BILL FRISELL — Is That You? (1990) FLAC (tracks+.cue), lossless

Recorded in 1989 while Frisell was still a member of Naked City, Is That You? finds the guitarist already trending away from that band's scattershot assault and toward the more pastoral leanings he would embrace in the upcoming decade. At its best, as on the title track, Frisell creates nostalgic but heartfelt melodies that have the sense of being a soundtrack to a bittersweet movie. Wayne Horvitz' "Yuba City" is also evocative and very much in keeping with his other work from around that time, all sumptuous melodic hooks overlaying somewhat clunky rhythms. There are other nice touches here and there (the charming "Rag," for instance), but too often the gauziness that is an inherent problem with much of Frisell's music comes to the fore. While his cover of "Chain of Fools" chugs along with some dopey panache, "The Days of Wine and Roses" threatens to evaporate into the mist altogether. Fans of his later work may welcome this approach and, indeed, consider it one of his most attractive attributes, but those listeners hoping to hear more of the bite and devil-may-care attitude shown in his work with Zorn may feel suffocated. Brian Olewnick

Tracklist :
1    No Man's Land    6:40
 Composed By – Bill Frisell
2    Someone In My Backyard    2:45
 Composed By – Bill Frisell
3    Rag    4:00
 Composed By – Bill Frisell
4    Is That You? 6:50
 Composed By – Bill Frisell
Tuba – Dave Hofstra
5    The Way Home    6:00
 Composed By – Bill Frisell
6    Twenty Years    2:43
 Composed By – Bill Frisell
7    Chain Of Fools 3:30
 Composed By – Don Covay
Bass – Dave Hofstra
8    Hello Nellie 4:07
 Composed By – Bill Frisell
Tuba – Dave Hofstra
9    The Days Of Wine And Roses    3:35
 Composed By – Henry Mancini
10    Yuba City    5:42
 Composed By – Wayne Horvitz
11    Half A Million    4:00
 Composed By – Bill Frisell
12    Hope And Fear    1:06
 Composed By – Bill Frisell
Credits :
Commissioned By – Kronos Quartet (tracks: 10), Ravinia Festival (tracks: 10)
Drums – Joey Baron
Guitar [Guitars], Bass, Banjo, Ukulele, Clarinet – Bill Frisell
Keyboards, Drum Programming, Bass [Momentary Bass], Producer [Produced By] – Wayne Horvitz

ANDREW CYRILLE | WADADA LEO SMITH | BILL FRISELL — Lebroba (2018) FLAC (tracks+.cue), lossless

Lebroba, Andrew Cyrille's second leader date for ECM, finds the septuagenarian rhythm explorer trading in all but guitarist Bill Frisell from the quartet that recorded 2016's fine The Declaration of Musical Independence (with bassist Ben Street and pianist Richard Teitelbaum). This bass-less trio also features trumpeter/composer Wadada Leo Smith. While this setting is somewhat unusual, Frisell is quite familiar with it, performing in this same setting on Ron Miles' 2014 offering Circuit Rider. Back in 2010, the guitarist led another unusual trio for Beautiful Dreamers with sidemen Eyvind Kang on viola and Rudy Royston on drums.
In fact, this set's opener is a redo of the guitarist's "Worried Woman," from the latter album, a lithe charmer of a melody wherein Frisell envelops himself in a call-and-response conversation on the lyric with Smith's as Cyrille colors time around the beat rather than on it. The longest piece here is Smith's nearly formless "Turiya: Alice Coltrane Meditations and Dreams: Love" at over 17 minutes. The tune is mostly "free," though the trumpeter, in true signature fashion, sketches out spaces for emphasis on dialogic exchanges that evolve from melodic fragments to dissonance and back again, with Cyrille's colorful, textured rhythmic pulses bridging the gap between frontline players. Despite the fragmented nature of the piece, the intuitive interplay between the trio's members is canny, welcoming, and thoroughly enjoyable. Cyrille's title track is based on an eight-bar blues, but it's a chameleon-like work. There are lyric aspects that recall Charles Mingus' "Good-Bye Pork Pie Hat," but Smith's soulful, muted trumpet abstractions -- ever the picture of tasteful economy -- highlight and underscore Frisell's turnarounds and expressionist reflections of deep blue Americana from the Delta to Chicago. The five-plus-minute "TGD" is credited to the group, commencing with Cyrille's dancing snares and whispering cymbals through Frisell's effects-laden soloing and sonic smears and fills and Smith's interrogatory improvisation above and around the paying of his bandmates. The only complaint is that given the nearly symbiotic nature of communication in this improvisation, the track doesn’t go on long enough. The juxtaposition of Frisell's subtly shaded chordal voicings and long single notes by Smith in the intro to the drummer's closing rubato ballad, "Pretty Beauty," are breathtakingly poignant. Cyrille's hushed and spacious use of brushes around the lyric line, highlight its dips and subtle assertions, which are exchanged by guitarist and trumpeter to create an achingly beautiful groupspeak that seemingly creates a narrative language from air. While much of Lebroba is gentle, none of it is nebulous or speculative. This trio engages in the kind of magical interplay that only extremely experienced players can conjure.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Worried Woman 7:35
Music By – Bill Frisell
2    Turiya:Alice Coltrane / Meditations And Dreams:Love 17:24
Music By – Wadada Leo Smith
3    Lebroba 5:44
Music By – Andrew Cyrille
4    TGD 5:17
Music By – Andrew Cyrille, Bill Frisell, Wadada Leo Smith
5    Pretty Beauty 6:24
Music By – Andrew Cyrille
Credits :
Drums – Andrew Cyrille
Guitar – Bill Frisell
Trumpet – Wadada Leo Smith

LYLE MAYS — Lyle Mays (1986) FLAC (tracks+.cue), lossless

Lyle Mays waited a long, long time before straying from the Pat Metheny Group to issue his first solo album, but when he did, the results were at once removed but not totally untethered to the Metheny sound and feeling. On his own, Mays' synthesizer solos and textures are close in sound to what he was doing in the Metheny group, but the turns of phrases in his acoustic piano solos reflect the heavy shadow of Keith Jarrett. "Highland Aire" naturally has a buoyant, wistful Scottish flavor; "Teiko" begins with a wash of synths and then offers a mechanical rhythm that is vaguely Asian in feeling; and "Slink" is the closest the album comes to the floating Metheny groove. Although the 14-minute "Alaskan Suite" forms the centerpiece of the LP's side two, the entire side could be considered a suite as a whole, with a ruminative piano solo "Mirror of the Heart" preceding "Alaskan Suite," and "Close to Home" reprising the twinkling, burbling shafts of synthesizer of "Alaskan Suite"'s opening. Bill Frisell gives Mays a different yet no less musical and enterprising guitar foil; drummer Alex Acuna and Metheny group percussionist Nana Vasconcelos are as flexible a team as Mays could want. Marc Johnson is on bass and Billy Drewes is on alto and soprano sax. A very pleasing, thoroughly musical solo debut. Richard S. Ginell  
Tracklist  
1 Highland Aire  7:02
Bagpipes [Uilleann] – Patrick Sky
2 Teiko 7:21
3 Slink 8:17
4 Mirror Of The Heart 4:58
Alaskan Suite (14:12)
5 Northern Lights
6 Invocation
7 Ascent
8 Close To Home 6:10
Credits
Alto Saxophone, Soprano Saxophone – Billy Drewes
Composed By, Piano, Synthesizer, Autoharp, Producer – Lyle Mays
Double Bass – Marc Johnson
Drums – Alejandro N, Acuña
Guitar – Bill Frisell
Percussion – Naná Vasconcelos

JOHN ZORN — Naked City (1990) FLAC (tracks+.cue), lossless

The violent cover photo (which shows a man after he was shot dead) sets the stage for the rather passionate music on this John Zorn set. With guitarist Bill Frisell, keyboardist Wayne Horvitz, bassist Fred Frith, drummer Joey Baron, and guest vocalist Yamatsuka Eye making intense contributions, altoist Zorn performs his unpredictable originals, abstract versions of some movie themes (including "A Shot in the Dark," "I Want to Live," "Chinatown," and "The James Bond Theme"), plus Ornette Coleman's "Lonely Woman." The stimulating music rewards repeated listenings by more open-minded listeners. Scott Yanow
Tracklist :
1     Batman 1'58
John Zorn
2     The Sicilian Clan 3'27
Ennio Morricone
3     You Will Be Shot 1'29
John Zorn
4     Latin Quarter 4'05
John Zorn
5     A Shot in the Dark 3'09
Henry Mancini
6     Reanimator 1'34
John Zorn
7     Snagglepuss 2'44
John Zorn
8     I Want to Live 2'08
Johnny Mandel
9     Lonely Woman 2'38
Ornette Coleman
10     Igneous Ejaculation 0'20
John Zorn
11     Blood Duster 0'13
John Zorn
12     Hammerhead 0'08
John Zorn
13     Demon Sanctuary 0'38
John Zorn
14     Obeah Man 0'17
John Zorn
15     Ujaku 0'27
John Zorn
16     Fuck the Facts 0'11
John Zorn
17     Speedball 0'37
John Zorn
18     Chinatown 4'23
Jerry Goldsmith
19     Punk China Doll 3'01
John Zorn
20     N.Y. Flat Top Box 0'43
John Zorn
21     Saigon Pickup 4'46
John Zorn
22     The James Bond Theme 3'02
John Barry
23     Den of Sins 1'08
John Zorn
24     Contempt 2'49
Georges Delerue
25     Graveyard Shift 3'25
John Zorn
26     Inside Straight 4'10
John Zorn
Credits :
Arranged By – John Zorn, Naked City
Bass – Fred Frith
Drums – Joey Baron
Guitar – Bill Frisell
Keyboards – Wayne Horvitz
Vocals – Yamatsuka Eye

PAUL BLEY — Fragments (1986) FLAC (tracks+.cue), lossless

Having worked early on with everyone from Charlie Parker and Charles Mingus to Chet Baker and Jimmy Giuffre, Canadian pianist Paul Bley created a solid jazz base for his own distinctly sparse and plaintive style. In the '60s he gravitated toward free jazz, but with less of the freneticism of a Cecil Taylor and more as a melancholic minimalist who would leave his mark on such introverted tinklers as Keith Jarrett. Since the dawn of the '70s, Bley has elaborated on his brand of chamber jazz via a slew of independent jazz labels, including Steeplechase, Soul Note, Owl, and hatART. But it's on the German ECM label where he has scored some of his most impressive triumphs; this 1986 session ranks high among his many solo and group outings for the label. Nicely assisted by '60s cohort and drummer Paul Motian, guitarist Bill Frisell, and saxophonist John Surman, Bley ranges wide, from his own diffusely meditative opener ("Memories") and two wintry ballads by Carla Bley ("Seven" and "Closer") to a noisy workout by Surman ("Line Down") and a mercurial swinger from Motian ("Once Around the Park"). Adding to the wealth of quality material here are cuts by Frisell and Annette Peacock. Overcast and a bit icy as one might expect, but nevertheless Bley's Fragments makes for a consistently provocative and enjoyable listen. Stephen Cook  Tracklist & Credits :

PAUL BLEY — The Paul Bley Quartet (1988) FLAC (tracks+.cue), lossless

This 1987 date teams the iconoclastic pianist with guitarist Bill Frisell, drummer Paul Motian, and British saxophonist John Surman. While it's easy to argue that, with Manfred Eicher's icy, crystalline production, this was a stock date for both the artists and the label, that argument would be flat wrong. Bley was looking for a new lyricism in his own playing and in his compositions. He was coming from a different place than the large harmonies offered by augmented and suspended chords and writing for piano trios. The other band members -- two other extremely lyrical improvisers in Surman and Frisell (who prized understatement as the veritable doorway to lyricism) and a drummer who was better known for his dancing through rhythms than playing them in Motian -- were the perfect foils. For the opening solos of "Interplay," Bley traipses around Frisell with a sparse elegance as the guitarist single notes his way into the heart of the piece's silence before Surman draws the entire band out of it with Bley painting the backdrops in the exit. Or there's Surman's "One in Four," written for Bley, in which the pianist moves ahead, stating large middle- and low-register chords as a melody, settling it in D minor and waiting for the band to fill in the pieces before expanding the textural palette to include his own sense of rhythm and a folk song melody in his solo. Breathtaking. The only dud is Frisell's skronk piece, "After Dark," which would have been fine for Naked City, but feels completely out of place here.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-  
Tracklist & Credits :

LEE KONITZ - Rhapsody (1995) FLAC (tracks+.cue), lossless

Lee Konitz's Evidence release has seven selections from the veteran altoist that utilize different all-star personnel. The performances all have a similar commitment to relaxed and melodic freedom, but some work better than others. "I Hear a Rhapsody" (featuring a haunting vocal by Helen Merrill) precedes a more abstract "Rhapsody" (titled "Lo-Ko-Mo-And Frizz") which has wandering interplay by Konitz (on alto, soprano, and tenor), Joe Lovano (switching between tenor, alto clarinet, and soprano), guitarist Bill Frisell, and drummer Paul Motian. Jay Clayton's beautiful voice and adventurous style is well displayed on "The Aerie," and baritone great Gerry Mulligan sounds reasonably comfortable on a free improvisation with Konitz and pianist Peggy Stern, but a fairly straightforward vocal by Judy Niemack on "All the Things You Are" is followed by an overlong (19-minute) exploration of the same chord changes (renamed "Exposition") by the quartet of Konitz, clarinetist Jimmy Giuffre, pianist Paul Bley, and bassist Gary Peacock; their different approaches never really mesh together, and this selection is a bit of a bore. The final performance, an extroverted duet by Konitz (on soprano) and flügelhornist Clark Terry (titled "Flyin': Mumbles and Jumbles") adds some badly needed humor to the set. While one can admire Lee Konitz for still challenging himself after all this time, some of the dryer material on the CD (especially the two quartet numbers) should have been performed again; maybe the next versions would have been more inspired. Scott Yanow  
Tracklist :
1     I Hear a Rhapsody 4:31
Jack Baker / George Fragos / Dick Gasparre
Alto Saxophone – Lee Konitz
Piano – Peggy Stern
Vocals – Helen Merrill
2     Lo-Ko-Mo-And Frizz 12:05
Bill Frisell / Lee Konitz / Joe Lovano / Paul Motian
Alto Saxophone, Soprano Saxophone, Tenor Saxophone – Lee Konitz
Drums – Paul Motian
Guitar – Bill Frisell
Tenor Saxophone, Alto Clarinet, Soprano Saxophone – Joe Lovano
3     The Aerie 7:11
Peggy Stern
Alto Saxophone – Lee Konitz
Bass – Ben Allison
Drums – Jeff Williams
Piano – Peggy Stern
Vocals – Jay Clayton
4     Trio, No. 1 8:52
Lee Konitz / Gerry Mulligan / Peggy Stern
Baritone Saxophone – Gerry Mulligan
Piano – Peggy Stern
Soprano Saxophone – Lee Konitz
5     All the Things You Are 5:07
Oscar Hammerstein II / Jerome Kern
Guitar – Jean François Prins
Soprano Saxophone – Lee Konitz
Vocals – Judy Niemack
6     Exposition 19:00
Paul Bely / Paul Bley / Jimmy Giuffre / Lee Konitz / Gary Peacock
Bass – Gary Peacock
Clarinet – Jimmy Giuffre
Piano – Paul Bley
Soprano Saxophone, Alto Saxophone – Lee Konitz
7     Flyin': Mumbles and Jumbles 5:55
Lee Konitz / Clark Terry
Flugelhorn, Scat – Clark Terry
Soprano Saxophone, Scat – Lee Konitz

LEE KONITZ | BILL FRISELL | GARY PEACOCK | JOEY BARON - Enfants Terribles : Live at the Blue Note (2012) FLAC (tracks+.cue), lossless

Lee Konitz joined forces with Bill Frisell, Gary Peacock, and Joey Baron for a week-long booking at the Blue Note in New York City in early June 2011 (though no one was officially designated as the leader), with highlights from two nights being selected for this CD. The always-surprising alto saxophonist has worked with numerous configurations of musicians during his six-decade career, always staying fresh and avoiding predictability; this meeting finds the quartet covering six standards in an introspective yet stimulating manner. "What Is This Thing Called Love" often sounds like an exercise for jazz groups as they travel its familiar path, yet only a hint of its structure remains in this version, which deftly utilizes space and darting lines. "Body & Soul" is a bit closer to its theme, with Konitz's brilliant improvisation leading the way as Frisell provides striking backgrounds then solos with equal gusto. It's likely that Konitz has played "I'll Remember April" for most of his career, but Frisell opens it alone with a striking, deliberate solo, followed by the rest of the quartet weaving superb countermelodies around him. Baron introduces "I Remember You" on drums, keeping the audience in suspense until the group reveals it gradually in a manner more humorous than sentimental. There is never a dull moment throughout these brilliant live performances. Ken Dryden  
Tracklist :
1     What Is This Thing Called Love 6:04
Cole Porter
2     Body and Soul 12:07
Johnny Green / Edward Heyman / Robert Sour
3     Stella by Starlight 11:01
Ned Washington / Victor Young
4     I'll Remember April 10:13
Gene DePaul / Patricia Johnston / Don Raye
5     I Remember You 11:43
Johnny Mercer / Victor Schertzinger
6     I Can't Get Started 9:18
Vernon Duke / George Gershwin
Credits :
Alto Saxophone – Lee Konitz
Bass – Gary Peacock
Drums – Joey Baron
Guitar – Bill Frisell

CHARLES LLOYD & THE MARVELS - I Long to See You (2016) Digipack | FLAC (tracks+.cue), lossless

Saxophonist Charles Lloyd has been working with guitarists periodically since the 1950s: Calvin Newborn, Gabor Szabo, John Abercrombie, and others have played in his bands. On I Long to See You, he (with his stellar rhythm section -- bassist Reuben Rogers and drummer Eric Harland) renews that relationship with two gifted players: Bill Frisell and Greg Leisz (the latter on lap and pedal steel). This program yields folk and spiritual songs, re-recordings of Lloyd's own tunes, a pop nugget, and a new original. In what feels like the input from the label, there are two guest vocal appearances to boot: Willie Nelson beautifully delivers Ed McCurdy's antiwar classic "Last Night I Had the Strangest Dream," and Norah Jones offers a slow, dreamy reading of "You Are So Beautiful." I Long to See You feels more like a collaboration between Lloyd and Frisell than a leader date, which is sometimes problematic: these men can be overly deferential to one another. The album starts promisingly with a brooding read of Bob Dylan's "Masters of War" that threatens to explode at any moment. Frisell and Leisz (who have worked together a lot) take it through deep winding blues, building tension before Lloyd enters and carries it toward the outside before returning to blues, while Harland's circular drumming becomes somberly hypnotic. Lloyd plays flute on "Of Course, of Course" (originally recorded for an album of the same name for Columbia in 1964). Like its predecessor, it's tough, swinging post-bop with colorful slide guitar work and rim-shot syncopations. "La Llorona," from Lloyd's ECM years, is a standout: it captures his open, mournful, Spanish-tinged wail, fleshed out by elegant, timbral guitars, a sad bassline, and Harland's magical timekeeping. "Shenandoah" (which Frisell has recorded before), "All My Trials," and "Abide with Me" are all melodically attractive, but they lack the undercurrent of passion Lloyd has imbued traditional material with in the past. He and Frisell appear so seduced by their melodies, they treat them as fragile objects, not songs whose meanings need to be further explored. Frisell's speculative solo intro on "Sombrero Sam" is overly long; Lloyd's rhythmic sweeping flute doesn't enter until five minutes in, and slips out too quickly. The lone new tune, "Barche Lamsel," more than compensates. Over 16 minutes in length, it's easily the most exploratory thing here. It commences slowly but starts cooking five minutes in. Lloyd and the rhythm section are at their modal improvisational best, moving through folk, funk, blues, Eastern modes, and post-bop. Frisell and Leisz lend fine solos as well as layered textural and atmospheric support. The tune is a journey that ends in a question mark. I Long to See You is well worth investigating even if, at times, it is overly tentative.
|> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <|
Tracklist :
1    Masters of War 8'05
Bob Dylan   
2     Of Course, of Course 6'03
Charles Lloyd   
3     La Llorona 6'02
Traditional   
4     Shenandoah 6'23
Traditional   
5     Sombrero Sam 7'31
Charles Lloyd   
6     All My Trials 5'02
Traditional   
7     Last Night I Had the Strangest Dream 4'48
Ed McCurdy   
8     Abide with Me 1'22
Traditional   
9     You Are So Beautiful 6'05
Bruce Fisher / Billy Preston   
10     Barche Lamsel 16'25
Charles Lloyd
Credits :
Bass – Reuben Rogers
Drums – Eric Harland
Featuring, Vocals – Norah Jones (pistas: 9)
Featuring, Vocals, Guitar – Willie Nelson (pistas: 7)
Guitar – Bill Frisell
Producer [Produced By] – Charles Lloyd, Don Was, Dorothy Darr
Steel Guitar – Greg Leisz
Tenor Saxophone, Alto Flute – Charles Lloyd

CHARLES LLOYD & THE MARVELS + LUCINDA WILLIAMS - Vanished Gardens (2018) FLAC (tracks+.cue), lossless

On Charles Lloyd & the Marvels 2016 debut, I Long to See You, the ensemble -- the saxophonist's rhythm section, drummer Eric Harland and bassist Reuben Rogers, and guitarists Bill Frisell and Greg Leisz -- delivered an honorable but overly deferential outing that somewhat belied the promise of its personnel. On Vanished Gardens, the Marvels leave deference in the dustbin. Here, with the assistance of Lucinda Williams, they create a music that draws on the sum total of experience and shared emotion. Lloyd, Frisell, and Leisz have all worked with rockers and country and blues players, while Harland and Rogers are jazz modernists rooted in tradition. The addition of Williams on four of her own tunes and a cover of Jimi Hendrix's "Angel" transforms this band into a genre-blurring ensemble whose abilities mine the jazz and Americana traditions to redefine them in the new century.

"Defiant" commences as an extended showcase for Lloyd's modal and melodic soloing with loping pedal steel inside a 4/4 shuffle with Frisell's lonesome, lyrical playing. Williams enters on "Dust." The song originally appeared on 2016's Ghosts of Highway 20. In waltz time, Frisell's rockist power chords and Leisz's lap steel wails meet Lloyd's swirling, loping tenor that offers blues vamps amid post-bop swells to frame Williams' haunted, grainy vocal as she sings: "You couldn’t cry if you wanted to/Even your thoughts are dust," before erupting in a post-Coltrane solo with Frisell climbing behind him. The title track, with its skittering rhythms, wavelike pedal steel passes, and matched solos by Frisell and Lloyd, is a bluesy exercise in improvisation. The arrangement in Williams' "Ventura," (that appeared on West), remains startlingly close to that of the original, but Lloyd's soulful phrasing undergirds her singing with a particularly Southern grace. The inclusion of the standard "Ballad of the Sad Young Men" feels like an outlier. It's a skeletal, impressionistic ballad that lacks an anchoring center, it simply hovers and floats. Not so with the singer's raggedy gospel in "We've Come Too Far to Turn Around," where the weariness in the lyric meets the band's ability to braid Williams' voice with an emotional color palette that matches her own. The 11-plus-minute reading of her "Unsuffer Me" is the perfect meld of rock, blues, and modern post-bop jazz as both guitarists engage one another and Lloyd, who serves as the bridge between them and the singer with squeals, blurts, and flutters with his moaning horn. "Monk's Mood" is lovely, but only because of Lloyd's playing. The closing Hendrix cover is presented as a country-gospel meditation on love and eternity. Williams treats the tune as if it were her own; Frisell and Leisz surround her in soft, luxuriant textures as Lloyd accompanies her in a kind of spacy, hooky duet. Interestingly, the uneven moments on Vanished Gardens have more to do with the Marvels' reticence on the standards. Otherwise, the pairing of this band with Williams sounds natural, effortless, and holistic. There's definitely room for a sequel.
|>This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'<|
Tracklist :
1    Defiant 8'41
Bass – Reuben Rogers
Drums – Eric Harland
Guitar – Bill Frisell
Pedal Steel Guitar – Greg Leisz
Tenor Saxophone – Charles Lloyd
Written-By – Charles Lloyd
2    Dust 7'58
Bass – Reuben Rogers
Drums – Eric Harland
Guitar – Bill Frisell
Pedal Steel Guitar – Greg Leisz
Tenor Saxophone – Charles Lloyd
Vocals – Lucinda Williams
Written-By – Lucinda Williams
3    Vanished Gardens 9'03
Bass – Reuben Rogers
Drums – Eric Harland
Guitar – Bill Frisell
Pedal Steel Guitar, Dobro – Greg Leisz
Tenor Saxophone – Charles Lloyd
Written-By – Charles Lloyd
4    Ventura 6'22
Bass – Reuben Rogers
Drums – Eric Harland
Guitar – Bill Frisell
Pedal Steel Guitar – Greg Leisz
Tenor Saxophone – Charles Lloyd
Vocals – Lucinda Williams
Written-By – Lucinda Williams
5    Ballad Of The Sad Young Men 6'17
Bass – Reuben Rogers
Drums – Eric Harland
Guitar – Bill Frisell
Pedal Steel Guitar – Greg Leisz
Tenor Saxophone – Charles Lloyd
Written-By – Fran Landesman, Tommy Wolf
6    We've Come Too Far To Turn Around 6'30
Bass – Reuben Rogers
Dobro – Greg Leisz
Drums – Eric Harland
Guitar – Bill Frisell
Tenor Saxophone – Charles Lloyd
Vocals – Lucinda Williams
Written-By – Lucinda Williams
7    Blues For Langston And LaRue 5'38
Alto Flute – Charles Lloyd
Bass – Reuben Rogers
Drums – Eric Harland
Guitar – Bill Frisell
Pedal Steel Guitar – Greg Leisz
Written-By – Charles Lloyd
8    Unsuffer Me 11'42
Bass – Reuben Rogers
Drums – Eric Harland
Guitar – Bill Frisell
Pedal Steel Guitar – Greg Leisz
Tenor Saxophone, Vocals [Ghost Vocals] – Charles Lloyd
Vocals – Lucinda Williams
Written-By – Lucinda Williams
9    Monk's Mood 5'15
Guitar – Bill Frisell
Tenor Saxophone – Charles Lloyd
Written-By – Thelonious Monk
10    Angel 5'53
Guitar – Bill Frisell
Tenor Saxophone – Charles Lloyd
Vocals – Lucinda Williams
Written-By – Jimi Hendrix

CHARLES LLOYD & the MARVELS - Tone Poem (2021) FLAC (tracks+.cue), lossless

Tone Poem is the third album by saxophonist Charles Lloyd's Americana jazz quintet the Marvels -- guitarist Bill Frisell, pedal steel guitarist Greg Leisz, bassist Reuben Rogers, and drummer Eric Harland. Cut over several years in California studios and from a Madrid stage, it comprises six covers and three Lloyd originals. The album marks the first time the band have recorded without singers. At 82, Lloyd is a master of the form who knows what he wants from his sidemen and how to get it.

Reinventions of two Ornette Coleman classics introduce the set. The composer's bluesy feel comes through immediately in "Peace" as Leisz, Frisell, and Lloyd engage its relaxed, syncopated melody even more slowly than on the original. Lloyd's solo underscores the Middle Eastern modalism in Coleman's tags as the string players extrapolate on the blues. On "Ramblin'," Leisz's pedal steel choogles, emulating a train (perhaps the Midnight Flyer out of Lloyd's native Memphis). The saxophonist adds a few notes from American folk song "Shortnin' Bread" before grabbing on to Coleman's mutant bop head. Frisell's playing is all sparking blues and shuffling alongside Leisz's. Harland's martial rim shots could lead a NOLA second line parade as the jam departs for open spaces. Songwriter Leonard Cohen loved and celebrated traditional country music -- he often carried a copy of Hank Williams' collected lyrics on tour. The Marvels' version of Cohen's "Anthem" would have earned his deep appreciation. While the string players follow the languid tempo and harmony, Lloyd solos up and down the melody, expanding it incrementally as if it were being imparted to him in a dream. The musician's sensitivity and spiritual empathy are redolent. His "Dismal Swamp" is a funky soul-jazz wherein he leads the band with punchy flute vamps as Frisell paints the margins with Harland, Leisz, and Rogers roiling the groove. "Monk's Mood" is rendered with lush nocturnal atmospherics as steel and sax share the melody. The pedal steel adds a touch of exotica, but Frisell's comping keeps it earthbound. "Ay Amor" is a reinvention of Cuban singer, songwriter, and pianist Ignacio Jacinto Villa Fernández (aka Bola de Nieve). Lloyd and company render it with breezy elegance, poignant emotion, and deep respect. Both Gábor Szabó's "Lady Gabor" and Lloyd's "Prayer" date to the early 1960s when the guitarist and saxophonist were with Chico Hamilton's group. On the former, dancing drums and bass meet spiky flute jabs that feed Frisell's biting garagey psychedelia. "Prayer" commences as a spectral ballad featuring Rogers' glorious arco playing before Lloyd's tenor carries it outside briefly to the tumult that exists beyond the margin. Frisell's shard-like chords and Leisz's atmospherics frame Harland's tense tom-tom pulse and muted cymbals. Over nearly nine minutes, it changes shapes several times before the tenor whispers the set out. While the singers on earlier Marvels albums offered ready accessibility, Tone Poem is perhaps more resonant given its consummate musicality and masterful tune curation.
|>This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'<|
Tracklist :
1     Peace 3'12
Ornette Coleman    
2     Ramblin 4'59
Ornette Coleman
3     Anthem 6'19
Leonard Cohen    
4     Dismal Swamp 6'31
Charles Lloyd    
5     Tone Poem 9'04
Charles Lloyd    
6     Monk’s Mood 10'26
Thelonious Monk    
7     Ay Amor 10'05
Ignacio Jacinto Villa Fernández    
8     Lady Gabor 10'50
Gabor Szabo
9     Prayer 8'34
Charles Lloyd
Credits :
Bass – Reuben Rogers
Drums – Eric Harland
Guitar – Bill Frisell
Steel Guitar – Greg Leisz
Tenor Saxophone, Alto Flute – Charles Lloyd

CHARLES LLOYD - Trios : Chapel (2022) FLAC (tracks), lossless

Tracklist :
1    Blood Count 7:24
Written-By – Billy Strayhorn
2    Song My Lady Sings 9:00
Written-By – Charles Lloyd
3    Ay Amor 7:20
Written-By – Villa Fernandez Ignacio Jacinto
4    Beyond Darkness 9:49
Written-By – Charles Lloyd
5    Dorotea's Studio 12:20
Written-By – Charles Lloyd
Credits :
Artwork [Cover Art], Cover [Cover Art], Photography By [Photos], Design – Dorothy Darr
Bass – Thomas Morgan
Guitar – Bill Frisell
Tenor Saxophone, Alto Flute – Charles Lloyd

JOHN ZORN - Cobra (1989) 2CD | FLAC (tracks+.cue), lossless

John Zorn's Cobra game piece has enjoyed quite a life of its own since this, its original recording, from 1985-1986. Zorn developed several similar pieces, but Cobra would see renditions by various ensembles with varying instrumentation, with the composer at the helm and without, and would become something of a staple for undergraduate musicians exploring improvisational strategies. One of the central sources for the conception behind this piece, oddly enough, was the Avalon Hill game company, which created strategic simulation games involving arcane sets of rules, dice rolls, etc., in an effort to approximate, for example, war planning and theory. Zorn, a games aficionado with an affinity for elastic rules systems, developed a unique, expansive, and highly flexible series of prompts and rules, taught and distributed them to many of the downtown New York City musicians of the early '80s, and staged numerous highly entertaining performances of the ensuing "conflicts." At such an event, inevitably more viscerally enjoyable than a recording of same, Zorn would hold up cards with symbols, usually choosing certain small combinations of players. These symbols could instruct, among many other things, that the musicians improvise in a certain style (surf guitar, free noise, punk, etc.) and/or could delimit the duration, volume, and so on. He would thus spontaneously organize a composition that, for all its apparent anarchy, was actually following a relatively strict set of assumptions. The kicker was that the players could counteract his commands, forming ad hoc blocs, cooperate or betray said blocs, form alliances "against" other players, etc. As an audience member, one saw a wonderful display of real-time politics combined with art creation, and the result was often spectacular. Unfortunately, an enormous amount is sacrificed when Cobra is encountered as only an aural document (here, one live session and one in the studio). The kernels of collective sound tend to appear arbitrary, any strategic rationale necessarily going unseen. Listened to at home, one hears a series of sonic postcards, enjoyable or otherwise on their own but bearing little obvious relationship to what came before or after. One can certainly appreciate the music in just that manner, as a random, Cage-ian series of musical fragments, but one is left with the nagging (and correct) sense of something crucial being missed. As a document in Zorn's career, Cobra is essential. As a purely musical experience, it is, quite unfortunately, less so. Brian Olewnick  

Cobra: Studio Version    59:25
1    Opening    0:59
2    Allegro    4:32
3    Largo    6:13
4    Moderato    7:42
5    Fantasia    3:44
6    Presto    1:39
7    Adagio Maestoso    2:40
8    Violento    4:16
9    Allegro Scorrevole    2:35
10    Capricciocongusto    4:40
11    False Start/ Giocoso    0:52
12    Scherzo    5:47
13    Maestoso Meccanico    1:22
14    Variations/Furioso    8:40
15    Epilogue    3:44
Cobra: Live Version    53:25
1    Prologue/Maestoso    6:05
2    Capriccio    13:23
3    Prestissimo    14:04
4    Lento/Mysterioso    9:29
5    Allegro    10:24
Credits :
Accordion – Guy Klucevsek
Celesta – David Weinstein (pistas: 1-1 to 1-15)
Conductor [Prompter], Composed By – John Zorn
Electric Guitar – Bill Frisell
Electric Guitar, Voice – Arto Lindsay (pistas: 1-1 to 1-15)
Electronic Drums – Bobby Previte (pistas: 2-1 to 2-5)
Guitar [Doubleneck], Bass [Doubleneck], Voice – Elliott Sharp
Guitar [Soprano] – Elliott Sharp (pistas: 1-1 to 1-15)
Harp – Carol Emanuel (pistas: 1-1 to 1-15), Zeena Parkins (pistas: 1-1 to 1-15)
Harpsichord, Celesta – Anthony Coleman (pistas: 1-1 to 1-15)
Organ [Hammond], Celesta – Wayne Horvitz (pistas: 1-1 to 1-15)
Organ [Pipe] – Anthony Coleman (pistas: 2-1 to 2-5)
Percussion – Bobby Previte (pistas: 1-1 to 1-15)
Piano, Organ [Yamaha] – Anthony Coleman
Piano, Synthesizer [DX7] – Wayne Horvitz
Synthesizer [Trombone Synthesizer], Electronics – J.A. Deane (pistas: 2-1 to 2-5)
Tape – Bob James
Trombone – Jim Staley (pistas: 1-1 to 1-15)
Turntables – Christian Marclay

JOHN ZORN | GEORGE LEWIS | BILL FRISELL — News for Lulu (1988-1993) FLAC (tracks+.cue), lossless

Avant-garde altoist John Zorn teams up with trombonist George Lewis and guitarist Bill Frisell to form a unique trio. Without the benefit of piano, bass, or drums, they interpret the hard bop compositions of Kenny Dorham, Hank Mobley, Sonny Clark, and Freddie Redd, generally not even the better-known ones. The performances are quite concise (Dorham's "Windmill" is covered in 40 seconds), respectful to the melodies, and unpredictable. There are hints of the avant-garde here and there, but also plenty of swinging, bop-oriented solos and coherent ensembles. Very intriguing music that is highly recommended to a wide audience of jazz and general listeners. Scott Yanow
Tracklist :
1     K.D.'s Motion 3'32
Kenny Dorham
2     Funk in Deep Freeze 4'31
Hank Mobley
3     Melanie 4'07
Freddie Redd
4     Melody for C 4'26
Sonny Clark
5     Lotus Blossom 4'08
Sam Coslow / Arthur Johnston
6     Eastern Incident 4'04
Sonny Clark
7     Peckin' Time 3'13
Hank Mobley
8     Blues, Blues, Blues 4'17
Freddie Redd
9     Blue Minor I 3'43
Sonny Clark
10     This I Dig of You 3'13
Hank Mobley
11     Venita's Dance 3'23
Kenny Dorham
12     News for Lulu 4'07
Sonny Clark
13     Olé 3'47
Freddie Redd
14     Sonny's Crib 5'22
Sonny Clark
15     Hank's Other Tune 3'52
Hank Mobley
16     Blue Minor II 3'26
Sonny Clark
17     Windmill 0'40
Kenny Dorham
18     News for Lulu 4'19
Sonny Clark
19     Funk in Deep Freeze 3'29
Hank Mobley
20     Windmill 1'03
Kenny Dorham
Credits :
Alto Saxophone, Liner Notes – John Zorn
Arranged By – Frisell, Lewis, Zorn
Guitar – Bill Frisell
Trombone – George Lewis

JOHN ZORN | GEORGE LEWIS | BILL FRISELL - More News for Lulu (1992) FLAC (tracks+.cue), lossless

This is the second of two CDs featuring the unusual trio of altoist John Zorn, trombonist George Lewis, and guitarist Bill Frisell. Recorded live in concert, the group interprets fresh renditions of hard bop oriented pieces by Sonny Clark, Hank Mobley, Big John Patton, Kenny Dorham, and Freddie Redd, in addition to one selection from Misha Mengelberg. The music swings in its own fashion and, although it tugs at the boundaries of the bop tradition, it mostly stays within its borders. Bill Frisell, operating as the entire rhythm section, is a wonder as usual. Recommended, as is the first volume News for Lulu. Scott Yanow
Paris    
1    Blue Minor I 6'04
Written-By – Sonny Clark
2    Hank's Other Tune 6'21
Written-By – Hank Mobley
3    News For Lulu 5'26
Written-By – Sonny Clark
4    Gare Guillemins 3'47
Written-By – Misha Mengelberg
5    Minor Swing 5'40
Written-By – John Patton
6    KD's Motion / Windmill 5'02
Written-By – Kenny Dorham
7    Funk In Deep Freeze 4'36
Written-By – Hank Mobley
Basel    
8    Eastern Incident 5'58
Written-By – Sonny Clark
9    Lotus Blossom 4'15
Written-By – Kenny Dorham
10    Melanie 6'40
Written-By – Freddie Redd
11    Olé 5'01
Written-By – Freddie Redd
12    Blue Minor II 5'04
Written-By – Sonny Clark
13    Peckin' Time 3'29
Written-By – Hank Mobley
14    Blues, Blues, Blues 4'42
Written-By – Freddie Redd
15    Melody For C 5'46
Written-By – Sonny Clark
Credits :
Alto Saxophone, Liner Notes – John Zorn
Arranged By – Frisell, Lewis, Zorn
Guitar – Bill Frisell
Trombone – George Lewis

JOHN ZORN : Godard / Spillane (1999) FLAC (image+.cue), lossless

Two of Zorn’s most influential compositions, one long out of print, now sound better than ever in this newly remastered critical edition, complete with detailed notes, session photos, reminiscences and more. A lot has been written about Zorn’s "file card" compositions, of which Godard and Spillane are the first and purest examples. Described as "aural movies," these exciting tributes to the life and work of two of the world’s most original and infamous artists feature many of Zorn’s most important musical colleagues: Bill Frisell, Fred Frith, Bobby Previte, Anthony Coleman, Christian Marclay, John Lurie, and Richard Foreman among others. Essential Zorn from the mid ’80s. Also included as a bonus: the rare and delightful Christmas track Blues Nöel. TZADIK
Tracklist :
1    Godard 18'37
Drums, Percussion – Bobby Previte
Guitar, Banjo – Bill Frisell
Harp – Carol Emanuel
Keyboards, Sampler [Sampling] – David Weinstein
Narrator [Chinese] – Wu Shao-Ying
Narrator [English] – Richard Foreman
Narrator [French], Reeds – John Zorn
Narrator [Japanese], Voice – Luli Shioi
Piano, Organ, Celesta [Celeste], Harpsichord – Anthony Coleman
Turntables – Christian Marclay
2    Spillane 23'12
Bass, Tuba – David Hofstra
Clarinet, Alto Saxophone – John Zorn
Drums, Percussion, Timpani – Bobby Previte
Effects [Compact Disc], Tape [Tapes] – Bob James
Guitar [Guitars] – Bill Frisell
Harp – Carol Emanuel
Keyboards, Sampler [Sampling] – David Weinstein
Piano, Organ, Celesta [Celeste], Harpsichord – Anthony Coleman
Trombone – Jim Staley
Voice – John Lurie, Robert Quine
3    Blues Nöel 5'51
Alto Saxophone – John Zorn
Bass, Guitar [Guitars] – Fred Frith
Percussion, Voice – Michael Blair
Piano, Organ, Celesta [Celeste], Harpsichord – Anthony Coleman
Sampler – David Weinstein
Voice, Drum Machine – Ikue Mori
Credits :
Composed, Producer – John Zorn

JOHN ZORN - Filmworks I : 1986-1990 (1997) FLAC (tracks+.cue), lossless

For Zorn, filmscores have always been a place to experiment and the Filmworks Series is in many ways a microcosm of his output. This original installment of the Filmworks Series presents three scores ranging from punk-rockabilly (featuring the nasty guitars of Bob Quine, Marc Ribot and Arto Lindsay); a jazzy Bernard Herrmann fantasy; to a quirky classical/improv/world music amalgam for Raul Ruiz's bizarre film The Golden Boat. Zorn's infamous one minute arrangement of Morricone's classic The Good, The Bad and The Ugly, is included as a bonus track. Out of print for several years, these classic recordings are made available here with the original cover art intact. This is the place where it all began. TZADIK
White And Lazy    
1    Main Title    0:55
2    Homecoming    1:15
3    The Heist    3:20
4    Meat Dream    1:15
5    Phone Call    0:50
6    End Title    1:59
The Golden Boat    
7    Fanfare    0:30
8    Theme    2:59
9    Jazz I    2:51
10    Horror Organ    1:06
11    Mexico    1:56
12    Mood    3:17
13    Rockabilly    2:01
14    Slow    2:47
15    Jazz Oboes    2:33
16    The Golden Boat (Turntable Mix) 2:58
Mixed By – David Shea
17    End Titles    2:53
The Good, The Bad And The Ugly    
18    The Good, The Bad And The Ugly 1:04
Composed By – Ennio Morricone
She Must Be Seeing Things    
19    Main Title    1:04
20    Swirling Shot    1:20
21    Homecoming    3:22
22    Catalina Flash    0:28
23    Seduction    4:54
24    Sex Shop Boogaloo    2:47
25    Catalina Escapes    1:11
26    Worms    1:04
27    Death Waltz Fantasy    1:24
28    Following Sequence    3:03
29    Movie Set    1:20
30    Climax    2:55
31    Going To Dinner    2:38
32    End Titles    3:27
Credits :
Alto Saxophone – John Zorn (pistas: 7 to 17, 19 to 32)
Arranged By, Producer, Executive-Producer, Liner Notes – John Zorn
Bass – David Hofstra (pistas: 19 to 32), Fred Frith (pistas: 18), Mark Dresser (pistas: 7 to 17), Melvin Gibbs (pistas: 1 to 6)
Bass Clarinet – Ned Rothenberg (pistas: 1 to 6)
Composed By – John Zorn (pistas: 1 to 15, 17, 19 to 32)
Drums – Anton Fier (pistas: 1 to 6), Bobby Previte (pistas: 7 to 32)
French Horn – Tom Varner (pistas: 19 to 32)
Guitar – Bill Frisell (pistas: 18 to 32), Robert Quine (pistas: 1 to 18)
Guitar, Vocals – Arto Lindsay (pistas: 1 to 6)
Harp – Carol Emanuel
Keyboards – Anthony Coleman (pistas: 7 to 17), David Weinstein (pistas: 1 to 6, 18 to 32)
Marimba – Bobby Previte (pistas: 7 to 17)
Oboe – Vicki Bodner (pistas: 7 to 17)
Organ [Hammond] – Wayne Horvitz (pistas: 18 to 32)
Percussion – Cyro Baptista (pistas: 7 to 17), Naná Vasconcelos (pistas: 19 to 32)
Percussion, Vibraphone, Timpani, Bells [Orchestra] – Bobby Previte (pistas: 19 to 32)
Piano – Wayne Horvitz (pistas: 19 to 32)
Piano, Organ, Celesta, Harpsichord – Anthony Coleman (pistas: 19 to 32)
Tenor Saxophone, Clarinet – Marty Ehrlich (pistas: 19 to 32)
Trombone – Jim Staley (pistas: 19 to 32)
Vocals – Bobby Previte (pistas: 18), Shelley Hirsch (pistas: 19 to 32)
Vocals, Turntables – David Shea (pistas: 7 to 17)

JOHN ZORN : New Traditions In East Asian Bar Bands (1997) FLAC (tracks+.cue), lossless

From the lyrical sensuality of Hu-Die (for 2 guitars), the aggressive fireworks of Hwang Chin-Ee (for two drummers) and the mystical ambience of Que Tran (for two keyboards), this album shows yet another side of Zorn's genius for the dramatic and the unexpected. Using the spoken languages of Chinese, Korean and Vietnamese as pure melody, this suite of 3 pieces of twin instruments and narrators is perhaps Zorn's most beautiful creation to date.

Ten years in the making, these epic compositions, Zorn's most universally misunderstood pieces, are finally made available on an album. Original texts by Arto Lindsay, My-ung Mi-Kim, and Lin Hejinian. Performed by an all-star collection of the world's most creative improvising instrumentalists. TZADIK
Tracklist :
1    Hu Die 25'09
Guitar – Bill Frisell, Fred Frith
Narrator – Zhang Jinglin
Recorded By [1986] – Kramer
Recorded By, Mixed By – Seigen Ono
Text By [Text] – Arto Lindsay
Translated By – Ruby Chang
2    Hwang Chin-ee 16'41
Drums – Joey Baron, Samm Bennett
Narrator – Jung Hee Shin
Recorded By [1988] – Oz Fritz
Recorded By, Mixed By – Jim Anderson
Text By [Text] – Myung Mi Kim
3    Quề Trân 30'46
Keyboards – Anthony Coleman, Wayne Horvitz
Narrator – Ánh Trần
Recorded By – Steve Rosenthal
Text By [Text] – Lyn Hejinian
Translated By – Tú Vū
Credits :
Written-By, Producer – John Zorn

JOHN ZORN - Filmworks VII : Cynical Hysterie Hour (1997) FLAC (tracks+.cue), lossless

The holy grail of Zornthologists is finally available in a newly remastered definitive edition.

Released in Japan for only a few short months in 1990, this is the original music Zorn created for a series of four shorts by one of Japan's most endearing cartoonists: Kiriko Kubo.

A long time champion of Warner Bros. cartoon composer Carl Stalling, Zorn considers this to be his finest and most personal take on cartoon music to date, a genre that has influenced him deeply. The all-star band includes Bill Frisell, Marc Ribot, Arto Lindsay, Robert Quine, Wayne Horvitz, Bobby Previte and Cyro Baptista. TZADIK
Trip Coaster    
1    Hysteric Logo    0:24
2    Walk To Park    2:10
3    Coaster 2    0:47
4    Fighting Pirates    0:26
5    Yakisoba    1:14
6    Coaster Trip    1:39
Ch Ch Chang    
7    1st Hit / 2nd Hit    0:27
8    Punk Rock Hero    0:56
9    Abacus Waltz    0:38
10    Punk Rebel / Tsunta's Theme    3:36
11    End Title    0:13
Through The Night    
12    Through The Night    1:30
13    Home Sweet Home    1:43
14    Making Ramen At Midnight    0:32
15    Scary Moonlight    1:55
Bubblin' Singin'    
16    My Favorite Things    2:18
17    Omelet Punk    0:20
18    Classical    0:16
19    Stink Of An Onion    0:34
20    Onion Samba    0:59
21    Omelet Punk 2    0:16
22    Me And My Hamburger / Final Samba    1:05
23    Surfing Samba    1:10
Credits :
Acoustic Bass, Electric Bass – David Hofstra (pistas: 7 to 23), Kermit Driscoll (pistas: 1 to 6)
Cello – Maxine Neuman (pistas: 12 to 15)
Composed, Producer, Arranged By – John Zorn
Drum Machine – Ikue Mori (pistas: 12 to 15)
Drums, Percussion – Bobby Previte (pistas: 1 to 11, 16 to 23)
Electric Guitar – Arto Lindsay (pistas: 7 to 11), Robert Quine (pistas: 7 to 11, 16 to 23)
Electric Guitar, Banjo – Bill Frisell (pistas: 1 to 6, 16 to 23), Marc Ribot (pistas: 7 to 15)
Harp – Carol Emanuel
Keyboards – Peter Scherer (pistas: 7 to 23), Wayne Horvitz (pistas: 1 to 6)
Percussion [Brazilian Percussion] – Cyro Baptista
Turntables – Christian Marclay (pistas: 1 to 6)
Violin, Viola – Jill Jaffe (pistas: 12 to 15)
Vocals – Arto Lindsay (pistas: 16 to 23), Kiriko Kubo (pistas: 16 to 23)

JOHN ZORN : Masada Guitars (2003) APE (image+.cue), lossless

In 1993 John Zorn began composing and performing his 208 tunes that now comprise what is known as the Masada songbook. To celebrate the tenth anniversary of this, his most popular musical project, John Zorn has organized a series of CDs, featuring his most illustrious colleagues performing their own unique arrangements of these classics of modern Jewish music. This first release contains three guitarists whose styles are as varied as the compositions they perform. From the singular brilliance of Marc Ribot, the lush sonorities of Bill Frisell, to the orchestral virtuosity of Tim Sparks, Masada Guitars is a glittering tribute, lovingly executed by three of the most original guitarists in the world. TZADIK
Tracklist :
1    Abidan 3:31
2    Kodashim 3:37
3    Kedem 3:29
4    Bikkurim 3:00
5    Ravayah    4:01
6    Hadasha    2:45
7    Katzatz    3:37
8    Kanah 3:27
9    Hodaah 3:24
10    Kisofim    4:53
11    Sippur 2:48
12    Sansanah 5:54
13    Galgalim 1:45
14    Elilah 3:05
15    Kedushah 4:32
16    Shevet 3:11
17    Kochot 3:56
18    Tzalim 2:21
19    Kivah 2:33
20    Avelut 4:05
21    Moshav 3:54
Credits :
Arranged By, Producer [Produced By] – Bill Frisell (pistas: 1, 4, 7, 10, 14, 17, 20), Marc Ribot (pistas: 3, 6, 9, 12, 13, 16, 18, 19, 21), Tim Sparks (pistas: 2, 5, 8, 11, 15)
Composed By [All Compositions By], Executive-Producer – John Zorn
Guitar – Bill Frisell (pistas: 1, 4, 7, 10, 14, 17, 20), Marc Ribot (pistas: 3, 6, 9, 12, 13, 16, 18, 19, 21), Tim Sparks (pistas: 2, 5, 8, 11, 15)
Painting [Cover] – Karen Liebowitz