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Language: English

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Enjoy our Budget Air/Ground Shipping - starting as low as $2.99! The overhead camera lets you pick up some keyboard technique. Louis, Missouri, where he attended classes taught by Oliver Lake. [23] [24] While still at Webster, Zorn 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). [25] 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. [26] Zorn immersed himself in the underground art scene, assisting Jack Smith with his performances and attending plays by Richard Foreman. [27] 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. [28] Zorn's early major compositions included several game pieces described as "complex systems harnessing improvisers in flexible compositional formats". [29] [30] 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. [31] [32] 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. [33] [34] [35] 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. [36] 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. [37] Ganryu Island featured a series of duets by Zorn with Satoh Michihiro on shamisen, which received limited release on the Yukon label in 1984. [38] Zorn has subsequently released these recordings as CDs on Tzadik making them more widely available than the original vinyl pressings. [39] 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 themes from The Big Gundown (1966), Once Upon a Time in the West (1968), A Fistful of Dynamite (1971), and Once Upon a Time in America (1984), that incorporated elements of traditional Japanese music, soul jazz, and other diverse musical genres. [40] The Big Gundown was endorsed by Morricone, who is quoted as saying: "This is a record that has fresh, good and intelligent ideas.

Pages: 48

Publisher: Hal Leonard; Pap/Psc edition (May 1, 2016)

ISBN: 1480353566

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