Gravitational Waves is a dating story. The pianist Bruno Ruder and the saxophonist Rémi Dumoulin know each other for a long time and have very early maintained more than friendly relations (Bruno Ruder calls Rémi Dumoulin his brother). When the idea of starting a group together germinated, the choice of the drummer was quickly stopped, so great was the desire to rework with the legendary Billy Hart . There is also little suspense about the rest of the cast: Aymeric Avice (Radiation 10, Jean Louis, Circum Grand Orchestra) and Guido Zorn (Rockingchair, Pierre Durand Roots 4tet), two musicians among their favorites. Ruder and Dumoulin share voluntarily very open compositions (sinuous and fragile for the pianist, more direct for the saxophonist). The decision is to leave the maximum space to the American drummer so that it colors the score as it sees fit.
This 1997 duet recording between drumming ace Bobby Previte and saxophonist John Zorn is indicative – pretty much – of what Zorn's music was like at the time: There are plenty of hard bop linguistics mixed in with film noir themes and screeching, burning skronk. There are also short, lucid moments of melodic tranquility that prefigure much of Zorn's work from 1999 on. But mostly, this series of duets reveals something else, that two players from similar backgrounds, who have played in the same bands together and can understand each other on an almost symbiotic level, can still approach the same musical problem from two different sides and come up with the same answer.
Half way between free improvisation, hardcore jazz and brute rock, Schnellertollermeier plays music without compromise. Their style defies genre boundaries with instrumental power. Their record "Zorn Einen Ehmer Üttert Stem!!" is little about quiet, and a lot about anger, silliness and precision and has gotten exited reviews from Switzerland and abroad. This young trio sounds like classic literature, where you have to keep on re-reading a sentence until you understand. But when you have finally understood, you understand a lot more…
One of the most talked about and well attended shows of Zorn’s 50th Birthday month was his much anticipated duo concert with Boredoms mastermind, Yamataka Eye. Close friends and musical associates since 1985, their love, respect and telepathic interplay was augmented on this occasion by electronic technician Sawai Taeji, who responded to Eye’s sensor movements via powerbook. Jewish Alchemy meets Japanese Shamanism in this ritual performance of music and magic from two of the world’s most unusual and unclassifiable adepts. Included as a bonus is a Quicktime video of the performance accessible on your computer.
In the late ’70s and early ’80s Zorn presented yearly retrospectives of his game pieces at various Downtown venues. He called these events his Olympiads. This long awaited CD presents three of his classic pre-Cobra game pieces in multiple versions by the fabulous Brooklyn-based guitar quartet Dither. Here you will find the building blocks of Zorn’s trademark musical language—virtuosic extended techniques, surprising contrasts, fast group interaction and razor sharp changes. Featuring the first recording of Zorn’s legendary compositions Fencing and Curling, these fabulous realizations will keep you on the edge of your seat from first note to last!
With The Urmuz Epigrams Zorn returns to his roots, using the recording studio as instrument to create an intensely personal suite of compositions in the style of his legendary File Card compositions and Zoetropes. Dedicated to the visionary Romanian writer Urmuz whose small, scattered body of work predated Dadaism by decades, The Urmuz Epigrams is a suite of surrealistic miniatures more akin to philosophical aphorisms than actual music. The pieces are presented here in two iterations, as a set of “rare 78rpm records” complete with surface scratches and limited dynamic range, and as a modern reconstruction of same with the full blown studio sound presented in all its perplexing glory. Some of the craziest music in the Zorn catalog!
The second disc of Bill Laswell and Buckethead's project Praxis is much less of a band effort and much heavier in tone. Laswell calls in some of his associates for various tracks, which makes this more a revolving-door project. Many tracks are speed/thrash metal at their noisiest; most notable of these is "Rivet," which combines Buckethead's ultra-heavy guitar riffs and shredding solos with sounds of shattered glass for an unbelievably aggressive experience. There's also a short dub interlude ("Iron Dub") and a hip-hop freakout with lots of scratching and high-pitched shrieks ("The Hook"). P-Funkers Bootsy Collins and Bernie Worrell (both also featured on the first disc, Transmutation) each contribute one lengthy track: "Deathstar," with Bootsy's free-form bass explorations, and "Crossing," featuring Bernie's psychedelic improvisation on a distorted Hammond organ.
Inspired by the spiritual mythology of William Blake, A Vision in Blakelight is the latest in Zorn’s continuing series of 21st century mystical works. With a cinematic sweep reminiscent of his best film scores the music is alternately romantic, ominous, ecstatic, driving and meditative. Featuring the Nova quartet augmented by harp and percussion—and the charismatic Jack Huston reciting from Blake’s Jerusalem on one mysterious track—this suite of ten instrumental miniatures references jazz, classical, easy listening, film music and minimalism. A lovely and varied suite reflecting the humanistic philosophy of the immortal visionary William Blake with a dramatic and brilliant lyricism.
Drawing upon traditions as varied as Messiaen, Xenakis, Ligeti, Bach, Tournemire, Ives, Korla Pandit and The Phantom of the Opera, Zorn’s organ improvisations are transcendent, inspiring, ecstatic experiences, offering a direct line to the workings of his rich compositional imagination. Recorded at midnight on the eve of Halloween on the largest organ in New York City, Zorn approaches this performance as ritual, creating a mysterious mood of contrasts, colors, bells, drones, counterpoint and simultaneity. This fourth volume documenting Zorn’s legendary organ recitals presents organ improvisation at its most surprising, extreme and sublime.