{"id":11024,"date":"2019-04-01T23:06:00","date_gmt":"2019-04-02T06:06:00","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=11024"},"modified":"2019-04-02T13:02:47","modified_gmt":"2019-04-02T20:02:47","slug":"david-friesen-bassist-and-pianist","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2019\/04\/david-friesen-bassist-and-pianist\/","title":{"rendered":"David Friesen, Bassist And Pianist"},"content":{"rendered":"

David Friesen, My Faith, My Life<\/a><\/em> (Origin)<\/p>\n

\"\"<\/a>Friesen\u00e2\u20ac\u2122s virtuosity brought him to prominence as a bassist nearly fifty years ago. He has remained one of the instrument\u00e2\u20ac\u2122s most adventurous players through a career including associations with Duke Jordan, Marian McPartland, John Handy, Denny Zeitlin, Paul Horn and other major jazz artists. This two-CD album presents him on the first disc playing his compositions on the Homage bass, an instrument he developed. On some tracks in that CD he overdubs on the Japanese bamboo flute known as the shakuhatchi, which gives the music a ghostly exoticism. The CD featuring Friesen on bass has stretches of quietness, but playing his primary instrument, Friesen\u00e2\u20ac\u2122s celebrated energy is a major component in such originals as \u00e2\u20ac\u009dLong Trip Home,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Sitka In The Woods,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Martin\u00e2\u20ac\u2122s Balcony\u00e2\u20ac\u009d and, particularly, the album\u00e2\u20ac\u2122s extended final track, \u00e2\u20ac\u0153Lament For The Lost\/Procession.\u00e2\u20ac\u009d In that piece he incorporates the bass\u00e2\u20ac\u2122s bowing and plucking capabilities along with electronic enhancements that become, in effect, a third voice.<\/p>\n

On disc number 2, Friesen plays sixteen more of his original compositions, but on unaccompanied grand piano. Those selections are reflective in keeping with themes suggested by their titles, among them \u00e2\u20ac\u0153A Light Shining Through,\u00e2\u20ac\u009d \u00e2\u20ac\u0153New Hope\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Another Time, Another Place.\u00e2\u20ac\u009d He gives his harmonic imagination full reign throughout that part of the program. The sound of the Ravenscroft grand piano is impressive. Despite a fair amount of online research, it is unclear to me why the Ravenscroft is described on some sites as a \u00e2\u20ac\u0153virtual\u00e2\u20ac\u009d instrument. It sounds like a full-fledged well-tuned grand.<\/p>\n","protected":false},"excerpt":{"rendered":"

David Friesen, My Faith, My Life (Origin) Friesen\u00e2\u20ac\u2122s virtuosity brought him to prominence as a bassist nearly fifty years ago. He has remained one of the instrument\u00e2\u20ac\u2122s most adventurous players through a career including associations with Duke Jordan, Marian McPartland, John Handy, Denny Zeitlin, Paul Horn and other major jazz artists. This two-CD album presents […]<\/p>\n","protected":false},"author":2,"featured_media":11025,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-11024","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/11024","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=11024"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/11024\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/11025"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=11024"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=11024"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=11024"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}