John Zorn

John Zorn (born September 2, 1953) is an American composer, arranger, record producer, saxophonist, and multi-instrumentalist with hundreds of album credits as performer, composer, and producer across a variety of genres including jazz, rock, hardcore, classical, surf, metal, soundtrack, ambient, and improvised music.[1] He incorporates diverse styles in his compositions, which he identifies as avant-garde or experimental.[2] Zorn was described by Down Beat as "one of our most important composers".[3]

John Zorn
Zorn at the Newport Jazz Festival, 2014
Background information
Born (1953-09-02) September 2, 1953
New York City, New York, U.S.
GenresAvant-garde, experimental, avant-rock, jazz, grindcore, avant-garde metal
Occupation(s)Musician, composer, producer
InstrumentsAlto saxophone, pipe organ, clarinet, flute, keyboards, vocals, guitar, double bass, drums, percussion, theremin, wind machine
Years active1973–present
LabelsTzadik, Avant, DIW, Elektra Nonesuch, Earache, Hathut, Shimmy-Disc, Eva, Toy's Factory, Nato, Lumina, Black Saint, Subharmonic, Parachute, Yukon, Rift
Associated actsNaked City, Painkiller, Masada, Masada String Trio, Bar Kokhba, Hemophiliac, Moonchild, Violent Femmes
Websitewww.tzadik.com

Zorn established himself within the New York City downtown music movement in the mid-1970s, performing with musicians across the sonic spectrum and developing experimental methods of composing new music.[2] After releasing albums on several independent US and European labels, Zorn signed with Elektra Nonesuch and received wide acclaim with the release of The Big Gundown, an album reworking the compositions of Ennio Morricone.[4] He attracted further attention worldwide with the release of Spillane in 1987 and Naked City in 1990.[2][5][6][7] After spending almost a decade travelling between Japan and the US, he made New York his permanent base and established his own record label, Tzadik, in the mid-1990s.[8][9][10]

Tzadik enabled Zorn to maintain independence from the mainstream music industry and ensured the continued availability of his growing catalog of recordings, allowing him to prolifically record and release new material, issuing several new albums each year, as well as promoting the work of many other musicians.[11] Zorn has led the hardcore bands Naked City and Painkiller, the Jewish music-inspired jazz quartet Masada, composed 613 pieces as part of the three Masada songbooks that have been performed by an array of groups, composed concert music for classical ensembles and orchestras, and produced music for opera, sound installations, film and documentary. Zorn has undertaken many tours of Europe, Asia, and the Middle East, often performing at festivals with many other musicians and ensembles that perform his diverse output.[12][13][14]

Early life and career

Early life

John Zorn was born in New York City and learned piano, guitar and flute as a child.[15] His family had diverse musical tastes: his mother, Vera (née Studenski; 1918–1999), listened to classical and world music, his father, Henry Zorn (1913–1992), was interested in jazz, French chansons, and country music, and his older brother collected doo-wop, and 1950s rock and roll records.[16]

Zorn attended the United Nations International School from kindergarten to high school associating with school friends from many different cultures.[17][18] He spent his teenage years exploring classical music, film music, and, "listening to The Doors and playing bass in a surf band."[16] He also acquired an interest in experimental and avant-garde music after buying a record by Mauricio Kagel in 1968 at the age of fifteen.[11][19] He taught himself orchestration and counterpoint by transcribing scores and studied composition under Leonardo Balada.[20]

Zorn started playing the saxophone after discovering Anthony Braxton's album For Alto (1969) when he was studying composition at Webster College (now Webster University) in St. Louis, Missouri, where he attended classes taught by Oliver Lake.[21][22] While still at Webster, he incorporated elements of free jazz, avant-garde and experimental music, film scores, performance art and the cartoon scores of Carl Stalling into his first recordings which were later released as First Recordings 1973 (1995).[23]

Zorn dropped out of college and, following a stint on the West Coast, moved to Manhattan where he gave concerts in his apartment and other small NY venues, playing saxophone and a variety of reeds, duck calls, tapes, and other instruments.[24] Zorn immersed himself in the underground art scene, assisting Jack Smith with his performances and attending plays by Richard Foreman.[25] He founded a performance art project called the Theatre of Musical Optics in 1975 and became a major participant in the downtown music scene as a composer, performer, and producer of music that challenged the confines of any single musical genre.[26]

Early composition

Zorn's early major compositions included several game pieces described as "complex systems harnessing improvisers in flexible compositional formats".[27][28] These compositions "involved strict rules, role playing, prompters with flashcards, all in the name of melding structure and improvisation in a seamless fashion".[2] Zorn's game pieces were often titled after sports, and include Track & Field (1974), Baseball (1976), Lacrosse (1976), Dominoes (1977), Curling (1977), Golf (1977), Hockey (1978), Cricket (1978), Fencing (1978), Pool (1979), and Archery (1979), several of which were recorded and originally released on Eugene Chadbourne's Parachute label, becoming the first albums under Zorn's leadership.[29][30]

His most enduring game piece is Cobra, composed in 1984 and first released on album in 1987 and in subsequent versions in 1992, 1994 and 2002, and revisited in performance many times.[31][32][33] In the early 1980s, Zorn was heavily engaged in improvised performance which included "blowing duck calls in buckets of water at fringe venues" as both a solo performer and with other like-minded artists.[2] Zorn's first solo saxophone (and duck call) recordings were originally released in two volumes as The Classic Guide to Strategy in 1983 and 1986 on the Lumina label.[34] Zorn's early small group improvisations are documented on Locus Solus (1983) which featured Zorn with various combinations of other improvisers including Christian Marclay, Arto Lindsay, Wayne Horvitz, Ikue Mori, and Anton Fier.[35] Ganryu Island featured a series of duets by Zorn with Michihiro Sato on shamisen, which received limited release on the Yukon label in 1984.[36] Zorn has subsequently released these recordings as CDs on Tzadik making them more widely available than the original vinyl pressings.[37]

John Zorn in 1990

Breakthrough recordings

Zorn's breakthrough recording was 1985's widely acclaimed The Big Gundown: John Zorn Plays the Music of Ennio Morricone, where Zorn offered radical arrangements of music from Ennio Morricone soundtracks, that incorporated elements of traditional Japanese music, soul jazz, and other genres.[38] The Big Gundown was endorsed by Morricone himself, who said: "This is a record that has fresh, good and intelligent ideas. It is realization on a high level, a work done by a maestro with great science-fantasy and creativity ... Many people have done versions of my pieces, but no one has done them like this".[39]

Zorn followed this with his second major-label release Spillane in 1987, which included performances by Albert Collins and the Kronos Quartet, and the extended title track, one of Zorn's file-card compositions, which featured text by Arto Lindsay over a film noir inspired collage.[40] This method of combining composition and improvisation involved Zorn writing descriptions or ideas on file-cards and arranging them to form the piece.[41] Zorn described the process in 2003:

I write in moments, in disparate sound blocks, so I find it convenient to store these events on filing cards so they can be sorted and ordered with minimum effort. Pacing is essential. If you move too fast, people tend to stop hearing the individual moments as complete in themselves and more as elements of a sort of cloud effect ... I worked 10 to 12 hours a day for a week, just orchestrating these file cards. It was an intense process.[42]

Zorn's file-card method of organizing sound blocks into an overall structure largely depended on the musicians he chose, the way they interpreted what was written on the file cards, and their relationship with Zorn. "I'm not going to sit in some ivory tower and pass my scores down to the players." said Zorn,

I have to be there with them, and that's why I started playing saxophone, so that I could meet musicians. I still feel that I have to earn a player's trust before they can play my music. At the end of the day, I want players to say: this was fun—it was a lot of fucking work, and it's one of the hardest things I've ever done, but it was worth the effort.[42]

Two other critically acclaimed releases on Nonesuch followed; Spy vs Spy in 1989, and Naked City in 1990, before Zorn broke with the label.[2]

Music
All the various styles are organically connected to one another. I'm an additive person—the entire storehouse of my knowledge informs everything I do. People are so obsessed with the surface that they can't see the connections, but they are there.

—John Zorn[42]

Jazz

Beginning in 1986, Zorn participated in several projects focused on the compositions of modern jazz musicians which highlighted his unique saxophone style including Voodoo (1986) by the Sonny Clark Memorial Quartet, and Spy vs Spy (1989) featuring hardcore punk-informed interpretations of Ornette Coleman's music with Tim Berne.[43][44][45] News for Lulu (1988) and More News for Lulu (1992) featured Zorn, Bill Frisell and George Lewis performing compositions by Kenny Dorham, Sonny Clark, Freddie Redd, and Hank Mobley.[46][47] He performed on two recordings by organist Big John Patton and recorded alongside Lee Konitz, who Zorn has described as "one of my all-time heroes".[48][49][50][51]

Film music

Zorn stated that "After my record The Big Gundown came out I was convinced that a lot of soundtrack work was going to be coming my way".[52] While interest from Hollywood was not forthcoming he attracted the attention of many independent filmmakers. The first director to commission him was Rob Schwebber for the 1986 short White and Lazy followed by his work for Sheila McLaughlin's film, She Must Be Seeing Things (1986) and in 1990, he composed the soundtrack for the Raúl Ruiz film The Golden Boat.[53] Zorn did attract the interest of filmmaker Walter Hill who contracted him to compose music for a film to be called Looters. The film was finally released in 1992 as Trespass (1992) featuring a score by Ry Cooder.[30] Although Zorn's score was not used in the final release he used the commission he received for composing to establish his own record label, Tzadik, and released Filmworks II: Music for an Untitled Film by Walter Hill in 1995.[54]

Zorn produced a series of commercial soundtracks for the advertising firm Wieden+Kennedy, including one directed by Jean-Luc Godard, a long-term Zorn inspiration.[55] Filmworks VII: Cynical Hysterie Hour re-released the themes that Zorn produced for a Japanese cartoon which had only been previously available in limited release in Japan. Zorn regained the rights to these recordings by trading a booking at the Knitting Factory to Sony executives.[56]

Zorn often used his film work to introduce new groups or experiment with new compositional methods; Filmworks 1986–1990 (1991) featured a sixty-four second interpretation of the theme from The Good, the Bad and the Ugly which links his Morricone tribute to the musicians who would become Naked City;[52] Filmworks III: 1990–1995 (1997) featured the first recordings by the Masada lineup produced for Joe Chappelle's independent feature Thieves Quartet;[57] Filmworks XI: Secret Lives featured the Masada String Trio;[58] and Filmworks XXII: The Last Supper highlighted Zorn's growing interest in composing for vocal groups.[59]

From the mid-1990s, Zorn composed film music only for projects which he found personally interesting or of artistic merit. These included underground films dealing with BDSM and LGBT culture, documentaries exploring the Jewish experience, and films about outsider artists.[60][61][62][63][64][65][66][67][68][69][70][71][72][73]

On occasion, Zorn would produce soundtracks for productions with more mainstream appeal such as 2002's Filmworks XIII: Invitation to a Suicide for a black comedy about a man selling tickets to his own suicide to save his father's life,[74] Filmworks XVI: Workingman's Death (2005) for a documentary portraying hazardous employment undertaken in developing countries,[75] Filmworks XVIII: The Treatment (2006) for Oren Rudavsky's romantic comedy based on the tango music of Astor Piazzolla,[76] and Filmworks XIX: The Rain Horse (2008) for a Russian animated short film.[77]

In 2013, after releasing 25 volumes in his Filmworks Series, Zorn announced that he would no longer be releasing music for film.[78]

Hardcore

Naked City

Zorn established his band, Naked City, in 1988 as a "compositional workshop" to test the limitations of a rock band format.[79] Featuring Zorn (saxophone), Bill Frisell (guitars), Fred Frith (bass), Wayne Horvitz (keyboards), Joey Baron (drums), and occasional vocals from Yamatsuka Eye (and later Mike Patton), Naked City incorporated Zorn's appreciation of hardcore bands like Agnostic Front and grindcore bands like Napalm Death along with influences like film music, country or jazz into compositional experiment.[80]

Named after a 1945 book of graphic black and white photographs by Weegee, the band performed an aggressive mix of "soundtrack themes, bluesy hard bop, speedy hardcore rock, squealing free jazz [and] metallic funk".[81] Zorn stated that "Naked City started with rhythm and blues/Spillane type things then went into this hard-core thing ... because I was living in Japan and experiencing a lot of alienation and rejection ... My interest in hard-core also spurred the urge to write shorter and shorter pieces."[82] This approach culminated in a string of "hardcore miniatures", intense brief compositions often lasting less than a minute, 42 of which were featured on the EP, Torture Garden (1989).[83] Some of these tracks had also featured on the band's debut Naked City and others would resurface on the band's next full-length release, Grand Guignol (1992), which also included performances of works by Claude Debussy, Alexander Scriabin, Orlande de Lassus, Charles Ives, and Olivier Messiaen.[84]

The band's third album, Heretic (1992), featured more of these short improvisations produced for the soundtrack of an underground S/M film Jeux des Dames Cruelles.[85] The band released a second EP, Leng Tch'e, in 1992 featuring a single composition which lasted just over half an hour.[86] Radio, released in 1993, was the first Naked City album composed solely by Zorn, and featured tracks crediting a wide range of musical influences.[87]

The final recording from the band, Absinthe (1993) featured a blend of ambient noise-styled compositions with tracks titled after the works of Paul Verlaine, Charles Baudelaire and other figures in the fin de siècle Decadent movement, and a dedication to Olivier Messiaen.[88] Zorn disbanded Naked City after this release but briefly reformed the band for a European tour in 2003.[89]

Painkiller

In 1991, Zorn formed his band, Painkiller, with Bill Laswell on bass and Mick Harris on drums.[90] Painkiller's first two releases, Guts of a Virgin (1991) and Buried Secrets (1992), also featured short grindcore and free jazz-inspired compositions.[91] They released their first live album, Rituals: Live in Japan, in 1993, followed by the double-CD Execution Ground (1994), which featured longer dub and ambient-styled pieces.[92]

A second live album, Talisman: Live in Nagoya, was released in 2002 and the band was featured on Zorn's 50th Birthday Celebration Volume 12 (2005) with Hamid Drake replacing Harris on drums and guest vocalist Mike Patton.[93] Both bands attracted worldwide interest, particularly in Japan, where Zorn had relocated following a three-month residency in Tokyo.[94]

Moonchild at the Barbican: Mike Patton (facing away) and Trevor Dunn

Other

Zorn continued his interest in hardcore improvisations with the release of Hemophiliac in 2002, with Mike Patton and Ikue Mori.[95] The trio also released a live recording as part of Zorn's 50th Birthday Celebration Series.[96]

In 2006, Zorn formed the hardcore voice/bass/drums trio of Mike Patton, Trevor Dunn, and Joey Baron which became known as the Moonchild Trio.[97] That year, two albums of Zorn's compositions performed by the trio were released: Moonchild: Songs Without Words and Astronome.[98][99] A third album with the trio, but also featuring Zorn, Ikue Mori, Jamie Saft and chorus, Six Litanies for Heliogabalus, was released in 2007.[100]

Their fourth release, The Crucible, appeared in 2008 followed by Ipsissimus, both of which featured Marc Ribot, in 2010 and Templars: In Sacred Blood, which added John Medeski in 2012.[101][101][101]

Concert music

John Zorn has established a diverse repertoire of music written for chamber music and orchestral settings. As Zorn's interest in Naked City waned, he "started hearing classical music in [his] head again."[102] Zorn started working on compositions that drew on chamber music arrangements of strings, percussion and electronic instruments. Elegy, a suite dedicated to Jean Genet, was released in 1992.[103] This was followed by the piece Kristallnacht recorded in November 1992, his premiere work of radical Jewish culture, featuring seven compositions reflecting the Kristallnacht ("Night of Broken Glass") in late 1938 where Jews were targets of violence and destruction in Germany and Austria.[104][105]

The establishment of Tzadik allowed him to release many compositions which he had written over the previous two decades for classical ensembles. Zorn's earliest released classical composition, Christabel (1972) for five flutes, first appeared on Angelus Novus in 1998.[106] Zorn credits the composition of his 1988 string quartet Cat O' Nine Tails (commissioned and released by the Kronos Quartet on Short Stories) to awakening him to the possibilities of writing for classical musicians. This composition also appeared on The String Quartets (1999) and Cartoon S/M (2000) along with variations on "Kol Nidre", inspired by the Jewish prayer of atonement which was written at the same time as the first Masada Book.[107]

Aporias: Requia for Piano and Orchestra (1998) was Zorn's first full-scale orchestral release featuring pianist Stephen Drury, the Hungarian Radio Children's Choir and the American Composers Orchestra conducted by Dennis Russell Davies.[108]

Much of Zorn's classical work is dedicated or inspired by artists who have influenced him:

Several of Zorn's later concert works drew inspiration from mysticism and the works of Aleister Crowley in particular; Magick (2004) featured a group called the Crowley Quartet.[113] A 2009 performance of the album's centerpiece Necronomicon was described as "... frenetic vortexes of violent, abrasive motion, separated by eerily becalmed, suspenseful sections with moody, even prayerful melodies. The music is sensational and evocative, but never arbitrary; you always sense a guiding hand behind the mayhem".[114]

Later works expanded to include vocal and operatic works; Mysterium released in 2005 featured Frammenti del Sappho for female chorus;[115] Rituals (2005) featured Zorn's opera composed for the Bayreuth Opera Festival in 1998;[116] and La Machine de l'Être composed in 2000, premiered at the New York City Opera in 2011, and recorded for the 2012 album Music and Its Double.[117][118]

Zorn's concert works have been performed all over the world and he has received commissions from the New York Philharmonic, Brooklyn Philharmonic and BBC Radio 3.[119][120]

Masada books

Book One
Masada: Joey Baron (drums), Greg Cohen (bass), Dave Douglas (trumpet), John Zorn (alto saxophone)

The experience of composing Kristallnacht prompted Zorn to explore his Jewish heritage and examine methods of composing using the Phrygian dominant scale.[121][122] Zorn set himself the task of writing 100 compositions within a year.[123] Within three years, the number of compositions had grown to 205 and became known as the first Masada Book. Zorn explained:

The project for Masada was to create something positive in the Jewish tradition something that maybe takes the idea of Jewish music into the 21st century the way jazz developed from the teens and 1920s into the '40s, the '50s, the '60s and on ... My initial idea was to write a hundred tunes. And then I ended up writing over 200 for the first book and then performed it countless time for years.[124]

The initial fruits of this compositional approach were ten albums by Masada appearing on the Japanese DIW label from 1994.[125] Masada (later referred to as "acoustic" Masada) was an Ornette Coleman-inspired quartet with Zorn (alto saxophone), Dave Douglas (trumpet), Greg Cohen (bass), and Joey Baron (drums) that performed jazz-styled compositions based on Sephardic scales and rhythms.[126]

The original Masada albums were named after the first ten letters of the Hebrew alphabet and contained compositions with Hebrew titles. Further releases by Masada consisted of live performances of the band recorded in Jerusalem, Taipei, Middleheim, Seville and in New York at the Knitting Factory and at Tonic and as a DVD, and a double-CD of unreleased studio recordings, Sanhedrin 1994–1997 (2005).[127][128][129][130][131][132][133] The quartet released a live recording as part of Zorn's 50th Birthday Celebration Series.[134]

In 1996, Zorn released Bar Kokhba featuring Masada compositions recorded by a rotating group of musicians.[135] Two ensembles arose from this album; the Masada String Trio, composed of Greg Cohen (bass), Mark Feldman (violin), and Erik Friedlander (cello); and the Bar Kokhba Sextet which added Marc Ribot (guitar), Cyro Baptista (percussion), and Joey Baron (drums), both of which were featured on 1998's The Circle Maker.[136] The Masada String Trio were also featured on Zorn's Filmworks series, as part of his 50th Birthday Celebration, and released two albums as part of the Book of Angels project, Azazal and Haborym.[137][138][139][140] In 2003, Zorn formed Electric Masada, a band featuring Zorn, Baptista, Baron, and Ribot, along with Trevor Dunn (bass), Ikue Mori (electronics), Jamie Saft (keyboards), and Kenny Wollesen (drums) releasing their debut live album from Zorn's 50th Birthday Concert series and a double live CD recorded in 2004.[141]

A Tenth Anniversary Series of Masada recordings was released by Zorn beginning in 2003. The series featured five albums of Masada themes including Masada Guitars by Marc Ribot, Bill Frisell, and Tim Sparks; Masada Recital by Mark Feldman and Sylvie Courvoisier; Masada Rock by Rashanim; and two albums featuring various artists, Voices in the Wilderness and The Unknown Masada.[37]

Bar Kokhba at 2014 Newport Jazz Festival with Marc Ribot, John Zorn, Cyro Baptista (left to right)

Book Two

In 2004, Zorn began composing the second Masada Book, The Book of Angels, resulting in an additional 316 compositions.[142][143] Zorn explained:

After 10 years of performing the first book, I thought "Maybe it'd be nice to write some more tunes." And I wrote 300 more tunes. When I started writing those it was "Let's see if I can write a hundred songs in a month this time." I've been working on these scales and playing these tunes all this time. In the back of my head somewhere are lodged all kinds of new ideas. Let's see if I can come up with 100 tunes in a month instead of in a year. So in the first month, I popped out a hundred tunes; the second month, another hundred; in the third month, a third 100 tunes. I had no idea that was going to happen.[124]

He has released twenty volumes of Masada Book Two compositions all performed by other artists.[125] The titles of many Masada Book Two compositions are derived from demonology and Judeo-Christian mythology.

The Masada quartet performed at the Lincoln Center for the Performing Arts in March 2007 for what were billed as their final concerts.[144] Zorn reformed the band as a sextet with Uri Caine and Cyro Baptista in 2009 saying:[145]

I felt like we kind of hit a plateau a little bit with it in 2007 and I said, "Well, maybe the quartet is really done. Maybe we've accomplished what we can accomplish. Maybe it's time to put this to bed." And then I was asked by the Marciac Jazz Festival to put together a slightly larger group. They asked me what if I added a couple of people to Masada and I said, "I can't add anybody to the quartet. The quartet is the quartet, that's what we do." But then I thought, "Well, if I was going to add someone I would probably ask Uri and Cyro." So we tried it at Marciac and it was unbelievable. We didn't even have any rehearsal time. I just passed the charts out and said, "OK, just watch me because I'll be conducting. Let's just do it." And it was one of those magical clicks on the bandstand that sometimes happens. So yeah, this band is taking off again. After 15 years of doing this music, we can still find new things.

Zorn's Masada compositions and associated ensembles have become a central focus of many concerts and festivals and he has established regular 'Masada Marathons' that feature various bands and musicians performing music from the Masada Books.[142][146]

Book Three

Zorn completed the third Masada book, titled The Book Beriah, in 2014.[147]

The Dreamers

Zorn released one of his most popular albums, The Gift, in 2001, which surprised many with its relaxed blend of surf, exotica and world music.[148] On February 29, 2008, at St Ann's Warehouse in Brooklyn, Zorn premiered The Dreamers which saw a return to the gentle compositions first featured on The Gift and established the band of the same name.[149] The Dreamers released their second album O'o in 2009, an album of Zorn's Book of Angels compositions in 2010 and a Christmas album in 2011.[150][151][152]

Other work
Zorn with Gavin Bryars and George Lewis at the Barbican Tribute to Derek Bailey, 2006.

Tzadik Records

In 1992, John Zorn curated the Avant subsidiary of the DIW label and released several Naked City recordings on the label as well as many other albums featuring Zorn affiliated musicians including Derek Bailey, Buckethead, Eugene Chadbourne, Dave Douglas, Erik Friedlander, Wayne Horvitz, Ikue Mori, Bobby Previte, Zeena Parkins and Marc Ribot.[153]

In 1995, in co-operation with jazz producer Kazunori Sugiyama, Zorn established the Tzadik record label to ensure the availability of his catalogue and promote other musicians.[94][145]

The label's releases are divided into series:

  • The Archival Series features Zorn's recordings exclusively, including re-releases of several albums that appeared on other labels, Zorn's film work, and recordings from 1973 onwards;
  • The 50th Birthday Celebration Series is 11 live albums recorded in September 2003 at Tonic as part of the month-long concert retrospective of Zorn's work;
  • The Composer Series features Zorn's music for "classical" ensembles along with work by many other contemporary composers;
  • The Radical Jewish Culture Series features contemporary Jewish musicians;
  • The New Japan Series covers Japanese underground music;
  • The Film Music Series features soundtracks by other musicians (Zorn's Filmworks recordings are featured in the Archival Series);
  • The Oracle Series promotes women in experimental music;
  • The Key Series presents notable avant-garde musicians and projects;
  • The Lunatic Fringe Series releases music and musicians operating outside of the broad categories offered by other series; and
  • The Spotlight Series promotes new bands and musical projects of young musicians;[154]

Tzadik also releases special edition CDs, DVDs, books and T-shirts. Since 1998, the designs of Tzadik releases have been created by graphic artist Heung-Heung "Chippy" Chin.[155]

The Stone (music venue)

Zorn's earliest New York performances occurred at small artist-run performance spaces including his own apartment.[2] As his profile grew, he became associated with several Lower East Side alternative venues such as the Knitting Factory and Tonic.[124] On Friday April 13, 2007, Zorn played the final night at Tonic before it closed due to financial pressures.[156][157][158]

Zorn was the principal force in establishing The Stone in 2005, an avant-garde performance space in New York's Alphabet City which supports itself solely on donations and the sale of limited edition CDs, giving all door revenues directly to the performers.[159] Zorn holds the title of artistic director and regularly performs 'Improvisation Nights'.[160] Zorn feels that "The Stone is a unique space and is different from Tonic, the Knitting Factory, and most of the other venues we have played at as there is no bar ... so there is NO pressure to pack the house with an audience that drinks, and what night you perform has nothing to do with your power to draw a crowd or what kind of music you might play".[161] On January 10, 2008, Zorn performed with Lou Reed and Laurie Anderson at a special benefit night at The Stone which was also released on The Stone: Issue Three on CD.[162] In December 2016 Zorn announced that The Stone would close in February 2018 but that he was hopeful that a new location could be found, stating "Venues come and go, but the music continues on forever!"[163] By March 2017 Zorn had negotiated with The New School to move The Stone to Greenwich Village.[164] On February 25, 2018 the last performance was held at the original venue and Zorn moved operations to The New School's The Glass Box Theatre on the basis of a handshake deal.[165]

50th and 60th birthday concert series

In September 2003, Zorn celebrated his 50th birthday with a month-long series of performances at Tonic in New York, repeating an event he had begun a decade earlier at the Knitting Factory.[166][167][168] He conceptualized the month into several different aspects of his musical output. Zorn's bands performed on the weekends, classical ensembles were featured on Sundays, Zorn performed improvisations with other musicians on Mondays, featured his extended compositions on Tuesdays and a retrospective of game pieces on Wednesdays.[169] A total of 12 live albums were released on his 50th Birthday Celebration Series.[170]

John Zorn performing at the Metropolitan Museum of Art in September 2013

Zorn's 60th birthday celebrations encompassed concerts across the globe from festival appearances to unique events in art galleries and unusual venues across 2013 and into 2014.[171] The first concerts under the Zorn@60 banner were performed at the Walker Art Center in Minneapolis in April 2013.[172] This was followed by performances at the Museum of Modern Art and Solomon R. Guggenheim Museum.[173][174] The European leg of Zorn@60 commenced at the Barbican Theatre in London in July 2013.[175] Festival appearances in Belgium, Poland, Spain and Germany followed soon after.[176][177][178][179][180] These were followed by concerts in Victoriaville, Canada.[181] Returning to New York City other concert appearances occurred at Alice Tully Hall and Lincoln Centre.[182][183]

Zorn undertook another of his celebrated Masada Marathons at the Skirball Center for the Performing Arts in August.[184] Further New York City concerts in September included performances of music for film at the Anthology Film Archives, classical works and Cobra at the Miller Theatre, a day-long concert at the Metropolitan Museum of Art[185] and a performance of improvised duets with Ryuichi Sakamoto.[186][187][188] In October, the International Contemporary Ensemble performed a retrospective of Zorn's classical music at the Museum of Contemporary Art, Chicago.[189] The final Zorn@60 concerts were performed as part of the Adelaide Festival in Australia in March 2014 featuring a four concerts covering the breadth of his compositional and improvisational range.[190][191]

Arcana (book series)

In 2000, Zorn edited the book Arcana: Musicians on Music featuring interviews, essays, and commentaries by musicians including Anthony Coleman, Peter Garland, David Mahler, Bill Frisell, Gerry Hemingway, George Lewis, Fred Frith, Eyvind Kang, Mike Patton and Elliott Sharp, on the compositional process.[192] Zorn released the second volume of Arcana: Musicians on Music in the summer of 2007. According to the preface by Zorn, "This second installment of what will be a continuing series of books presenting radical, cutting-edge ideas about music is made, like the initial volume, out of necessity."[193] New volumes have since been released; the eighth volume was published in September 2017.

Awards

In 2001, John Zorn received the Jewish Cultural Award in Performing Arts from the National Foundation for Jewish Culture.[194] In 2006, Zorn was named a MacArthur Fellow.[195][196] In 2007, he was the recipient of Columbia University's School of the Arts William Schuman Award, an honor given "to recognize the lifetime achievement of an American composer whose works have been widely performed and generally acknowledged to be of lasting significance."[1]

In 2011, Zorn was inducted into the Long Island Music Hall of Fame by Lou Reed, and was awarded the Magister Artium Gandensis, an honorary degree from the University of Ghent.[197] In 2014, he received honorary doctorates from The State University of New York and the New England Conservatory of Music.[198][199][200]

Discography
Main article: John Zorn discography

Filmography

Bibliography
  • Zorn, John (editor). Arcana: Musicians on Music. Hips Road: New York 2000, ISBN 1-887123-27-X.
  • Zorn, John (editor). Arcana II: Musicians on Music. Hips Road/Tzadik: New York 2007, ISBN 0-9788337-6-7.
  • Zorn, John (editor). Arcana III: Musicians on Music. Hips Road/Tzadik: New York 2008, ISBN 0-9788337-7-5.
  • Zorn, John (editor). Arcana IV: Musicians on Music. Hips Road/Tzadik: New York 2009, ISBN 0-9788337-8-3.
  • Zorn, John (editor). Arcana V: Musicians on Music, Magic & Mysticism. Hips Road/Tzadik: New York 2010, ISBN 0-9788337-9-1.
  • Zorn, John (editor). Arcana VI: Musicians on Music. Hips Road/Tzadik: New York 2012, ISBN 0-9788337-5-9.
  • Zorn, John (editor). Arcana VII: Musicians on Music. Hips Road/Tzadik: New York 2014, ISBN 0-9788337-4-0.
  • Zorn, John (editor). Arcana VIII: Musicians on Music. Hips Road/Tzadik: New York 2017, ISBN 0-9788337-3-2.

References
  1. Columbia News (2007) Composer John Zorn Garners William Schuman Award, March 2007
  2. Milkowski, B., "John Zorn: One Future, Two Views" (interview) in Jazz Times, March 2000, pp. 28–35,118-121, accessed 24 July 2010.
  3. Alkyer, F. First Take: Happy Birthday Mr Zorn, Down Beat, October, 2013, p. 10.
  4. Rockwell, J., Zorn Variations on Themes by Morricone, NY Times, November 2, 1986.
  5. Watrous, P., "Spillane", a Blend of American Styles, NY Times, May 25, 1988.
  6. Rockwell, J., As Important As Anyone In His Generation, NY Times, February 21, 1988.
  7. Pareles, J., There Are 8 Million Stories in John Zorn's Naked City, NY Times, April 8, 1990.
  8. Watrous, P., John Zorn Takes Over the Town, NY Times, February 24, 1989.
  9. Fordham, J. (1993), The Essential Guide to Jazz on CD, Greenwich Editions: London.
  10. Liner notes to Nani Nani (1995), Tzadik: New York.
  11. Gordon, T., (2008), John Zorn: Autonomy and the Avant-Garde, accessed November 15, 2013.
  12. John Zorn Festival in Israel 2008 website Archived 2008-05-08 at the Wayback Machine accessed 2 September 2008.
  13. Kelman, J. Festival International Musique Actuelle Victoriaville Review at All About Jazz, 15 May 2008.
  14. Moore, C. Adelaide Festival 2014: Loud and Proud Archived 2013-10-31 at the Wayback Machine, Limelight, October 29, 2014.
  15. Helland, D Downbeat.com John Zorn Biography
  16. Bourgin, S. M. (ed.),(1996) Contemporary Musicians, Vol. 15: Zorn, John accessed May 26, 2008
  17. "Milken Archive of Jewish Music – People – John Zorn". milkenarchive.org.
  18. At 60, 'Challenges Are Opportunities' For John Zorn, NPR.org, September 3, 2013.
  19. Put More Blood Into the Music (1989)
  20. Wendell, E. Encyclopedia of Jazz Musicians: John Zorn Archived 2013-11-08 at the Wayback Machine; accessed October 9, 2013
  21. Milkowski, B. (1998) John Zorn interview in Rockers, Jazzbos & Visionaries New York: Watson-Guptill Publications
  22. Bartlett A Zorn of Plenty Archived 2007-11-03 at the Wayback Machine Seattle Weekly, June 23, 1999.
  23. Zorn, J (1995) liner notes to John Zorn: First Recordings 1973 New York: Tzadik.
  24. Pareles, J., Concert: Sounds of Staley And Zorn, NY Times, December 4, 1983
  25. Blumenfield, L. Iconic New York composer John Zorn celebrates his 60th in Australia, The Saturday Paper, March 8, 2014
  26. Troyano, E., John Zorn's Theatre of Musical Optics in The Drama Review: TDR, Vol. 23, No. 4, Private Performance Issue December, 1979, pp. 37–44.
  27. Zorn, J. The Game Pieces in Cox, C. & Warner, D., Eds. (2004) Audio Culture: Readings in Modern Music, Continuum Press: New York (ISBN 0-8264-1615-2)
  28. Duckworth, W. (1999) Talking Music, Da Capo Press (ISBN 0-306-80893-5) pp. 444–476
  29. Poop, C. E. Pukekos Website, January 28, 2011
  30. Roussel, P. (2013) John Zorn Discography, accessed November 1, 2013
  31. Kozinn, A John Zorn and 'Cobra' NY Times, September 3, 1989
  32. Ross, A Music and Plenty of It: 12 Hours' Worth In Fact NY Times March 15, 1993
  33. Ratliff, B Stretching the Boundaries of the Things Musicians Do NY Times, August 5, 1996
  34. Proefrock, S. Allmusic Review: The Classic Guide to Strategy, accessed November 1, 2013
  35. Layne, J. Allmusic Review: Locus Solas, accessed November 1, 2013
  36. Layne, J. Allmusic Review: Ganryu Island, accessed November 1, 2013
  37. "Tzadik Complete Catalog". Tzadik.com.
  38. Yanow, S. Allmusic Review: The Big Gundown; accessed November 1, 2013
  39. Morricone, E. in liner notes to The Big Gundown – 15th Anniversary Edition Tzadik: New York
  40. Watrous, P. "John Zorn Makes Radical Turn Chic", nytimes.com, September 16, 1993.
  41. Cook, R. & Morton, B. (1992), The Penguin Guide to Jazz on CD, LP and Cassette, Penguin Books
  42. Service, T. "Shuffle and Cut", The Guardian, March 7, 2003.
  43. Yanow, S. Allmusic Review: Voodoo, accessed November 1, 2013.
  44. Rockwell, J. Zorn & Berne Dowtown, nytimes.com, August 22, 1987.
  45. Yanow, S. Allmusic Review: Spy vs Spy; accessed November 1, 2013.
  46. Yanow, S. Allmusic Review: "News for Lulu"; accessed November 1, 2013.
  47. Yanow, S. Allmusic Review: "More News for Lulu"; accessed November 1, 2013.
  48. Henderson, A. Allmusic Review: Blue Planet Man; accessed November 1, 2013.
  49. Campbell, A. Allmusic Review: Minor Swing, accessed November 1, 2013
  50. Yanow, S. Allmusic Review: "The Colossal Saxophone Sessions"; accessed November 1, 2013.
  51. Hamilton, A. (2007) Lee Konitz: Conversations on the Improvisers Art, University of Michigan Press: Ann Arbor. pp. 6–7.
  52. Zorn, J. (1992) liner notes to Filmworks 1986–1990 Tzadik: New York
  53. Layne, J. Allmusic Review: Filmworks 1986–1990, accessed November 6, 2013
  54. Layne, J. Allmusic Review: Filmworks II: Music for an Untitled Film by Walter Hill, accessed November 5, 2013
  55. Zorn, J. (1997), liner notes to Filmworks III: 1990–1995 Tzadik: New York.
  56. Zorn, J. (1997), liner notes to Filmworks VII: Cynical Hysterie Hour Tzadik: New York.
  57. Layne, J. Allmusic Review: Fillmworks III: 1990–1995, accessed November 6, 2013
  58. Jurek, T. Filmworks IX: Trembling Before G-d, accessed November 6, 2013
  59. Allmusic Review: Filmworks XXII: The Last Supper, accessed November 12, 2013
  60. liner notes to Filmworks IV: S&M + More (1997) and Filmworks V: Tears of Ecstasy (1996)
  61. Internet Movie Database, Port of Last Resort.
  62. Internet Movie Database Latin Boys Go to Hell.
  63. Trembling Before G-d website Archived 2016-01-15 at the Wayback Machine accessed August 1, 2008.
  64. Zeitgeist Films website; accessed August 1, 2008.
  65. Secret Lives website Archived 2011-10-24 at the Wayback Machine; accessed July 18, 2008.
  66. CharlesDennis.net Homecoming Homecoming – a film by Charles Dennis accessed July 18, 2008.
  67. PBS website Independent Lens: Saholin Ulysses – Kungfu Monks in America; accessed July 18, 2008.
  68. "Indivision Films :: Films". Indivisionfilms.com.
  69. "PBS website: Hiding and Seeking – about the film". Pbs.org.
  70. "Protocols of Zion Movie". Protocolsofzionmovie.com.
  71. "Archived copy". Archived from the original on 2008-08-21. Retrieved 2008-08-01.CS1 maint: archived copy as title (link)
  72. WordPress.com, Create a website or blog at (August 18, 2017). "Ray Bandar: A Life with Skulls".
  73. "Archived copy". Archived from the original on 2013-10-26. Retrieved 2013-10-23.CS1 maint: archived copy as title (link)
  74. "Invitation To A Suicide: A Black Comedy by Loren Marsh". Invitationtoasuicide.com.
  75. "Archived copy". Archived from the original on 2008-07-24. Retrieved 2008-08-01.CS1 maint: archived copy as title (link)
  76. "Archived copy". Archived from the original on 2016-02-07. Retrieved 2008-08-01.CS1 maint: archived copy as title (link)
  77. "Behance". Behance.net.
  78. "Welcome to Tzadik". Tzadik.com.
  79. Zorn, J. (1993) liner notes to Zornfest program Archived May 9, 2008, at the Wayback Machine
  80. Carla Chiti (1998), John Zorn in Sonora. Itinerari Oltre il Suono: John Zorn. Italy: Materiali Sonori Edizioni Musicali.
  81. Pareles J. Cut-and-Paste Sounds from John Zorn Group, NY Times, February 27, 1989.
  82. McCutchan, A. (1999) The Muse that Sings: Composers Speak about the Creative Process pg. 161, Oxford University Press: New York.
  83. Torreano, F. Allmusic Review: Torture Garden, accessed November 4, 2013
  84. Mills, T. Allmusic Review: Grand Guignol, accessed November 4, 2013
  85. Deupree, C. Allmusic Review: "Heretic"; accessed November 4, 2013.
  86. Gilman, M. Allmusic Review: Black Box, accessed November 4, 2013
  87. Rikard, M. Allmusic Review: Radio; accessed November 4, 2013.
  88. Deupree, C. Allmusic Review: Absinthe, accessed November 4, 2013
  89. Dahlen, C. Pitchfork Media Review: Naked City – The Complete Studio Recordings, January 19, 2005
  90. Huey, S. Allmusic Artist Biography: Painkiller, accessed November 4, 2013
  91. Huey, S. Allmusic Review: Buried Secrets; accessed November 4, 2013
  92. Rikard, M. Allmusic Review: Execution Ground; accessed November 4, 2013
  93. "Welcome to Tzadik". Tzadik.com.
  94. Goldberg, M. John Zorn Interview Archived 2013-11-02 at the Wayback Machine, BOMB Magazine, Issue 80, Summer 2002.
  95. extrememusic.com Hemophiliac, undated web page
  96. "50th Birthday Celebration, Vol. 6 - Hemophiliac | Songs, Reviews, Credits". AllMusic.
  97. Walters, J.L. John Zorn: Crowley at the Crossroads The Guardian, June 21, 2006.
  98. Jurek, T. Allmusic Review: Moonchild: Songs Without Words, accessed November 4, 2013
  99. Jurek, T. Allmusic Review: Astronome; accessed November 4, 2013.
  100. "Welcome to Tzadik". Tzadik.com.
  101. "Welcome to Tzadik". Tzadik.com.
  102. McCutchen, A. (1999) The Muse that Sings: Composers Speak about the Creative Process Oxford University Press: New York, p. 167.
  103. Butler, B. Allmusic Review: Elegy, accessed November 4, 2013.
  104. Pareles, J. "Evoking a Terrible Night in 1938", nytimes.com, December 19, 1992.
  105. Layne, J. Allmusic Review: "Kristallnacht"; accessed November 4, 2013.
  106. Proefrock, S. Allmusic Review: "Angelus Novus"; accessed November 4, 2013.
  107. Tommasini, A "Finding, and Savoring, A Muse in 'McHale's Navy'", nytimes.com, December 5, 2001.
  108. Layne, J. Allmusic Review: Aporias: Requia for Piano and Orchestra; accessed November 5, 2013.
  109. Proefrock, S. Allmusic Review: Duras: Duchamp, accessed November 5, 2013
  110. Jurek, T. Allmusic Review: Songs from the Hermetic Theatre, accessed November 5, 2013
  111. Jurek, T. Allmusic Review: Madness, Love and Mysticism, accessed November 5, 2013
  112. "Welcome to Tzadik". Tzadik.com.
  113. "Welcome to Tzadik". Tzadik.com.
  114. Smith, S. Music in Review, NY Times, April 4, 2009.
  115. Sanderson, B. Allmusic Review: Mysterium, accessed November 5, 2013
  116. Sanderson, B. Allmusic Review: Rituals; accessed November 5, 2013.
  117. Woolfe, Z. To Get to City Opera, Mr. Downtown Practiced Eclecticism, NY Times, March 16, 2011
  118. "Welcome to Tzadik". Tzadik.com.
  119. liner notes to Madness, Love and Mysticism (2001) Tzadik: New York
  120. "BBC SSO explore the kaleidoscopic world of John Zorn". BBC. Retrieved January 14, 2013.
  121. Paeles, J. Old and New in a Jewish Festival, nytimes.com, December 20, 1995.
  122. Yaffe, D. Learning to Reed, New York Nightlife, April 5, 1999.
  123. Kaplan, F. John Zorn's Joyful Jazz, Slate, October 3, 2003.
  124. Pehling, D. KTVU.com Talks To Saxophonist John Zorn, March 10, 2009. Archived April 30, 2009, at the Wayback Machine
  125. Wolk, D. "Pat Metheny Mingles in the Weird World of John Zorn", MTVHive.com, May 29, 2013.
  126. Ratliff, B. True to '60s Rhythms and Jewish Culture, NY Times, June 11, 1999.
  127. Phares, H. Allmusic Review: "Masada: Live in Jerusalem"; accessed November 6, 2013
  128. Layne, J. Allmusic Review: Masada: Live in Taipai; accessed November 6, 2013
  129. Loewy, S. Allmusic Review: Masada: Live in Middleheim; accessed November 6, 2013
  130. Westergaard, S. Allmusic Review: "Masada: Live in Sevilla"; accessed November 6, 2013
  131. Jurek, T. Allmusic Review: Masada: Live at Tonic 2001; accessed November 6, 2013.
  132. Jurek, T. Allmusic Review: Masada: First Live 1993; accessed November 6, 2013.
  133. Westergaard, S. Allmusic Review: Masada: Sanhadrin 1994–1997; accessed November 6, 2013
  134. "50th Birthday Celebration, Vol. 7 - Masada | Songs, Reviews, Credits". AllMusic.
  135. Gilman, M. Allmusic Review: Bar Kokhba accessed November 6, 2013.
  136. Layne, J. Allmusic Review: The Circle Maker accessed November 6, 2013.
  137. Jurek, T. Allmusic Review: Filmworks XI: Secret Lives accessed November 6, 2013.
  138. Westergaard, S. Allmusic Review: 50th Birthday Celebration Volume 1 accessed November 6, 2013.
  139. "Azazel - Book of Angels, Vol. 2 - John Zorn | Songs, Reviews, Credits". AllMusic.
  140. "Haborym (Masada Book 2: Book of Angels, Vol. 16) - Masada, Masada String Trio, John Zorn | Songs, Reviews, Credits". AllMusic.
  141. Fordham, J. John Zorn, The Guardian, July 22, 2003.
  142. Ratliff, B. A Most Prolific Composer Opens His Book of Angels, NY Times, September 12, 2006.
  143. Gilbert, A Music on the Edge San Francisco Chronicle, May 29, 2005.
  144. Ratliff, B. Barricades to Storm, Whether or Not Any Guards Were on Them, NY Times, March 13, 2007.
  145. Milkowski, B. John Zorn: The Working Man Archived 2009-04-26 at the Wayback Machine, Jazz Times, May 2009.
  146. Chinen, N. "Exploring the Topography of John Zorn's Continent", nytimes.com, February 19, 2010.
  147. "John Zorn Introduces His Third Book of Masada Compositions - JazzTimes". JazzTimes. Retrieved 2017-12-18.
  148. "Welcome to Tzadik". Tzadik.com.
  149. Chinen, N. "Twangy Tones and Vibes in a Fistful of Nostalgia", nytimes.com, March 3, 2008.
  150. Jurek. T. Allmusic Review: O'o, accessed November 26, 2013
  151. Allmusic entry: Ipos: Book of Angels Volume 14; accessed November 26, 2013
  152. "A Dreamers Christmas - John Zorn, The Dreamers | Songs, Reviews, Credits". AllMusic.
  153. "Avant". Discogs.com.
  154. "Welcome to Tzadik". Tzadik.com.
  155. "Heung-Heung Chin: The Awakening of the Empyrean Dominion at The Proposition". March 7, 2008. Archived from the original on March 7, 2008.
  156. Sisaro B Avant-Garde Music Loses a Lower Manhattan Home, NY Times, March 31, 2007.
  157. Chinen N Requiem for a Club: Saxophone and Sighs, NY Times, April 16, 2007.
  158. Romano, T. Dead Again, Village Voice, April 3, 2007.
  159. Ratliff B For Jazz Musicians and Fans, a (Tiny) Room of Their Own, NY Times, April 5, 2005
  160. Fitzell, S.P. The Stone: John Zorn's Latest Downtown Venture, All About Jazz, April 7, 2005.
  161. Eisinger, D. W. Altered Zones Artist Profilë: John Zorn Archived 2013-12-04 at the Wayback Machine, accessed November 25, 2013.
  162. "Welcome to Tzadik". Tzadik.com.
  163. Chinen, N. The Stone Announces Its End Date, NY Times, December 27, 2016
  164. Woolfe, Z. The Stone, an Influential Music Space, to Move to the New School, NY Times, March 1, 2017
  165. Russonello, G. John Zorn’s Club the Stone Begins a New Life on the Other Side of Town, NY Times, February 27, 2018
  166. Pareles J 40 Years of Restless Music NY Times, September 3, 1993
  167. Price, E & Roussel, P Zornfest pages at WNUR at www.wnur.org Archived October 10, 2007, at the Wayback Machine
  168. Ratliff, B. Fluttering Rat-a-tats to Celebrate a Birthday, NY Times, September 9, 2003.
  169. Zorn, J. (2003) 50th Birthday Celebration program
  170. Davis, F. Overcoming Irony, John Zorn Goes for the Heart, Not for the Easy Kill, Village Voice, March 23, 2004
  171. Sisario, B. Lionized, but Restless as Ever, NY Times, July 10, 2013.
  172. Schell, J. If You Don't Catch It, It's Gone: Zorn @ 60, Walker Art Centre Green Room, April 10, 2013
  173. "Archived copy". Archived from the original on 2013-11-05. Retrieved 2013-10-07.CS1 maint: archived copy as title (link)
  174. Smith, S. Under Installation, Vocal Colors, NY Times, June 24, 2013.
  175. Kilbey, P. How it's done: John Zorn celebrates his 60th birthday at the Barbican, Bachtrack, July 16, 2013
  176. Terrie, S. Gent Jazz 2013: John Zorn at 60, DeMening, July 14, 2013
  177. "John Zorn na Warsaw Summer Jazz Days 2013". Jazzarium.pl.
  178. Zorn@60 at Warsaw Summer Jazz Days 2013, (Free) Jazz Alchemist, July 9, 2013
  179. "moers festival 2018". Moers-festival.de.
  180. Weir, B. Review: San Sebastian Jazz Festival Archived 2013-11-02 at the Wayback Machine, Jazz Journal, accessed October 7, 2013
  181. Woodard, J. Avant-Garde Artists Thrive Annually at Victoriaville Archived 2013-11-02 at the Wayback Machine, Down Beat, September 27, 2013
  182. Sahr, D. Waving a Wand: The Magic of John Zorn's Quartets, Seen and Heard International website, August 1, 2013
  183. Schweitzer, It's His Party, He Can Play With Elbows if He Wants, NY Times, July 19, 2013.
  184. Pareles, J. A Fraction of a Repertory Is Enough for a Celebration of Productivity, NY Times, September 16, 2013.
  185. Watch John Zorn and Mike Patton Terrorize the Met Museum for 11 Hours… in 77 Seconds!, Christopher R. Weingarten Spin, September 30, 2013
  186. Smith, S. A Stage Buckling With New-Music Luminaries Has Space for Orchestral Scores, NY Times, September 26, 2013.
  187. Smith, S. Surrounding Art With the Sounds of 60, NY Times, October 2, 2013.
  188. HC John Zorn + Ryuichi Sakamoto, PopMatters, October 6, 2013
  189. Reich, H. Celebrating John Zorn's 60th, with plenty of ICE, Chicago Tribune, October 24, 2013
  190. McBeath, J. Zorn and co display dazzling versatility, The Australian, March 13, 2014
  191. Whittington, S. Adelaide Festival review 2014: Zorn in Oz - Zorn@60, The Advertiser, March 16, 2014
  192. Zorn. J. (editor) Arcana: Musicians on Music, Hips Road: New York (2000) (ISBN 1-887123-27-X)
  193. Zorn. J. (editor) Arcana II: Musicians on Music, Hips Road: New York (2007) (ISBN 0-9788337-6-7)
  194. Merkin Concert Hall Composer John Zorn to Present Chimeras at Merkin Concert Hall, press release, May 8, 2002 Archived February 28, 2008, at the Wayback Machine
  195. Lee, FR This Years MacArthur Awards Cover Many Fields NY Times, September 19, 2006
  196. "2006 Overview – MacArthur Foundation". Archived from the original on September 28, 2006.
  197. University of Ghent Hogeschool website accessed August 31, 2011 Archived October 8, 2011, at the Wayback Machine
  198. The Music of John Zorn: A 35-Year Retrospective, New England Conservatory, accessed August 1, 2016
  199. NEC Honorary Doctor of Music, New England Conservatory, accessed August 1, 2016
  200. Purchase College 2014 Commencement Celebrates Creativity and Achievement, SUNY, accessed August 1, 2016
  201. Cf. website of filmmaker Henry Hills. Retrieved June 16, 2013 Archived October 10, 2013, at the Wayback Machine
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.