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Daphna Sadeh and the Voyagers: Reconciliation
by Ian Patterson
The ringing endorsement by John Zorn, describing bassist Daphna Sadeh and the Voyager's Reconciliation as 'brilliant and hypnotic... seductive and powerful music" might sound just a tad like self publicity, given that he commissioned the music for his own label, were it not for the fact that it is true. Sadeh has led the Voyagers on ...
Wadada Leo Smith / Jack DeJohnette: America
by Troy Collins
Originally proposed to ECM Records in 1979, the collaboration of trumpeter Wadada Leo Smith and drummer Jack DeJohnette has finally found new life in America. Recorded last year in Bill Laswell's New Jersey studio (but without his heavy-handed production aesthetic), this unadorned acoustic session documents two of the world's most versatile and virtuosic improvisers working through ...
John Zorn: Filmworks XXIII: El General
by Warren Allen
"Los Cristeros," the opening track of John Zorn's twenty-third Filmworks volume, starts gently enough, building from a bass and marimba groove. Then Marc Ribot's electric guitar enters. Brash and distorted, with the cocksure step of a gunslinger, and the frayed edge of a fedora, Ribot's solo keens with the energy and inspiration of the best. Continuing ...
Daphna Sadeh & The Voyagers: Reconciliation
by Eyal Hareuveni
Israeli-born, England-based composer and double-bassist Daphna Sadeh's third release, Reconciliation—the musician's second recording with her band, The Voyagers—is true to its title. Following the group's first album, Walking the Line (33 Records, 2007), Reconciliation reconciles the varied cultural roots of Sadeh—her classical training, jazz education in New York, Sephardic and Ashkenazi Jewish music, and traditional Arabic ...
Greg Wall's Later Prophets: Ha'Orot: The Kook Project
by Eyal Hareuveni
Rabbi Avraam Izchak HaCohen Kook (1865-1935) was one of the most influential and inspirational religious Jewish thinkers of the 20th century. Kook was a man who was humanistic in his philosophy. He preached for vegetarianism and was interested in the arts (he thought that Rembrandt was a tzadik, a righteous man), though his philosophy was deeply ...
Mark Feldman / Uri Caine / Greg Cohen / Joey Baron: Secrets
by Warren Allen
Mark Feldman, Uri Caine, Greg Cohen and Joey Baron have all played integral parts in John Zorn's many explorations of Jewish improvised music. All four have won acclaim for the distinctness and flexibility of their sounds, but here they work in a setting that defines the meaning of traditional. With a group such as this, it ...
Klez-Edge: Ancestors, Mindreles, NaGila Monsters
by Elliott Simon
John Zorn once remarked to that in the '60s, “we didn't want to hear Jewish music at our Bar Mitzvahs, we wanted to hear Hendrix." Funny how a few decades and some intermarriage with post-bop jazz can change all that. However, if back then some very hip parents convinced the best free jazzers to do a ...
Borah Bergman Trio: Luminescence
by Nic Jones
The piano-bass-drums trio has become such a staple of jazz recording that it must be difficult for any trio to come up with something fresh. Borah Bergman and his crew accomplish this task, and whilst their work lacks the compositional integrity of the holy trinity of Thelonious Monk, Herbie Nichols, and Andrew Hill, there's enough substance ...
John Zorn: The Rain Horse
by Martin Longley
This is number XIX in Zorn's Filmworks series, his self-confessed outlet for accessible composition, at least throughout most of its editions. The saxophonist doesn't actually play on this soundtrack disc, concentrating on writing, arranging and conducting. The result is a sequence of what must surely be Zorn's most restful, reflective, melodic and lyrical music, performed by ...
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