JOHN ZORN
The Bribe - (1998)

John Zorn's Bribe is a continuation and extension of his album Spillane. Like its predecessor, this album features almost the same lineup of extraordinary NYC improvisers including pianist Anthony Coleman, drummer Bobby Previte, organist Wayne Horvitz, turntablist Christian Marclay, and harpists Zeena Parkins and Carol Emanuel. Unlike the fast-spliced pace of Spillane, which functioned as its own narrative, the music on Bribe is allowed to stretch and develop because it was composed as a background for the dialogue in three 30-minute radio plays by Terry O'Reilly (it was later adapted to a stage production). O'Reilly described his creation as "low art; " along the lines of little respected categories such as pulp fiction and B-movies. Zorn then constructed appropriate music, continually switching styles and filling it with pop references. The overall mood of Bribe is also different from Spillane and much of Zorn's work (excluding Film Works, Vol. 7), in that it maintains a light-hearted approach, weaving music box chimes and carnival sounds into the music. A nicer mood pervades this release, yet given its kaleidoscopic and slightly demented tone, it certainly can't be described as relaxed. Then again, maybe "relaxed" isn't too far off, after all -- perhaps by playing a supporting role to the production's cast instead of driving the concept, the musicians were able to enjoy themselves a little more. (allmusic.com)

http://www.mediafire.com/?h210lwjdzbh7319

NAKED CITY
Torture Garden - (1990)

From the violent cover art to the Japanese text inside the album, at first glance one might mistake Torture Garden for a fetishist soundtrack. But jazz madman John Zorn and Boredoms frontman Yamatsuka Eye assembled another group of open-minded musicians to carry on their vision of grindcore and jazz uniting. Distinguished musicians Wayne Horovitz and Bill Frisell help Zorn and Eye take this from a curious side project to a fantastic metal band. Songs blur together but never get boring, no lyrics are actually sung, and few songs last longer than a minute. It also never takes itself seriously, a nice relief from Zorn's heavy-handed ambient collaborations. This would make a great introduction to the noise/jazz efforts that this group of musicians pioneered in the early '90s.

http://www.mediafire.com/?mm2dfzzyjgu

JOHN ZORN
Femina - (2009)

John Zorn returns to his famous "file card" technique of composing with Femina, a disc he wrote and conducts with an all-woman lineup, dedicated to women in the arts. Among those honored here are Meredith Monk, Simone de Beauvoir, Frida Kahlo, Madame Blavatsky, Isadora Duncan, Hélène Cixous, Gertrude Stein, Abe Sada, Sylvia Plath, Louise Bourgeois, Margaret Mead, Loie Fuller, Dorothy Parker, Yoko Ono and the moon goddess En Hedu'Anna. Written in four parts, the disc opens with Laurie Anderson's narrative cutting to pianist Sylvie Courvoisier, played over Ikue Mori's electronic doodles. The next card is some bang-up percussion from Shayna Dunkelman that washes out into Carol Emanuel, Jennifer Choi, and Okkyung Lee's strings. Zorn's score reveals his choice to place certain sound blocks next to another. Sometimes the transitions are abrupt, noisy, and feverish, other sections meld into gently flowing sequences. As with the original Spillane and his Naked City band, the astonishing revelation is that this music and its segues are not post-production studio creations, but live performance by these talented artists. Like many other works by Zorn, sheer beauty is often juxtaposed against noise, and scary themes jostle the passages of tranquility. But, then, fans of his music must always expect his music to abruptly awaken.

http://www.mediafire.com/?jzthmeujzyz

JOHN ZORN
Naked City - (1990)

The violent cover photo (which shows a man after he was shot dead) sets the stage for the rather passionate music on this John Zorn set. With guitarist Bill Frisell, keyboardist Wayne Horvitz, bassist Fred Frith, drummer Joey Baron, and guest vocalist Yamatsuka Eye making intense contributions, altoist Zorn performs his unpredictable originals, abstract versions of some movie themes (including "A Shot in the Dark," "I Want to Live," "Chinatown," and "The James Bond Theme"), plus Ornette Coleman's "Lonely Woman." The stimulating music rewards repeated listenings by more open-minded listeners.

http://www.mediafire.com/?sharekey=300c8e89fa751bc3ab1eab3e9fa335cae6010aa222385bfe