Observance, Z-rn

this has been in our Netflix cue for a while but i still haven't watched it. as mentioned earlier, Zorn had a lot to do with my introduction to film music. he's scored scores of films, and his Filmworks series of releases are among his most consistent. in the 80s his film output leaned more toward his cut-up, fast moving style; colliding genres into bits, defying conventional composition. but toward the mid 90s there seemed to be a change to more thoughtful, pensive pieces as the films he'd choose to score were focusing on aspects of modern Judaism: faith and tolerance, faith and sexuality, even a couple of profiles on Jewish film icons; Marie Menken and Maya Deren.



all of these pieces are performed with uncommon grace. they are, like the people in the films, intently searching for answers, questioning and quietly seeking their place in the world. Zorn (which means "anger" in German, btw) definitely has a spectacular stable of artists which he uses -some of the best at their instruments, in my opinion- and they handle his compositions beautifully. (most of his collaborators, incidentally, are also Jewish. lends an elevated understanding, no?)



strange that for all of the crazy, alchemical and downright confounding music Zorn is best known (and most often maligned) for, it's the understated eloquence of his film scores that resonate the strongest for me. i may not identify with the struggles and the faith depicted in these films but i am grateful to be exposed to them through this music.

too quick a convo last night. hope we have a li'l more tonight!

LRV, b


PS: i want to go on record as saying that Trembling Before G-d is one of the heaviest albums of all time. not for being loud and thrashy but for devastatingly dark and affecting, (and with only two instruments: organ and clarinet). makes riff-and-shred sound like sandbox crying.