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Live Guitars From New York: Lou Reed, Marc Ribot, Larry Coryell, Kenny Burrell, Elliott Sharp, James Blood Ulmer and Nels Cline Lou Reed/John Zorn Le Poisson Rouge
September 2, 2008
John Zorn/Milford Graves/Marc Ribot
Le Poisson Rouge
September 4, 2008
One of these two John Zorn gigs cost more to enter than the other. One of them possibly featured a portion of its customers who might just have been hoping that one of its artists would sing and play some non-improvised material. Lou Reed and John Zorn performed in January of 2008 at the latter's Lower East Side venue, The Stone, with a people-capacity of maybe sixty. In that joint, folks knew to expect the unexpected, but the freshly opened Poisson Rouge club in Greenwich Village has an as-yet untested demographic, even though its booking policy is turning out to be almost as adventurous as The Stone's, particularly given its much larger size and very accessible location. So, Reed is in a decidedly improvisational mode (even though his roadie periodically seems to place sheets of paper on a music stand: do these contain musical notation, reminders for effects pedal settings, or incoming emails?), but this state should come as little surprise, as he's been sculpting spontaneous "noise" since the Velvet Underground days. Reed presumably feels more settled as a linear riff-generator, even if these repeated structures might extrude in slow motion, or be disguised as ascending guitar fanfares. He can't escape some kind of rock'n'roll structure, but the resultant drones and swoops are still highly abstract when viewed from outside improvisation's inner sanctum. Zorn takes on the role of active partner, even if only because he's playing faster, stuffing more circular-breath throttling into the space, taking his alto saxophone tone to the highest cutting reaches, and sustaining great caterwauling threads at unending length. Whether pre-meditated or not, the pair end up mimicking Middle Eastern or gypsy drones, even going as far as the Basque Country and Scotland in their search for extended bleating textures. Most of the music is deliberately targeted to sound painful or produce pain, but in a very controlled manner, shaped with precise attention to agony-detail. Earlier, frequent Zorn collaborators Phantom Orchard had taken harp and laptop to the perimeter, but now Zeena Parkins and Ikue Mori return for the encore, preceded by vocalist Mike Patton, who divides his stage-time between bassy beatboxing, chimpanzee gabblings and sometimes a highly tuneful sweet keen that lies comfortably on top of the Zorn/Reed wash. This is ultimately Zorn's universe, but Reed is visibly excited by this new area of collaborative activity. Such adventurous searching is becoming an important factor in his musical life, far removed from any settling into a greatest hits complacency.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.