Xu Feng is a game pieces Zorn developed in 1985 after developing the more popular Cobra piece. It differs in that it requires specific instrumentation, calling for either six drummers or, as in this case, pairs of drums, keyboards and guitars, and is according to Zorn more confrontational and fast-paced than Cobra. The benchmark recording for Xu Feng on Tzadik wasn't made until 2000. From that recording only Fred Frith reprised his tournament position. For this execution he was joined by fellow guitarist Marc Ribot, drummers Joey Baron and Susie Ibarra and keyboardists Anthony Coleman and Yuka Honda (formerly of Cibo Matto), with Zorn as prompter.

Xu Feng is indeed fast paced, using a card system to direct the action, although with plenty of interaction between the musicians. The color- coded cards signify three major conditions. Condition 1 deals with downbeats and qualifiers (pool; runner; substitute; etc. and rhythm: arythmic; loud; quiet; etc). Condition 2 sets up "trio battle positions" (war) such as spy or renegade soloist or challenge duo. Condition 3 (Concerto) involves soloists, duos and "base." Hats and headbands are used in the guerrilla systems, and hand gestures between players and prompters also control the flow of the improvisation. If this seems confusing, it is, as the players referred to rule sheets frequently during the set, and at times laughed at their own (or each others') befuddlements. Zorn has never formally published the rules to the game, preferring an oral tradition of explaining how the game works to the players, and the mystery of the interactions between and amongst the prompter and the musicians is part of the show. Ultimately if the game lives up to its intentions of making interesting music, the listener need not know how the piece is developed. But as part of a group of listeners trying to make sense of the action, we know differently, and many in the audience were craning their neck to try to figure out just how it was all being done.

The first set presented eight pieces, each preceded with Zorn pointing to musicians and musicians volunteering by holding up their hands or pointing to other artists. Describing improvisation of this form is perhaps more difficult than most, as the music is as erratic as it is intensely interesting, and as twisting and turning as any music can be. A few impressions on the action in reportage fashion are the best this writer can offer:

• The first piece started with both drummers but quickly morphed in quick-cut manner, pulling in all the improvisers, Zorn rapidly holding up cards and prompting individual players. Coleman in particular was an active instigator, motioning frequently to Zorn, and taking a headband along with Frith. The piece was dramatic, cutting off quickly as Coleman made cutting motions to Zorn.
  
  
• The second piece started rapidly with Ribot taking a bizarre solo using an alien-sounding effect. Ibarra, clearly enjoying the game and working hard off Baron's lead, proved how unorthodox her drumming techniques can be. Frith took a brush to his guitar, looking very busy and very pleased. Zorn held up large numbers of cards at once, to the sometimes perplexed but always amused look of the ensemble.
  
  
• The third piece required a long prelude of discussion, with Ribot making a weaving gesture with his hand in the direction of various players. Dueling guitars started the set, with Honda banging her synthetic gong. Frith went solo, eventually attacked by an insidious counterpoint from Ribot. Honda brought in detuned synthetics as Frith became a font of strange and fun figures, ending the set with something that sounded more like a mellotron than a guitar.
  
  
• The fifth piece again required much quiet discussion, eventually starting with dual keyboards. This piece morphed into a huge yet short work with tremendous drummingfrom both Ibarra and Baron.
  
  
• The sixth piece was a series of releases and retreats, starting with a creepy, spacey piece that tended to slip into noisiness, with Baron gesturing for quiet. Coleman provided great rhythmic support amongst a series of clappy staticy rhythms that seemed to emerge from nowhere, but may have been from Honda.
  
  
• Number seven started with Ribot creating a single note bass line while Frith played a frighteningly shrill line with his guitar, Coleman creating a quacking line in counterpoint. Ibarra brought out a real gong.
  
  
• The last piece started with a punching synth line from Honda which Coleman worked around, the effect sounding like something the Residents could have created. Ribot motioned to Yuka and Frith, then Ibarra, while Coleman and Baron went into collusion. The piece developed into two teams working both together and against each other at the same time. Ribot and Ibarra started in working together in a synchronized set of punctual attacks as the piece built to its end.
  
  

In all the show was somewhat like an amusement park ride, and the players seemed thrilled with the results, as many hugs were exchanged while the audience applauded with vigor. The show was a testament to the concept of game pieces in their ability to create unlikely and interesting improvisation. Clearly from the reaction of the players, this is one fun way of working!