- Released: April 14, 2003
- Label: Nonesuch
JazzTimes - 05/03, pp.123-4
"...It's instantly clear that this is Frisell's music...It does range further afield than he has in a long time and the CD satisfies on all counts..."
Mojo (Publisher) - 4/03, p.1044 stars out of 5
- "...The result is laidback and chilled..."
- 2.Good Old People
- 3.For Christos
- 4.Baba Drame - (African Languages)
- 6.Anywhere Road
- 7.Procissao - (Portuguese)
- 8.The Young Monk
- 9.We Are Everywhere
- 10.Y la
- 11.Perritos - (Portuguese)
Personnel: Bill Frisell (acoustic & electric guitars, bass, loops); Vinicius Cantuaria (vocals, acoustic & electric guitars, drums, percussion); Christos Govetas (vocals, bouzouki, oud); Sidiki Camara (vocals, congas, djembe, calabash, percussion); Greg Leisz (slide guitar, pedal steel guitar);
Jenny Scheinman (violin).
Recorded at Studio Litho, Seattle, Washington.
THE INTERCONTINENTALS was nominated for the 2004 Grammy Award for Best Contemporary World Music Album.
Personnel: Bill Frisell (acoustic guitar, electric guitar, baritone guitar, nylon-string guitar, loops); Vinicius Cantu ria (vocals, acoustic guitar, electric guitar, nylon-string guitar, drums, bass drum, snare drum, triangle, percussion); Sidiki Camara (vocals, congas, cymbals, djembe, shaker, percussion); Greg Leisz (slide guitar, lap steel guitar, resonator guitar, National guitar); Jenny Scheinman (violin).
Recording information: Studio Litho, Seattle, WA.
Photographer: Michael Wilson .
When does a jazz record stop being a jazz record? When it replaces the ding-ding-de-ding of the trap player's ride cymbal with a calabash and shaker player? When it forgoes a walking bass for a plucking oud? If you answer yes to any of these and still love a jazzman's take on whatever is left over after these adjustments are made, meet THE INTERCONTINENTALS.
Guitarist Bill Frisell and company, of course, are not all that concerned with labels because if they were, they would have made a recording with far fewer influences. Think of this as a world-music album with a strong blues inflection and an ensemble led by one of jazz's most accomplished 21st-century individualists. Though the group sound does not have the peaks and valleys that a more conventional jazz album features (no hot solos or hushed ballads), we are treated to some deeply hypnotic grooves, many of which contain haunting, simple melodies that sound as old as the hills. Music fans of many stripes can be thankful for Frisell's fearless and smart eclecticism.