Ghost Town
No matter what the context--and there have been scores of them--Bill Frisell has sounded like he's on one long, constant solo more than any other guitarist in jazz. His playing is singular enough, though, that it always stands way out in a good way, both calling attention to and deflecting attention from itself. WithGhost Town, Frisell is alone--at least in theory. It's definitely a solo outing, but Frisell doubles and triples up with samples and loops, sounding like a virtual ensemble in places. As onGood Dog, Happy Man, Frisell layers differing elements to create a swimming sound that swirls while staying down-home. But the sounds ofGhost Townare alternately more fragile and more challenging thanGood Dog, eschewing the regularity of plotted rhythms for the waft of a melody or particular improvisational train of thought. With nods toHank Williams("I'm So Lonesome I Could Cry"),The Carter Family("Wildwood Flower"), and "The Far Side" creator Gary Larson, Frisell explores new ground but never loses sight of the trail he's pioneered between jazz and folksy roots music.--Andrew Bartlett