Coordinates	41°52′55″N87°37′40″N
Name	Tony Bill
Birthdate	23 August 1940
Birthplace	San Diego, California, USA

Gerard Anthony "Tony" Bill (born 23 August 1940) is an American actor, producer, and director. He produced the 1973 movie The Sting, for which he shared the Academy Award for Best Picture with Michael Phillips and Julia Phillips. The Sting became one of the highest grossing films in history.

He majored in English and art at the University of Notre Dame in South Bend, Indiana, from which he graduated in 1962. Bill began his career as an actor in the 60s, first appearing on screen as Frank Sinatra's ingenuous younger brother in Come Blow Your Horn (1963). Bill specialized in likeable but none-too-bright juveniles and young leads. His acting credits include None But the Brave (1965), You're A Big Boy Now (1966), Never a Dull Moment (1968), Ice Station Zebra (1968), Shampoo (1975), The Little Dragons (1980), Pee-wee's Big Adventure (1985), and Less Than Zero (1987).

Bill continued to act in TV-movies, miniseries, and guest spots though with decreasing frequency as he segued into directing. He appeared in the 1966 episode "Chaff In The Wind" of the long running western The Virginian. He then appeared in 1967 episode "The Predators" of NBC's western series The Road West starring Barry Sullivan.

In 1980, Bill directed his first film, My Bodyguard. From there he went on to direct Six Weeks (1982), Five Corners (1987), Crazy People (1990) A Home of Our Own (1993), and Flyboys (2006) which Bill claims was one of the first features shot entirely with digital cameras. In television Bill directed Truman Capote's One Christmas, Harlan County War, and Pictures of Hollis Woods, among others.

In 2009, Bill published the book Movie Speak: How to Talk Like You Belong on a Film Set. The book traces the etymology of the language of the movie set and is filled out with stories from the Bill's career in film.

From 1984-2000, he co-owned with Dudley Moore the celebrated 72 Market Street, a restaurant in Venice, California.

He is married to his second wife, the former Helen Buck Bartlett, his producer/partner in Barnstorm Films in Venice. The couple have two daughters, Madeline and Daphne.

External links

Movie Speak Site

Category:1940 births Category:American film directors Category:American film producers Category:People from San Diego, California Category:University of Notre Dame alumni Category:Living people

Coordinates	41°52′55″N87°37′40″N
Name	Tony Bennett
Background	solo_singer
Voice type	Tenor His father was a grocer who had emigrated from Podàrgoni, a rural eastern district of the southern Italian city of Reggio Calabria, and his mother was a seamstress. Drawing and caricatures were also an early passion of his. But mostly he set his sights on a professional singing career, performing as a singing waiter in several Italian restaurants around the borough of Queens.
Name	Bennett, Tony
Date of birth	1926-08-03

Category:1926 births Category:1940s singers Category:1950s singers Category:1960s singers Category:1970s singers Category:1980s singers Category:1990s singers Category:2000s singers Category:2010s singers Category:Living people Category:American military personnel of World War II Category:American crooners Category:American jazz singers Category:American male singers Category:American painters Category:American pop singers Category:Emmy Award winners Category:Grammy Award winners Category:Grammy Lifetime Achievement Award winners Category:American jazz musicians of Italian descent Category:Kennedy Center honorees Category:People from Astoria, Queens Category:Traditional pop music singers Category:Columbia Records artists Category:Concord Records artists Category:Musicians from New York

Coordinates	41°52′55″N87°37′40″N
Name	Bill Evans
Landscape	no
Background	non_vocal_instrumentalist
Birth name	William John Evans
Born	August 16, 1929Plainfield, New Jersey, United States
Died	September 15, 1980Fort Lee, New JerseyUnited States
Instrument	Vocals, violin, guitar
Born	August 16, 1929
Died	September 15, 1980
Instrument	Piano
Genre	Jazz, modal jazz, third stream, cool jazz, post-bop
Occupation	PianistComposerArranger
Years active	1950s–1980
Label	Riverside, Verve, Fantasy
Associated acts	George Russell, Miles Davis, Cannonball Adderley, Philly Joe Jones, Scott LaFaro, Paul Motian, Eddie Gomez, Marty Morell, Tony Bennett, Jim Hall

William John Evans, known as Bill Evans (August 16, 1929–September 15, 1980) was an American jazz pianist. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, and trademark rhythmically independent, "singing" melodic lines influenced a generation of pianists including: Chick Corea, Herbie Hancock, John Taylor, Steve Kuhn, Don Friedman, Marian McPartland, Denny Zeitlin, Bobo Stenson, Warren Bernhardt, Michel Petrucciani and Keith Jarrett, as well as many other musicians world-wide. The music of Bill Evans continues to inspire younger pianists like Fred Hersch, Bill Charlap, Lyle Mays, Eliane Elias and arguably Brad Mehldau, early in his career. He is considered by some to be the most influential post World War II jazz pianist.

Evans is an inductee of the Down Beat Jazz Hall of Fame.

Biography

Early life

Bill Evans was born in Plainfield, New Jersey, United States, to a mother of Rusyn ancestry and a father of Welsh descent. He received his first musical training at his mother's church. Evans's mother was an amateur pianist with an interest in modern classical composers, and Evans began classical piano lessons at age six. He also became a proficient flautist by age 13 and could play the violin.

At age 12, Evans filled in for his older brother Harry in Buddy Valentino's band. At this age he was able to interpret classical music, but he couldn't improvise. In the beginning, he played exactly what was written in the sheet, but soon started trying to improvise, while learning about harmonies in the songs and how to alter them. Meanwhile, he was playing dance music (and jazz) at home. In the late 1940s, Evans played boogie woogie in various New York City clubs. He attended Southeastern Louisiana University on a music scholarship, and in 1950 performed Beethoven's Third Piano Concerto on his senior recital there, graduating with a degree in piano performance and teaching. He was also among the founding members of SLU's Delta Omega Chapter of Phi Mu Alpha Sinfonia, and played quarterback for the fraternity's football team, helping them win the school's 1949 intramural tournament. he had also already developed the ostinato figure from the track "Flamenco Sketches" on the 1958 solo recording "Peace Piece" from his album Everybody Digs Bill Evans. Evans also penned the heralded liner notes for Kind of Blue comparing jazz improvisation to Japanese visual art. By the fall of 1959, he had started his own trio.

1960s

At the turn of the decade, Evans led a trio with bassist Scott LaFaro and drummer Paul Motian. This group was to become one of the most acclaimed piano trios — and jazz bands in general — of all time. With this group, Evans's focus settled on traditional jazz standards and original compositions, with an added emphasis on interplay among the band members that often bordered on collective improvisation, blurring the line between soloist and accompanist. The collaboration between Evans and the young LaFaro was particularly fruitful, as the two achieved a remarkable level of musical empathy. The trio recorded four albums: Portrait in Jazz (1959); and Explorations, Sunday at the Village Vanguard, and Waltz for Debby, all recorded in 1961. The last two albums are live recordings from the same recording date, and are routinely named among the greatest jazz recordings of all time. In 2005, the full sets were collected on the three-CD set The Complete Village Vanguard Recordings, 1961. There is also a lesser-known recording of this trio, Live at Birdland, taken from radio broadcasts in early 1960, though the sound quality is poor.

In addition to introducing a new freedom of interplay within the piano trio, Evans began (in performances such as "My Foolish Heart" from the Vanguard sessions) to explore extremely slow ballad tempos and quiet volume levels, which had been virtually unknown in jazz. His chordal voicings became more impressionistic, reminiscent of classical composers such as Debussy, Ravel, Scriabin, and Satie, and he moved away from the thick block chords he had often used with Davis. His sparse left-hand voicings supported his lyrical right-hand lines, reflecting the influence of jazz pianist Bud Powell.

Like Davis, Evans was a pioneer of modal jazz, favoring harmonies that helped avoid some of the idioms of bebop and other earlier jazz. In tunes like Time Remembered, the chord changes more or less absorbed the derivative styles of bebop and instead relied on unexpected shifts in color. It was still possible (and desirable) to make these changes swing, and a certain spontaneity appeared in expert solos that were played over the new sound. Most composers refer to the style of Time Remembered as "plateau modal," because of its frequent juxtaposition of harmony.

LaFaro's death at age 25 in a car accident, ten days after the Vanguard performances, devastated Evans. He did not record or perform in public again for several months. His first recording after LaFaro's death was the duet album Undercurrent, with guitarist Jim Hall, released on United Artist Jazz records in 1963. Recorded in two sessions on April 24 and May 14, 1962, it is now widely regarded as a classic jazz piano-guitar duet recording. The album is also notable for its striking cover image, "Weeki Wachee Spring, Florida" by photographer Toni Frissell. The original LP and the first CD reissue featured a cropped, blue-tinted version, overlaid with the title and the Blue Note logo; but for the most recent (24-bit remastered) CD reissue, the image has been restored to its original black-and-white coloration and size, without lettering.

When he re-formed his trio in 1962, Evans replaced LaFaro with bassist Chuck Israels, initially keeping Motian on the drums. Two albums, Moonbeams and How My Heart Sings!, resulted. In 1963, after having switched from Riverside to the much more widely distributed Verve, he recorded Conversations With Myself, an innovative album on which he employed overdubbing, layering up to three individual tracks of piano for each song. The album won him his first Grammy award, for Best Instrumental Jazz Performance — Soloist or Small Group.

Though his time with Verve was prolific in terms of recording, his artistic output was uneven. Despite Israels's fast development and the creativity of new drummer Grady Tate, they were ill-represented by the rather perfunctory album Bill Evans Trio with Symphony Orchestra, with the piece Pavane by Gabriel Fauré remarkably reinvented with improvisations by Evans. Some unique contexts were attempted, such as a big-band live album at Town Hall, recorded but never issued due to Evans's dissatisfaction with it (although the jazz trio portion of the Pavane concert was made into its own somewhat successful release), and an album with a symphony orchestra, not warmly received by critics.

During this time, Helen Keane, Evans's manager, began having an important influence. One of the first women in her field, she significantly helped to maintain the progress (or prevent the deterioration) of Evans's career in spite of his self-destructive lifestyle.

In 1966, Evans discovered the remarkable young Puerto Rican bass player Eddie Gomez. In what turned out to be an eleven-year stay, the sensitive and creative Gomez sparked new developments in both Evans's playing and his trio conception. One of the most significant releases during this period is Bill Evans at the Montreux Jazz Festival, from 1968. Although it was the only album Evans made with drummer Jack DeJohnette, it has remained a critical and fan favorite, due to the trio's remarkable energy and interplay.

Other highlights from this period include "Solo — In Memory of His Father" from Bill Evans at Town Hall (1966), which introduced the famous theme "Turn Out the Stars," a second successful pairing with guitarist Jim Hall; Intermodulation (1966); and the subdued, crystalline solo album Alone (1968), featuring a 14-minute-plus version of "Never Let Me Go".

1970s

In 1968, Marty Morell joined the trio on drums and remained until 1975, when he retired to family life. This was Evans's most stable, longest-lasting group. Evans had kicked his heroin habit and was entering a period of personal stability as well. The group made several albums, including From Left to Right (1970), which features Evans's first use of electric piano; The Bill Evans Album (1971), which won two Grammies; The Tokyo Concert (1973); Since We Met (1974); and But Beautiful (1974), featuring the trio plus legendary tenor saxophonist Stan Getz in live performances from Holland and Belgium, released posthumously in 1996. Morell was an energetic, straight-ahead drummer, unlike many of the trio's former percussionists, and many critics feel that this was a period of little growth for Evans. After Morell left, Evans and Gomez recorded two duo albums, Intuition and Montreux III.

In 1974, Bill Evans recorded a multimovement jazz concerto specifically written for him by Claus Ogerman entitled Symbiosis, originally released on the MPS Records label. The 1970s also saw Evans collaborate with the singer Tony Bennett on 1975's The Tony Bennett/Bill Evans Album and 1977's Together Again.

On September 13, 1975, Evans's son, Evan, was born. Evan Evans did not often see his always-touring father. A child prodigy, he embarked on a career in film scoring, ambitiously attending college courses in 20th-century composition, instrumentation, and electronic composition at the age of ten. He also studied with many of his father's contemporaries, including Lalo Schifrin and harmony specialist Bernard Maury.

In 1976, Marty Morell was replaced on drums by Eliot Zigmund. Several interesting collaborations followed, and it was not until 1977 that the trio was able to record an album together. Both I Will Say Goodbye (Evans's last album for Fantasy Records) and You Must Believe in Spring (for Warner Bros., released posthumously) highlighted changes that would become significant in the last stage of Evans's career. A greater emphasis was placed on group improvisation and interaction, Evans was reaching new expressive heights in his soloing, and new experiments with harmony and keys were attempted.

Gomez and Zigmund left Evans in 1978. Evans then asked Philly Joe Jones, the drummer he considered his "all-time favorite drummer" and with whom he had recorded his second album in 1957, to fill in. Several bassists were tried, with the remarkable Michael Moore staying the longest. Evans finally settled on Marc Johnson on bass and Joe LaBarbera on drums. This trio was Evans's last. Although they released only one record before Evans's death in 1980 (The Paris Concert, Edition One and Edition Two, 1979), they rivaled (and arguably exceeded) the first trio in their powerful group interactions. Evans stated that this was possibly his best trio, a claim supported by the many recordings that have since surfaced, each documenting the remarkable musical journey of his final year. The Debussylike impressionism of the first trio had given way to a dark and urgent yet undeniably compelling, deeply moving (if not mesmerizing) romantic expressionism.

Evans's Rusyn ancestry is sometimes confused with a "Russian" ethnic background. His music reflects Russian titans like the Rachmaninoffesque pianism of his brooding constructions and the Shostakovich-like "Danse Macabre" modal explorations of "Nardis", the piece he reworked each time it served as the finale of his performances. But the "anticipatory meter" that Evans deliberately perfected with his last trio reflects late Ravel, especially the controversial second half of the French composer's dark and turbulent La Valse. The recording documenting Evans's playing during the week preceding his death is the valedictory "The Last Waltz." Many albums and compilations have been released in recent years, including three multidisc boxed sets: Turn Out the Stars (Warner Bros.), The Last Waltz, and Consecration. The Warner Bros. set is a selection of material from Evans's final residency at New York's Village Vanguard club, nearly two decades after his classic performances there with the La Faro/Motian trio; the other two are drawn from his performances at San Francisco's Keystone Korner the week before his death. A particularly revealing comparison of early and late Evans (1966, 1980) is a 2007 DVD of two previously unreleased telecasts, The Oslo Concerts.

Death

Evans's drug addiction most likely began during his stint with Miles Davis in the late 1950s. A heroin addict for much of his career, his health was generally poor, and his financial situation worse, for most of the 1960s. By the end of that decade, he appeared to have succeeded in overcoming his addiction to heroin. However, during the 1970s, cocaine use became a serious and ultimately fatal problem for Evans. His body finally gave out in September 1980, when — ravaged by psychoactive drugs, a perforated liver, and a lifelong battle with hepatitis — he died in New York City of a bleeding ulcer, cirrhosis of the liver, and bronchial pneumonia. Evans's friend Gene Lees bleakly summarized Evans's struggle with drugs to Peter Pettinger as "the longest suicide in history". Bill Evans's musicianship has been a model for many pianists in various genres. His music displayed a creative mastery of harmony, rhythm, and interpretive jazz conception, fusing elements from jazz, classical, and ethnic music. In his duos and trios, Evans developed in unprecedented ways a unique conception of ensemble performance and a classical sense of form and conceptual scale. His '60s recordings Conversations with Myself and Further Conversations with Myself were innovative solo performances involving multiple layers of overdubs recorded in the studio by Evans himself.

Evans's work continues to influence pianists, guitarists, composers, and interpreters of jazz music around the world. Many of his tunes, such as "Waltz for Debby", "Turn Out the Stars," "Very Early," and "Funkallero," have become often-recorded jazz standards. Many tribute recordings featuring his compositions and favorite tunes have been released in the years following his passing (see below) as well as tribute compositions. Pat Metheny's "September 15th" is one such recording. During his lifetime, Evans was honored with 31 Grammy nominations and seven Awards. In 1994, he was posthumously honored with the Grammy Lifetime Achievement Award.

Tribute albums

1981: Elegy For Bill Evans by Richie Beirach

1986: Music of Bill Evans by the Kronos Quartet with Eddie Gomez and Jim Hall.

1990: Bill Evans by Paul Motian

1991: Bill Evans: A Tribute by Jimmy Rowles, McCoy Tyner, Herbie Hancock, John Lewis, and Dave McKenna (Palo Alto Records)

1992: Then Along Came Bill: A Tribute to Bill Evans by Sylvia Syms

1993: Time Remembered: John Mclaughlin Plays Bill Evans by John Mclaughlin

1994: Now & Then: A Tribute to Bill Evans by Mitchel Forman

1994: Your Story: The Music of Bill Evans by Howard Alden

1996: Turn Out The Stars - The Songs Of Bill Evans by Dominic Alldis

1997: Conversations with Bill Evans by Jean-Yves Thibaudet

1998: Evanessence: Tribute to Bill Evans by Fred Hersch

1998: I Remember Bill: A Tribute to Bill Evans by Don Sebesky and Larry Coryell

2000: Conviction: Thoughts Of Bill Evans by Roseanna Vitro

2000: Remembering Bill Evans - A Vocal Tribute by Karen Gallinger

2002: Homage To Bill Evans And Jim Hall by Luigi Tessarollo with Stefano Bollani

2002: Play Bill Evans by The Danish Radio Jazz Orchestra & Jim McNeely

2003: Bill Evans: Tribute to the Great Post-Bop Pianist by Paul Motian

2006: Paz - Niño Josele and the music of Bill Evans by Niño Josele

2006: Remembering the Rain: The Music of Bill Evans by Stephen D. Anderson

2007: Playsong - The Music Of Bill Evans by Hilde Hefte

2008: Bill Evans Project by Riccardo Fioravanti Trio

2008: Something for you - Eliane Elias Sings and Plays Bill Evans by Eliane Elias

2008: We Sing Bill Evans by Joan Diaz Trio

2009: Bill Evans Compositions Vol. 1 & Vol. 2 by Stefano Battaglia

Discography

References

Further reading

*

External links

billevans.net Detailed Discography

Bill Evans entry — Jazz Discography Project

The Bill Evans Webpages

Bill Evans: Time Remembered

The Work of Claus Ogerman — Bill Evans' work with composer/arranger/conductor Claus Ogerman is documented here in a pictorial discography of original albums and compilations, many with explanatory liner notes.

"Remembering Bill Evans" by Ted Gioia, Jazz.com, January, 2008.

Letter From Evans edited by Win Hinkle — newsletter dedicated solely to the music and the life of Bill Evans, published 1989–94. Link is to all issues.

"Bill Evans: Twelve Essential Recordings by Ted Gioia"

Bill Evans A Complete Blog Discography Project

The Bill Evans Memorial Library

Category:Third Stream pianists Category:1929 births Category:1980 deaths Category:Post-bop pianists Category:American jazz pianists Category:Deaths from cirrhosis Category:Cool jazz pianists Category:Hard bop pianists Category:Jazz bandleaders Category:Jazz composers Category:Miles Davis Category:Musicians from New Jersey Category:People from Fort Lee, New Jersey Category:People from North Plainfield, New Jersey Category:People from Plainfield, New Jersey Category:American people of Welsh descent Category:American people of Rusyn descent Category:Grammy Award winners Category:Grammy Lifetime Achievement Award winners Category:Verve Records artists Category:Riverside Records artists Category:Milestone Records artists Category:Concord Records artists Category:Fantasy Records artists Category:Warner Bros. Records artists

Coordinates	41°52′55″N87°37′40″N
Name	Bill Frisell
Background	non_vocal_instrumentalist
Birth name	William Richard Frisell
Born	March 18, 1951Baltimore, MarylandUnited States
Instrument	Electric guitar, bass, clarinet, tenor saxophone
Genre	Jazz, jazz fusion, alternative country, experimental rock, world, soundtrack
Occupation	Guitarist, composer, music arranger
Years active	1973 - current
Label	Savoy Label Group, Nonesuch, ECM
Url	Official website
Notable instruments	Fender Telecaster, Steve Klein Electric

William Richard "Bill" Frisell (born March 18, 1951) is an American guitarist and composer.

One of the leading guitarists in jazz since the late '80s, Frisell's eclectic music touches on progressive folk, classical music, country music, noise and more. He is known for using an array of effects to create unique sounds from his instrument.

Biography

Early life and career

Frisell was born in Baltimore, Maryland, but spent most of his youth in the Denver, Colorado area. He played clarinet as a youth, graduated from Denver East High School, and went to the University of Northern Colorado to study music.

His original guitar teacher in the Denver area was Dale Bruning, with whom Frisell released the 2000 duo album "Reunion". After graduating from Northern Colorado, where he studied with Johnny Smith, Frisell went to the Berklee College of Music in Boston and studied with Jon Damian and Jim Hall.

The ECM Records years

Frisell's major break came when guitarist Pat Metheny was unable to make a recording session, and recommended Frisell to Paul Motian who was recording Psalm (1982) for ECM Records. Frisell became ECM's in-house guitar player, and worked on several albums, most notably Jan Garbarek's 1981 Paths, Prints. Frisell's first solo release was In Line featured solo guitar and duets with bassist Arild Andersen.

New York City era

Frisell's first group to receive much acclaim was a quartet with Kermit Driscoll on bass, Joey Baron on drums, and Hank Roberts on cello (later slimmed down to a trio when Roberts left). Many other albums with larger ensembles were recorded with this group as the core.

In the 1980s Frisell lived in New York City and was an active participant in the city's music scene. He forged an early partnership with John Zorn—including as a member of quick-change band Naked City—and performed or recorded with many others. He also became known for his work in drummer Paul Motian's trio, along with saxophonist Joe Lovano.

The Seattle years

In 1988 Frisell left New York City and moved to Seattle, Washington. In the early 1990s Frisell made two of his best-reviewed albums: first, Have a Little Faith, an ambitious survey of Americana of all stripes, from Charles Ives and Aaron Copland (the entirety of Billy the Kid) to John Hiatt (the title song), Bob Dylan ("Just Like A Woman") and Madonna (a lengthy, psychedelic rock-tinged version of "Live to Tell"); and second, This Land, a complementary set of originals. During this time he performed with many musicians, including the more up and coming, such as Douglas September on album 10 Bulls. He also branched out by performing soundtracks to silent films of Buster Keaton with his trio, and contributed to Ryuichi Sakamoto's album Heartbeat.

In the mid-1990s, Frisell disbanded his trio. He continued the trend marked by Have a Little Faith by more explicitly incorporating elements of bluegrass and country music into his music. His friendship with Gary Larson led him to provide music for the TV version of The Far Side (released on the album Quartet along with music written for Keaton's Convict 13). Since the late 1990s Bill Frisell has lived in Bainbridge Island, Washington, near Seattle.

2000s

Several of Frisell's songs, including his recording of "Over the Rainbow" and "Coffaro's Theme", were featured in the movie Finding Forrester (2000).

In 1999, Frisell was commissioned by the Walker Art Center in Minneapolis, Minnesota to compose Blues Dream, which he premiered on November 15, 1999. He later recorded the work for a 2001 release on Nonesuch.

Also in 1999, he released The Sweetest Punch which featured a seven-piece jazz ensemble reworking the tunes written and recorded by Elvis Costello and Burt Bacharach on Painted from Memory.

Between 2003 and 2005 Frisell acted as musical director for Century of Song, a series of concerts at the German arts festival RuhrTriennale (produced by Lee Townsend). Frisell invited artists including Rickie Lee Jones, Elvis Costello, Suzanne Vega, Arto Lindsay, Loudon Wainwright III, Vic Chesnutt, Van Dyke Parks, Buddy Miller, Ron Sexsmith and Chip Taylor to perform their favorite songs in new arrangements.

In 2003, Frisell's The Intercontinentals was nominated for a Grammy award; he won the 2005 Grammy Award for Best Contemporary Jazz Album for his album Unspeakable. His 2008 album, History, Mystery was nominated for a 2009 Grammy award for Best Jazz Instrumental Album, Individual or Group. Frisell was also a judge for the 6th annual Independent Music Awards to support independent artists' careers.

Frisell has united with Matt Chamberlain, Tucker Martine, and Lee Townsend in the Floratone band, and they have released an album on Blue Note (2007), featuring guest performance of Viktor Krauss, Ron Miles, Eyvind Kang.

In 2008, Frisell performed as a featured guest on Earth's album The Bees Made Honey in the Lion's Skull.

In 2009, Frisell featured in a duet rendition of Leonard Cohen's "Hallelujah" with singer-songwriter, Sam Shrieve. The recording was released on Shrieve's debut album Bittersweet Lullabies.

Selected discography

Albums

{| cellspacing="0" cellpadding="2" border="0" |- style="background:#ffdead;" ! align="left" style="border-bottom:1px solid grey; border-top:1px solid grey;" | Title ! width="10" style="border-bottom:1px solid grey; border-top:1px solid grey;" | ! align="left" style="border-bottom:1px solid grey; border-top:1px solid grey;" | Year ! width="10" style="border-bottom:1px solid grey; border-top:1px solid grey;" | ! align="left" style="border-bottom:1px solid grey; border-top:1px solid grey;" | Label |- | style="border-bottom:1px solid grey;" | In Line | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1983 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | ECM |- | style="border-bottom:1px solid grey;" | Rambler | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1984 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | ECM |- | style="border-bottom:1px solid grey;" | Lookout for Hope | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1987 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | ECM |- | style="border-bottom:1px solid grey;" | Before We Were Born | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1989 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" | Is That You? | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1990 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" | Where in the World? | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1991 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" | Have a Little Faith | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1992 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" | This Land | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1994 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1995 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" | The High Sign/One Week: Music for the Films of Buster Keaton | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1995 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" | Live | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1995 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Gramavision |- | style="border-bottom:1px solid grey;" | Quartet | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1996 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" | Nashville | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1997 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" | Gone, Just Like a Train | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1998 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" | Good Dog, Happy Man | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 1999 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" | Ghost Town | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2000 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" | Blues Dream | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2001 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" |With Dave Holland and Elvin Jones | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2001 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" | The Willies | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2002 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" | The Intercontinentals | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2003 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" | Unspeakable | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2004 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" | Richter 858 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2005 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Songlines |- | style="border-bottom:1px solid grey;" | East/West | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2005 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" | Further East/Further West | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2005 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" | Bill Frisell, Ron Carter, Paul Motian | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2006 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" | Floratone | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2007 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Bluenote |- | style="border-bottom:1px solid grey;" | History, Mystery | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2008 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" | Disfarmer | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2009 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Nonesuch |- | style="border-bottom:1px solid grey;" | Beautiful Dreamers | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | 2010 | style="border-bottom:1px solid grey;" | | style="border-bottom:1px solid grey;" | Savoy Label Group |}

References

External links

Official site

Category:American jazz guitarists Category:Jazz fusion guitarists Category:Post-bop guitarists Category:People from Baltimore, Maryland Category:Musicians from Colorado Category:People from Denver, Colorado Category:1951 births Category:Living people Category:Grammy Award winners Category:ECM artists