FWIW, there's no booklet in the physical box either, just a single sheet with the Tree of Life on one side and some minimal credits on the other. Each disc is housed in a mini-LP sleeve, again with the Tree of Life theme, with an inner sleeve bearing the disc/sephirah number on one side and some symbols on the other. The Sofia Rei disc also includes a lyric sheet.Originally Posted by jkelman
Hurtleturtled Out of Heaven - an electronic music composition, on CD and vinyl
https://michaelpdawson.bandcamp.com
http://www.waysidemusic.com/Music-Pr...MCD-spc-7.aspx
Yes, the metadata/compilation was with the MP3 edition.
I think the subtext is rapidly becoming text.
Despite the minor dithering about the packaging and liner notes, this set is a true masterpiece from someone with lots of masterpieces to his name. Although the basic compositions are all based on some kind of klezmer-ish song style with minor keys and repeating melodies (very similar to recent Israeli folk/jazz from Idan Raichel), it's what the individual musicians do with it that carries this to another level. To choose these master musicians, then encourage them to "go for it" with his music must have been a risky thing for him to do. They covered the songs with piano jazz, screaming metal workouts, Latin American jazz, and that weird whatever from Secret Chiefs 3. What an astounding concept.
I don't like it all, but I really like it!
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This line appears to perfectly sum up just about every "insider's" position on Zorn... There's almost always something to like and dislike - yet there's mostly kudos overall.
"Improvisation is not an excuse for musical laziness" - Fred Frith
"[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM
Yes, this! There's very much an evolution of the series, from early Book of Angels, heavily influenced by Zorn's Masada quartet, and evolving towards more freedom for the arrangers and performers. I gather that the "songs" as written by Zorn are often little more than a melody, or charts, and the performers can go from there in whatever direction. I've read that with Book of Angels, there was a "do whatever you want" direction, but with Ber'iah, there was a stricter requirement to "play the line as written, at least once in a song" and tighter approval on finished work. Either way, tremendous variety.
Even without any direct Klezmer influence, there is a "Jewish scale" that underlies this music. It's basically an augmented Phyrgian scale - start the scale on E, and raise the 3rd and 7th. It adds a couple of step-and-a-half intervals in the scale that gives the music a very distinctive sound.
And thanks for the reference to Idan Raichel. He hadn't made it to my radar yet.
I think the subtext is rapidly becoming text.
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