Zion80 - Adramelech: John Zorn's The Book Of Angels, Vol. 22 (2014)

Un disco totalmente imprescindible y maravilloso. El Mago Alberto se zarpa y nos trae un discazo de la colección "Masada" del maestro John Zorn que viene a engrosar el listado de genialidades que hay en nuestra Biblioteca Sonora. Zion80, John Zorn y la Música con mayúsculas viven en el blog cabezón.

Artista: Zion80

Álbum: Adramelech: John Zorn's The Book Of Angels, Vol. 22
Año: 2014
Género: Jazz contemporáneo

Nacionalidad: EEUU / Internacional

Lista de Temas:
1. Araziel
2. Sheviel
3. Metatron
4. Shamdan
5. Kenunit
6. Caila
7. Lelahiah
8. Nehinah

Alineación:
- Jon Madof / guitar
- Frank London / trumpet
- Matt Darriau / alto saxophone, kaval, clarinet
- Greg Wall / tenor saxophone
- Jessica Lurie / baritone saxophone, flute
- Zach Mayer / baritone saxophone
- Brian Marsella / keyboards
- Yoshie Fruchter / guitar
- Shanir Ezra Blumenkranz / bass
- Marlon Sobol / percussion
- Yuval Lion / drums
- Mauro Refosco / percussion (track 7)

Para quien no lo conozca, John Zorn es un músico de gran creatividad que ha asimilado multitud de influencias y siempre ha sentido predilección por las propuestas extremas y arriesgadas. Ha trabajado en múltiples proyectos cada cual más arriesgado. "Masada" es uno de ellos, quizás el más importante; un grupo de jazz con influencias muy variadas, abierto a la improvisación.

Masada es un proyecto musical dirigido por el músico estadounidense John Zorn, el cual, tiene músicos distintos dependiendo el concepto bajo el que se interpretan cerca de 500 composiciones hechas por el músico, englobadas bajo la corriente contemporánea de Música judía radical. El concepto del grupo, iniciado en 1993, es que cada canción está escrita de acuerdo con una serie de normas, incluido el número máximo de pentagramas, modos o escalas que se utilizan, y el hecho de que las canciones deben ser reproducidos por un pequeño grupo de instrumentos, ya sean alientos (Masada) guitarras acústicas (Masada Guitar Trio), eléctricas (Electric Masada) o un trío de cuerdas (Masada String Trio).
Además, desde el nombre mismo del proyecto, que remite a la histórica fortaleza asediada por los romanos, el uso de escalas e instrumentación de tradición judía, los títulos de las canciones y los artes de las portadas de los discos, Zorn reivindica sus orígenes semitas.

Wikipedia

Dentro del "Masada Book 2 - The Book Of Angels" tenemos éste volumen 22 llamado "Adramelech" que nos centra ahora, todo un aportazo a la música que hacemos desde el blog cabezón gracias al Mago Alberto, que es quien se encarga de comentar el disco que nos ocupa...

Cabezonas/es esto es jamón del medio, una Seven Up con hielo y limón con 35 grados en verano, un Ruttini para El Vampiro, si creías que habías escuchado todo, en especial mucho brass, sacate el peluquín, y disfruta de esto.
Hay dos gemas de la música que son el Waka Jawaka y The Grand Wazoo de Zappa más que nada por el impresionante despliegue y arreglos de caños, y esta obra no se queda atrás, acá todo suena lleno, compacto, no hay baches musicales, simplemente una obra de arte.
No es casual tampoco que fuera editado por el sello de John Zorn, y fuera incluido como el vol. 22 de una serie de discos denominada "The Book of Angels", uno más zarpado que otro. Básicamente esto es un proyecto del guitarrista americano Jon Madof, un enfermo muy de la escuela de Zorn, por supuesto acá no hay nada lineal ni predecible, solo vuelo y más vuelo.
Este tipo de obras te atrapan de primera oída, y te sumergen en un océano de arreglos, solos extremos, detalles y atributos jazzeros, hay también muy buenos momentos de una enérgica guitarra, bajo, y una percusión muy puntual y fina. ¿Queres más?.
Recomiendo muchísimo esta serie de varios volumenes, todos bajo la bendición de Zorn, así que el inquieto buscador tiene tarea para la casa en La Escuelita de Moe.
Como gustos son gustos, no me atrevo muchas veces a recomendar albumes, pero esto es una gran excepción.

Mago Alberto

Creo que más o menos hemos puesto el marco para presentar semejante obra, pero por las dudas dejamos algún comentario de terceros, para que nadie se quede colgado al entrar por primera vez a este aluncinante y apabullante mundo del del genio de Zorn...

John Zorn lo ha hecho de nuevo. Tras publicar 21 volúmenes en su serie “Book of Angels” dedicada a los temas del segundo libro de Masada compuesto en 2004, sigue sorprendiéndonos con discos tan impresionantes como el que nos ocupa hoy, “Adramelech”, volúmen 22 de la colección. Pero su genialidad no radica en este caso en las composiciones, que no destacan sobremanera entre las 400 piezas que se han grabado ya en el universo Masada en los últimos 20 años, sino en la elección de los músicos que van a interpretarlas y reinventarlas. En este caso el encargado de dirigir y arreglar las 8 piezas que componen el disco ha sido Jon Madof, conocido por muchos por ser el guitarrista y líder de la banda Rashanim, que además las ha interpretado con su formación Zion 80, compuesta por 11 músicos. Con una imaginación envidiable, Madof y su banda combinan la música de tradición judia con complejos ritmos latinos y africanos, potentes secciones de viento y partes cercanas tanto al jazz como al rock, creando una música rica, colorida, repleta de matices y detalles, y con una intrumentación que sorprende al verla plasmada sobre el papel:
-Jon Madof: Guitarra
-Yoshie Fruchter: Guitarra
-Matt Darriau: Saxo alto, Kaval, Clarinete.
-Jessica Lurfe: Saxo barítono, Flauta
-Zach Mayer: Saxo barítono
-Greg Wall: Saxo tenor
-Frank London: Trompeta
-Brian Marsella: Teclados
-Shanir Ezra Blumenkranz: Bajo
-Yuval Lion: Batería
-Marlon Sohol: Percusiones
Los aficionados al univerzo Zorniano y la escena judia de Nueva York, reconoceréis muchos de estos nombres. Frank London formó parte de The Klezmatics, formando después junto a Greg Wall la genial banda Hasidic New Wave, Brian Marsella forma parte de la banda de Cyro Baptista, Banquet of the Spirits, donde también toca Shanir Ezra Blumenkranz, que a su vez formó parte de Rashanim junto a Madof, y también lidera el cuarteto Abraxas. Con semejantes músicos, el resultado ha sido abrumador.
El disco comienza de una forma apabullante con “Araziel” (7’15) , con una base casi funky, repleta de percusiones, y muchos arreglos de viento, junto a la melodía principal interpretada con guitarra, lo que nos recuerda a Rashanim . Además podemos escuchar un fantástico sólo de órgano setentero y otro de trompeta, apoyado por todos los saxos. Una joya que da paso a “Sheviel” (5’49), una pieza de gran profundidad, con un denso muro de vientos flanqueando la melodía principal, que se desarrolla sobre una base rítmica muy rica, y con la guitarra y el teclado como protagonistas. Continuamos con “Metatron” (9’06), cuyo principio de guitarra, el potente riff que se repite a lo largo de la pieza, y la hipnótica línea de bajo, acompañada de la batería y percusiones, nos traé a la memoria a Electric Masada. Sobre toda esta impresionante estructura, y con constantes arreglos de viento, no sólo podemos disfrutar de la melodía central, sino también de dos de las mejores partes del disco, un primer solo de saxos y trompeta alternándose y jugueteando sobre la base, y un segundo con las dos guitarras intercalando diferentes pasajes. Blumenkranz no deja que nos olvidemos ni por un segundo lo importante que es su instrumento en el disco, y en “Shamdan” (7’17) el sonido de su bajo ocupa la habitación, acompañada de forma magistral por unas preciosas percusiones sobre los excelentes solos, primero uno corto de guitarra, después otro de saxo barítono, y otro más de guitarra, más duro, que me encanta. Destacar también el trabajo de Marsella, tanto en los detalles de piano eléctrico, como en la melodía final de órgano, con añejos arreglos de flauta, trompeta y saxo.
El siguiente tema se titula “Kenunit” (10’52), y no puedo encontrar ningún término literario que lo defina mejor que la expresión coloquial “Buen Rollo”, porque es exactamente lo que provoca. Sobra una base rítmica cercana al Dub, el órgano y los vientos interpretan durante los más de 10 minutos que dura una de las melodias más bonitas del disco, con efectos que vuelven a recordarnos a Electric Masada, imaginativas percusiones, muchos detalles, y sendos solos de saxo, el primero de tenor y el segundo de alto, ambos fantásticos. Una maravilla seguida por “Caila” (4’22), una pieza corta y directa donde pequeños solos de saxo, guitarra, trompeta, batería y percusión van alternándose, dotando al tema de una gran dinamismo. Mucho más rockera se muestra “Ielahiah” (6’04), sin vientos, con unas guitarras, un bajo y unas percusiones maravillosas (participa como colaborador Mauro Refosco), y efectivos detalles de teclado. Y para terminar, “Nehinah” (5’36), donde se combina una primera parte misteriosa, con piano electrico y posteriormente una bonita base de guitarra, con partes festivas repletas de vientos y percusiones. Destacan los solos de flauta y de saxo, que son realmente bonitos.
Un gran final para uno de los discos que con el tiempo pueden convertirse en uno de los volúmenes destacados de la serie “Book of Angels”.

zappamacias

Un discazo que engalana la Boblioteca Sonora. Disfrútenlo

Based in New York City, Zion 80’s mission is to expand the scope and framework of Jewish music and lead it into the 21st Century while paying homage to its forefathers.
If you’re not well versed in Jewish music its melodies have been prevalent in popular music maybe even without you consciously knowing. Songs like “Nature Boy” and “Strange Fruit” for example are not only written by Jewish writers but contain key elements and structure of song passed down for generations. What makes the Book of Angels vol. 22 so exciting is that Zion 80 carves out its own identity and territory while at the same time paying respect without hitting you over the head with it and the results are exciting and addictive. This may be the best played, produced, arranged, conducted, mixed and recorded album I’ve heard in the last ten years. I’m not kidding. It’s that great. Each song will make you tweak your head to one side, enticing you to listen closer, to think you’re hearing something, a note, a phrase, you might have heard before then takes you in a new direction that will both make you smile and titillate the mind at the same time.
For someone like myself, who is ¼ Jewish (yes there are Norwegian Jews; 892 were shipped from Oslo in 1940 to concentration camps by the Nazi’s. Only 9 survived and returned after the war) these themes have been swimming in my soul for my whole life but you don’t need to be Jewish or have some ancestry to enjoy this work. Do you like Indian music? Do you relate to Middle Eastern scales? Well then, that’s precisely what this is seen “through the lens of Afrobeat” (according to their website). How this pertains to us here in Free Jazz land is that it’s completely original, wildly inventive, exciting, brilliantly played, passionate and filled with joy. Lots of joy. I’ve listened to it three times already for this assignment and I will listen many more times after my fingers are done typing. I did not know of this group before being asked to write this review so maybe my exuberance is in direct relation to a new discovery but I think not (Disclaimer: I worked with Ms. Lurie on Giuseppi Logan’s 2013 release “And They were Cool…” but didn’t know she was part of this group until I researched them for this piece).
Nothing is perfunctory or forced on this record and the songs, 8 of them in total and perfectly sequenced, are not indulgent with the longest clocking in at just over ten minutes. They are tight, taut, superbly crafted and endlessly thrilling. No one takes a solo just because it is time. When member Brian Marsella takes a superbly creative keyboard turn during the song “Kenunit” it’s not a jazz convention; it takes the song someplace new and ends the song perfectly. The horns make you want to believe they are improvised as they grunt and howl but in the most musical fashion so it can’t be, can it? They are too together! I had a huge smile on my face during all three spins of this record and my wife laughed at me as she found me bopping across our living room floor with the volume cranked. As a guitarist myself Jon Madof (the leader of Zion 80) and Yoshie Fruchter are my new heroes. The interplay between them is brilliant and the solos and their tone are out of this world and the bass playing is tremendous. Shanir Blumenkranz knows just when to kick on (and step off) a fuzz pedal and use phasers judiciously and they add quite a lot to those songs without being distracting or getting in the way. For an album with so many players and complexities it’s a wonder that there is also a good deal of space on this record. Nothing feels crammed in nor cramped ever.
If you can’t tell by now you really must get this. You will not be sorry. Hopefully, like myself, it will stick with you long, long after the music stops playing. I can’t recommend it enough.
If we could give an album six stars this would be it.

Ed Pettersen

The first Zion 80 release was a major change for jazz guitarist and Tzadik recording artist Jon Madof. In it, he took works by Shlomo Carlebach, fused them with a Fela Kuti-inspired AfroBeat, and rocked out. The large brass band that comprises Zion 80 used those simple melodies as a chance to soar and improvise. Here, on the band's second outing, tackling works by John Zorn, everything ratchets up a notch. As much as I loved that first album, this is the music I was listening for: the complex changes fueling a tight, energetic horn section that seems to be able to swivel into time changes and rhythm changeups on a dime. The band has moved beyond that initial inspiration in this recording. Here, Jon Madof works with a larger palette with which to arrange deep, thoughtful, moving music.
From the opening attack of "Araziel," the band never lets up. As Madof showed when he was recording with his trio, the Rashanim, his guitar playing is extraordinarily sensitive. Here he is surrounded by among the best of New York's downtown jazz scene, from familiar veterans like Frank London and Greg Wall, to newbies like Zach Mayer (perhaps not coincidentally a graduate of the KlezKamp and KlezKanada tutelage of some of those self-same veterans). And where the first Zion 80 recording was a tribute to Fela, with its insistent horns and polyrhythmic beats (driving me back to my Africa 70 LPs) and Shlomo Carlebach, here the band is pushing new limits. At times, as on "Metatron" there is this amazing fusion of AfroPop with Zorn's "Naked City." This is complex jazz, polyrhythmically percussive, driven by an intricate, amazing big (for these times) ensemble. It's great, although it isn't dance music any more (unless you see them live, in which case you'll be like the rest of us, on your feet and moving).
I saw this band perform at Ashkenaz 2014, where they headlined on Sunday night at the major stage. It was one of the highlights of a great festival. You can capture a bit of that magic by getting your own copy of this recording.

Ari Davidow

Jon Madof's Brilliant Corners
Jon Madof has been making many people—like this fan—happy for over a decade. The scope of his projects, particularly the trio he masterminds, Rashanim, has been a source of ceaseless delight. During the last few years Madof has concentrated his focus on a bigger, more ambitious undertaking: Zion80.
Where their self-titled debut release was an expert mash-up of, as Madof himself describes the band, Shlomo Carlebach meets Fela Kuti, the new release Adramelech has the collective tackling Volume 22 (!) of John Zorn’s epic Book of Angels series. That would be the same John Zorn whose productivity makes Johann Sebastian Bach seem like a slacker. In fact, he released two new albums as I typed that last line. Just kidding, mostly.
Zorn is nothing if not a visionary, but even by the incredibly high standards he’s set for himself, the idea of letting other musicians tackle each new volume of his Book of Angels has been a gift that giveth much. For one, and most obviously, it’s a plethora of new material, itself something—in terms of depth and achievement—that will only accrue import in years ahead. We’re too busy living through his superhuman career in real time to properly appreciate exactly how locked in and, really, untouchable he is.
Jon Madof has already established himself as one of the more sensitive and successful interpreters of Zorn’s material. His recording Masada Rock remains one of this writer’s favorite of the dozens of discs featuring brilliant musicians doing Zorn. It’s a must-have for anyone who is remotely enticed by the notion of klezmer meets surf guitar meets speed metal meets world music with a free jazz sensibility. And who isn’t enticed by that?
Where Zion80 was a raucous but controlled, fiery but focused free-for-all, something you could shake your head and ass to, Adramelch manages to go deeper and be, if possible, more encompassing. It also comes with a welcome edge and, like the previous disc, insists on being grappled with on its own terms. In this regard, it’s quite consistent with much of the work Zorn and Madof have done. But this is not merely a more-is-more celebration of Zorn with Madof at the helm. Rather, it taps into what is most special—and rewarding—about the Radical Jewish Culture that Zorn has been curating at his Tzadik label: music that spans time (we’re talking centuries) and crosses cultures, yet somehow, in ways that are both delirious and delightful, is totally of the here and now. It’s cutting edge history, made by musicians who know and respect tradition, but are dissatisfied with labels and the limitations of genre. Perhaps this is why you won’t hear this music on the radio. It’s also why people will be listening to this album one hundred years from now.
There’s nothing not to recommend about this release, it is further evidence that virtually everything Madof touches turns to sonic gold. The album is stellar from start to finish but picks up steam as it goes along. A few highlights have to include “Shamdan”, which mixes guitar-driven jamming alongside saxophonic frenzy in ways the only debut hinted at. On “Metatron” the groove gradually breaks down into inspired chanting that is equal parts disarming and deep, an authentically felt religious vibe (a la Madof’s masterpiece, The Gathering), Gregorian chants in the mosh pit—with yarmulkes flying every which way. Each player gets an opportunity to stride to the forefront, and those moments are picked wisely and utilized judiciously: there are no wasted notes or indulgent moments; this execution is precise and methodical.
The two tracks that close out the session exemplify everything—on micro and macro levels—that make this project so unique and fulfilling. On the macro level, there is the obvious and absolute realization of Zorn’s compositional objective: dense but accessible notes delivered with distilled emotion; music your mind can dance to. On the micro level, Madof has amassed an impeccable ensemble of players, and each individual acquits himself wonderfully. And herself, in the case of Jessica Lurie, whose flute solo on “Nehinah” is so tasty, filthy and ferocious it would make Ian Anderson wet his knickers. It’s a high point on an album full of them. Brian Marsella makes the most of his moments in the spotlight (his techno-punk intro to “Nehinah” is top shelf stuff), and Shanir Blumenkranz continues to bolster his credentials as one of the most versatile and significant bass players on the scene. His fuzzed-out bass propels “Ielahiah”, setting a brooding, intense, and heavy tone for the entire piece, which circles its way into a guitar dual between Madof and Yoshie Fruchter. As Madof stalks and strikes, Fruchter hammers out a stuttering cascade of stark notes, the brutality escalating into a climax that offers unbelievable, affecting release.
It’s not necessarily a bad thing that music today, by virtue of so many streamed services catering to every taste, can be cataloged according to specific genre and style. One problem, of course, is that music is increasingly roped into predetermined corners, and increasingly created with these considerations in mind. Rare, indeed, is an endeavor that might genuinely appeal to listeners who create playlists dedicated to trance, or jam-band, or world music, or jazz, or metal. Zion80 is throwing a lot of styles on the table, but it’s never forced or facile. It is challenging but rewards an adventurous and intelligent audience. It can be enjoyed without obliging analysis (and should be seen live if at all possible), but for the person who brings some measure of cultural awareness and curiosity to the table, the only corners being navigated are the brilliant ones Thelonious Monk imagined, back in the days when your music was as serious as your life.

Sean Murphy

Imagino ue ya saben dónde encontrarlo, sino pregunten...