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Aaron Alexander: Midrash Mish Mosh
by Dan McClenaghan
The klezmer base is there, unmistakeable, on drummer Aaron Alexander's Midrash Mish Mosh, but a bunch of other influences wail into the sound, too. For example, guitarist Brad Shepik lends a punk rock feeling to the opener, Kleyzmish Moshpit." The title alone gives a big hint of what to expect. A mosh pit with Jewish leanings? ...
Various Artists: Irving Stone Memorial Concert
by Sean Patrick Fitzell
Irving Stone's history as a voracious listener stretched back to checking out Monk and Coltrane at the Five Spot and hanging with Ornette. In his later years, he focused on the burgeoning downtown jazz scene, championing musicians taking risks and forging new sounds. Stone developed a reputation for big ears, and insiders knew they were at ...
Richard Crandell: Mbira Magic
by Eyal Hareuveni
The mbira, or thumb piano, is the classic instrument of Zimbabwe. It consists of approximately 20 to 24 flattened metal prongs which are fastened at one end to a wooden resonator body and has a chiming, cyclical sound. Many jazz musicians have explored the possibilities of the mbira, from bassist William Parker to Israeli saxophonist Assif ...
Masada: Sanhedrin: Unreleased Studio Recordings 1994-1997
by John Kelman
When alto saxophonist/composer John Zorn brought trumpeter Dave Douglas, bassist Greg Cohen, and drummer Joey Baron together for a series of sessions dedicated to bringing the harmonic roots of traditional Jewish music into a new improvisational context, little did he know that his songbook, ultimately growing to include over two hundred compositions, would grow into what ...
Aaron Alexander: Midrash Mish Mosh
by Jerry D'Souza
"Midrash" comes from the Hebrew word darash," which means to inquire." Mis mosh mish" means mixed-up" or combination." That was easy; Aaron Alexander explains the terms in the liner notes. Definitions having been provided, this music, part of Tzadik's Radical Jewish Culture series, is indeed an exhilarating combination. To call it mixed-up would be denying it ...
Shirim: Pincus and the Pig
by Elliott Simon
Complete with sticker sheet and illustrated story book, Pincus and the Pig is a joyfully Jewish take on every child's introduction to the symphony orchestra and its instruments. It also serves here as an apt family entrée to the wonderful catalogue of the Boston based klezmer ensemble Shirim. At the forefront of the musical evolution that ...
John Zorn: Masada Anniversary Edition, Vol. 4: Masada Recital
by Jeff Stockton
I suppose that since John Zorn plays alto saxophone and improvisation has played a crucial part in his music over the years, by convention he could be described as a jazz musician. But as a composer he has been anything but conventional, drawing on myriad influences that range from film scores and cartoon themes to Braxton ...
Wadada Leo Smith/Susie Ibarra/John Zorn: 50th Birthday Celebration Volume 8
by Rex Butters
More live recordings from the Month of Zorn, a run of concerts celebrating the iconoclastic altoist's 50th birthday, this one encoding two very different sets. The first series features duets with percussion dakini Susie Ibarra. Ibarra abandons the more measured performances of recent Tzadik CDs and returns to the firestorm approach from her days with the ...
John Zorn/Naked City: Complete Studio Recordings
by Mark Corroto
The year was 1990, the US and Iraq were posturing, and the American president was also named George Bush. George the 1st said, This aggression will not stand --dividing the country between protestations of no blood for oil and, well, conservative freedom fighters. I don't know who drew the line in the sand. ...
Charming Hostess: Sarajevo Blues
by Dan McClenaghan
Charming Hostess--Jewlia Eisenberg with Marika Hughes and Cynthia Taylor--sounds like a Phil Spector '60s girl group that decided to fire the famed producer, telling him on the way out the door, So long, pal, we got some ideas of our own." Their ideas, on Sarajevo Blues, are in the socially concious/protest vein; they make their music ...


