John Zorn

John Zorn的音樂豐富多變，被標(biāo)志為美國現(xiàn)代音樂的后現(xiàn)代主義者。喜歡卡通電影，屢屢將悲壯史詩的電影音樂改編成噪音爵士，頗令人發(fā)指。Zorn極愛拼貼各種音樂，舉凡古典，通俗，前衛(wèi)，獨(dú)奏，二重，三重，多重，朗詩，尖叫，哭喊，音樂與表演藝術(shù)的界線在John Zorn的作品與表現(xiàn)中崩解于無形。
 
90年代初John Zorn開始尋求猶太人的文化根，結(jié)合優(yōu)秀的紐約音樂家，組成Masada樂團(tuán)，先由日本唱片公司發(fā)行數(shù)張昂貴的西低，而后在美國創(chuàng)立自己的廠牌Tzadik，積極推動(dòng)“激進(jìn)猶太文化”，并有系統(tǒng)的重新發(fā)行其他類型的創(chuàng)作，Masada在美發(fā)行第一套專集Bar Kokhba，獲搖滾雜志Spin選為1996年十大專集之一，以鋼管樂器表現(xiàn)為主，即興演奏有濃厚民族風(fēng)味的爵士樂。
 
另附：前衛(wèi)爵士音樂唱片品牌介紹——Tzadik Records
 
TZADIK:JOHN ZORN 在紐約和東京同時(shí)開設(shè)的前衛(wèi)品牌。除了他自己的作品外,也出版了DEREK BAILEY、FRED FRITH、LEO SMITH以及日本先鋒藝術(shù)家的大量唱片。是最極端也是最前衛(wèi)的90年代實(shí)驗(yàn)聲學(xué)廠牌之一。
 
廠牌所出產(chǎn)的范疇包括：Avant Garde、Free Improvisation、Transgressions、tribal/ethnic、Ambient、Minimal。分為6個(gè)系列“作曲家”、“猶太文薄ⅰ靶氯氈盡?、“道i芭淅幀?、“档案”?“瘋子邊緣”，8個(gè)專欄。內(nèi)里超過100張唱片簡介和70多首的選段試聽。
 
雖說是日本的地下公司，除本土日本藝人之外，旗下所簽的大部分是紐約的先鋒藝術(shù)家。且多數(shù)屬于Improvisers（即興）作曲家，例如前衛(wèi)音樂鬼才Rodd Keith、 Sample實(shí)驗(yàn)大師David Shea（旗下發(fā)表過顛峰之作“Hsi-Yu Chi 西游記” （David shea & 吳蠻 & John Zorn）、激進(jìn)原始派Ikue Mori、用Saxophonist將 日本民樂和俄羅斯音樂通婚的東歐前衛(wèi)作曲家Compostels、錯(cuò)亂藍(lán)調(diào)之王Rodd Keith...當(dāng)然也有杰出的日本實(shí)驗(yàn)音樂高手，如大友良英、灰野敬二(Keiji Haino) 。除此之外，相當(dāng)部分推薦的唱片都屬珍貴的臨時(shí)性跨地域合作。此唱片公司極其注重即興實(shí)驗(yàn)噪音的藝術(shù)追求。
 
It is possible to call John Zorn a jazz musician, but that would be much too limiting a description. While jazz feeling is present in a good deal of his work, and the idea of improvisation is vitally important to him, Zorn doesnt operate within any idioms framework, drawing from just about any musical, cultural, or noise source that a fellow who grew up in the TV and LP eras could experience. This eclecticism gone haywire can result in such wildly jump-cutting works as Spillane, whose plethora of diverse and incompatible styles makes for a listening experience akin to constantly punching the station buttons on a car radio.
 
Zorn believes that the age of the composer as an autonomous musical mind had come to an end in the late 20th century; hence the collaborative nature of much of his work, both with active musicians and music and styles of the past. Like Mel Brooks, the zany film director, many of Zorns works are tributes to certain musical touchstones of his — such as Ennio Morricone, Sonny Clark, and Ornette Coleman — all filtered through his unpredictable hall of mirrors. While it would be foolhardy to single out a handful of dominant influences, Zorns music seems very close in spirit to that of Warner Bros. cartoon composer Carl Stalling, both in its transformation of found material and manic, antic moods.
 
This calculating wildman started playing the piano as a child before taking up the guitar and flute at age ten. By the time he was 14, Zorn had discovered contemporary classical music and began composing; his college years in St. Louis brought about his introduction to avant-garde jazz, particularly that of Anthony Braxton. He dropped out of college, settled in lower Manhattan, and began working with free improvisers, rock bands, and tape, sometimes working duck and bird calls into his arsenal. After putting out releases on tiny domestic and poorly distributed import labels, Zorn signed with Elektra-Nonesuch in the mid-80s, which increased his visibility considerably. Along the way, he has formed tribute bands to play the music of Coleman, Hank Mobley, Lee Morgan, and others; featured musicians as diverse as Big John Patton, Tim Berne, Bill Frisell, and the Kronos Quartet; and assembled a group called Masada that merges Coleman with Jewish music. Jazz buffs should be directed to his Coleman tribute album Spy vs. Spy (Nonesuch), which makes exciting, thrashing, yet concise hashes of 17 Ornette tunes with a quintet.