I’m really digging John Zorn and Klezmerson’s Amon. It’s got that same delightful jazz/klezmer fusion that Lucifer had, but it’s also almost like really slow ska in how it handles its brass.
Well, let’s continue this extensive review and listen! So far, it is full of surprises and expected things, so I expect even more of them here.
Volume 16 - Haborym
Interpreted by the Masada String Trio
Well, once again the Masada String Trio comes to show us some more of their stuff. This time, though, it’s not like Azazel (Volume 2). Not free jazz, but a more relaxed, chilled version of it.
Tychagara, for example, is a magnificent piece of music in this volume. Interpretations in a less chaotic manner, and instead using a ‘happy deconstruction’ of the compositions. Klezmer is there in a more acoustic way, let’s say. I mean this as in a more... natural way? The improvisations are not forced. Chaotic descents don’t occur unless the song calls for it, instead of it being the focus. A more melodic experience.
A more musical Masada String Trio, a more musical jazz, without leaving Klezmer and zorned sounds behind. Refreshing to listen to!
Volume 17 - Caym
Interpreted by Cyro Baptista’s Banquet of the Spirits
Another style, another culture, another atmosphere... let’s go outside of conventions. Banquet of the Spirits really re-defines what is intended on the compositions written in the book. Sticking to Klezmer, but taking it outside of its origins, and instead of sounding Middle-Eastern, it’s all a jazzy Klezmer madness.
An adventure book, Caym is a marvel. It’s not like Orobas in the sense that it’s more traditional. Instead, it explores into other genres and cultures and adds them unto Klezmer itself. A unique complete atmosphere that is achieved by this record.
The rhythm in this collection is an important part of the atmosphere. It takes you somewhere else. From enjoying this in your room to... I don’t know. Exotic, full of solos that are not chaotic, embracing atmospheres of meditation and adventure... another unique piece of the book.
It has a perfect ending as well (Phaleg, an epic).
Volume 18 - Pruflas
Interpreted by David Krakauer
A familiar sound... chaotic... dark... alien. Empty, dissonant solos. Chants, electronics, winds... all surrounded by silence. An eerie atmosphere.
Free jazz? Maybe? Not quite like the familiar free jazz of Zorn, other than the Klezmer scales. Progressive for sure, it slowly adds up into the chaotic familiar territory, with the weird motifs and riffs and raff-ruffs we already know about, but somehow different and refreshing. A bit more wild, more natural. These are Zorn compositions, but NOT Zorn’s free jazz style. This feels different. A natural orderly disorder, more melodic to the ears, but still alien enough.
I’d like to say this free jazz is unique enough to be distinct but familiar to Zorn’s free jazz with Klezmer. It is different, it feels different, and that’s what makes it special. Kasbeel, Parzial-Oranir and others are examples of this. Fantastic.
Volume 19 - Abraxas
Interpreted by Shanir Ezra Blumenkranz
High-speed bass madness! Abraxas opens up with a chase through the city. A more modern rock version of what Ribot did in Asmodeus. Guitar effects are cleaned up a little bit, and there’s more emphasis on the bass movements and rhythmics. Guitar is definitely the main show.
Instead of focusing on the jazz aspect as much as Ribot does, Blumenkranz instead plays with the scales and, though there is jazz, like in Nachmiel, it is not the main focus. The main focus here is how balanced the sound is. There is distortion, but clean enough so the notes played are comprehensible. It’s not the jazz experience one expects. Not my flavour of jazz, but doesn’t sound bad at all.
Overall, Abraxas is guitar playing with Klezmer and jazz elements. I... don’t anything else to say on this one.
Volume 20 - Tap
Interpreted by Pat Metheny
A distinct sound characterises Tap, and that is the use of both acoustic stringed instruments and electric, distorted guitars. A flavour of jazz is not heard of in many places. The Klezmer is reduced to a texture, instead of it being the flavour. The rhythms are syncopated instead of being emphasised...
This is a more acoustic experience of jazz. There are of course many random additions to the atmosphere, but they just build up to the atmosphere, they don’t create it. Slow, methodic, repetitive but lush, the interpretations root in the mind. They make you think. It’s the experience, not what they’re doing. Soundscapes are commonplace here. Inspiration from the musicians. Sometimes what they do doesn’t make sense, but fits there. It’s a continuation of what they are thinking at the moment. It’s sincere.
Complex in some places, like in Tharsis, and expansive at the same time. It’s jazz that reflects on itself and evolves slowly into the musicians’ own thoughts. Progressions and progressions go by as the compositions disappear into a sea of mesmerising sounds and atmospheres. It liberates from the written composition, it becomes the music itself. The composition is a part of the song, not the song. The music’s free but still organised.
I love this volume.
Volume 21 - Alastor
Interpreted by Eyvind Kang
Another vision of the book, Alastor is the tale of a distant time, in a distant place... rich in details, textures, flavours, and spices. It embraces the Klezmer roots perfectly in a mix of modern and past, from synth strings, to authentic strings, all in a royal way.
A grandiose work full of outlandish textures, features and movements meshed with the fantastic compositions of Zorn. A modern classical music work that is just wonderful. Jekrel, for example, is an odd-sounding marvel. Castles that are hidden by the melting dunes over an orange sunset. That is the description I have for it.
A majestic mix of sounds, the atmospheres created evoke adventure. I can say tea tastes better while this is sounding. Definitely, this is a standout.
Volume 22 - Adramelech
Interpreted by Zion 80
Oh! The beat is strong in this one! So funky! The horns! The organ in the background! Oh, gee! This makes me wanna dance, even though I don’t like to! Yes!
The bass lines, the rhythm, that smooth organ! Araziel, the first track, is a treat to my ears. It has enough of that jazzy feel, but the funk is strong! The solos have elements from free jazz, but they don’t remove THAT FANTASTIC BEAT. That’s excellent. The deconstruction of a free jazz composition, without going away from the funky amazingness!
Not everything is funk, as with any volume here: the klezmer has to shine. The horns are used extensively in the tracks, and even when they do enter that Zorn territory of madness and complex rhythmic sections, they manage to stay in contact with their human side and create these amazing funk passages. Everything is under controlled, nothing goes outside of its place. Orderly disorder. I have thrown these words like nothing many times, huh.
Funky lettuce for the salad-needy soul.
Volume 23 - Aguares
Interpreted by Roberto Rodríguez
This is latin. Yeah, another unexpected interpretation of a Jewish book of Klezmer avant-garde jazz. The scales are noticeable, but they no longer sound as Jewish. Salsa-ish, the jazz portrayed here has clear latin influences.
Usual salsa is way more repetitive and lacks lustre in the solos and the structures it has. Combining it with more jazz makes it feel softer, less dance-full, but to an extent, more complete. It only needs the singer that sings as a counterpart to the melodies in the background.
Klezmer is hard to hide since its scale is very strong in flavour. It removes the “western” influence and gives an immediate eastern feel. Still, the rhythmic intentions kinda mix it up, and the use of flutes and other instruments hide it. It’s not the intention here. Instead, it wants to accentuate those roots. The salsa here is made of those Klezmer scales, and that’s the important thing here.
Rodríguez does an excellent job mixing both “exotic” influences, latin and klezmer, and serves them on a silver plate. With a lot of ... whatever they serve on Cuba. Yeah.
Volume 24 - Amon
Interpreted by John Zorn - Klezmerson
I expected this to begin with some crazy saxophone manoeuvre, enveloping the listener into a chaotic ramification of different instruments battling for the death of our ears and souls. Instead, I got something more... charming, melodic...
It sounds acoustic. A harmony of horns, acoustic guitars, danceable rhythms. Then, in the second song... it’s the same. And when the rhythm changes, well... Zorn’s there... not doing crazy things. I think. Is it coming?! Is this just a disguise?! Will it surprise me with his #saxofZorn?
This was a surprise. I never knew there was a Mexican band called Klezmerson, just doing experimental music... I should give it a listen (since I’m Mexican and interested in this). Anyway... after realising that, I immediately recognised the influences. It definitely has Mexican roots. It’s very identifiable.
Samchia, Abachta, they are just pure gorgeousness surrounded by guitars and requintos, horns, and many other instruments. A pretty different vision of the book, Klezmerson manages to do another unique interpretation of the book. Ignoring the fact that it’s Mexican, this is another standout. It’s just gorgeous and amazing to listen to. What a way to end the day.
Well, how do I choose today’s highlights, when almost all of the volumes were unique and different?! Well... let’s see...
Highlights: Pruflas, Tap, Alastor, Amon. (also, near-highlights, Adramelech and Caym!)
I Klezmerson sono una band messicana che mette insieme musica klezmer, musica latina, ritmi gitani, armonie jazz e furia rock. Non so se qualcuno lo ha già detto o l'ho intenvato io, ma io parlerei di "klez-mex".
Klezmerson interpreta a John Zorn en Bajo Circuito El grupo mexicano de música experimental Klezmerson, presentará su álbum Amon Masada: Book Two, Book of Angels Volume 24, perteneciente al proyecto Book Of Angels, serie instituida por el célebre músico estadounidense de vanguardia John Zorn, quien le cedió a la banda música de su autoría, para que la reinterpretara desde su particular óptica, en un evento de tintes históricos para la escena musical de nuestro país.
