Eta Cohen Violin Method Book 1.rar
Wan Cabiness
John Zorn (born September 2, 1953) is an American composer, conductor, saxophonist, arranger and producer who "deliberately resists category".[1] His avant-garde and experimental approaches to composition and improvisation are inclusive of jazz, rock, hardcore, classical, contemporary, surf, metal, soundtrack, ambient, and world music.[1][2] Rolling Stone noted that "[alt]hough Zorn has operated almost entirely outside the mainstream, he's gradually asserted himself as one of the most influential musicians of our time".[3][4]
Zorn engaged New York City's downtown music scene in the mid-1970s, collaborating with improvising artists and experimenting with compositional strategies and arrangements.[1][2] Over the next decade he performed throughout Europe and Japan and recorded on independent US and European labels. He released The Big Gundown, reconstructing the film scores of a formative musical influence, Ennio Morricone, to acclaim in 1986.[1][5][6] Spillane and Naked City further demonstrated Zorn's ability to merge and blend musical styles in new and challenging formats.[7][8][9]
Zorn spent significant time in Japan in the 1980s and early '90s returning to Lower East Side Manhattan to establish the Tzadik record label in 1995.[10][11][12][13] Tzadik enabled Zorn to establish independence, maintain creative control, and ensure the availability of his growing catalog of recordings. He prolifically recorded and released new material for the label, issuing several new albums each year, along with recordings by many other artists.[14]
Zorn performs on saxophone with his Naked City, Painkiller, and Masada bands, conducts ensembles such as Moonchild, Simulacrum, and several Masada-related groups or encourages musicians toward their own interpretations of his work. He has composed concert music for classical ensembles and orchestras, and produced music for opera, sound installations, film and documentary.[4] Tours of Europe, Asia, and the Middle East have been extensive, usually at festivals with musicians and ensembles that perform his repertoire.[15][16][17]
Zorn taught himself orchestration and counterpoint by transcribing scores and studied composition under Leonardo Balada before enrolling at Webster College where he attended lectures by Oliver Lake.[23][24] While at Webster he incorporated elements of free jazz, avant-garde and experimental music, film scores, performance art and the cartoon scores of Carl Stalling into his first recordings and discovered Anthony Braxton's groundbreaking solo album For Alto which inspired him to take up the instrument.[1][4][25][26] "I'm not going to sit in some ivory tower and pass my scores down to the players." said Zorn, "I have to be there with them, and that's why I started playing saxophone, so that I could meet musicians. I still feel that I have to earn a player's trust before they can play my music."[27]
Leaving Webster after three semesters, Zorn lived on the West Coast before returning to Manhattan where he gave concerts in his apartment and other small NY venues, playing saxophone and a variety of reeds, duck calls, tapes, and other instruments.[4][28] Zorn immersed himself in the underground art scene, assisting filmmaker Jack Smith with his performances and attending plays by Richard Foreman.[29]
Zorn's early major compositions included many game pieces described as "complex systems harnessing improvisers in flexible compositional formats".[30][31] These compositions "involved strict rules, role playing, prompters with flashcards, all in the name of melding structure and improvisation in a seamless fashion".[2] Zorn's early game pieces had sporting titles like Lacrosse (1976), Hockey (1978), Pool (1979), and Archery (1979), which he recorded and first released on Eugene Chadbourne's Parachute label.[32][33] His most enduring game piece is Cobra, composed in 1984 and first recorded in 1987 and in subsequent versions in 1992, 1994 and 2002, and revisited in performance many times.[34][35][36]
In the early 1980s, Zorn was heavily engaged in improvisation as both a solo performer and with other like-minded artists.[2] Zorn's first solo saxophone recordings were originally released in two volumes as The Classic Guide to Strategy in 1983 and 1986 on the Lumina label.[37] Zorn's early small group improvisations are documented on Locus Solus (1983) which featured Zorn with various combinations of other improvisers including Christian Marclay, Arto Lindsay, Wayne Horvitz, Ikue Mori, and Anton Fier.[38] Ganryu Island featured a series of duets by Zorn with Michihiro Sato on shamisen, which received limited release on the Yukon label in 1984.[39] Zorn has subsequently reissued these early recordings.[40]
Zorn's breakthrough came in 1986 with the acclaimed The Big Gundown released on Nonesuch Records.[41] The album was endorsed by composer Ennio Morricone, who said: "This is a record that has fresh, good and intelligent ideas. It is realization on a high level, a work done by a maestro with great science-fantasy and creativity ... Many people have done versions of my pieces, but no one has done them like this".[42]
Zorn followed with Spillane in 1987, his second major-label release, featuring performances by Albert Collins, the Kronos Quartet, and the sprawling title track, an early "file-card" composition.[43] This method of combining composition and improvisation involved Zorn writing descriptions or ideas on file-cards and arranging them to form the piece.[44] Zorn described the process in 2003:
I write in moments, in disparate sound blocks, so I find it convenient to store these events on filing cards so they can be sorted and ordered with minimum effort. Pacing is essential. If you move too fast, people tend to stop hearing the individual moments as complete in themselves and more as elements of a sort of cloud effect ... I worked 10 to 12 hours a day for a week, just orchestrating these file cards. It was an intense process.[27]
Zorn demonstrated his hard bop credentials as a member of the Sonny Clark Memorial Quartet, recording Voodoo in 1986.[45] News for Lulu (1988) and More News for Lulu (1992) featured Zorn, Bill Frisell and George E. Lewis performing compositions by Clark, Kenny Dorham, Freddie Redd, and Hank Mobley.[46][47] He recorded Spy vs Spy featuring hardcore punk versions of Ornette Coleman's compositions in 1989.[4][48][49] According to Cook, "Zorn's admirers often consider him a masterful bebop alto player, but when he does perform in something approaching that style his playing has little of the tension and none of the relaxation of the great beboppers, often sounding more strangulated than anything".[1]
Zorn stated that "After my record The Big Gundown came out I was convinced that a lot of soundtrack work was going to be coming my way".[50] While interest from Hollywood was not forthcoming, eventually independent filmmakers like Sheila McLaughlin and Ral Ruiz sought his talents.[51] Filmmaker Walter Hill rejected his music for a film to be called Looters.[52] Although Zorn's score did not make the final cut he used the money he received to establish the record label, Tzadik, on which he released Filmworks II: Music for an Untitled Film by Walter Hill in 1995.[53] Zorn also produced a series of commercial soundtracks for the advertising firm Wieden+Kennedy, including one directed by Jean-Luc Godard, a long-term Zorn inspiration.[54] Zorn used his film commissions to record new ensembles like Masada and the Masada String Trio. From the mid-1990s, Zorn composed film music for independent films dealing with BDSM and LGBT culture, documentaries exploring the Jewish experience, and films about outsider artists. In 2013, after releasing 25 volumes in his Filmworks Series, Zorn announced that he would no longer be releasing music for film.[55]
Zorn established Naked City in 1988 as a "compositional workshop" to test the limitations of a rock band format.[56] Featuring Zorn (saxophone), Bill Frisell (guitars), Fred Frith (bass), Wayne Horvitz (keyboards), Joey Baron (drums), and vocalist Yamatsuka Eye (and later Mike Patton), Naked City blended Zorn's appreciation of hardcore punk and grindcore bands like Agnostic Front and Napalm Death with influences like film music, country or jazz often in a single composition.[57] The band performed pieces by film composers Ennio Morricone, John Barry, Johnny Mandel and Henry Mancini and modern classicists Alexander Scriabin, Claude Debussy, Charles Ives, and Olivier Messiaen and recorded heavy metal and ambient albums.[58][59]
As Zorn's interest in Naked City waned, he "started hearing classical music in [his] head again."[66] Zorn started working on compositions that drew on chamber music arrangements of strings, percussion and electronic instruments. Elegy, a suite dedicated to Jean Genet, was released in 1992.[67]
The establishment of Tzadik allowed him to release many compositions which he had written over the previous two decades for classical ensembles. Zorn's earliest released classical composition, Christabel (1972) for five flutes, first appeared on Angelus Novus in 1998.[68] He credits the composition of his 1988 string quartet Cat O' Nine Tails (commissioned and released by the Kronos Quartet on Short Stories) to awakening him to the possibilities of writing for classical musicians. This composition also appeared on The String Quartets (1999) and Cartoon S/M (2000) along with variations on "Kol Nidre", inspired by the Jewish prayer of atonement which was written at the same time as the first Masada Book.[69]
Aporias: Requia for Piano and Orchestra (1998) was Zorn's first full-scale orchestral release featuring pianist Stephen Drury, the Hungarian Radio Children's Choir and the American Composers Orchestra conducted by Dennis Russell Davies.[70]
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