Cracow Klezmer Band (John Zorn) - Sanatorium Under the Sign of the Hourglass: A Tribute to Bruno Schulz (2005)

Cracow Klezmer Band (John Zorn) - Sanatorium Under the Sign of the Hourglass: A Tribute to Bruno Schulz (2005)

avantgarde, klezmer, jazz | 1cd | eac-flac-cue-log-cover | 395MB

Tzadik

Allaboutjazz:
John Zorn's Masada songbooks have surrendered themselves to many modern genres and styles—free jazz with the original Masada Quartet, contemporary improvised music with the Masada String Trio and the duo of Mark Feldman and Sylvie Courvoisier, 1970s electric fusion meets today's electronica with Electric Masada, power rock with Rashanim, and a dozen others in the various tributes to the first Masada songbook (Masada Guitars; Voices in the Wilderness; and The Unknown Masada, all Tzadik, 2003). But only now, with the release of the Polish Cracow Klezmer Band's fourth disc on Tzadik, are they interpreted in the Old World Eastern European klezmer form. Many Masada interpretations have referenced, abstracted, or suggested new readings of this genre which is so identified with Jewish music.
The four members of the Cracow Klezmer Band—leader, arranger, and bayan (accordion) player Jaroslaw Bester; violinist Jaroslaw Tyrala; bayan player, clarinetist, and percussionist Oleg Dyyak; and violinist Jaroslaw Tyrala—are augmented by singer Grazyna Auguscik, who has collaborated with them before, not only to tackle John Zorn's Masada Songbooks One and Two, but also to use these tunes to paint a heartfelt tribute to the Polish-Jewish writer and artist Bruno Schultz (1892-1942), whose character still inspires contemporary writers like the Israeli author David Grossman (See Under: Love) and Americans Cynthia Ozick (The Messiah of Stockholm) and Phillip Roth (The Prague Orgy). This release is named after Schultz's second collection of short stories, published in 1936, and its official title is The Cracow Klezmer Band plays the music of John Zorn—Sanatorium Under Sign of the Hourglass: A Tribute to Bruno Schultz.
The Cracow Klezmer Band's beautiful arrangements are faithful to the original versions. In the opening track, "Meshakh," and on "Regalim," these four musicians even manage to capture the same dynamic telepathic coordination that is so identified with the original Masada quartet. But soon as Tyrala begins his magnificent solo on "Galgalim," you realize that their music is more faithful to the klezmer tradition than any other Masada incarnations or interpretations: klezmer music as a high art concert music that must be performed with subtlety, finesse, and great passion.
"Tirzah," with Auguscik's dreamy wordless vocals, and "Hamadah" both succeed in capturing the sensual atmosphere of Schulz's fantastical stories. Tyrala introduces "Adithaim" with a virtuosic, lyrical violin solo, slowly turning the piece into a gentle dance tune. "Pagiel" is the only tune from Zorn's second Masada songbook, Book of Angels, and is performed as a passionate Astor Piazzolla tune. "Meholalot" is interpreted slightly differently than the version the Cracow Klezmer Band did on Voices in the Wilderness, this time stressing its driving rhythms, as its Hebrew title suggests, and highlighting the captivating vocals of Grazyna Auguscik.
A brilliant release that blends Old World with New World, an almost vanished culture with a vital resurrecting one, by one of the world's most extraordinary new klezmer outfits.

Tracks
-01. "Meshakh" - 4:55
-02. "Galgalim" - 5:14
-03. "Tirzah" - 10:40
-04. "Yesod" - 4:45
-05. "Pagiel" - 7:34
-06. "Adithaim" - 6:45
-07. "Hamadah" - 6:17
-08. "Regalim" - 4:45
-09. "Demai" - 9:08
-10. "Meholalot" - 5:39
All compositions by John Zorn.

Personnel
* Jaroslaw Bester – bayan
* Oleg Dyyak – bayan, clarinet, percussion
* Wojciech Front – double bass
* Jaroslaw Tyrala – violin
* Grazyna Auguscik – vocals

sample & buy: Sanatorium Under the Sign of the Hourglass: A Tribute to Bruno Schulz

John Zorn, Wayne Horvitz, Elliott Sharp, Bobby Previte - Downtown Lullaby (1998)

John Zorn, Wayne Horvitz, Elliott Sharp, Bobby Previte - Downtown Lullaby (1998)

jazz, avantgarde | 1cd | eac-flac-cue-log-cover | 285MB

Depth Of Field

Allmusic:
By the time this was recorded, in 1998, the participants were virtual éminence grises of the downtown New York City scene, but this was the first occasion for the four of them to play together as a quartet (although all but Zorn had been members of Horvitz's band the President). The pieces derive their titles from the addresses of erstwhile performing spaces largely in the East Village and Soho, most of which had their heydays in the loft jazz explosion of the late '70s. All of the cuts are improvised by the group, and the perhaps surprising aspect is how much of the vibe is closer to late Miles Davis than to the free improv aesthetic practiced in the titles' points of reference. Horvitz's keyboard work, with its echoes of '70s ring modulators, sets the mood for many of the tracks, Sharp and Previte acting as the Pete Cosey and Al Foster of the band. Previte, in fact, would shortly begin his own overtly Miles-influenced jamming group. Zorn is in a bit of a square-peg situation here, as his trademark squeals and murmurs don't quite mesh with the tenor of the date, although one could argue that they also keep things from getting too comfortable. However, free improvisation has never been the real forte of any of these musicians; all seem more comfortable in structured surroundings, even if those structures are highly arcane and idiosyncratic. When they get into a groove, as on "Bleeker & Bowery," the listener gladly hops on board for an enjoyable ride, but several of the remaining pieces seem uncertain as to which side of the funk/free improv divide is most desirable and, unfortunately, there's no Miles Davis to show how well they could combine. Downtown Lullaby isn't a bad record but, given the personnel, one would have hoped for more.

Tracks
-1 "484 Broome" - 5:42
-2 "500 West 52nd" - 6:15
-3 "Eighth Between B & C" - 6:11
-4 "77 White" - 3:57
-5 "228 West Broadway" - 9:07
-6 "Bleecker & Bowery" - 7:16
-7 "1 Morton St (Downtown Lullaby)" - 9:00
All compositions by Horovitz/Previte/Sharp/Zorn
Recorded at Avatar Recording Studios, New York on January 15, 1998

Personnel
Elliott Sharp – electric guitars
Wayne Horvitz – keyboards, Hammond organ, piano
Bobby Previte – drums
John Zorn – alto

sample & buy: Downtown Lullaby

Naked City - Grand Guignol (1991) (eac-log-cover)

Naked City - Grand Guignol (1991)

jazz, avantgarde | 1cd | eac-flac-cue-log-cover | 350MB

Avant

Allmusic:
Naked City's follow up to their self-titled album is a departure from the New York noir that they had perfected. Here, after a 17 minute, moody title piece, all low rumbling punctuated by drum thrashes and distorted screams, is a very straight transcription of Debussy's "Cathedrale Engloutie" featuring some very lovely, watery guitar work from Bill Frisell. Other modern pieces follow, with works by Scriabin, Ives, Messian, and Di Lassus. And then for something completely different: 32 thrash'n'burn numbers lasting anywhere from 10 seconds to a whopping 1:14, most with humorous titles (some favorites: "Jazz Snob: Eat Shit," "Perfume of a Critic's Burning Flesh," "Pigfucker"). Forget the subtlety of the first half -- this is thrash jazz! Yamatsuka Eye of the Boredoms provides vocals. As they say, there's screaming, and then there's Yamatsuka Eye. Whether or not such eclecticism makes for awkward listening is apparently the last thing on Zorn's list, and it probably shouldn't be a concern anyway. A rewarding album.

Tracks
-01. "Grand Guignol" – 17:41
-02. "La Cathédrale Engloutie" – 6:24 (Claude Debussy)
-03. "Three Preludes Op. 74: Douloureux, Déchirant" – 1:17 (Alexander Scriabin)
-04. "Three Preludes Op. 74: Très Lent, Contemplatif" – 1:43 (Scriabin)
-05. "Three Preludes Op. 74: Allegro Drammatico" – 0:49 (Scriabin)
-06. "Prophetiae Sybillarum" – 1:46 (Orlande de Lassus)
-07. "The Cage" – 2:01 (Charles Ives) - Featuring Bob Dorough
-08. "Louange à l'éternité de Jésus" – 7:08 (Olivier Messiaen)
-09. "Blood Is Thin" – 1:02
-10. "Thrash Jazz Assassin" – 0:47
-11. "Dead Spot" – 0:33
-12. "Bonehead" – 0:54
-13. "Piledriver" – 0:36
-14. "Shangkuan Ling-Feng" – 1:16
-15. "Numbskull" – 0:31
-16. "Perfume of A Critic's Burning Flesh" – 0:26
-17. "Jazz Snob: Eat Shit" – 0:26
-18. "The Prestidigitator" – 0:46
-19. "No Reason To Believe" – 0:28
-20. "Hellraiser" – 0:41
-21. "Torture Garden" – 0:37
-22. "Slan" – 0:24
-23. "The Ways of Pain" – 0:33
-24. "The Noose" – 0:13
-25. "Sack of Shit" – 0:46
-26. "Blunt Instrument" – 0:56
-27. "Osaka Bondage" – 1:17
-28. "Shallow Grave" – 0:42
-29. "Kaoru" – 0:53
-30. "Dead Dread" – 0:48
-31. "Billy Liar" – 0:13
-32. "Victims of Torture" – 0:24
-33. "Speedfreaks" – 0:50
-34. "New Jersey Scum Swamp" – 0:44
-35. "S/M Sniper" – 0:17
-36. "Pigfucker" – 0:24
-37. "Cairo Chop Shop" – 0:25
-38. "Facelifter" – 0:57
-39. "Whiplash" – 0:22
-40. "The Blade" – 0:30
-41. "Gob of Spit" – 0:21
*All compositions and arrangements by John Zorn, except where noted.

Personnel
* John Zorn – alto sax, vocals
* Bill Frisell – guitar
* Wayne Horvitz – keyboards
* Fred Frith – bass
* Joey Baron – drums
* Yamatsuka Eye – vocals
* Bob Dorough – special guest vocalist

sample & buy: Grand Guignol

John Zorn (Medeski, Martin & Wood) - Zaebos, Book Of Angels v11 (2008)

John Zorn (Medeski, Martin & Wood) - Zaebos, Book Of Angels vol. 11 (2008)

jazz | 1cd | eac-flac-cue-log-cover | 340MB

Tzadik

Wikipedia:
Zaebos: Book of Angels Volume 11 is an album of compositions by John Zorn released by experimental jazz fusion trio Medeski Martin & Wood in 2008.
The album is part of John Zorn's Book of Angels series. Zorn, an avant-garde composer, began incorporating Jewish klezmer styles into his musical palette in the early 1990s, resulting in a project called Masada. Medeski, Martin & Wood were among the original members of the earliest Masada units.[1]
In 2004 Zorn began composing the second Masada Book - 'The Book of Angels'. Several albums of Masada Book Two compositions have been released, performed by various outfits or combinations of musicians. Zaebos, performed by Medeski, Martin & Wood, is the eleventh album in the ongoing series.
The titles of many Masada Book Two compositions are derived from demonology and Judeo-Christian mythology. Zaebos is said to be the Grand Count of infernal realms, and appears in the shape of a handsome soldier mounted on a crocodile.
On June 19, 2008 Medeski, Martin & Wood, joined by Marc Ribot (guitar) and Steven Bernstein (slide trumpet), debuted "Sefrial," a track from the album, at the Celebrate Brooklyn Festival in Prospect Park.

Tracks:
All compositions by John Zorn.
-01. "Zagzagel" - 5:24
-02. "Sefrial" - 4:47
-03. "Agmatia" - 5:21
-04. "Rifion" - 4:26
-05. "Chafriel" - 7:22
-06. "Ahaij" - 3:42
-07. "Asaliah" - 4:42
-08. "Vianuel" - 3:33
-09. "Jeduthun" - 3:05
-10. "Malach Ha-Sopher" - 6:50
-11. "Tutrusa`i" - 5:08

Personnel:
* John Medeski – keyboards
* Billy Martin – drums, percussion
* Chris Wood – basses

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John Zorn - Spy vs. Spy_The Music of Ornette Coleman (1988) (eac-log-cover)

John Zorn - Spy vs. Spy_The Music of Ornette  Coleman (1988)

jazz | 1cd | eac-flac-cue-log-cover | 295MB

Elektra/Musician - Russian reissue | rar +5% recovery

AMG:
John Zorn teams up with fellow altoist Tim Berne, bassist Mark Dresser and both Joey Baron and Michael Vatcher on drums to perform 17 Ornette Coleman tunes which range chronologically from 1958's "Disguise" to four selections from 1987's In All Languages. The performances are concise with all but four songs being under three minutes and seven under two, but the interpretations are unremittingly violent. The lack of variety in either mood or routine quickly wears one out. After about ten minutes, boredom sets in although, when taken in short doses, the performances have the potential of shocking (or at least annoying) most listeners.

Tracks:
01- WRU (Ornette Coleman) 2:38
02- Chronology (Ornette Coleman) 1:08
03- Word For Bird (Ornette Coleman) 1:14
04- Good Old Days (Ornette Coleman) 2:44
05- The Disguise (Ornette Coleman) 1:18
06- Enfant (Ornette Coleman) 2:37
07- Rejoicing (Ornette Coleman) 1:38
08- Blues Connotation (Ornette Coleman) 1:05
09- C&D (Ornette Coleman) 3:05
10- Chippie (Ornette Coleman) 1:08
11- Peace Warriors (Ornette Coleman) 1:20
12- Ecars (Ornette Coleman) 2:28
13- Feet Music (Ornette Coleman) 4:45
14- Broadway Blues (Ornette Coleman) 3:42
15- Space Church (Ornette Coleman) 2:28
16- Zig Zag (Ornette Coleman) 2:54
17- Mob Job (Ornette Coleman) 4:24

Recorded at Power Station, New York City on August 18 and 19, 1988

Personnel:
John Zorn: alto; Tim Berne: alto; Mark Dresser: bass; Joey Baron: drums;
Michael Vatcher: drums.

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John Zorn 2002 - IAO: Music in Sacred Light (2002) (eac-flac-cover)

John Zorn 2002 - IAO: Music in Sacred Light (2002)

avantgarde, jazz | 1cd | eac-flac-cue-log-cover | 305MB

Tzadik | rar +5% recovery

AMG:
This album, a studio suite, is wrapped in mysticism. The four cards that serve as a booklet feature cabalistic signs, esoteric diagrams, a quote from Alaister Crowley and a dedication to esoteric filmmaker Kenneth Anger. A short note by John Zorn establishing a parallel between the tools and craft of musical composition and magic is the only given explanation. The aura of mystery invites an analysis of the constituents and structures of the work, for better or worse -- and in any case it's fun to do on your own, so this reviewer will not expose his personal conclusions on the subject. The musicians involved are Cyro Baptista, Jennifer Charles, Greg Cohen, Beth Hatton, Bill Laswell, Rebecca Moore, Mike Patton, Jim Pugliese, and Jamie Saft. They appear only one, two or three at a time. Each of the seven movements is based on a specific, non-reoccurring instrumentation, and explores a form of meditation, trance or anything possibly leading to spiritual revelation. "Invocation" is a delicate piece based on organ drones, while the 13-minute "Sex Magick" takes the form of a tribal percussion mantra. The piano melody in "Sacred Rites of the Left Hand Path" provides the most soothing moments and together with the first track is reminiscent of the level of writing found in Duras. "Lucifer Rising" is made of overdubbed sensual female vocals, while "Leviathan" serves up an ear-splitting slab of death metal (which can be a source of trance too, you know). "Mysteries" completes the circle with electric piano and light percussion. "Leviathan" aside, I.A.O. makes a calm, enjoyable listen and beyond its mystical claims, it includes some strong compositions.

Tracks:
1. "Invocation" - 7:19
2. "Sex Magick" - 13:26
3. "Sacred Rites of the Left Hand Path" - 6:31
4. "The Clavicle of Solomon" - 9:28
5. "Lucifer Rising" - 5:23
6. "Leviathan" - 3:26
7. "Mysteries" - 5:50

Personnel:
* Cyro Baptista * Jennifer Charles * Greg Cohen * Beth Anne Hatton * Bill Laswell * Rebecca Moore * Mike Patton * Jim Pugliese * Jamie Saft * John Zorn

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John Zorn - Masada v5_Hei (1995)

John Zorn - Masada v5_Hei (1995)
jazz | 1CD | EAC Rip | FLAC+CUE+LOG | cover | 328MB
DIW | RAR +5% recovery

AMG:
Hei, the fifth release from John Zorn's Masada Quartet, shows the band at their tightest and most agile. In sound and design, it is much like the other nine releases from the Quartet, but it is rivaled only by Masada, Vol 3: Gimmel and Masada, Vol. 6: Vav for the musical acumen and togetherness of the players. A Jewish version of John Coltrane's A Love Supreme, Zorn here continues to explore issues of Jewish heritage and identity in the assimilated and diaspora Jewish world. The two opening tracks, "Paran" and "Halisah," show the prodigious talent of the band's frontmen, with Zorn on alto sax and Dave Douglas on trumpet as they groove through Ornette Coleman and Gerry Mulligan-inspired selections from the Masada songbook with a couple of helpings of the Middle East thrown in. These tracks set the tone for what will be the theme of the album, later picked up on with "Neshamah" and "Hafla'ah."While this album is not as aggressive or as transgress as some other Zorn projects, most notably Naked City or The Parachute Years, Zorn and Douglas still prove that they can screech with the best of them on tracks such as "Hobah" as they assert a new Jewish identity. At times, the stellar rhythm section of the Quartet, manned by Joey Baron on drums and Greg Cohen on bass, threatens to overshadow the brass. This is especially true on "Beeroth," the jewel of an album already glimmering in the desert, as Baron plays like a man released from a cage. While more melodic than not, Hei shows that the man known for his outfit of camouflage pants stands alongside the Israeli army as living proof that Jews can fight.

Personnel
John Zorn - Alto Sax
Dave Douglas - Trumpet
Greg Cohen - Bass
Joey Baron - Drums

Tracks
1 Paran Zorn 5:12
2 Halisah Zorn 6:27
3 Yoreh Zorn 6:50
4 Beeroth Zorn 4:12
5 Hobah Zorn 11:38
6 Neshamah Zorn 6:05
7 Lakum Zorn 3:11
8 Makedah Zorn 8:35
9 Hafla'ah Zorn 4:55

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John Zorn - Masada v6_Vav (1995)

John Zorn - Masada v6_Vav (1995)

jazz | 1CD | EAC Rip | FLAC+CUE+LOG | cover | 400MB
DIW | RAR +5% recovery

Review:
Recorded at the Power Station in New York in 1995, Masada, Vol. 6 Vav continues Masada's convincing union of Eastern European and Middle Eastern modalities with the freer, post-bop aspects of jazz pioneer Ornette Coleman. John Zorn's writing is particularly focused and well-informed, full of serpentine lines, mixed meters, and sudden shifts in tempo, while leaving plenty of room for collective and individual improvisation. The ensemble and the individual playing are uniformly superb throughout. Like much of Zorn's work, Vav exists in several simultaneous dimensions. For instance, "Debir," "Mikreh," "Nevalah," and "Nashon" showcase intense and intricate ensemble playing over variously fixed or open forms, which inform the generally caustic, playful and/or melodic improvisations. With bassist Greg Cohen in his pocket, Joey Baron's solo on "Nevalah" is one of the album's highlights. Conversely, "Shebuah," "Tiferet," "Avelut," and "Miktav" are generally slower and quieter. On "Shebuah," Cohen freely introduces the theme; on "Avelut" he solos with fragments of another. Trumpeter Dave Douglas' virtuosic playing is particularly effective at the slower tempos; his soulful solo on "Miktav" is another highlight. One of Vav's unifying threads is the ability of Zorn and Douglas — sharpened through years of playing together — to improvise contrapuntal lines together. "Beer Sheba" stands somewhat apart from the rest of the album. Zorn and Douglas slowly and freely state the theme while Baron and Cohen deliver a restless and churning texture. Zorn responds with his now-familiar shrieks over the slowly unfolding music that is reminiscent of his Pain Killer group. Vav is a consummate collection of Zorn tunes played with conviction and empathy by this extraordinary quartet.

Tracks
1  Debir  8:02 
2  Shebuah  8:09 
3  Mikreh  3:57 
4  Tiferet  4:05 
5  Nevalah 2:10
6  Miktav  9:40 
7  Nashon  8:37 
8  Avelut 7:31
9  Beer Sheba  8:50

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John Zorn's Emergency - Live At The Willisau Jazz Festival (2003)

John Zorn's Emergency - Live At The Willisau Jazz Festival (2003)
jazz | 1CD | EAC Rip | FLAC+CUE+LOG | cover | 395MB
FMF | rec 1999 | RAR +5% recovery
review (Amazon)
John Zorn's Emergency is Zorn on alto sax, John Medeski on organ, Marc Ribot on guitar, and Kenny Wolleson on drums. This particular recording was made at the Willisau Jazz Festival on October 29, 1999 and consists of two lengthy tracks (28 and 27 minutes respectively) and one briefer encore (about 11 minutes) piece. . The music sounds is exciting and powerful-- Zorn is on fire with this group, taking full advantage of his extraordinary technique although sticking somewhat closer to conventional styles. Nonetheless, his playing is superb and seems quite inspired by the band-- Ribot serves as a foil for Zorn, prodding him as necessary and providing some pyrotechnics himself. Medeski seems to be largely holding down the fort in many ways-- his playing remains the most conventional of those on here. Wolleson is a monster-- I've not quite heard such fierceness in his playing, but he's really quite all over the map.

John Zorn - Alto
John Medeski - Keyboards
Marc Ribot - Guitar
Kenny Wollensen - Drums

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