John Zorn Vinyl, CD & tapes from this artist at Norman Records
Painkiller’s heavyweight line-up, in case you had forgotten, was Mick Harris (of Napalm Death), Bill Laswell (of Last Exit) and John Zorn (of absolutely everything, particularly Naked City). Yeah, big stuff. Execution Ground is their 1994 double album, where they started really dubbing-up their avant-jazz-grindcore sound. This Karlrecords reissue puts it on vinyl for the first time.
Acting almost as a precursor to John Zorn’s jazz thrash group Naked City 1989’s Spy Vs. Spy see Zorn arrange pieces by Ornette Coleman into near terrifying cacophony inspired greatly by hardcore, grindcore and thrash acts such as Blind Idiot God and Napalm Death. Intensely unrelaxing stuff.
John Zorn / Eugene Chadbourne
1977-1981 collects together a number of lesser-known free jazz pieces by American composer and multi-instrumentalist, John Zorn. The album was compiled by guitarist and music critic Eugene Chadbourne. It was originally released back in ‘88 to coincide with the release of a book, Sonori: John Zorn. This limited edition book and LP set brings them packaged together for the first time.
Jazz grinder (or a composer, anyway, whatever way you look at it) John Zorn has turned sixty! That's a lot of years to have lived, and in celebration, Zorn called upon all those singers he'd previously worked with to perform their own poetry to his old songs -- be it for Naked City, Masada or any other incarnation of Zorn. This is the result: 'The Song Project' features Jesse Harris, Mike Patton and Sofia Rei among others.
Yoko Ono & John Zorn
Yoko Ono, of performance art fame, meets up, as everyone does eventually, with John Zorn, of frantically-playing-a-saxophone-and-releasing-endless-records fame. This limited 10” record features music on only one side, the other containing a nice etching from Ono. Three minutes and twenty seconds of music, so listen up!
Jazz-grinder and general experimental composer John Zorn has engaged with his spiritual side a few times over his career, and 'The Testament of Solomon' brings it all back, combining neo-classical leanings with his jazz proficiencies and Biblical influences. Zorn continues to dazzle and surprise at this late point in his career, expanding his vocal talents further.
To some it's probably the most terrifying idea anyone could possibly have, but to others, John Zorn making music for an ensemble is a welcome and delightfully disastrous notion. The grindcore jazz maestro made Fragments, Prayers and Interjections to be played by large orchestras with plenty of resources to hand, including the BBC Symphony and the New York Philharmonic. These works are a testament to Zorn's vast understanding of music, both in conventional and subversive terms.
John Zorn, he of many forms… On Psychomagia, he takes on the role of composer, laying out a series of arrangements for the band Abraxas to play. Based on various magical writings, Zorn leads the group into ritualistic territories, minimalist avenues, and even a little of Zorn’s usual jazz madness. Released on Zorn’s own Tzadzik label.
John Zorn continues to conquer every musical thought and every artistic proposition by releasing The Alchemist, focusing on his work for string quartets to produce a celestial, religiously informed record about the mythological lives of John Dee and Edward Kelley. Spectral compositions from an artist influenced by everything that has ever existed.
Someone unsuspecting fool gave John Zorn access to an organ, which he took full advantage of for The Hermetic Organ, Vol. 2 - St. Paul's Chapel, a work of improvised compositions that coalesced at the eponymous chapel. Zorn moves from dramatic suites tantamount to religious experience to quiet, modest moments of compassion. Bless you, John. Take a day off.