Zorn Gnostic Preludes

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…

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.

Live at Tonic is perhaps the most revealing and astonishing record yet by Masada, because it was recorded before a very discriminating audience of enthusiasts not only in the band's hometown, but also in its home club. Live at Tonic is two complete sets, over two hours in length, in a typically gorgeous double-CD package. What's more, there is only one selection repeated in the two programs. Masada's music has long since transcended the group's ambitious beginnings. John Zorn has moved Masada into a space where the compositions he writes for the group become jump-off points not only into a singular kind of group interplay, but into a new tonal space altogether. Using Hebrew and Yiddish folk influences to craft root melodies, the harmonies created by the interaction of the group's front line of John Zorn on alto and Dave Douglas on trumpet…