Newsgroups: rec.music.industrial
Subject: John Zorn - Film Works
From: meachen@med.wcc.govt.nz
Date: 23 Dec 1992 06:29:24 GMT
Reply-To: meachen@med.wcc.govt.nz
Organization: Wellington City Council, Wgtn, NZ
NNTP-Posting-Host: blade.wcc.govt.nz


For those Zorn affenciados I picked this up today for $32.95 NZ - damn 
expensive here, and was I surpised to see it in the local commercial music
store) and accquired a Painkiller CD (Xmas pressie from a net friend 
:-). Zorn has projects with God, Painkiller and Naked City, plays an awesome 
alto-sax.) IMHO God - Possesion is one of the best noise grind fusion albums 
for 1992.) Email me for further info if you like.

John Zorn  Filmworks 1986-1990 Electra Nonesuch (Time Warner) 9 79270-2

A collection of his film works.

White And Lazy 1986             Robert Quine - Guitar
                                Arto Lindsay - Guitar, Vocals
1. Main Title	0:55            Melvin Gibbs - Bass
2. Homecoming	1:15            Anton Fest - Drums
3. The Heat	3:20            Carol Emanuel - Harp
4: Meat Dream	1:15            David Weinstein - Keyboards
5: Phone Call	0:50            Ned Rothenberg - Bass clarinet
6: End Title	1:59            Recorded and mixed June 1986
				Radio City Studios NYC - Don Hunerberg

John Zorn's first film project, a 30 minute film project, directed by
Rob Schwebber taking place on the lower East side. To reflect the punk
overtones in the film he put together a core group of downtown rockers.
Arto and Anton have played in Golden Palmominos and Locus Solus groups
respectively. But the real coup of this recording is punk guitar genious
Robert Quine (from the Voidoids and Lou Reed's band). Features solo on
the End Title. This reflects Zorn's (and my raves :-) Hardcore noise punk 
(MAIN TITLE), rockabilly(THE HEIST), moody Bernad Herrman-esque (MEAT
DREAM) and bluesy jazz(PHONE CALL).

Carol Emanuel takes a few gorgeous choruses of blues on PHONE CALL recalling
the soulful sound of harpist Dorothy Ashby and Anton Fier's playing has
beautiful prescion with simplicity that's a joy to hear. Highlighted is
Bob Quine who runs a wide range of styles.

The Golden Boat 1990
                      			Vicki Bodner - Oboe
7.   Fanfare 	  0:30                  John Zorn - Alto Sax
8.   Theme        2:59			Robert Quine - Guitar
9.   Jazz 1       2:51                  Anothony Coleman - Keyboards
10.  Horror Organ 1:06                  Carol Emanuel - Harp
11.  Mexico	  1:56                  David Shea - Turntable, vocals
12.  Mood	  3:17                  Mark Dresser - Bass
13.  Rockabilly   2:01                  Ciro Bapista - Brazilian Percussion
14:  Slow	  2:47                  Robert Previte - Drums, marimba
15:  Jazz Oboes   2:33
16:  The Golden Boat (Turntable Mix)   2:58
17:  End Title	  2:53

Recorded May 1990 at Platimum Island Studio, NY by Ricky Belt
Mixed Augsut 1990 at Science Lab NYC by Jerry Gottus

Director: Raul Ritz

Specialises in cheap, fast and eclectic films, Grade B.  

Much of the time spent engineering this soundtrack was to mirror
Raul's film-making styles, generating as many different kinds of
sound possible, this was cut then edited to give the overall picture.
Almost 60 minutes of recording was recorded in two days and mixed
in one. In keeping with the films basic non-linear time sense, the 
music was cut to shreds to create a highly discontinous "post-
Godardian" universe. In many ways this film was a milestone for me,
and changed my whole attitude towards film scoring, from neurotic
perfectism to more quirky and colloborative approach.

The Good, The Bad, The Ugly 1987

18. The Good, the Bad, The Ugly  1:04

Robert Quine - Guitar
Bill Frisell - Guitar  
Fred Frith - Bass  
Wayne Horietz - Hammond Organ
David Weinsten - Keyboards
Carol Emanuel - Harp 
Robert Previte - Drums, Percussion, Vocals

Mixed and recorded April 1987 at Radio City Studios, NYC 
by Don Hunerberg

This track is a freak. The "Camel" theme song a new approach 
arranged by Zorn for the McCann Erikson Advertising agency using
a regagge band, a jazz group and a classical string quartet.  

She Must Be Seeing Things 1986

19.  Main Title        	 1:04	  	Shelley Hirsch - Voice	
20.  Swirling Shot       1:20           John Zorn - Alto sax
21.  Homecoming          3:22           Marty Ehrlich - Tenor, sax, clarinet
22.  Catalina Flash      0:28           Tom Varner - French horn
23.  Seduction		 4:54           Jim Staley - Trombone
24.  Sex Shop Boogaloo   2:47           Bill Frasely - Guitar
25.  Catalina Escapes    1:11           Carol Emmanuel - Harp
26.  Worms		 1:04           Anthony Coleman - Piano, organ,
27.  Death Waltz Fantasy 1:24 		celeste, harpiscord
28.  Following Sequence  3:03           Wayne Hortvitz - Hammond, organ
29.  Movie Set		 1:20           piano, DX7
30.  Climax		 2:55           David Weinstein - mirage, CZ101
31.  Going To Dinner	 2.38           keyboards
32.  End Title		 3:27           David Hofstra - Bass
                                        Nana Vasconcelos - Brazilian Percussion
                                        Robert Previte - Drums, Percussion,
					vibes, timpani, orchestra bells

Recorded and mixed December 1986 at Radio City Studios, NYC
by Don Hunerberg

Director: Shelley McLauglin

The film is a story of love and obsession between a lsebian filmmaker and
her lover, whose jealously reaches near pscyhotic proportions. 
The music draws largely on jazz/blues roots and features plenty of soulful
soloing from Bill Frizell on guitar, Wayne Horvitz on Hammond organ, 
Anthony Coleman on piano and Marty Ehritch on tenor sax as well as Zorn's
alto appearing briefly on SHOP BOOGALOO. Paul Desmond's strings influences 
GOING TO DINNER.
SEDUCTION is about the most complex track - a blues that runs through a
series of mood changes cued precisely to on-screen actions. But it was
never meant make the final cut of the film. The MAIN TITLE is a dense,
driving piece that uses one of Ennio Morricone's favorite devices; the
piano-bass ostinao, coupled with some great blowing by Wayne and Bill
and a series of Bernard Herrmann-style minor triads that lead us to a
pounding climax driven home by the dymnamic drumming of Bobby Previte.
Quincy Jones score IN COLD BLOOD was also a reference here plays tribute
to Zorns favorite sound-track heroes. 

In addition the harmonies of Josequin Desprez are evoked in the CATALINA
monastery sequences and there's even a touch of Nino Rota in the DEATH
WALTZ FANTASY and END TITLES. This soundtrack, and to a lesser extent
WHITE AND LAZY is typical what Zorns muso colleagues call his Radio City
style. A lot of the orchestration was a direct result of the equipment
available at this beautiful sounding old-style studio, where Monk made
of his Riverside recordings, and Albert Ayler taped "Music is the Healing
Force of the Universe". The Hammond organ, tympani vibes, tubualar bells,
harpischord, and the same celeste used on "PANNONICA" all fell into his
musical malestorm and helped create pieces like SPILLANE, GODDARD, BLUES
NOEL and of most the music on this album.

The Studio is gone now, used for Business confererences and with it Zorn's
Radio City sound. The old plate reverbs and long concrete echo chambers
gave Zorn's mixes a special warmth. These tracks are not remixed as to
preserve the music format.
 
--
Red

    unprovoked unforeseen alterations invoked branded burned into the skin
    flesh blood cells subtle brutal toxins violate invigorate hormones born
    dead divergent shades bleached cells blood flesh skin burned white 
    beyond recognition identitiy collapses kicks grinds rigor mortis vomits 
    a pink raw faceless baby features melt reform forged flawless perfected 
    superior exterior fucked up interior sore blue numb dead dead dead where 
    is one when you need one the mercy machine - "Mercy Machine" - FC9

															





  

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