Today’s concert review was contributed by William Sarginson, founder/moderator of the John Zorn/Tzadik/Merzbow forum at http://offering.proboards.com.
Of course I was excited for this show ever since it was announced. I always try to see Zorn (in whatever incarnation) whenever he visits the UK, and this was my sixth time. At Barbican too, which is always a plus for me as I’m straight off the train and five minutes walk to the venue – no subway, no hassle. In the heat of this time of year, believe me that was a plus point! So, a few drinks sank and on to the show!
The Barbican hall is a great venue, acoustically and aesthetically. Seats are comfortable, staff are helpful and it’s a great place to see anything performed. Probably why Zorn favours it as his London venue of choice. Looking through the evening’s programme we were in for a varied night of great music, although the actual billing of the show was to be altered. As the players arrived onstage and were introduced by Zorn, he explained that his original intention was to have each act as advertised, in that order of billing. However, the venue “didn’t like that idea” apparently, and insisted on an interval. As a result JZ split the evening into two – vocal, followed by non vocal. Made sense I guess…
First up was The Song Project – Zorn tunes performed with added vocals and lyrics, courtesy of Jesse Harris, Mike Patton and Sofia Rei. Now, I kinda spoiled things for myself here and previously watched footage from the recent Moers Festival show so I knew what to expect. Each vocalist took it in turns to do a song which included Naked City, Filmworks and Book Of Angels pieces as well as Towards Kafiristan from The Concealed. Rather than break things down tune by tune, the overall effect of this set was lost on me. All the players performed very well as you’d expect, but I just think that the whole idea of putting lyrics to already established songs is a little futile. I believe all the singers contributed to the lyrics, but the absent Sean Lennon’s contribution had this reporter wincing at the entry-level lyricism! I can’t remember which song they were applied to, but they were all pretty poor in my opinion. I can’t help but think this spot could have been used to greater effect with the inclusion of a different part of Zorn’s oeuvre. (Nova Express? Cobra? Hell, why not aim really high and say Naked City? Painkiller? ) Highlights here as ever was watching the musicians interact with each other. I could watch Joey Baron and Mike Patton laugh to themselves all day. Zorn conducting is always great to observe too. Overall though, The Song Project was a mis-fire for me.
Next up was The Holy Visions – an a cappella piece for five female voices inspired by Hildegard von Bingen. This was mind-blowing. I’m out of my depth even beginning to decipher what goes into writing or performing this type of music, but it was awesome to watch. Bewildering and almost trance inducing at times! The good thing about having front row seats is that I could see all the interactions between the singers – intricate hand movements and their use of tuning forks – all very interesting. I look forward to hearing the full (30 minute) piece which is due for release sometime this year apparently. All misgivings about The Song Project fell by the wayside after this set! [Note: You can see the Holy Visions in NYC this week at Lincoln Center on July 18! Click here for details. – Sarah V.]
The final act in the “vocal” segment was Moonchild / Templars. For whatever reason, John Medeski was not in attendance so it was a Patton / Dunn / Baron trio, with Zorn (hood on and up!) conducting. I was fortunate enough to see the Moonchild premiere in 2006, so was quite disappointed at the added keyboards / organ not materialising tonight. This was a storming set, though. I was pleased to see Zorn conduct the trio as he didn’t do so for the premiere, and YouTube footage of the South American dates looked insanely energetic and enjoyable. Which this was! About 20 minutes of noise then out for an interval….
First up after stretching the legs was The Alchemist, a piece for string quartet. After introducing the players, Zorn told us the full title of the piece, which I’m afraid was (more…)