In Line (ECM, 1983); revisiones y opiniones

Ficha: https://www.billfrisell.com/in-line


https://www.allmusic.com/album/in-line-mw0000675419
AllMusic Review by AllMusic

This is the closest Bill Frisell has come to an actual solo album, though he is joined on half of the set by bass player Arild Andersen. Frisell's electric and acoustic guitars are multi-tracked throughout. The title piece uses light dissonances to especially shimmering and vibratory effect.

IN LINE was produced by Manfred Eicher, whose customary pristine clarity makes an ideal setting for Frisell's subtly nuanced playing. Each of the nine pieces is distinct, but they also lend themselves to an over-arching feeling of connectedness. There is a real album identity to this work. Though quiet and meditative as both a guitarist and a composer, Frisell's style is broad enough to allow for a range of emotional settings--from introspective to celebratory.


https://www.amazon.com/Line-Bill-Frisell/product-reviews/B00002604D/ref=cm_cr_dp_d_show_all_btm?ie=UTF8&reviewerType=all_reviews
Opiniones de clientes


https://rateyourmusic.com/release/album/bill-frisell/in-line.p/


https://ecmreviews.com/2011/12/20/in-line/



https://www.youtube.com/watch?v=uMUl6il5YII  https://twitter.com/BillFrisell/status/992417522052878336
Bill Frisell - In Line - Commentary


https://www.besteveralbums.com/thechart.php?a=125896



https://www.scaruffi.com/avant/frisell.html#title

Frisell's solo debut album, In Line (ECM, 1983), highlights his guitar style, that borrows both from the steel guitar and from Hendrix's distortions. It also introduces an introverted poet of music. His roots are quite traditional: the quiet melodic excursions of Start and Godson Song (that frame the collection at the beginning and at the end) are redolent of many folk and church motifs. But he revisits his roots in a futuristic and surreal way, pushing it into an unmarked and unguarded psychological territory. Throughout is almost new-age music, a sequence of delicate and hypnotic patterns that achieve an almost spiritual quality. The dual-personality Smile On You has two flows of sound, one bluesy and one dreamy, one side antagonizing but also inspiring the other. The impressionistic watercolor of In Line juxtaposes a subdued repetitive pattern and rapid-fire chords in an exotic language. The celestial glissando of Beach, the album's standout, creates a cosmic vision of whirling nebulae and supernatural beings; ambient music for astronauts.


http://www.jazzitis.com/foro/viewtopic.php?t=864&start=40

La primera grabación de Bill Frisell es este bonito artefacto que contiene piezas en solo del guitarrista y piezas a dúo con el bajista Arild Andersen (mitad y mitad, más o menos). No se le puede negar a Manfred Eischer el valor que se precisa para producir una cosa así a un joven guitarrista, aunque también es innegable que el sonido espacioso, magníficamente modulado y matizado de Frisell debió causarle unas hondas impresión y placer. Porque lo que escuchamos es eso: música relajada (curioso cómo se parece a menudo a los soundscapes de Robert Fripp), morosa, que se toma su tiempo para desarrollarse, un sonido precioso que lo invade todo de sí mismo, y una mente llena de extraños vericuetos musicales, originales resoluciones, sorprendentes giros sonoros.

No creáis que soy necesariamente admirador de todo lo que ha hecho Bill Frisell: me encantan su sonido e ideas, pero no siempre traspasa su música la línea de la fascinación en mi interior. Este disco, en cambio, está constantemente (incluso en los pasajes más reposados… y mira que el disco es de por sí absolutamente reposado) transitando sobre esa línea, y me arrastra con él sin mayores dificultades.


https://ecmrecordsblog.wordpress.com/2017/05/29/ecm-1241-bill-frisell-in-line-1983/

この心地よさは一体どこからくるのだろう。

アコースティックを忠実に、丁寧につまびきながらその上を、幻想的なギタープレイが駆け抜けていく。デュオの作品でありながら、多重録音により、ある一つの孤高の世界観を作り出している。


http://www.audio-music.info/htm/f/Frisell_Bill_In_Line.htm



http://slowgoesthegoose.blogspot.com/2016/03/bill-frisell-in-line-1982.html