Combining the sound of two of John Zorn’s most popular and beloved groups, Bar Kokhba and The Dreamers, The Concealed is a sonic journey filled with surprise, elation and mystery. The latest volume in Zorn’s continuing series of 21st century mystical works features the dynamic quartet Nova Express augmented by the brilliant string masters Erik Friedlander and Mark Feldman creating a remarkable allstar sextet that combines and reco- mbines into a variety of powerful small chamber ensembles. With arrangements ranging from solo pieces to trios, quartets and of course the lush exotic sound of the full sextet, the music is lyrical, enigmatic and stunningly beautiful. Referencing various esoteric traditions out of the East, this is a CD for relaxed listening and contemplation.

Live Recording
Personnel: Fred Frith (guitar); John Zorn (alto saxophone).
Recording information: Tonic, New York, New York (09/15/2003).

Bass – Greg Cohen
Cello – Erik Friedlander
Design – Ikue Mori
Drums – Joey Baron (tracks: 2-1 to 2-11)
Engineer – Jim Anderson
Executive-Producer [Associate] – Kazunori Sugiyama
Guitar – Marc Ribot (tracks: 2-1 to 2-11)
Mastered By – Allan Tucker
Percussion – Cyro Baptista (tracks: 2-1 to 2-11)
Photography By [Cover Photographs Of The Brooklyn Lubavitcher Community] – Michael Macioce
Photography By [Musician Photographs] – Ashley Thayer
Producer, Composed By – John Zorn
Violin – Mark Feldman
Issachar recorded December 6, 1997 at Avatar Studio, NYC.
Zevulun recorded December 7, 1997 at Avatar Studio, NYC.
Mastered at Foothill Digital, NYC.

Film Works 1986-1990 opens with John Zorn's first film score, White and Lazy. In just under ten minutes comes small capsules of instrumental punk, rockabilly, dark ambient, nightclub jazz, until "End Title," with vocals by Arto Lindsay, and soloing by Robert Quine (of Lou Reed's band), who Zorn regards as "a punk guitar genius." Next on the CD comes the music for The Golden Boat, a 1990 Raul Ruiz film. To parallel Ruiz' low budget, B-movie work, Zorn decided against timing out the music, and instead generated as much variety as possible -- from pastoral to pipe organ -- in a one day recording session. Zorn then chopped up the results, applying the discontinuous flow to the film. Certainly, the quirky eclecticism heard here is a telling precursor to later film works such as Film Works, Vol. 7. As a bonus, this volume also includes the 1987 short arrangement of Ennio Morricone's "The Good, the Bad and the Ugly," which was recorded after Zorn was solicited by an advertising agency who had commissioned a reggae band, a string quartet, and a jazz group with the same task. "Main Title" moves in a driving piano-bass ostinato often heard in Ennio Morricone's work; also, it is almost the exact progression as that later heard in Andy Prieboy's scathing "New York Debut of an L.A. Artist (Jazz Crowd)." Getting the full last half hour of this release, the music for She Must Be Seeing Things has more space to develop, resulting in the most impressive and fully realized score, found in this first volume of film works. Although certainly a younger effort, there is a lot of good music on this first film works compilation. It is interesting to hear where Zorn's scores began. And, for what it's worth, this and all of the film works include well laid-out, beautiful liner notes.

John Zorn is an American composer, conductor, saxophonist, arranger and producer who "deliberately resists category". Zorn's avant-garde and experimental approaches to composition and improvisation are inclusive of jazz, rock, hardcore, classical, contemporary, surf, metal, soundtrack, ambient, and world music.

Dave Douglas (born March 24, 1963) is an American jazz trumpeter, composer, and educator. His career includes more than fifty recordings as a leader and more than 500 published compositions.

Two dramatic new worlds in sound from our downtown Alchemist who continues to confound and defy expectations well into his fourth decade of recorded activity. Scored for two percussionists, The Satyr's Play is a dramatic work that mysteriously evokes the decadent excesses of Bacchanalia and Saturnalia. Presented in book form accompanied by a esoteric text beautifully illustrated with rare drawings by the great mystical artist Austin Osman Spare, this is a work of subtle nuance and sexuality. In contrast, Cerberus, is a flamboyant and dynamic trio for brass. A demonic piece featuring three undisputed Brass virtuosos, it jumps styles, moods and genres in classic Zorn fashion. Radical, moody and colorful chamber works for the 21st century.

American saxophonist and composer, born 2 September 1953 in New York City, USA. He owns the Tzadik record label and has worked with a large number of experimental musicians, particularly in improvised music, modern classical music and jazz, though he has produced music in most styles. As a child, he played piano, guitar and flute. He went to college in St. Louis where he discovered free jazz, before dropping out and moving to Manhattan. There he gave concerts in his small apartment, playing a variety of reeds, duck calls, tapes, etc; almost anything. In the mid 1980s he signed to the Elektra Nonesuch label. Since then, he has released a very large number of records, usually putting out several each year. Zorn's recorded output includes records by two bands of his own, Masada (a klezmer band playing music that is often described as Jewish jazz) and Naked City (an often aggressive mix of jazz, rock and grindcore). He has also worked with musicians like Bill Frisell, Derek Bailey, Fred Frith, Keiji Haino, and Bill Laswell. He has written music for television and film, which has been collected in the ongoing Filmworks series of records on his Tzadik label. Some of these are jazz-based, others are classical. He has also written several "game pieces", in which performers are allowed to improvise while following certain structural rules. These works are in the main named after sports, and include Pool, Archery and Lacrosse, as well as Cobra.

Recorded and mixed July and September 2008 at East Side Sound, NYC
"Procul. O Procul Este. Profani.
Dedicated to: Antonin Artaud ~ Edgard Varese ~ Aleister Crowley"
Alto Saxophone, Concept By, Composed By, Arranged By, Conductor, Producer – John Zorn
Bass – Trevor Dunn
Design – Heung-Heung Chin
Drums – Joey Baron
Executive-Producer [Associate Producer] – Kazunori Sugiyama
Mastered By – Scott Hull
Photography By [Original Photos] – Scott Irvine
Recorded By, Mixed By – Marc Urselli
Voice – Mike Patton

John Zorn is an American composer, conductor, saxophonist, arranger and producer who "deliberately resists category". Zorn's avant-garde and experimental approaches to composition and improvisation are inclusive of jazz, rock, hardcore, classical, contemporary, surf, metal, soundtrack, ambient, and world music.

Recorded At – East Side Sound
Composed By [All Music Composed By], Arranged By [All Music Arranged By], Conductor [All Music Conducted By] – John Zorn
Vibraphone [Vibes] – Kenny Wollesen
Organ – John Medeski
Guitar – Matt Hollenberg
Ensemble – Simulacrum
Congas – Ches Smith (tracks: 7)
Drums – Kenny Grohowski
Drums [Voudun Drums] – Ches Smith (tracks: 8)

John Zorn is an American composer, conductor, saxophonist, arranger and producer who "deliberately resists category". Zorn's avant-garde and experimental approaches to composition and improvisation are inclusive of jazz, rock, hardcore, classical, contemporary, surf, metal, soundtrack, ambient, and world music.

John Zorn专辑介绍：
by Thom Jurek
This project, a soundtrack for the documentary film In the Mirror of Maya Deren by
Martina Kudlácek
, after the legendary avant-garde director, is perhaps Zorn's most accessible work for film. According to Zorn's liner notes, most of the film's music was comprised of pieces by
Deren
's companion,
Teiji Ito
, which were scored for her film and interspersed by field recordings of voodoo rituals. Zorn was persuaded to create an entire score for this picture. How much of it made the final cut is unclear, though it hardly matters since listeners have this aural document. As conductor and keyboardist, Zorn employs a score built on repetitious patterns, spare, softly accented figures, and lilting, skeletal melodies that take into consideration the revolutionary compositions of
Teiji Ito
,
Deren
's love of the percussion that accompanied voodoo ritual, and the ancestral music of her native Kiev. Zorn's collaborating musicians --
Jamie Saft
,
Cyro Baptista
, and
Erik Friedlander
-- have taken into account the particular dynamics of making music for a documentary about a director whose films were all soundtrack-less until after she died. Zorn covers material with the same attention to detail he gave the
Masada
chamber group's. Here, organs and cellos intertwine in hypnotic figures on "Dancing" and Zorn's solo piano evokes a Russian folk melody on "Kiev," while "Filming" has the same sense of time/space displacement as a silent reel of film on a screen. Piano and a plucked cello alter a small-chord progression continually, shifting the harmonics just enough to detect great movement while remaining still. The anticipation is quiet but pronounced. "Mirror Worlds" offers a glimpse of
Ito
's compositional notions, with
Baptista
's percussion instruments claiming the entire center of the piece while not playing in any kind of time. Everything is space, as strings, bells, and a cello punctuate the soundscape with their lone repeating figures. Ultimately, In the Mirror of Maya Deren is Zorn's most compelling work for film yet. As a conceptualist, Zorn is not to be outdone -- he sees things in total, and this score is one piece, full of segue, room, drift, and dream.
Deren
would have been at the very least pleased, and that is as high a compliment as can be paid to this wonderful work by one of the most prolific, poetic, and profound composers.