Blues Dream

1	Blues Dream 2:31
2	Ron Carter 6:45
3	Pretty Flowers Were Made for Blooming 3:20
4	Pretty Stars Were Made to Shine 1:41
5	Where Do We Go? 5:21
6	Like Dreamers Do, Pt. 1 1:34
7	Like Dreamers Do, Pt. 2 2:37
8	Outlaws 4:19
9	What Do We Do? 7:08
10	Episode 0:49
11	Soul Merchant 2:42
12	Greg Leisz 6:14
13	The Tractor 2:27
14	Fifty Years 1:31
15	Slow Dance 3:11
16	Things Will Never Be the Same 4:49
17	Dream On 3:06
18	Blues Dream (Reprise) 1:53

Barnes & Noble

By now, Bill Frisell might effectively be seen as much a composer and arranger as a guitarist. On Blues Dream he continues his explorations into a wholly personal fusion of country, jazz, rock, blues, and new music. His own guitar playing may not take center stage here, but Frisell’s artful manipulations of sound and tonal color, not to mention haunting compositional ploys, are what matter. Working with a team of sympathetic players that include Greg Leisz on steel guitar, Ron Miles on trumpet and Billy Drewes on saxophone, Frisell paints lolling landscapes that evoke the great prairies and vistas of America’s hinterland. Haunting tunes like “What Do We Do?” offer cinematic moments of sonic expression as the guitars of Frisell and Leisz intertwine, the horns tolling in the background. Other tracks make evocative use of blustery trombone (“Episode”), and Leisz’s slippery guitar stylings. Having already established a guitar sound of his own, Frisell has now cemented a compositional signature just as distinctive.-- William Pearl

All Music Guide

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. An essential part of the overall sound is Leisz' steel guitar and lap steel work. He also played with Frisell on Good Dog, Happy Man, and helps to set the mood and pace throughout Blues Dream. Ron Miles plays a smaller role, but it is fascinating how well his relaxed trumpet, with its carefully chosen notes, fits into the mix on the title cut and the short "Episode." Blues Dream is a perfectly chosen title: the material, steeped in the blues, is approached in a lazy, dreamlike fashion. Frisell's fondness for putting unusual combinations of instruments together adds to the overall effect, leaving the listener to wonder why no one has ever tried this before. Blues Dream is a lovely release that should satisfy Frisell fans as well as jazz, country, and blues fans looking for a genre-bending experience. Ronnie D. Lankford Jr.