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Catalog ID: TZA-CD-7305
Squidco Product Code: 1052
Packaging: Jewel Tray
Tracks 1 & 2 recorded February 27, 1983 at OAO Studios, Brooklyn, NY. Originally released in 1983 as "The Classic Guide To Strategy - Volume One".
Tracks 3 - 8 recorded July 30 and September 19, 1985 at Radio City Studio, NY. Originally released in 1986 as "The Classic Guide To Strategy - Volume Two".
John Zorn-alto saxophone, soprano saxophone, clarinet [eb and bb clarinets], wind [olt, weems and greenhead game calls]
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1. Part 1 19:36
2. Part 2 (Cartoon Music) 19:32
3. Aoyanian Michi 11:15
4. Enoken 3:21
5. Katsumi Shigeru 6:34
6. Kondo Toshinori 6:04
7. Togowa Jun 8:54
8. Mori Ikue 2:38
NY Downtown & Jazz/Improv
sample the album:
John Zorn's infamous solo music for saxophone and duckcalls bring together his obsessive love for cartoon music, free jazz and musique concrˇte in a passionate and astonishing heterophony.
The maverick composer, arranger and saxophonist first came to prominence in the early '80's as an improviser. Using self-invented techniques, bizarre effects and unusual tools, Zorn created his own personal instrumental language - instantly recognizable and still breathtaking over a decade later.
Two long-out-of-print albums from 1981 and 1985, now on CD fro the first time. Two records on a single disc - you can't afford not to buy it!
"This music is both exhilarating and frightening. Although the musical ideas can be traced back to earlier recordings such as Mikhail Zoetrope and up to more recent works such as my duos with Yamantaka Eye this stuff still sounds like it's coming from outerspace." - John Zorn
"John Zorn offers us a new view of reed music; it demands our attention." - Evan Parker
• Show Bio for John Zorn
"John Zorn (born September 2, 1953) is an American composer, arranger, producer, saxophonist, and multi-instrumentalist with hundreds of album credits as performer, composer, and producer across a variety of genres including jazz, rock, hardcore, classical, surf, metal, klezmer, soundtrack, ambient, and improvised music. He incorporates diverse styles in his compositions which he identifies as avant-garde or experimental. Zorn was described by Down Beat as "one of our most important composers".
Zorn established himself within the New York City downtown music movement in the mid-1970s performing with musicians across the sonic spectrum and developing experimental methods of composing new music. After releasing albums on several independent US and European labels, Zorn signed with Elektra Nonesuch and received wide acclaim with the release of The Big Gundown, an album reworking the compositions of Ennio Morricone. He attracted further attention worldwide with the release of Spillane in 1987, and Naked City in 1989. After spending almost a decade travelling between Japan and the US he made New York his permanent base and established his own record label, Tzadik, in the mid-1990s.
Tzadik enabled Zorn to maintain independence from the mainstream music industry and ensured the continued availability of his growing catalog of recordings, allowing him to prolifically record and release new material, issuing several new albums each year, as well as promoting the work of many other musicians. Zorn has led the hardcore bands Naked City and Painkiller, the klezmer/free jazz-influenced quartet Masada, composed over 600 pieces as part of the Masada Songbooks that have been performed by an array of groups, composed concert music for classical ensembles and orchestras, and produced music for opera, sound installations, film and documentary. Zorn has undertaken many tours of Europe, Asia, and the Middle East, often performing at festivals with many other musicians and ensembles that perform his diverse output.
Zorn's compositions cross many genres and he has stated "All the various styles are organically connected to one another. I'm an additive person-the entire storehouse of my knowledge informs everything I do. People are so obsessed with the surface that they can't see the connections, but they are there." For Zorn "Composing is more than just imagining music-it's knowing how to communicate it to musicians. And you don't give an improviser music that's completely written out, or ask a classical musician to improvise. I'm interested in speaking to musicians in their own languages, on their own terms, and in bringing out the best in what they do. To challenge them and excite them." "-Wikipedia (https://en.wikipedia.org/wiki/John_Zorn)
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