The sixth installment in John Zorn's Moonchild series centers around the mysterious, monastic cult of warriors known as the Knights Templar, who were established and recognized by the Catholic Church somewhere near 1128 and were excommunicated by Pope Clement V in 1312 for heresy (allegedly for overtly worshipping Baphomet, i.e. Satan). While the Moonchild trio has been a constant - vocalist Mike Patton, drummer Joey Baron, and bassist Trevor Dunn - they have been augmented from time to time. Here, John Medeski's organ makes them a quartet and it's a nice touch; Zorn's music for this cycle, while full of dynamic bursts of rock, jazz, and avant power, also evokes Roman Catholic liturgical music to great effect…
The violent cover photo (which shows a man after he was shot dead) sets the stage for the rather passionate music on this John Zorn set. With guitarist Bill Frisell, keyboardist Wayne Horvitz, bassist Fred Frith, drummer Joey Baron, and guest vocalist Yamatsuka Eye making intense contributions, altoist Zorn performs his unpredictable originals, abstract versions of some movie themes (including "A Shot in the Dark," "I Want to Live," "Chinatown," and "The James Bond Theme"), plus Ornette Coleman's "Lonely Woman." The stimulating music rewards repeated listenings by more open-minded listeners.
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…
An album which straddles the line between John Zorn's classical compositions and his more theoretical, experimental work, Angelus Novus collects four pieces which span 20 years of his career. 1983's "For Your Eyes Only" is a chamber symphony which lurches from all-out aggression to jazzy horn interludes and breezy wind pieces. "Christabel" is a 1972 student piece that also has sharply executed cuts alternating between fluttering, energetic sections and smooth, serene ones that could act as the soundtrack to the Rime of the Ancient Mariner (Zorn has said that the piece was inspired by Coleridge)…
In Search of the Miraculous is an album by composer John Zorn released as a part of Tzadik's Archival series in 2010. Allmusic awarded the album 4 stars. Writing for All About Jazz, Warren Allen stated "Some may find it difficult to embrace the mystical/minimalist aesthetic captured here, but there is so much art present. For Zorn as a composer, the writing is an important step in the development of his file card music. For the musicians, the songs contain deeply passionate performances that sound effortless, even where they are certainly not. And for the listener, there are pleasures to be found either just in listening or in trying to unwind some of the layers within this suite of music. This is simply an album to lose oneself within".
Nostradamus: The Death of Satan, the ninth release by Zorn’s most intense 21st century ensemble, is a triumph. In this wildly varied program ranging from the softest sacred whisper to the most heretical hysteria, Zorn brings his unique compositional blending of classical, jazz and rock to new heights. The Simulacrum band is tighter than ever and the recording is richer and more powerful. With a stunning clarity of sound, brilliance of performance and towering compositional vision, Nostradamus is Zorn at his very best.
Nostradamus: The Death of Satan, the ninth release by Zorn’s most intense 21st century ensemble, is a triumph. In this wildly varied program ranging from the softest sacred whisper to the most heretical hysteria, Zorn brings his unique compositional blending of classical, jazz and rock to new heights. The Simulacrum band is tighter than ever and the recording is richer and more powerful. With a stunning clarity of sound, brilliance of performance and towering compositional vision, Nostradamus is Zorn at his very best. Essential.