Catalog ID: TZA-CD-7320
Squidco Product Code: 1054
Packaging: Jewel Tray
Recorded at Radio City Studio, in 1986 by Dan Hunerberg.
Christian Marclay-turntables/ David Hofstra-bass
Ikue Mori-drum machines
John Zorn-alto sax
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Related Categories of Interest:
NY Downtown & Jazz/Improv
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Written a few months after the session that created one of Zorn's most influential compositional masterpieces "Spillane," The Bribe is a major new discovery in the Zorn ľuvre. Recorded in the same style as "Spillane," with the same engineer, and very close to the same ensemble, these cues are not unlike an extended version of that classic piece. Created originally for three thirty minutes radio plays produced by Mabou Mines theater company back in 1986, this exciting music features lush moody orchestrations, swinging jazz, hard rock, groovy funk, noise, improvisations, exotic ambience and much, much more. With all the music squeezed onto one extended CD (over 76 minutes), The Bribe is one of Zorn's most eclectic and stimulating releases. -Tzadik
• Show Bio for Marty Ehrlich
"Marty Ehrlich is celebrating thirty-five years in the nexus of creative music centered in New York City. He began his musical career in St. Louis, Missouri, while in high school, performing and recording with the Human Arts Ensemble. He graduated from the New England Conservatory of Music with honors in 1977, where his teachers included George Russell, Jaki Byard, Joseph Allard, and Gunther Schuller.
Since that time, he has made twenty-five recordings of his compositions for ensembles ranging in size from duo to jazz orchestra. These groups include his Emergency Peace Ensemble, Traveler's Tales Group, Rites Quartet, and the Marty Ehrlich Sextet. He has recorded a CD-length work for twenty-two musicians entitled The Long View, and has two acclaimed recordings in Tzadik's Radical Jewish Culture series. In 2013 he released "A Trumpet in the Morning", a large-ensemble recording of 5 long form compositions.
As a multi-instrumentalist passionate about improvisation and interpretation, he has performed with a who's who of contemporary composers including Muhal Richard Abrams, Ray Anderson, Steven Bernstein, Anthony Braxton, John Carter, Andrew Cyrille, Jack DeJohnette, Anthony Davis, Mark Dresser, Peter Erskine, Michael Formanek, Don Grolnick, Chico Hamilton, Julius Hemphill, Andrew Hill, Wayne Horvitz, Robin Holcomb, Leroy Jenkins, Myra Melford, James Newton, Bobby Previte, David Schiff, Wadada Leo Smith, and John Zorn. He appears on more than 100 recordings with these and other composers.
Ehrlich has performed with the Chicago Symphony, the BBC Symphony, the New York City Opera, Chamber Music Society of Lincoln Center, Chamber Music Northwest, and other classical ensembles. He has worked with the Jose Limón and Bill T. Jones dance companies, among others. He is currently presenting a concert program for twelve musicians entitled "Julius Hemphill: A Composer Portrait." His honors include a Guggenheim Fellowship in Composition, the Peter Ivers Visiting Artist Residency at Harvard University, composition grants from Chamber Music America, the NEA, and NYFA, "Clarinetist of the Year" from the Jazz Journalist Association, and a Distinguished Alumni award from NEC. He is currently Associate Professor of Jazz and Contemporary Music at Hampshire College."-Marty Ehrlich Website (http://www.martyehrlich.com/html/about.php)
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• Show Bio for Bobby Previte
"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/)
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• Show Bio for Ikue Mori
"Ikue Mori moved from her native city of Tokyo to New York in 1977. She started playing drums and soon formed the seminal NO WAVE band DNA, with fellow noise pioneers Arto Lindsay and Tim Wright. DNA enjoyed legendary cult status, while creating a new brand of radical rhythms and dissonant sounds; forever altering the face of rock music.
In the mid 80's Ikue started in employ drum machines in the unlikely context of improvised music. While limited to the standard technology provided by the drum machine, she has never the less forged her own highly sensitive signature style. Through out in 90's She has subsequently collaborated with numerous improvisors throughout the US, Europe, and Asia, while continuing to produce and record her own music. 1998, She was invited to perform with Ensemble Modern as the soloist along with Zeena Parkins, and composer Fred Frith, also "One hundred Aspects of the Moon" commissioned by Roulette/Mary Flagler Cary Charitable Trust. Ikue won the Distinctive Award for Prix Ars Electronics Digital Music category in 99.
In 2000 Ikue started using the laptop computer to expand on her already signature sound, thus broadening her scope of musical expression. 2000 commissioned by the KITCHEN ensemble, wrote and premired the piece "Aphorism" also awarded Civitella Ranieri Foundation Fellowship. 2003 commissioned by RELACHE Ensemble to write a piece for film In the Street and premired in Philadelphia. Started working with visual played by the music since 2004. In 2005 Awarded Alphert/Ucross Residency.
Ikue received a grant from the Foundation for Contemporary Arts in 2006. In 2007 the Tate Modern commissioned Ikue to create a live sound track for screenings of Maya Deren's silent films. In 2008 Ikue celebrated her 30th year in NY and performed at the Japan Society. Recent commissioners include the Montalvo Arts Center and SWR German radio program and Shajah Art foundation in UAE. Current working groups include MEPHISTA with Sylvie Courvoisier and Susie Ibarra, PHANTOM ORCHARD with Zeena Parkins, project with Koichi Makigami and various ensembles of John Zorn. New duo Twindrums project with YoshimiO workshop/lecture in various schools include University of Gothenburg, Dartmouth Collage, New England Conservatory, Mills Collage, Stanford University, The School of the Art Institute of Chicago"-Ikue Mori Website (http://www.ikuemori.com/bio.html)
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• 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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