Concert review: John Zorn’s Masada Book Three: Book of Beriah – part one (3/19/2014)

When John Zorn announced back in January that he was doing a live premiere of a third Masada book, I was… excited. I was very excited. I immediately booked a train and hotel and started trying to convince everyone I know to come with me. I had my browser refreshing to get a ticket the second they went on sale (sadly, that turned out to be kind of a bust since all the best seats were reserved for the musicians and their plus-ones – oh well). Zorn’s Masada compositions were my introduction to his work and they opened up a whole new world of music to me that I’d never been exposed to before. The second book of Masada, the Book of Angels, contains some of my absolute favorite music, and I’ve religiously collected all twenty volumes to date. We’ve been hearing rumors for the last couple of years that the Book of Angels was drawing to a close, so the announcement of a third book was thrilling for me. A temporary reprieve, as it were.

It’s unclear what form the third book will take – Zorn told us early in the show that the book would consist of “92 tunes which will be played by 92 different ensembles,” which is pretty amazing in and of itself. I don’t know if they’re planning to record them in the studio and release them (maybe in a box set?) or just to do concerts; hopefully both, and hopefully I’ll be able to see them all! He also mentioned one final piece to close the book, which would be a longer piece that he would do in the studio after book three is finished.

Wednesday night’s concert premiered 20 of the 92 tunes, with 20 different ensembles or soloists – most of them were either pre-existing bands (Zion80, Secret Chiefs 3, Cleric, etc.) or variations on existing ensembles (e.g., the Merkaba Quartet, the Aleph Quartet, Mephisto). Quite a few of them have already created albums for the Book of Angels series, so they were no strangers to the Masada universe (or working with Zorn, which I imagine is a rather unique experience for most musicians).

Usually for a show with so many bands I would just pick a few favorites, but I think I have to go against my better blogger instincts and write up most of them – I’m only skipping a couple that just weren’t my style. Nothing against the few bands I’m passing over, some of them were just not my scene at all (on both ends of the spectrum – too aggressive, or not aggressive enough…).

It’s possible that the very first piece was my favorite one out of the whole night. The arrangement was by violist Eyvind Kang, and the performers were Eyvind Kang (viola); Mark Feldman (violin); Timba Harris (violin); Erik Friedlander (cello); Shanir Blumenkranz (bass); Hidayat Honari (tar); Ches Smith (drums) and Frank London (trumpet). It was melodic and beautiful, with lots of drama and emotion. Lots of klezmer influence from Frank London’s trumpet playing, and the strings just sounded incredible. I actually wish they hadn’t put this band on first, because it was so good and I wasn’t ready for it to be that good yet – I needed them to ease me into things a bit more. (Although this probably was Zorn’s idea of easing us into the show, now that I think about it.) Kang’s Book of Angels album, Alastor, is being released in a few weeks, and after hearing this ensemble I can’t wait to hear it. I’m not sure if the same ensemble is on the album, but he clearly has some affinity with this music and I’m sure he has done a great job with it.

Mark-kang(Eyvind Kang’s ensemble. Photo courtesy of Mark Kirschbaum)

The next piece was a quick three-minute hit from (more…)

Concert Review: John Zorn Marathon at the Walker Art Center (4/6/2013) – Part 3: The Concealed, Nova Express, Aleph Trio and The Hermetic Organ

(Click to read Part One and Part Two of this series.)

We were heading into our eighth hour at the Walker Art Center when the third concert of the Zorn@60 marathon was set to begin. There was some sort of delay (we were too far back in the line to hear the cause) and we ended up waiting for a while in a line stretching down the stairwell and into the bar/restaurant area. Eventually, they let us into the McGuire Theater for the third time that day and the concert started relatively quickly.

The main part of this set was music from “The Concealed” and “Nova Express,” which were both released within the past two years. Nova Express was performed by John Medeski (piano), Greg Cohen (bass), Kenny Wollesen (vibes), and Joey Baron (drums). The Concealed was the same quartet with two more players added: Mark Feldman on violin and Erik Friedlander on cello. Apparently Zorn thinks of these two projects as being very closely related; he mixed the pieces together into a single set, with the strings having a little break during the Nova Express pieces.

I was especially interested to hear The Concealed in a live setting, since it was one of my favorite recent Zorn releases and has only rarely been performed live (just once or twice, I think). Naturally, as a new ensemble, they were not as masterful as the bands we’d just seen who had been playing together for a decade and a half – that wouldn’t really be a fair expectation. But the music is brilliant and the musicians are all top-notch, so we still got a very worthy performance. I was pleased that they played my favorite track from the album, Towards Kafiristan – I just love Medeski’s piano on this piece. And, as you might have guessed, I filmed it for you:

Nova Express is not necessarily one of my favorite albums to listen to, but I enjoyed it more live than on CD. The less melodic pieces were a lot of fun to (more…)