Bailey/Lewis/Zorn: Yankees Genre: Free Improvisation Label & Year of Release: 1983; Released as a (not very good) needle-drop by Celluloid, 1992. Category: Weird/Quirky My Rating: 2/10 Personnel Derek Bailey, Acoustic & Electric Guitars George Lewis, Trombone John Zorn, Alto & Soprano Saxophones/Clarinets/Game Calls “City City City.” Bailey on acoustic guitar uses mainly extended techniques. Zorn provides mainly game calls, often blown through water, on this piece. Lewis makes occasional “trombone” noises but I suspect that he's also producing other sounds using trombone. “The Legend of Enos Slaughter.” I'm not sure whether these titles actually mean anything but Enos Slaughter was a significant player for the Yankees amongst other teams and was also regarded as opposing Jackie Robinson’s recruitment as the first African American in the Major Leagues when Robinson joined the Brooklyn Dodgers. Slaughter was still alive at the time this was recorded. Musically, this is more of the same. “Who's on First.” Similar but with more (conventional) trombone presence. “On Golden Pond.” More playing from Lewis in the course of a long (17 minute) track. “The Warning Track.” Zorn begins on Alto after making what seem to be largely mouthpiece noises throughout the album, then switches back to game calls. Bailey on electric guitar. Arguably the best track on the album, whatever that means. If you're following Zorn's experimental music then this is a good disc to have heard since it features Derek Bailey: an absolute giant in the field. I wish that the results were more enjoyable but I'm afraid that it's a real head-scratcher, similar to Zorn's work with Fred Frith (another Bailey collaborator). Zorn himself is relentlessly odd on this disc. The entire album is on YouTube so you can hear it without paying for it, but if you make it through the entire 44 minutes than I doff my metaphorical hat to you because the only way I made it through was through a sense of duty to this thread.
Lage/Riley/Frisell: Virtue Genre: Acoustic Guitar Label & Year of Release: Tzadik, 2020 Category: Relaxed/Accessible My Rating: 8/10 Personnel Julian Lage, Acoustic Guitar Gyan Riley, Acoustic Guitar Bill Frisell, Acoustic Guitar “Juliana.” The melody divided between all three guitarists. “Apart From The World.” Slow, with a rather bland melody. “Visiones.” Bagatelle-esque head with noisy, agitated playing (to the extent that three acoustic guitars can really sound agitated.) “Conveniens.” Dense counterpoint between the three. “Divine Revelations.” Harmonics & atmospherics on the opening. Suspenseful, contemplative. The Bagatelle-esque head is surprising when it is heard in the third minute. Solos left & centre. “Per Amica Silentia Lunae.” A little chromatic riff (reminds me of the James Bond theme!). Melody in the right-hand channel. Solos centre, right and left. “The Hazelnut.” Fast head with rhythmically-accented strumming. Some angular lines centre. “An Orb-like Canopy of Gentle Darkness.” Dissonant chords to open, then a Bagatelle-esque head played left over arpeggio accompaniment. Struck chords, then sweet arpeggios. Struck chords again then a snowfall of notes to end. “All Shall Be Well.” Solo guitar introduction centre for nearly a minute, then into a brief Alhambra-style section with shifting measures. Solos right, centre, left. An overthought end. “The Ground Of Our Beseeching.” Simple, rather unexciting. “Ancrene Wisse.” Begins with lovely splashes of sound then becomes almost a folksong with a light feel & prominent arpeggios. Shimmering, ecstatic. “Infernal Night (Sin is Behovely).” Tonally dark with angular lines & obbligato passages. Extended techniques in the third minute. A rather anxious ending with the album's one fadeout. It's difficult to write notes for this trio because the guitarists are very difficult to disentangle. I'm guessing that Riley (who I think has the most classical tone) is in the left channel with Lage (who has a rather steely tone) in the centre and Frisell right with frequent harmonics, but I could be wrong. Either way, while the interplay between Riley & Lage is fascinating to see live, on recordings the point of this trio is that the three blend into a sort of super-instrument. The experience of these albums is of the three musicians producing continual parallel streams of lyricism: heads or melodies are actually a hindrance at times because it forces them to break off from the improvisation. This album - supposedly inspired by the writings of Julian of Norwich - is the second in a trilogy (with Nove Cantici Per Francesco d’Assisi & Teresa de Avila) and all three are outstanding, ideal for a Zorn newcomer who wants something relaxed without being soporific.
I have not yet connected with this release, and I've yet to pick up the third release of the trilogy. But Nove Cantici Per Francesco d’Assisi is a 10/10 in my book. I'll probably end up with all three in short order.
Spoiler incoming for future ratings: Spoiler I was slow to cotton to Virtue myself, I dislike Midsummer Moons and Nove Cantici is very likely to get 10/10 for me. When I listened to Virtue on headphones for this thread, however, I couldn't see why I thought it was inferior to Nove Cantici. What can I point to in the later release that makes it less good that the earlier? It actually made me ponder whether, if I had listened to them in a different order, Virtue would be the 10/10. So I agonised a bit about giving Virtue an 8 rather than a 9 because can you really say that it's a clear 20% worse than Nove Cantici? Well of course you can ... if the test is not some sort of objective measure (in which both are fantastic albums) but simple personal preference, which knows no such logic. I do own Teresa de Avila and I think it's in Virtue territory, which is a disappointment coming off the highs of Nove Cantici but is still places it among the best Zorn albums.
Why do you not like Midsummer moons? Another thought: sometimes the impact of a particular album can de diluted as there are so many of them... Do we need another Frisell//Lage/Riley album? (It's already recorded). Of course we do. But it can dilute the impact and awesomeness of the previous ones. You have to listen to them a lot and with full atention. Otherwise you may lose plenty of things.
We'll get there but Midsummer Moons is a bit sleepy for me. It sounds like a New Age album and if I wouldn't buy or listen to a New Age album, why would I just because it's John Zorn? Your point about diminishing returns is a good one: Zorn fans often fall madly in love with a new ensemble and then, three albums later, they're expressing disappointment that albums by that band are “all the same” whereas the reality (as I'm discovering with Moonchild) is that different albums by the same group can actually be pretty radically different from one another. I often throw a new Simulacrum album on the pile with barely a listen because: “oh yeah, it's another one of those.” I've found that there's a lot more difference between the original albums by the Masada quartet than I assumed. Also, when you're buying upwards of eight new albums a year by an artist not every one of them is going to arrive just when you're in the mood to give it a sympathetic audition. So really listening, as I'm trying to do in this thread, does change one's perception. (Which is one reason - other than keeping me audience in suspense - for not talking too much about other albums before I get to them.)
Abraxas: Psychomagia Genre: Metal/Masada/Surf-Rock Label & Year of Release: Tzadik, 2014 Category: Accessible My Rating: 7/10 Personnel Aram Bajakian, Guitar Eyal Maoz, Guitar Shanir Ezra Blumenkranz, Bass Guitar Kenny Grohowski, Drums “Metapsychomagia.” After the meteorological start with wind noise and brief surf-rock passage this becomes a Prog Rock version of the Alhambra style with shifting metres. Good. “Sacred Emblems.” Relaxed, carefree, Gnostic style. “Circe.” Industrial start, the drums start up, a mid-tempo Metal riff. Rather than sitting on that riff the song progresses with further riffs. Loud, resolute with many heavy use of effects from Maoz. Nothing that would alarm a Rock fan. “Squaring The Circle.” After a brief but loud start this becomes a gentle, Masada-style piece with a surf-rock feel. Grohowski “misbehaves” on the drums to avoid this becoming too comfortable. “Celestial Mechanism.” Another Masada-style head with a distinctly more Metal feel that breaks into raucous group improvisation with the band playing quite hot. “Evocation of the Triumphant Beast.” Begins with a slow, Tango-style riff with Ribotic, harsh, Blues guitar but the syncopation falls away and we are left with a strong Metal instrumental that should land with most listeners. “Four Rivers.” Fiendish fast piece with tricky metres. Everyone in the quartet plays on the outer edge but sheer difficulty keeps things tight. A rollercoaster. “The Nameless God.” Dreamers-style surf-rock piece with clean guitar sounds. “Anima Mundi.” For the first two minutes this is a fairly anonymous piece in the Gnostic consonant style but it suddenly transforms into something quite beautiful with interlocking arpeggios from the guitarists. I must confess that Psychomagia is an album that I wrote off prematurely. This is clearly a strong album: varied, and with consistently exciting, provocative drumming from Grohowski. The guitarists are textural, having limited scope for soloing, but their adventurous playing means that the album never gets too calm and it can be really quite noisy. At no point did I feel that it tipped over from Accessible Metal into something that needed to carry a warning. This could be a great introductory album for someone wary of some of the more extreme rock in the Zorn catalogue.
Masada: Vav Genre: Acoustic Jazz Label & Year of Release: DIW, 1995 Category: Accessible/Scares The Horses My Rating 7/10 Personnel John Zorn, Alto Sax Dave Douglas, Trumpet Greg Cohen, Double Bass Joey Baron, Drums “Debir.” A very hot start from all players until the head is performed deep into the second minute (of eight). The head is nice, quite playful, but once it has been played Zorn moves straight into a very Jazzy extended solo with no Douglas at all. The trumpet spot, accompanied by an especially subversive Zorn, is also quite “out”. Baron cuts them both off with a fierce solo and then we're back to the head. Overall, a rather jarring start to the disc. “Shebuah.” Double bass plays the introduction then Z&D come in with the rather strident head, throwing back to Cohen for a solo. Some rather directionless playing from Z&D. “Mikreh.” A cute, rather celebratory head puts some joie de vivre in Zorn's first solo; Douglas joins muted and extends the party. Pleasant. “Tiferet.” Slow & sly. Z&D play with restraint & precision. “Nevalah.” “Jewish” head with a strong dance feel as, so often, introduces a drum feature. At two minutes, too short. “Miktav.” Sobbing from the Alto over a slow bass riff gives this piece a memorable start. The head is played with an almost menacing reserve. Douglas's solo is expressive, Bluesy, but slurred and imprecise. Zorn joins low & creamy but he ascends to begin his solo high in the register and it proves tonally adventurous but melodically simple. Cohen comes briefly to the fore at the end. Good. “Nashon.” Up-tempo in 6/8 with plenty of energy from the start on an exciting, Jazzy head. This is prime Masada with Zorn soloing inventively over the toe-tapping rhythm section with Cohen's walking bass. Douglas solos with Baron snapping at his heels impatiently. Eventually Zorn becomes more assertive and Z&D trade measures, coming together nicely for the climax. “Avelut.” Funereal, downbeat in feel at the start. Slow, sometimes static as it progresses, though not in a way that loses the listener. Cohen's solo in the fifth minute is still & meditative. “Beer Sheba.” Very loose playing on the strident head. Baron sets up a busy background of drum strikes but there is no backbeat or momentum. Zorn flutters on the Alto, then squeals, then shrieks. An abrupt, disappointing end. Though notably less abrasive than Hei (recorded at the same sessions) on Vav we also see Zorn straining against the formula of early Masada. Track lengths are generally long here (with five tracks over eight minutes) and there is less counterpointing; there are also fewer tunes & riffs ... less of what makes Masada (both the band & the wider project) so accessible. Nevertheless, a strong & varied album.
John Zorn: The Alchemist Genre: Chamber Music/Vocal Label & Year of Release: Tzadik, 2014 Category: Accessible My Rating: 7/10 The Alchemist, A True and Faithful Chronicling of the Esoteric Spiritual Conferences and Concomiitant Hermetic Actions performed by Her Majesty's Alchemist Dr. John Dee and One Edward Kelley Invoking the Nine Hierarchies of Angelic Orders to Visible Appearances, circa 1587. Pauline Kim, Violin Jesse Mills, Violin David Fulmer, Violin Jay Campbell, CelloI've heard this piece live twice yet was under the misapprehension that it was a string quartet until I started taking notes on it and realised that the viola in a standard quartet is replaced by a third violin. Either way, if someone pushed me to to say what the best of Zorn's chamber music for small string ensemble was, I'd be minded to say this one. Although it's in eleven parts, it really feels like a single piece with dark, engaging harmonies and fewer of the horror episodes that can make Zorn's writing in this genre trying. It feels like a very “mature” work. Earthspirit: Chorales, Preludes, Odes and Dances for the Pagan Solstice Jane Sheldon, Voice Melissa Hughes, Voice Kirsten Sollek, VoiceEarthspirit, which I've also seen performed live, is sung in Old Gaelic and - like Zorn's other longer vocal pieces - shifts between stylistic reference points almost on a phrase-by-phrase basis. Overall, I find it close in quality to The Holy Visions: it has a slight advantage in that the piece is sung throughout with no spoken or whispered passages and a slight disadvantage in being only thirteen minutes. The climactic three minutes, culminating in a high chant, is one of the most memorable passages of composition from Zorn for voice. This disc is only 33 minutes long, which at Tzadik prices is a massive discouragement for the prospective purchaser. So, if the purpose of a guide is to advise a purchaser, I've got to warn you off. But if the purpose of a guide is to advise a listener, both these works are well worth hearing so I'm rating this close to the Sacred Visions disc.
Nova Quartet: At The Gates Of Paradise Genre: Acoustic Jazz Label & Year of Release: Tzadik, 2011 Category: Accessible/Relaxed My Rating: 8/10 Personnel John Medeski, Piano/Organ Kenny Wollesen, Vibes Trevor Dunn, Double Bass Joey Baron, Drums “The Eternals.” Confusingly, the second album by the Nova Quartet begins in the Alhambra style with a carefree, pastoral piece. “Song Of Innocence.” Piano is dominant on this track which is indeed a song: one with an unusually extended melody for Zorn. A low-key vibes solo comes four minutes in and is followed by a delicate bass solo. Rather sugary. “A Dream of Nine Nights.” This begins with an Alhambra sound but the later stages of a piece that lasts well over eight minutes are more solidly jazz than that, with Medeski supreme on piano. “Light Forms.” This has more of the angularity & intensity that I associate with the Nova sound although it's a slow, atmospheric piece. “The Aeons.” Another high-spirited piece with an Alhambra feel. “Liber XV.” Organ and bowed vibes gives this piece (which shifts giddily between 7/4 & 6/4) a rather sinister feel, underpinned by Baron's uneasy snare drum. It outstays its welcome. “Dance Of Albion.” The metre at the start of this fast-flowing Alhambra-style piece scrambles my brain but it later resolves to a brisk 6/8. “Song Of Experience.” Slick, supper Jazz feel. A rather meh end to the album. Rather embarrassingly to me (now) I slammed this disc as “muzak” when I wrote an Amazon review of it on release and awarded it a contemptuous two stars. In retrospect it is an important puzzle piece from a particularly rich period of Zorn's work. What is isn't is a main-line Nova Quartet album: the personnel may be the same but this does not trace the line from Nova Express to Dreamachines, and for me that is something of a problem because that's the music that I want to hear them play. Regardless, this is a disc that has managed to worm its way into the rotation with me.
Medeski, Martin & Wood: Zaebos - Book of Angels volume 11 Genre: Masada Label & Year of Release: Tzadik, 2008 Category: [See Below!] My Rating: 5/10 Personnel John Medeski, Keyboards Chris Wood, Bass Guitar/Double Bass Billy Martin, Drums “Zagzagel.” Harsh, repetitive, distorted bass guitar throughout. Medeski's organ tone is also little to my taste and the overall impression is of a disagreeably “hot” performance. “Sefrial.” Balmy exotica with varied keyboard sounds (sometimes different timbres mixed) and steady double bass riff. “Agmatia.” Up-tempo track in 7/4 with fiery improvisation from Medeski on Hammond Organ. “Rifion.” Acoustic Jazz from the trio with Medeski moving to piano. All three push quite hard on this track with some things that are unlikable in each musician's performance. “Chafriel.” After an atmospheric, static opening a groove begins on 6/4. Medeski on Fender Rhodes gives this track the sound of something from a 1960s thriller. “Ahaij.” Adventurous, astringent organ lines set up a ruminative Double Bass solo. “Asaliah.” This head sounds like the theme tune to a series about a (presumably Jewish) detective. One of the album's better tracks. “Vianuel.” Interesting head in 5/4 calls for a rhythmically deft performance from Wood. “Jeduthun.” Chaos, leading to a game-style piece. Weird but intriguing. “Malach Ha-Sopher.” Keyboard patch sounds very like clarinet on a very slow track that quotes the plainchant “Dies Irae”. Copious percussion effects on what is mainly a static track. Segues into: “Tutrusa’i.” Medeski switches to piano with Wood on bass guitar for the album's most enjoyable track, a fairly simple groove. I like this album so little that I'm not sure that I've ever heard it through to the end before. I'm not saying it's bad ... there's just something about the keyboard sounds and playing that rubs me the wrong way. It doesn't Scare The Horses but it's not generally Relaxed, nor is to me Accessible so I’m a bit foxed how to categorise this one. Maybe “Inaccessible”? I did find some things to enjoy in the second half of the disc this time around but I suspect that this album is just “not for me”.
Did you listen to MMW from before, are you familiar with them? Just wondering, I have been a huge fan of MMW for so many years, and I love this BOA. Sometimes previous knowledge of a particular group goes a long way (sometimes not, Halvorson's BOA left me cold). I rate this one very high
When I got into jam bands a few years back I gave a cursory listen to the one album I bought by them (it was a compilation) because they are regarded as being on the outskirts of that scene. (This was actually before I got heavily back into Zorn.) So basically, no, I don't know them ... but I'd still have thought (coming back to this disc after hearing so much Simulacrum) that I'd have a head start on Zaebos. I may have mentioned in this thread already that configuration really makes a difference with Zorn's music. It's notable, for example, that I cheer up when I hear Medeski move from organ to piano: if one likes the one instrument and dislikes the other then that's going to make a big difference even if the instrumentalist is the same and the music very similar. Even then, though, I struggle with the Martin/Wood rhythm section: clearly they can play in support but for preference they play like soloists which for me breaks the thread of the music. My loss I guess.
Completely understood. I guess most of MMW previous output is even more like you say, all of them as soloist at the same time, more inaccesible, so when in BOA they have clear heads and melodies to play, it's a win for me. In fact it's my favourite MMW album, followed by A go go, where they support John Scofield.
Klezmerson: Tiferet - The Book Beri’ah volume 6 Genre: World/Masada Label & Year of Release: Tzadik, 2018 Category: Accessible My Rating: 9/10 Personnel Benjamin Schwarz, Viola/Piano/Keyboards Carina Lopez, Bass Guitar Gustavo Nandayada, Drums Maria Emilia Martinez, Flute Federico Schmucler, Guitar Carlos Metter, Percussion/Jaranas Mauricio Moro “Osito”, Saxes Chattran Gonzalez, Percussion Jair Alcala, Accordion Jose Paquito Hernandez, Bajo Sexto Bernardo Ron, Guitar Alex Otaola, Guitar Todd Clouser, Guitar Misha Marks, Horn/Latarra Fausto Palma, Oud/Sarangi Dan Zlotnik, Sax Edson Ontiveros, Violin Rolando Morejon, Violin Omar Medina, Jarana/Leona “Hashawah.” In four and a half minutes this piece in 6/4 covers a lot of territory. “Middot.” After a percussive start this dance piece in 7/8. “Reshimu.” After a flute & accordion opening this becomes an exciting piece in 7/4. A break for guitar with violin is memorable. “Sapir.” Lively cha-cha-cha with idiomatic piano, flute and (less idiomatic) electric guitars and bass. “Ratzon.” Another lively dance, this time in 12/8. Hints of polka in a merry accordion break. “Tomer.” A stop-start dance that has a big band feel due to the saxophones but also makes prominent use of folk instrumentation. “Nekevah.” A rather heavy-stepping dance is interrupted by, among other things, a romantic violin solo and a passage for accordion and tremolo guitar. “Zivugim.” This mid-tempo piece in 8/4 seems to be winding on its unremarkable way when an unexpectedly heavy guitar riff provides another highlight. I'm only half joking when I say that I had no energy left to write song notes after typing out the personnel on this disc. In fact, these arrangements are so meticulous that it would be tiresome to note the continual ingenuity on display. This is one of those Masada discs where the arranger (in this case Schwarz) has so taken charge of the material that I pretty much forget about the Masada heads when listening to it. As a result, it doesn't tell you much about Zorn but it's one hell of a disc regardless.
I'll see your 5 and raise you 3... 8/10 here. I like MM&W a lot, yet they don't come to mind when asked about my favorite musicians. I spin their discs semi-routinely, yet this Masada disc gets relatively few plays. Just now finished yet another spin, and it leaves very little to be desired. I guess there are several Book of Angels albums with more juice. Full 10/10 here. Same goes for the Book of Angels title, Amon. I like it when some of these interpretations take on a life of their own, even if they seemingly divert from the original composition's spirit. I have a hunch that Zorn likes it too. I really need to dig into Klezmerson further. .
John Zorn: Azoth Genre: Chamber Music/Acoustic Jazz Label & Year of Release: Tzadik, 2020 Category: Scares The Horses My Rating: 6/10 Shapeshifter - Incantations and Interludes for cello and improvising drummer (Take One) Michael Nicolas, Cello Ches Smith, DrumsThe first two minutes of this (eight minute piece) are fairly abrasive with repeated, agitated phrases and noisy drumming, but at that point we reach a slower, more accessible section. Half way through the piece the bow saws away on high lines before the music bursts into another fast, wild section. Drums play unaccompanied then the cello joins with more crazy atonal repetition. The opening riffs return as the piece heads to a false ending, then the final unresolved bars. Autumn Rhythm - for Jackson Pollock Jay Campbell (Cello)I don't have the technical language to explain how the sound is produced here but it's obviously a bravura piece calling for fast, precise physical gestures. The start of the piece has a strong to-and-fro sound but in the fifth minute the sound becomes a deep vibration (almost akin to a didgeridoo) accompanied by harmonics. The to-and-fro resumes and ushers in a section of scrapes & knocking. Conventionally dramatic cello lines are heard briefly. In the ninth minute we hear lyrical playing followed by pizzicato and a low tremolando followed by ominous creaking/sawing. Overall, this is remarkably effective in translating Zorn's avant garde background into contemporary concert music: a very odd piece indeed, which would be fascinating to see performed live. Diableries Jay Campbell, Cello Jorge Roeder, Double Bass Ches Smith, DrumsBlurring the distinction between Jazz and Concert Music, this work has some techniques in common with Autumn Rhythm but feels quite different due to the presence of drums and double bass. Fairly noisy throughout it uses repetition in the cello part to drive climaxes. If you like your Jazz on the experimental side then this may be for you. As Above, So Below Michael Nicolas, CelloIn the first half of this six-minute piece we hear, with embellishments, a mechanistic riff suggestive of some strange machine (driven quite possibly by elastic bands). In the second half we have slow, spectral lines then dramatic double-stopping followed by fleet racing lines. Shapeshifter (Take Two) Michael Nicolas, Cello Ches Smith, Drums/BottleThis take to my ear is very similar to the first with the distinction that the second, slow section has a lot more movement in the percussion (with the bottle providing a beat that is missing from the first take). In fact - since both takes are exactly the same length - I wonder whether the cello part (which is, after all, notated) was recorded separately and the alternative takes are just for the drums. Having been tough on Hen To Pan I was worried that I would have similar problems with its partner volume. For some reasons I didn't ... perhaps because my ear is more accustomed to the style or perhaps because Zorn's writing for the instrument is becoming more adventurous in a way that appeals to me. Let's not kid ourselves, though, this disc is not even close to being accessible ... so know what you're getting into! Instead of giving us warm, Romantic cello Zorn pushes the capabilities of the instrument to create an avant garde experience no less challenging for the listener than his extended vocabulary for alto sax. Repetition is really the key to this disc since gestures that might be almost incomprehensible on their own become accessible when repeated.
John Zorn: Femina Genre: File Card Label & Year of Release: Tzadik, 2009 Category: Accessible/Relaxed/Quirky My Rating: 7/10 Personnel Jennifer Choi, Violin Okkyung Lee, Cello Carol Emanuel, Harp Sylvie Courvoisier, Piano Shayna Dunkleman, Percussion Ikue Mori, Electronics Laurie Anderson, Opening Narration “Part One.” After the brief spoken word introduction we get atmospherics & electronics interspersed with phases of music that has a recognisable Gnostic/Alhambra feel. Violin and cello make themselves known. “Part Two.” Avant garde opening gives way to harp & high violin. A more consonant, lyrical section briefly emerges before more quirkiness. Tribal percussion for a while then a suspenseful, Hermannesque film cue with harp arpeggio and cello. After another consonant section we have Modernist piano that becomes more Romantic and then simple & limpid with violin accompaniment. “Part Three.” Folk violin (then cello) over harp with a film score feel. A hubbub of voices then harp & rhythmic clapping. Noisy electronics, more in Gnostic style. Modernist violin, electronic chaos. A voice speaks French. Solo violin then vibes & piano. “Part Four.” A three minute postlude in Gnostic style. Carefree harp is joined by the other instruments for a bucolic dance. Femina has some of the most elaborate packaging in the Tzadik catalogue and was thus clearly regarded as a major release. All the performers are women (other than Zorn himself who conducts). I have mixed feelings about it because although it is one of the most accessible albums in Zorn's file card style it is musically rather evanescent: ideas stick around for such a brief time that there is very little to hold onto. (I've only noted a minority of the musical phases that these pieces traverse.) When I hear it I am engaged, perhaps even delighted, but the album is so airy that it becomes insubstantial. So while this is clearly a good album and would be a safe entry point for a newcomer I have reservations.
Gnostic: Transmigration Of The Magus Genre: Chamber Label & Year of Release: Tzadik, 2014 Category: Relaxed My Rating: 6/10 Personnel Bill Frisell, Guitar John Medeski, Organ Kenny Wollesen, Vibes/Bells Carol Emanuel, Harp Bridget Kibbey, Harp Al Lipowski, Vibes/Bells “Into The Light.” Eight minutes of resplendent but directionless guitar with underpinning from harps & vibes. Rather insipid. “Transmigration of the Magus.” Tubular bells bring their shimmering gravity to the start of what turns out to be a fast, Masada-esque piece. Frisell channels Ribot while Medeski has some impact on Hammond Organ. “Perfect Mind.” Delicate pastoral led by the harps, with tubular bells and bowed vibes. Frisell on discreet acoustic guitar. Held organ notes. Ethereal & mesmerising. “Providence.” Masada feel with Frisell coming close to playing rock lines although this is hardly an upbeat track. Could have benefitted from drums & bass guitar. “Gnostic Hymn.” Simple, flowing piece with harp arpeggios. Organ improvises unobtrusively. At approaching five minutes feels long. “Apocryphon.” Greater harmonic & rhythmic interest on this piece with almost an Alhambra feel. “The Divine Word.” Frisell's electric guitar is the featured instrument on this. Two minutes in the piece changes in feel markedly, ending atmospherically. “The Three-Fold Thought.” Fast & flowing with a Masada-style head but a mercurial feel overall. “Merlin.” Static atmospherics. The album could have benefited from more of this sort of contrast. The Transmigration Of The Magus is Zorn's tribute to his friend Lou Reed. I liked this album when it came out, feeling at that time that the additional harpist and percussion helped elevate the familiar Gnostic soundworld. Coming back to it after some time, however, I'm less convinced. Unfortunately the constant ringing sounds - so attractive in small doses - do become wearing at length. If I gave additional points for an album's capacity to serve as background music I'd give them to this.
Insurrection: Salem 1692 Genre: Metal/Rock Label & Year of Release: Tzadik, 2018 Category: Accessible/Relaxed/Scares The Horses My Rating: 7/10 Personnel Julian Lage, Guitar Matt Hollenberg, Guitar Trevor Dunn, Bass Guitar Kenny Grohowski, Drums “The Devil Bid Me Serve Him.” After the Bagatelle-style head this is a brisk, enjoyable slice of hard rock with prominent bass guitar. “Spectral Evidence.” Again Dunn on bass guitar seems very “present” here on a fairly slow, atmospheric piece. “Tituba.” Game-style feel with anarchy and dissonance. Virtuosic. “Witness To An Invisible World.” Skittering Jazz-Rock (Lage I think on guitar) gives way after a minute to something like Thrash Metal; then rapid style changes with a neat accelerating section set up second guitar solo (I think Hollenberg). There’s a lot on this comparatively short track. “Spell Bound.” Clean 6/8 arpeggios from Lage with Hollenberg on telling guitar atmospherics for the first two minutes. Then the piece gathers pace and we are into more directional phase. Delicious soloing from both guitarists. “Malleus Mallificarum.” Harsh, abrasive track with angular guitars and a relentless drive. “Dark Of The Moon.” Almost a Jazz ballad with clean guitars and lovely counterpoint from Dunn. The tune when it comes is one of Zorn's better arpeggio-based melodies. “Under An Evil Hand.” Bagatelle-style head with Dunn's bass now distorted on a heavy, driving passage that reminds me of Moonchild at its best. The guitarists interlock on a repeated, dissonant phrase and we get several short passages with breaks between them. “Sarah Good.” Pretty, consonant piece. “I Will Not Write In Your Book Though You Do Kill Me.” Simulacrum-style piece with atonal lines over a very heavy, obsessive riff that probably chugs on too long for its own good and eventually fades out very slowly ... only for the track to end on a loud chord. This album should, of course, have been called The Crucible but Zorn had already used that title! I think it's funny that Zorn is so prolific that he's actually run through so many of the available titles, both for tracks and albums. Although it only scores one point higher, I like Insurrection's second album quite a bit more than their first. It's a great album for Dunn, who is consistently interesting and we also get to enjoy more of Lage's lyrical gifts as a guitarist. Several of the calmer tracks would be keepers for me if I were assembling a playlist. Recommended.
John Zorn: Rimbaud Genre: Chamber/Experimental/Acoustic Jazz Label & Year of Release, Tzadik 2012 Category: Weird/Accessible/Scares The Horses My Rating: 4/10 Bateau Ivre Tara Helen O’Connor, Flute Rane Moore, Clarinet Alex Lipowski, Vibraphone Steve Beck, Piano Erik Carlson, Violin Elisabeth Weisser, Viola Chris Goss, CelloPerformed by the Talea Ensemble, Bateau Ivre is a surprisingly straight piece of modern chamber music with no obviously jarring episodes. The strings are largely used for underscoring while the piano/vibes provide the work's often glittering surface and the woodwind takes the lead. A Season In Hell John Zorn, Samples/Electronics Ikue Mori, Laptop/ElectronicsYou don't “listen to” A Season In Hell, you “undergo” it. Due to the use of pervasive samples I find it very difficult to tell one sound from another: some are animal sounds; some mechanical; towards the end especially there are orchestral instruments. At one point I hear backwards masking. There is a lot of panning and the overall texture has a lot of rumbling bass. You'll know if this is for you but it's not for me. Illuminations Stephen Gosling, Piano Trevor Dunn, Double Bass Kenny Wollesen, DrumsI think that this was Zorn's first work combining a fully-notated classical performer with an improvising rhythm section and is characterised by its predominantly angular piano lines. We have an entire disc of this music (In The Hall Of Mirrors) and I can't see any reason to buy Rimbaud just for this track. If on the other hand you are excited by this fresh approach to Jazz then this is definitely a piece to check out. Conneries Mathieu Amalric, Voice John Zorn, Alto Sax/Piano/Organ/Guitar/Drums/Foley EffectsActor & Filmmaker Mathieu Amalric is (or was) making an ongoing documentary about Zorn. Here he reads from Rimbaud in a rather histrionic manner while Zorn makes avant garde mischief. At about the 7’30” mark we get a consonant piano figure for over ninety seconds which, in context, feels almost like a musical joke. I might feel differently about this were I fluent in French but I get virtually no pleasure from this piece. It's difficult not to have a philistine mathematical approach to evaluating Rimbaud. There are four pieces, each over eleven minutes long, two of which come close to being complete duds. So, half the album is no good, and of the remaining tracks both are better than okay. So that's how I got a score, but my real conclusion is that there's no reason to own this disc (at all really). You can cover its strengths by buying other albums. Avoid.
Ribot/Dunn/Weston, Asmodeus, Book of Angels volume 7 Genre: Avant Metal Label & Year of Release: Tzadik, 2007 Category: Scares The Horses/Accessible My Rating: 6/10 Personnel Marc Ribot, Guitar Trevor Dunn, Bass Guitar G. Calvin Weston, Drums “Kalmiya.” Fiery, distorted, angry: a statement of purpose to open the album. “Yezriel.” At nearly seven and a half minutes this is much the longest track on a fairly short album. The bass riff that runs through it always sounds like a (simplified) version of the riff on Gentle Giant's “Wreck”. Ribot gets quite wild in the middle of this track but overall it's quite accessible. “Kezef.” Game-style head with angry chaos. “Mufgar.” Okay, well this is Alternative Rock ... it could be (picks a name from the skies) Smashing Pumpkins. The head has a “call & response” feel where the first half of the riff in played on the guitar and then completed with bass. Enjoyable. “Armaros.” Anarchic start with a free improvisation feel. A defiantly tuneless five minutes. “Cabriel.” Unbridled aggression for over a minute followed by 45 seconds of calm. “Zakun.” Stank-face metal; if your head doesn't bob when you're listening to this you're doing it wrong. “Raziel.” Game-style head with more chaos; Dunn especially furious. “Dagiel.” Straight-ahead Masada Metal with Ribot playing very hot in between playing the main riff. A highlight. “Sensenya.” You can hear someone yelling repeatedly during Calvin Weston's furious drum solo on this suitably furious finale with a rather King Crimson feel in the head. I've used the term “Ribotic” to describe that edge-of-crunch clean sound with tremolo and lashings of reverb, but there's none of that here: Ribot is brutal throughout this disc with more the sound of a Hollenberg or Bajakian. Historically this hasn't been an album I much liked although I know that it's one that a lot of Zorn fans do. The classic power trio is a rare beast in the Zorn discography, so for anyone coming to him from experimental hard rock Asmodeus is an obvious entry point but it's a pretty rough ride.
I I've always had a hard time with this record too. Generally I love Ribot and this whole crew, but this is one of the few Book of Angels records I've never really enjoyed much.
Me too either. I want to like this more than I actually do. I spin it infrequently and always think "decent"... but I never go "**** YEAH!"
Sordel, you're doing amazing work with this thread. It's inspired me to pull some Zorn off my shelf that I haven't heard in years. Thanks for the herculean effort you're putting in!
