1/ Desolate Landscape (Zorn) 4.32
2/ Mina (Zorn) 3.35
3/ The Battle of Good and Evil (Zorn) 5.14
4/ Sinistera (Zorn) 3.22
5/ Van Helsing (Zorn) 3.25
6/ Fatal Sunrise (Zorn) 3.17
7/ Hypnosis (Zorn) 2.10
8/ Lucy (Zorn) 2.46
9/ Nosferatu (Zorn) 2.27
10/ The Stalking (Zorn) 7.33
11/ The Undead (Zorn) 4.00
12/ Death Ship (Zorn) 2.00
13/ Jonathan Harker (Zorn) 5.29
14/ Vampires at Large (Zorn) 4.17
15/ Renfield (Zorn) 3.31
16/ Stalker Dub (Zorn) 3.24
Recorded June 2011 at EastSide Sound by Marc Urselli
Mixed at Orange Music Studios, New Jersey by Bill Laswell
Mix Translation: Bill Laswell
Mix engineer: Bob Musso
Mix assistant: James Dellatacoma
Produced by John Zorn
Associate Producer: Kazunori Sugiyama
Mastered by Scott Hull
Rob Burger: organ, piano; Bill Laswell: bass; Kevin Norton: drums, orchestral bells, Tibetan bowls, vibraphone;
John Zorn: breath (9), electronics (9), Fender Rhodes (7,14), piano (1,4,5,11), alto saxophone (3,6,10,16).
2012 - Tzadik, (USA), TZ 7397 (CD)
Rather than a John Zorn conceptual recording, Nosferatu was a commissioned work for a Polish theater group's dramatic production based on
the Bram Stoker novel. Zorn gathered Rob Burger (piano and organ), Kevin Gordon (xylophone, drums, bells, and Tibetan prayer bowls),
and bassist Bill Laswell together for this project. The composer played alto saxophone on four cuts, a bit of acoustic or Rhodes piano on
others, and electronics on one more. Nosferatu is a proper score. Its 16 cues range from two minutes to over seven-and-a-half. Musically
it's all over the place (a good thing). The character themes are the most formal compositions here, with piano and xylophones as their sole
instrumentation. "Mina" is elegantly elliptical, and mysterious with classical overtones. "Lucy" is almost romantic in its dreaminess without
sacrificing Zorn's trademark lyric twists and turns. "Jonathan Harker" contains a bluesy, modal feel. Others, such as the brief title cut, are
almost experimental in texture with their lack of a fixed framework. "The Stalking" is the album's longest track and is downright dubwise.
Fueled by a truly creepy organ, a shuffling, sinister drum kit, and Laswell's fat, dank bassline in the driver's seat, it also hosts Zorn's alto
chittering in from the margin, while the organ, double bass, and drums plod forward menacingly. Likewise, the closing track is, in fact, meta:
it's another deep, humid rhythm-fest entitled "Stalker's Dub." Speaking of menace, the barely contained rumbling drums and bass throb in
"The Battle of Good and Evil" set up a Zorn skronkfest on the alto -- but it contains a surprise, too, in that he finds a Jewish folk chant to
evoke as a melody line in the middle of the chaos. When Burger's organ begins freely improvising against the horn, it feels like free jazz
meeting heavy metal -- without the guitars. "Death Grip" despite its ordained slow pace, spaciousness, and brevity, is the most abstract
thing here. With the ever-changing nature of its music and the relatively short cues, Nosferatu feels much shorter than it is; it's a deeply
focused work that holds together easily. While its very subject matter dictates sinister overtones, the music found here, with few exceptions,
is quite pleasurable and accessible listening; when taken together, its cues suggest a new kind of American Gothic.
3 1/2 out of 4
Tom Jurek (courtesy of the All Music Guide website)
I don't really get many John Zorn albums anymore. It's not that I don't like them. I just have A LOT. Way more than I have time to listen
to. So I'm a lot more choosey these days. This one struck me as pretty unique.
This is a score Zorn composed for a Polish stage version of Nosferatu. The quartet of musicians includes long-time collaborator Bill Laswell.
There's quite a bit of diversity throughout this hour of music. It opens with ambient sounds and textures. There are the louder more abrasive songs
that Zorn is known for (although not even close to Naked City-type stuff) juxtaposed to calm quiet piano tracks. The album varies from
experimental to psychedelic electric jams. There are even traditional jazz saxophone and piano pieces.
Anyway, I haven't seen the play but the album works great on it's own. It's probably one of his more accessible albums and has something
for everyone (disclaimer: not everyone).
Henry Krinkle (courtesy of the ComfortComes website)