David Chaim Smith, Bill Laswell, John Zorn The Dream Membrane (2014) {tzadik Spectrum Series TZ 4004}

John Zorn - The Last Judgment (2014) {Tzadik TZ 8325}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 258 Mb | MP3 @320 -> 96 Mb
Full Artwork @ 300 dpi (jpg) -> 34 Mb | 5% repair rar
© 2014 Tzadik | TZ 7181 | Tzadik Archival Series
Jazz / Avant-Garde Jazz / Experimental

Featuring the same magical Templar quartet from “In Sacred Blood”, “The Last Judgment” is the final CD in the remarkable Moonchild septology. This project has explored many different worlds in the past 8 years, and this CD takes a moody and lyrical approach with Medeski’s organ fully integrated into the band. Once again inspired by the legend of the powerful Knights Templar and their tragic demise under accusations of heresy in 1307, Zorn has composed a suite of pieces with a strong sense of continuity and emotional impact. Mike Patton draws on every vocal technique in his huge arsenal and the rhythm section of Dunn and Baron are tighter than ever. The last piece of the Moonchild puzzle—essential!

John Zorn - The Unknown Masada (2003) {Tzadik TZ 7181}
EAC rip (secure mode) | FLAC (image)+CUE+LOG -> 384 Mb | MP3 @320 -> 141 Mb
Full Artwork @ 300 dpi (jpg) -> 14 Mb | 5% repair rar
© 2003 Tzadik | TZ 7181 | Radical Jewish Culture Series
Jazz / Avant-Garde Jazz / Klezmer / Post Bop

The third installment in this Tenth Year celebration is the most exciting yet. Fourteen tunes from Zorn’s legendary Masada songbook that have never been heard before. Performed and arranged by an incredible lineup of musicians, the music here touches upon hard rock, world beat, klezmer and jazz, often all in the same arrangement! Highlights include a lyrical ballad by Wadada Leo Smith, two explosive rock tracks by the powerful Japanese duo the Ruins and Mike Patton’s Fantomas, and a gorgeous solo performance by Ukrainian bandura virtuoso Julian Kytasty.

The Gnostic Preludes is the fourth chapter in the mystically influenced recordings that began with In Search of the Miraculous and continued with Goddess: Music for the Ancient of Days and At the Gates of Paradise. Despite the wide range of Zorn's mystical investigations throughout his career, these four records - thus far - have more in common with one another than the rest of his catalog. While all have featured different groups, the one constant is vibraphonist Kenny Wollesen (who also plays bells). Harpist Carol Emmanuel appeared in the Goddess ensemble. The addition of Bill Frisell to these proceedings feels essential for what Zorn was trying to accomplish with this particularly intimate group of compositions. His instantly recognizable tone; easy, laid-back, readily accessible style, and his ability to become an equal part of an ensemble make him an ideal choice…

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!