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Zorn, John

Godard; Spillane; Blues Noel

Zorn, John: Godard; Spillane; Blues Noel (Tzadik)


 

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product information:


UPC: 702397732426

Label: Tzadik
Catalog ID: TZA-CD-7324
Squidco Product Code: 1028

Format: CD
Condition: New
Released: 1999
Country: USA
Packaging: Jewel Tray

Personnel:

Anthony Coleman

Richard Foreman

Bill Frisell

Fred Frith

John Lurie

Christian Marclay

Bobby Previte

and others

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descriptions, reviews, &c.
Two of Zorn's most influential compositions, one long out of print, now sound better than ever in this newly remastered critical edition, complete with detailed notes, session photos, reminiscences and more. A lot has been written about Zorn's "file card" compositions, of which Godard and Spillane are the first and purest examples. Described as "aural movies," these exciting tributes to the life and work of two of the world's most original and infamous artists feature many of Zorn's most important musical colleagues: Bill Frisell, Fred Frith, Bobby Previte, Anthony Coleman, Christian Marclay, John Lurie, Richard Foreman among others. Essential Zorn from the mid '80s. Also included as a bonus: the rare and delightful Christmas track Blues Noel.

Artist Biographies:

"Born in Baltimore, Bill Frisell played clarinet throughout his childhood in Denver, Colorado. His interest in guitar began with his exposure to pop music on the radio. Soon, the Chicago Blues became a passion through the work of Otis Rush, B.B. King, Paul Butterfield and Buddy Guy. In high school, he played in bands covering pop and soul classics, James Brown and other dance material. Later, Bill studied music at the University of Northern Colorado before attending Berklee College of Music in Boston where he studied with John Damian, Herb Pomeroy and Michael Gibbs. In 1978, Frisell moved for a year to Belgium where he concentrated on writing music. In this period, he toured with Michael Gibbs and first recorded with German bassist Eberhard Weber. Bill moved to the New York City area in 1979 and stayed until 1989. He now lives in Seattle.

"When I was 16, I was listening to a lot of surfing music, a lot of English rock. Then I saw Wes Montgomery and somehow that kind of turned me around. Later, Jim Hall made a big impression on me and I took some lessons with him. I suppose I play the kind of harmonic things Jim would play but with a sound that comes from Jimi Hendrix", Frisell told Wire. Bill also lists Paul Motian, Thelonious Monk, Aaron Copland, Bob Dylan, Miles Davis and his teacher, Dale Bruning, as musical influences.

Bill recorded his first two albums as a leader on ECM, both produced by Manfred Eicher. Subdued and lyrical in nature, In Line, the first of the ECM recordings, employed both electric and acoustic guitars in a series of solos (including some overdubbing) and duets with bassist Arild Andersen. Second was Rambler, featuring Kenny Wheeler, Bob Stewart, Jerome Harris and Paul Motian. About Rambler, Fanfare said: "Bill Frisell has built a little masterpiece here - not just a showcase for his own instrumental creativity (of which there is much in evidence), but a clever and poetic whole."

Frisell's third album and last for ECM, Lookout For Hope, marked the recording debut of The Bill Frisell Band featuring Hank Roberts, Kermit Driscoll and Joey Baron. Produced by Lee Townsend, the album's diverse material - ranging from country swing to reggae, quasi-heavy metal and backbeat rock with a twist to Monk's "Hackensack" - nevertheless possessed the cohesive and unmistakable personality of a working band on to a sound of its own. High Fidelity called it "the fullest showing of Frisell's ability to date, especially his compositional range." The Chicago Tribune said, "Lookout For Hope offers one of the most hopeful signs that contemporary jazz can evolve with dignity, wit and charm."

Before We Were Born, Frisell's debut recording for Nonesuch, featured three musical settings: Peter Scherer and Arto Lindsay produced, co-arranged and performed on three Frisell compositions. "Some Song and Dance", produced by Lee Townsend, is a suite of four pieces performed by Frisell's Band with a saxophone section featuring Julius Hemphill, Billy Drewes and Doug Wieselman. Frisell's "Hard Plains Drifter" is an extended work shaped, produced and arranged by John Zorn and played by the Frisell Band. The New York Times observed: "By following through on the implications of his unfettered sounds, Mr. Frisell has made his best album."

Frisell's second Nonesuch album, Is That You?, features nine original Frisell compositions, one by producer Wayne Horvitz and two cover tunes - "Chain of Fools" and "Days of Wine and Roses". With Frisell playing guitars, bass, banjo, ukulele and even clarinet, Is That You? demonstrated with great clarity his pan-stylistic, yet strangely unified musical world. Musician called the album "a very personal vision, tearing down stylistic barriers with delicacy and sudden bursts of emotion."

Frisell's third album for Nonesuch, Where in the World?, also produced by Wayne Horvitz, was the band's final recording with cellist Hank Roberts. The Philadelphia Inquirer said: "There is nothing standard about Where in the World?...Frisell is not only a master of an unusual guitar-based sonic tapestry, he's one of the few composers capable of writing for an interactive ensemble."

Have a Little Faith, Frisell's 1992 Nonesuch recording, was something of a tribute album. Here, he interpreted the music of a number of American composers whose music had inspired him - Aaron Copland, Muddy Waters, Bob Dylan, John Hiatt, Sonny Rollins, Stephen Foster, Charles Ives, Victor Young, Madonna and John Philip Sousa. The extent to which Bill has made this music his own demonstrates the completeness of its link to his own compositional approach. For this recording Frisell's Band was augmented by Don Byron (clarinet, bass clarinet) and Guy Klucevsek (accordion) and produced by Wayne Horvitz. The San Francisco Bay Guardian said, "Frisell treats each piece with typical earnestness and lyricism, breaking into wrenching distortion and stormy group improv only after breathing the original full of a softly glowing life."

This Land, Frisell's fifth Nonesuch recording, consists of all original material with the band and a horn section of Don Byron (clarinets), Billy Drewes (alto saxophone) and Curtis Fowlkes (trombone). Produced by Lee Townsend, the album readily displays the connection between Frisell's own writing and the composers' work to whom he pays tribute on his previous Have a Little Faith. From the standpoint of synthesizing his celebrated composing and arranging talents with exuberant improvising and spirited band interaction, it is a landmark recording, which prompted this description in Rolling Stone: "Strange meetings of the mysterious and the earthy, the melancholy and the giddy, make perfect sense by Frisell's deliciously warped way of thinking. The warpage is catching on and not a moment too soon."

In 1994, Frisell recorded a pair of recordings of music that he composed for three silent Buster Keaton films - The High Sign, One Week and Go West. The band premiered this music along with the films to a spirited and sold-out audience at St. Ann's in Brooklyn in May '93. The pairing displayed a natural affinity between work of both artists. Their works together possess an undeniable sense of adventure and penchant for the unexpected that only enhances the warmth and humanity of both the musical elements and the films themselves. It has proven to be the rare case where the whole truly transcends the sum of its parts. Of the "Go West" recording , Billboard noted: "With this set of music for the classic Buster Keaton film, "Go West," Bill Frisell has crafted one of his finest, most evocative albums. Evincing his best qualities as both guitarist and composer, he harvests melancholy Americana from deceptively modest, episodic themes. Coloring the scenes with acoustic as well as his trademark electric, Frisell produces strangely cinematic motifs on guitar, and his rhythm cohorts - longtime bassist Kermit Driscoll and drummer Joey Baron - provide abundant narrative drive." Both albums were produced by Lee Townsend.

Frisell's success with the Keaton films has led him to other film-related projects. He scored the music for Gary Larson's "Tales From the Far Side" animated television special and Daniele Luchetti's Italian feature film, "La Scuola." Some of the music from these projects has been adapted and recorded by Frisell on Quartet, Frisell's Nonesuch recording released in April '96.

The formation of the Quartet, with Ron Miles (trumpet), Eyvind Kang (violin) and Curtis Fowlkes (trombone), was a new working band for Frisell, who had worked with the telepathic rhythm combination of Kermit Driscoll and Joey Baron for nearly ten years. Frisell told Down Beat: "It's so different from the traditional guitar-bass-drum thing, even though Joey Baron, Kermit Driscoll and I never played like a typical jazz trio. This group, with violin and brass, can play an orchestral range of sounds. It's gigantic. It's given me a chance to write and arrange in an even bigger way." Quartet, was quickly hailed by critics. The New York Times declared: "Quartet may be his masterpiece."

Nonesuch released Nashville in April of 1997. Recorded in Nashville and produced by Wayne Horvitz with members of Allison Krauss' Union Station band - mandolin player Adam Steffey and banjo player Ron Block - the project also features her brother and Lyle Lovett's bass player Viktor Krauss, dobro great Jerry Douglas, vocalist Robin Holcomb and Pat Bergeson on harmonica. "Comprising acoustic instrumental folk tunes with unpredictable stylistic accents, Nashville boasts a dreamy, seductive grandeur. The backing mandolin/dobro/bass interplay simmers - Frisell himself picks and strings and most of all floats, laying out liquid tones that settle over the melodies like heat haze on a swampy, swimmerless lake." wrote the LA Weekly. The Atlanta Journal-Constitution summed it up simply as, "Frisell's nod to Nashville is Americana at its best."

In January of 1998 Frisell's next project Gone, Just Like A Train came out. On this exceptionally melodic and rhythmically vital instrumental collection of original compositions, Frisell is joined by Viktor Krauss and by Jim Keltner, all star drummer of choice for Bob Dylan, Ry Cooder, T-Bone Burnett, George Harrison, John Lennon and The Traveling Wilburys. The Rocket in Seattle wrote that "Frisell has managed to pull together an ad hoc super trio of musicians from drastically different pasts, and they manage to assemble a machine of colossal proportions: part skewered jazz, part roadside folk blues, part gritty rock..Gone presents Frisell at a creative apex. He's integrated a thoroughly unique understanding of so much American Music. And it's all gift-wrapped in a lean, unimposing trio framework that conveys sheer genius in a million directions. It flies with shining power." Produced by Lee Townsend, the album proved to be one of Frisell's most celebrated and popular to date.

Good Dog, Happy Man, brims full of Frisell's shimmering original compositions. Here he is reunited with the Gone Just Like a Train rhythm section of Viktor Krauss on bass and Jim Keltner on drums and joined by Wayne Horvitz on Hammond B3 organ, multi-instrumentalist/slide guitarist Greg Leisz (known for his work with Joni Mitchell, K.D. Lang, Emmy Lou Harris, Beck and Jimmie Dale Gilmore, among others) plus special guest Ry Cooder on the traditional folk song "Shenendoah". Produced by Lee Townsend, Good Dog, Happy Man celebrates Frisell's emergence as a composer who has created a genre unto himself. The Philadelphia Inquirer wrote: "The 12 breathtakingly beautiful originals on Good Dog, Happy Man resist every obvious classification. Frisell's been doing the undefinable for years - creating revelatory music from threadbare accompaniment; finding vital contexts for jazz improvisation that are worlds away from bebop; burying shiny nuggets of melody beneath a gauzy lace-like surface. Frisell manages to evoke big worlds with stark single notes and foreboding sustained tones, conjuring a richly textured atmosphere that is both understated and undeniable. No matter what you call it." "

-Bill Frisell Website (https://www.billfrisell.com/bio)
9/24/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Though the point of reference for many remains the iconic band Henry Cow, which he co-founded in 1968 and which broke up more than 30 years ago, Fred Frith has never really stood still for an instant.

In bands such as Art Bears, Massacre, Skeleton Crew, Keep the Dog, Tense Serenity, the Fred Frith Guitar Quartet, Eye to Ear, and most recently Cosa Brava, he has always held true to his roots in rock and folk music, while exploring influences that range from the literary works of Eduardo Galeano to the art installations of Cornelia Parker.

The release of the seminal Guitar Solos in 1974 enabled him to simultaneously carve out a place for himself in the international improvised music scene, not only as an acclaimed solo performer but in the company of artists as diverse as Han Bennink, Chris Cutler, Jean-Pierre Drouet, Evelyn Glennie, Ikue Mori, Louis Sclavis, Stevie Wishart, Wu Fei, Camel Zekri, John Zorn, and scores of others.

He has also developed a personal compositional language in works written for Arditti Quartet, Asko Ensemble, Bang on a Can All-Stars, Ensemble Modern, Concerto Köln, and ROVA Sax Quartet, for example. Fred has been active as a composer for dance since the early 1980s, working with choreographers Bebe Miller, François Verret, and especially long-time collaborator and friend Amanda Miller, with whom he has created a compelling body of work over the last twenty years.

His film soundtracks (for award-winning films like Thomas Riedelsheimer's Rivers and Tides and Touch the Sound, Peter Mettler's Gambling, Gods, and LSD, and Deborah Kaufman and Alan Snitow's Thirst, to name a few) won him a lifetime achievement award from Prague's "Music on Film, Film on Music" Festival (MOFFOM) in 2007. The following year he received Italy's Demetrio Stratos Prize (previously given to Diamanda Galas and Meredith Monk) for his life's work in experimental music, and in 2010 was awarded an honorary doctorate from the University of Huddersfield in his home county of Yorkshire.

Fred currently teaches in the Music Department at Mills College in Oakland, California (renowned for over fifty years as the epicenter of the American experimental tradition), and in the Musik Akademie in Basel, Switzerland."

-Fred Frith Website (http://www.fredfrith.com/biography.html)
9/24/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Christian Ernest Marclay (born January 11, 1955) is a visual artist and composer. He holds both American and Swiss nationality.

Marclay's work explores connections between sound, noise, photography, video, and film. A pioneer of using gramophone records and turntables as musical instruments to create sound collages, Marclay is, in the words of critic Thom Jurek, perhaps the "unwitting inventor of turntablism." His own use of turntables and records, beginning in the late 1970s, was developed independently of but roughly parallel to hip hop's use of the instrument.

Christian Marclay was born on January 11, 1955 in San Rafael, Marin County, California, to a Swiss father and an American mother and raised in Geneva, Switzerland. He studied at the Ecole Supérieure d'Art Visuel in Geneva (1975–1977), the Massachusetts College of Art in Boston (1977–1980, Bachelor of Fine Arts) in the Studio for Interrelated Media Program, and the Cooper Union in New York (1978). As a student he was notably interested in Joseph Beuys and the Fluxus movement of the 1960s and 1970s. Long based in Manhattan, Marclay has in recent years divided his time between New York and London.

Citing the influence of John Cage, Yoko Ono and Vito Acconci, Marclay has long explored the rituals around making and collecting music. Drawn to the energy of punk rock, he began creating songs, singing to music on pre-recorded backing tapes. Unable to recruit a drummer for his 1979 performances with guitarist Kurt Henry, Marclay used the regular rhythms of a skipping LP record as a percussion instrument. These duos with Henry might be the first time a musician used records and turntables as interactive, improvising musical instruments.

Marclay sometimes manipulates or damages records to produce continuous loops and skips, and has said he generally prefers inexpensive used records purchased at thrift shops, as opposed to other turntablists who often seek out specific recordings. In 1998 he claimed never to have paid more than US$1 for a record. Marclay has occasionally cut and re-joined different LP records; when played on a turntable, these re-assembled records will combine snippets of different music in quick succession along with clicks or pops from the seams – typical of noise music – and when the original LPs were made of differently-colored vinyl, the reassembled LPs can themselves be considered as works of art.

Some of Marclay's musical pieces are carefully recorded and edited plunderphonics-style; he is also active in free improvisation. He was filmed performing a duo with Erikm for the documentary Scratch. His scene didn't make the final cut, but is included among the DVD extras.

Marclay released Record Without a Cover on Recycled Records in 1985, "...designed to be sold without a jacket, not even a sleeve!" Accumulating dust and fingerprints would enhance the sound. A review in Spin at the time cited Marclay's "coolest theatrical gesture" in his live performances of phonoguitar: the artist strapped a record player onto himself and played, for example, a Jimi Hendrix album. In Five Cubes (1989), he melted vinyl records into cubes. In the 1980s and early '90s, he invented album covers. The Sound of Silence (1988) is a black-and-white photograph of the Simon & Garfunkel single of the same title. In a series of cyanotypes (2007–09), white negatives against a blue background, he unspooled cassette tapes.

Thom Jurek writes that "While many intellectuals have made wild pronouncements about Marclay and his art – and it is art, make no mistake – writing all sorts of blather about how he strips the adult century bare by his cutting up of vinyl records and pasting them together with parts from other vinyl records, they never seem to mention that these sound collages of his are charming, very human, and quite often intentionally hilarious."

Marclay has performed and recorded both solo and in collaboration with many musicians, including John Zorn, William Hooker, Elliott Sharp, Otomo Yoshihide, Butch Morris, Shelley Hirsch, Flo Kaufmann and Crevice; he has also performed with the group Sonic Youth, and in other projects with Sonic Youth's members."

-Wikipedia (https://en.wikipedia.org/wiki/Christian_Marclay)
9/24/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Bobby Previte's first stage appearance came in 1956 at the Niagara Falls Talent Show, where, guitar in hand, and adorned in an over-sized suit, he belted out a solo rendition of Elvis Presley's 'Hound Dog.'

Eight years later, thinking drumming might be a good way to get girls, he fashioned a bass drum from a rusted garbage can, a kick pedal from a wire coat hanger wedged between two pieces of linoleum and a rubber ball stuck on top, tom toms from upside-down trash bins, cymbals from aluminum pie plates suspended on plungers, and a box of loose junk for a snare - then practiced for a year in his dark basement with a lone spotlight shining on him before eventually starting a band, the "Devil's Disciples." But when they finally got a job at the church he was fired for not having 'real' drums. Seeking revenge, he took a job as a paperboy, saved every penny, and a year later bought the drum kit he still uses today in concerts all over the world.

Strolling in the East Village one bright afternoon, he peered inside a limo stuck in traffic (crosstown) and suddenly found himself face to face with Jimi Hendrix. Thinking fast, he unfurled the poster of Jimi he had fortunately just acquired, then looked on in astonishment as Hendrix smiled and flashed him the peace sign.

HISTORY: BA, SUNY Buffalo. Moved to New York City in 1979. Has worked for/with an unlikely array of leading lights including John Adams, Terry Adams, Robert Altman, Johnny Copeland, Lejaren Hiller, Charlie Hunter, Lenny Kaye, John Lurie, Sonny Sharrock, Michael Tilson-Thomas, Tom Waits, Victoria Williams, and, the internet swears Iggy Pop, although he can't seem to remember that, exactly.

AWARDS: Guggenheim Fellowship, NEA, NYSCA, NYFA, Franklin Furnace, The American Music Center, MCAF, Mid Atlantic Arts, NY State Music Fund, Lower Manhattan Cultural Council, The Jerome Foundation.

EVENTS: TERMINALS PART 1, WNYC New Sounds Live/Ecstatic Music Festival at Merkin Hall, 2011, Institute of Contemporary Art Boston, 2011, Les Percussions de Strasbourg, 2013-2014; DIORAMA, Groundswell/Wave Farm/Olana State Historic Site, 2013; Franklin Furnace/Chashama, 2012, Lower Manhattan Cultural Council, 2010; THE 23 CONSTELLATIONS OF JOAN MIRÓ, Winter Garden, New York, 2008; THE SEPARATION, Walker Art Center, 2007; DIALED IN (with Benton-C Bainbridge), Lincoln Center, EMPAC, Eyebeam, 2007; Touring various other bands and projects since 1985 at festivals and clubs worldwide.

RECORDINGS: Sony, Nonesuch, Palmetto, Gramavision, Enja, Thirsty Ear, New World, Ropeadope, Veal, Spacebone, Rare Noise.

MASTER CLASSES: Eastman School of Music, Walker Art Center, Art and Music Omi, Merano Jazz Festival and Academy, So Percussion Summer Institute/Princeton University, Cornish University, Purchase College, Bard College, The New School.

RESIDENCIES: The Rockefeller Foundation Bellagio Center, Civitella Ranieri, Montalvo Art Center, eleven MacDowell Colony fellowships.

THEATER/DANCE/PERFORMANCE/ART: The Moscow Circus on Broadway, Theodora Skipitares, Andrea Kleine, Clarinda Mac Low, Aynsley Vandenbroucke, Benton-c Bainbridge, e-team.

FILM SCORES: Chain Letters (dir. Mark Rappoport), Maze (dir. Rob Morrow).

ODDITIES: actor, SATURDAY NIGHT LIVE, "The Mute Marine," w/ William Shatner, 1984; as "The Drummer" in SHORT CUTS - Robert Altman, 1993."

-Bobby Previte Website (http://bobbyprevite.com/bio/)
9/24/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

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