
With his perpetually dazed, beatific gaze, jazz guitarist and composer Bill Frisell found an ideal creative foil in the deadpan mug of silent film genius Buster Keaton. An ongoing relationship first documented on Frisell’s 1995 albums “Music for Films of Buster Keaton: Go West” and “Music for Films of Buster Keaton: One Week and High Sign” (Nonesuch), Frisell revisits his evocative scores for the three films Saturday afternoon at UCLA’s Royce Hall with bassist Tony Scherr and drummer Kenny Wollesen (the original recordings featured bassist Kermit Driscoll and drummer Joey Baron).







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