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John Zorn & Masada Chamber Ensembles - Bar Kokhba (1996)

21-07-2016, 14:59
Jazz | Classical Music | FLAC / APE

Title: Bar Kokhba
Year Of Release: 1996
Label: Tzadik
Genre: Jazz, Classical
Quality: FLAC (tracks+.cue, artwork)
Total Time: 02:08:11
Total Size: 599 MB


01 - Gevurah
02 - Nezikin
03 - Mahshav
04 - Rokhev
05 - Abidan
06 - Sheloshim
07 - Hath-Arob
08 - Paran
09 - Mahlah
10 - Socoh
11 - Yechida
12 - Bikkurim
13 - Idalah-Abal

01 - Tannaim
02 - Nefesh
03 - Abidan
04 - Mo'ed
05 - Maskil
06 - Mishpatim
07 - Sansanah
08 - Shear-Jashub
09 - Mahshav
10 - Sheloshim
11 - Mochin
12 - Karaim


John Zorn: Composer, Producer
Greg Cohen: Bass
Anthony Coleman: Piano
Dave Douglas: Trumpet
Mark Dresser: Bass
Mark Feldman: Violin
Erik Friedlander: Cello
David Krakauer: Clarinet
John Medeski: Organ, Piano
Marc Ribot: Guitar
Chris Speed: Clarinet
Kenny Wollesen: Drums

Masada has quickly become one of John Zorn's most popular and adventurous musical projects. These special arrangements for small ensembles of strings, keyboards and clarinets, shed new light on his book of inspiring compositions expanding the Jewish tradition. Bar Kokhba presents over two hours of dark, passionate and evocative Jewish music, featuring some of New York City's finest musicians. This double-CD is the long-awaited first American release of Zorn's Masada material, featuring startling new chamber arrangements of music from the six Masada albums on Avant (Japan).

Bar Kokhba encompasses the wealth of material John Zorn has composed with his eminent quartet Masada. The album is a collection of Masada songs that have been rearranged for chamber ensembles. For this effort, Zorn enlists some of New York's finest musicians: John Medeski, Marc Ribot, Anthony Coleman, and Erik Freedlander, among others. The compositions range from groups of four to solo performances by Ribot, Medeski, and Coleman. While some compositions retain their original structure and sound, some are expanded and probed by Zorn's arrangements, and resemble avant-garde classical music more than jazz. But this is the beauty of the album; the ensembles provide a forum for Zorn to expand his compositions. The album consistently impresses, and the highlights include "Gevurah," "Paran," and "Mochin." Zorn's genius as both songwriter and arranger are evidenced, and the recording sits well among the traditional Masada material.

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