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You owe it to youself to buy it and point other people in this direction. There are very few perfect musics in my opinion and this is one of them. I was given this set of CDs by a friend. The musical world would be a better place if more people knew what good music was. It will move you to tears. Listening to these songs almosts insists that you just shut up and be amazed. I am a musician and this music is emotional to the highest level for me.
It is an impressive, if misleading introduction into Zorn's work in the field, I just think the material usually "looks" better then it truly sounds, where many initial exquisitely postured instrumental re-imaginings end up hollowing out a bit. 3 1/2This is amongst the schizophrenic songwriter's more restrained, traditionalist point-of-entries, covering a wide interpretive range from his unique Klezmer-Jazz Masada influences, similar in concept to what I think is the slightly stronger Masada Guitars. By all accounts, I understand the outstanding feedback.
Thanks Anazon, after more of one month I did not again received my stuff, instead to ask to me a review of the compact disk, it should be usefull that you ask to me where is it my stuff.
YOU NEED TO OWN THIS. I don't write long reviews. This is a beautiful recording. Somewhat more accessible than some John Zorn records.
Is this piece all those things. The album is discussed as the kind of Zorn you could play for your friends and family, I even saw one review mention this as dinner music. Try a straight Masada piece first if you're new to the music (I'd recommend "50th Birthday Celebration Volume 7", a recent live recording for an introduction), but this may be a good second place to look. For those unfamiliar, the Masada book is a series of melodies written by Zorn using the "Jewish scales"-- this lends that Middle East meets Eastern European vibe that you get from traditional Jewish musics. Zorn. Likewise, every commercial review sings its praises-- "[t]he album consistently impresses" (All Music Guide), "a double album of painfully beautiful music" (omnology.com), "simply excellent music" (Lord Chimp's review here on amazon). All in all, an essential entry in Zorn's catalog. A total masterpiece.You know, it pretty much is.
So what's the truth. "Bar Kokhba" is one of John Zorn's most tirelessly praised and revered albums-- look no further than the reviews here, all of them give the recording five stars. Featuring violinest Mark Feldman, cellist Erik Friedlander, bassists Greg Cohen and Mark Dresser, guitarist Marc Ribot, pianist/organists Anthony Coleman and John Medeski, clarinetists David Krakauer and Chris Speed, drummer Kenny Wolleson and trumpeter Dave Douglas in various formations, the music is performed with a depth and sensitivity. Alternatingly aggressive (the Masada String Trio on "Sheloshim") and passive (piano and organ duet "Mo'ab"), delicate (downtempo Speed and Medeski duet "Abidan") and explosive (Coleman/Dresser/Wolleson piano trio "Nefesh"), patient (bubbling solo guitar piece "Mochin") and schizophrenic (Cecil Taylorish Medeski solo piano piece "Hath-Arob"), the music never ceases to engage the listener fully. "Bar Kokhba", for those unfamiliar, is effectively billed as chamber ensembles play the Masada songbook.
There's few albums that stretch over two hours as this one does that can really hold my interest, but this does so effortlessly. But it's really this duality that makes the album so successful.One more note-- the production on this is fairly unique-- it's almost as though Zorn wanted a human feeling to this-- clicking clarinet keys, fingers muting strings, and breathing all are readily apparent, and this serves only to enhance the recording. Highly recommended. Both of these are duets between Krakauer and Coleman, but while the former features melancholy clarinet over delicate piano, the latter features swirling, avant-garde organ and dug-in bass clarinet. "Painfully beautiful". Still, as wonderful as this recording is, it's not the kind of thing everyone's going to "get" It's still a Zorn piece, and for every easily digestable piece ("Mashav"), there's one that's not so easy to deal with ("Paran"). the praise goes on and on.
Originally performed by a quartet modelled after Ornette Coleman's famed quarter on his Atlantic recordings (alto sax, trumpet, bass and drums), "Bar Kokbha" was the first recording to explore the music in different lights. Human and living. Dinner music. Arresting and engaging.
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