- Gina Frey
Essential Sunday morning listening: Well, aside from the music we play for brunch on Sundays at our weekly residency at Mother Muff’s in OCC, I really love some of the quieter, instrumental Americana music by jazz guitarist Bill Frisell. His discography is very broad and covers a lot of ground musically. I dig most all of it, but for a Sunday morning I might put on the albums Good Dog, Happy Man; Gone, Just Like a Train; or Bill Frisell Quartet. This last one works especially around Halloween time.
First record I bought with my own money: This is a tricky one, as I don’t really have a vivid memory of buying my first album. But if I had to guess, I’d say it was progressive rock band Coheed and Cambria’s In Keeping Secrets of Silent Earth: 3. They were easily my favorite band in high school; I saw them about five times back in those days. I still like to check in on them every so often.
Guilty pleasure: I think my love for Phish would fit in this category. I have seen them over 30 times in the past 10 years, which is a small handful compared to some diehard fans. A typical Phish show will bounce around from genre to genre, and might touch on several or all of the following: psychedelic rock, funk, jazz, bluegrass, reggae, ambient space, barbershop quartet, fugue-like classical compositions… you name it. I am particularly fond of their signature “space-funk” style of improvisation that they developed in the late ’90s. Those four musicians have broadened my horizons and influenced my playing more than any other band, by far.
Artist more people should know about: Harry Nilsson. He was a prolific songwriter, and you’ve probably heard his hit songs “Lime in the Coconut” and “One (Is the Loneliest Number),” but he put out more than a dozen albums filled with excellent material. The Beatles’ John and Paul acknowledged Harry as one of their favorite American artists. Nilsson Schmilsson is perhaps his most excellent record top to bottom, but I also recommend checking out Knnillssonn. Fun fact: My grandfather Gerry Teifer, who worked in music publishing, actually signed Harry to RCA in the mid-‘60s.