were Made to Shine" leans heavier on the country side, with steel guitar and Chet Atkins' fingerpicking dominating. The arrangements on Blues Dream are a big change from last year's solo effort, Ghost Town…

Guitarist Bill Frisell’s new double LP Orchestras documents two inspired concert-hall engagements arranged by Michael Gibbs for Frisell’s long-standing trio with bassist Thomas Morgan and drummer Rudy Royston: one featuring the nearly 60-piece Brussels Philharmonic, conducted by Alexander Hanson; and one with the 11-piece Umbria Jazz Orchestra, under the musical direction of Manuele Morbidini. But as with so much of Frisell’s music over the past four decades, a relatively straightforward concept and a familiar songbook yield quietly stirring revelations. The music showcases a level of comfort and interactivity that far transcends the vast majority of “with strings” projects on the jazz record shelf. Sweeping orchestration evoking landmark film scores and Gil Evans alike move nimbly within and around the trio’s telepathic rapport, and Frisell’s shimmering trademark tone melds gorgeously with symphonic strings and brass.

The brilliant and beloved cornetist and composer Ron Miles released his Blue Note debut Rainbow Sign in 2020 shortly before his tragic death in 2022 from a rare blood disorder. His legacy is honored with the release of Old Main Chapel, a recording that captures a sublime live performance by Miles’ trio with guitarist Bill Frisell and drummer Brian Blade in 2011 at Old Main Chapel in Boulder, Colorado. The 7-song set featured 6 of Miles’ indelible originals along with a cover of “There Ain’t No Sweet Man that’s Worth the Salt of My Tears.” The CD package includes heartfelt remembrances by Frisell, Blade, pianist and frequent collaborator Jason Moran, Blue Note President Don Was, and Ron’s daughter Justice Miles.

Recorded live at the Frankfurt Art Rock Festival in 1989 and at The Knitting Factory in 1990, this duo performed a handful of times in NYC, at a few festivals in Europe, and one time in Tokyo. Some tunes are stripped down to piano and guitar, others utilize drum machines, samplers and sequencers to fill out the arrangements. The music still sounds fresh, and serves as a portrait of an era, and just how unique this collaboration was.

Bill Frisell, the supreme textualist and restless searcher for new contexts, has gone supersize. Employing two classical ensembles, the 60-piece Brussels Philharmonic and the 11-piece Umbria Jazz Orchestra, Frisell and famed composer/arranger Michael Gibbs, a longtime mentor and friend of the guitarist, have programmed an entire set with each group. Gibbs, who began scoring for films and simultaneously leading jazz groups in the early 1970s, is an equal partner in this beautifully recorded project. The Brussels Philharmonic set opens with the short and uneasy "Nocturne Vulgaire," in which strings and brass nervously shift before Frisell and his drummer Rudy Royston and bassist Thomas Morgan enter. They pluck a few notes before an abrupt transition to more familiar territory, a version of Billy Strayhorn's "Lush Life." Frisell slowly works his elongated way in Strayhorn's jazz standard, switching between notes and chords, backed by a lush swarm of strings. Verging on joyous easy listening, Gibbs' "Sweet Rain" rolls along with Frisell and the strings trading leads. In the Brussels closer, Stephen Foster's unerringly divine "Beautiful Dreamer," Frisell—who's always been a sucker for a great tune—picks out the melody as the band confects an opulent background.