Sunday night was (sadly) the last night of my New York Zorn@60 adventure – and it was the end of a rather remarkable run of shows for me. I ended up going to 18 concerts in September, 10 of which were Zorn@60 events. (I didn’t have a chance to write about some of the shows, unfortunately – it’s hard to combine that level of concert attendance with a full-time job, travel and blogging.) I was a little worried that after the big blowout week of music we’d just seen, this night would be a bit of a let-down, because I have kind of mixed feelings about both projects. But I’m not the sort of person who would skip a Zorn concert (under pretty much any circumstances you can think of) so I went along and hoped for the best.
Both of the concerts on Sunday were at Le Poisson Rouge, a venue I really like in Greenwich Village. The early set was the Song Project, which is more-or-less the Dreamers with a replacement keyboard player (John Medeski instead of Jamie Saft) with the addition of a few vocalists. The full band line-up: John Zorn (conducting), Marc Ribot (guitar), Kenny Wollesen (vibes), Trevor Dunn (bass), Cyro Baptista (percussion), Joey Baron (drums), and John Medeski on keys. The vocalists were Mike Patton, Jesse Harris, and Sofia Rei. They play some Dreamers material, but they also play a bunch of other stuff ranging anywhere from Filmworks to Naked City.
The reason I have mixed feelings about the group is that (more…)
I’ve been to a number of concerts that called themselves “marathons.” I’ve been to all-day festivals. I’ve been to multiple concerts in one night (sometimes in two different cities). I’ve even been to a couple of Zorn marathons in museums. But this? This beat them all. Twelve sets over ten and a half hours, from the minute the museum doors opened to the time it closed. Each one in a different room, paired with or inspired by a particular piece of art or architecture. I suspect this is a record that will never be broken (for the sake of my health, if nothing else!). In short, this was The Big One. I had been so excited about it in advance that I’d researched the locations and created an overlay on a map of the museum with a list of performances and times, so I could print it out and know where everything was without having to figure it out on the day of the show. And if you think THAT is obsessive, you probably don’t want to know about the “Zorn Reconnaissance Mission” that I went on with a friend a few days earlier to check out all the rooms, view the art in advance, figure out the best viewing angles, acoustics, etc. (I’d learned from ZoRN@MoMA that it was actually quite difficult to appreciate the artwork on the day of the performances, since the rooms were so crowded that you often couldn’t get near the piece in question.) We were well-prepared and determined to eke out every last drop of the experience.
We showed up at 9:30 in the morning to be at the front of the line for a 10AM performance, and the music didn’t end until 8:30 at night, eleven hours after we arrived. We saw fourteen separate performances. I made it through the entire day on a few granola bars and water. I had gone in with the idea that I would have a nice sit-down lunch break and skip a performance just to keep myself sane, but in the end I never got desperate enough to do it and I just pushed through the whole day.
We entered the museum within seconds of the doors opening at ten o’clock, knowing that there was a trumpet fanfare (Opening Antiphonal Fanfare for Six Trumpets) planned for 10AM in the entrance hall. We didn’t know exactly where it would be, so as we picked up our tickets we were distractedly looking around everywhere for evidence of trumpet players. I didn’t see any, but did spot John Zorn, Erik Friedlander (who was scheduled for an 11AM solo performance) and a bevy of museum staff members wearing “ZORN AT THE MET” T-shirts. I also spotted a few friends, some of whom would be joining us for the entire day and some who just wanted to see a couple of events in the morning. We anxiously milled around, waiting, wondering if we should move on to the Temple of Dendur where there was a performance scheduled at 10:15. But we figured as long as John Zorn was in the room, we probably wouldn’t miss anything. I think they realized that there was a long line of people outside and they should wait until everyone was in the room before starting the fanfare, so as not to disappoint the fans who had been waiting.
(See previous post for explanation of why there are no photos or videos in this blog article. Welcome to Wordville, population: 1871. If you find any photos or videos from this show, feel free to link to them in the blog comments!)
Friday night was our third night in a row at the Miller Theatre, and out of the three nights, it was the music I was most excited about: John Zorn’s Game Pieces. I was sadly in a lousy mood going into it, partly because of the e-mail I’d received from them and partly because I wasn’t looking forward to spending another 3-4 hours in such a hot and stuffy room (it had been so bad the night before, people were falling asleep left and right, and my friends had to miss pieces of music to go out and get fresh air). I felt bad for the musicians – you know if it’s hot and stuffy in the audience section, it’s ten times worse on stage since they’re higher up and constantly under all those hot lights.
It is really a shame that there are no videos available of most of these pieces, because some of them I feel are almost pointless to listen to without being able to see them. It is so much easier to understand what’s happening when you can see the musicians and the prompter/conductor/director. It’s also lots and lots of fun to watch these pieces! On this particular night we got an incredible array of pieces, the likes of which has not been seen probably since (more…)
EDITED VERSION:This is an edited version of the original review after I received a take-down notice from someone named Charlotte at the Miller Theatre threatening to have me thrown out of the Game Pieces concert if I did not comply with their requests. I am not allowed to have so much as a cell phone pic from the Miller, so this post and the upcoming review of Game Pieces the next night will be completely free of anything but text. After that we will hopefully resume normal service, assuming I don’t get any more take-down notices from anyone else…
I’m sorry I took so long to re-post it, but I got the take-down notice shortly before heading out to dinner and the concert on Friday, and then on Saturday I spent eleven hours at the Metropolitan Museum for the epic all-day marathon there. All free time since then has been used for eating, sleeping, and digesting new music experiences.
On Wednesday and Thursday this week, it was time for a massive dose of John Zorn’s classical music, at Columbia University’s Miller Theatre. Wednesday night was the “All-Star Orchestra” and Thursday was billed as a chamber music marathon. Between the two nights we heard no less than seventeen of Zorn’s classical pieces, including many I’d never heard before and a few premieres that had never been performed before. It was a pretty special occasion for us devoted Zorn fans. I have met three people so far this week that have traveled to New York from another country just to see these Zorn@60 concerts, so it is really wonderful of Mr. Zorn to give us so much bang for the buck with these incredible marathon concerts. Some of the New Yorkers I’ve talked to are a bit blasé about it because he plays here a lot, but for those of us who can only come to NYC for special occasions, this has been an unparalleled week of music so far.
There was so much music and so much variety that I can’t possibly write about all of it, so I’ll have to pick and choose some favorites. My absolutely far-and-away favorite from Wednesday night was Kol Nidre. It was the first piece of Zorn’s that I ever heard performed live, at the 92nd Street Y back in 2006 (IIRC). That performance was a ~15-piece string orchestra conducted by Zorn himself, and it was the most intense piece of music I’d ever seen. I was very much looking forward to seeing it again with a large string ensemble. This time he had a BIG orchestra… I couldn’t even begin to count the musicians on stage, but the program listed over 50 string players. The sound was powerful, and they used that power to the fullest with sudden and intense swells in volume. David Fulmer did an excellent job conducting. I had goosebumps up and down my arms a few times because it was so emotionally arresting. I feel like having a little lie-down just thinking about that piece.
(“Kol Nidre” video removed per request of the Miller Theatre)
On the next night, my favorite pieces were all pieces which were new to me. I’d only heard four or five of the thirteen chamber music pieces before, and some of the new ones were just brilliant. I asked my friends after the show which pieces they liked the best and there were three that really (more…)
This weekend my friends and I were lucky enough to see two “Essential Cinema” concerts and one screening/discussion with John Zorn at the Anthology Film Archives. Essential Cinema is what Zorn calls his concerts where he has a live band performing scores along with silent short films. I’d seen one of these concerts years ago at St. Ann’s Warehouse in Brooklyn, so I had a pretty good idea of what to expect going in.
The theater at the AFA was fairly small, and the band set up directly beneath the screen, in front of the seats. The front row of seats was roped off, so we sat in the second row (hoping for the best view of the band in a darkened theater, since we are much more live music junkies than we are film junkies). It turned out that the front row was blocked off so that Zorn could sit there and conduct the band (and occasionally play his saxophone) while still being able to see the film as it was playing on the screen. This worked out pretty well for us as we had a great view of the conductor as well as the dimly-lit band.
He asked us at the beginning to turn off and put away our phones and cameras and “pretend it’s 1958″ and enjoy the show. So: I have no pictures or Youtube videos to share with you! I wasn’t about to go against his explicitly stated wishes while sitting two feet away from him.
On the first night, they played scores for five short films. The films we saw did not completely match the program, but I believe it was Joseph Cornell’s “Rose Hobart” as well as “Collage No. 36″; Harry Smith’s “Oz, the Tin Woodman’s Dream”; Wallace Berman’s “Aleph”; and Maya Deren’s “Ritual in Transfigured Time.”
Two of the films (I believe it was the Cornell films) had scores very reminiscent of the Gift or the Dreamers material – the band consisted of Jamie Saft (keys, guitar), Shanir Blumenkranz (bass), Marc Ribot (guitar), Tim Keiper (drums), Cyro Baptista (percussion), Kenny Wollesen (vibes) and Ikue Mori on laptop/electronics. They had a very lush, exotic sound, mostly pretty smooth but with the occasional crescendo of intensity.
One of the films – Harry Smith’s, if my memory serves me correctly – had a soundtrack consisting entirely of (more…)