New York’s Museum of Modern Art (MoMA) played host to a mini-marathon of John Zorn projects in another Zorn@60 event in honor of Mr. Zorn’s 60th birthday (which is in September, but being celebrated with epic concerts all year long).
The concept behind this concert was a beautiful one: each set would be performed in a gallery with ‘matching’ art, with music and artists selected by John Zorn based on where his inspirations for each composition came from. My only complaint was that I wish we’d had a little more time between each set to look at the art, but there was only ten or fifteen minutes between each set, and there were a lot of people in attendance, so we generally scooted between rooms pretty quickly. (Mind you, other people probably didn’t have to power-walk to the Port Authority to catch a bus to Boston afterwards – maybe everyone else went back and spent some more time with the art later.)
The first set was billed as the Gnostic Preludes, which is an album released in early 2012 with performers Carol Emanuel (harp), Kenny Wollesen (vibes) and Bill Frisell (guitar). This performance was a little different, and was a duet between Wollesen and Emanuel with no guitarist.
I have heard the studio recordings of the Gnostic Preludes, but it was a very special experience to see it performed live in that beautiful setting. Some instruments feel very different in a live setting, and to me this set was a great example of that. The sound was so rich and gorgeous. I especially enjoyed watching Kenny Wollesen, he is such a unique performer and he was very animated and interesting to see. I was able to sneak a video of the second piece:
The next set was “Apophthegms for Two Violins,” performed by Chris Otto and Dave Fulmer (both on violin); I believe these were pieces from Zorn’s recent ‘Lemma’ album. (All three of you who get the mathematical reference are chuckling right now, I’m sure.) These pieces were (more…)