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Zorn, John - Crucible CD Cover Art
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John Zorn Crucible CD

 John Zorn Discography of CDs

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John Zorn is a saxophonist, composer, bandleader, and record label owner--he's also one of the most versatile figures in modern music, able and willing to switch disparate genres (speed metal, classical string quartets) within a single piece. THE CRUCIBLE is music based on myths of alchemy and witchcraft, drawing upon the skills of the equally eclectic guitarist Marc Ribot and vocalist Mike Patton. CRUCIBLE is a mad mélange of modern classical music, doom-laden metal, power chord-driven rock, and freely improvised jazz.

Liner Note Author: John Zorn.

Recording information: East Side Sound, New York, NY.

Authors: Fernando Pessoa; Friedrich Nietzsche; Aleister Crowley; Antonin Artaud.

Photographer: Scott Irvine .

Arranger: John Zorn.

Personnel: John Zorn (alto saxophone); Mike Patton (vocals); Marc Ribot (guitar); Trevor Dunn (bass instrument); Joey Baron (drums).

Audio Mixer: Marc Urselli.

Crucible Music


Detailed Crucible Music Information



List Price $16.98 (You save $3.99)
Category Rock/Pop Albums, Rock CDs, Jazz, Jazz Instrument, Classics (Silents / Avant Garde)
Label Tzadik
Orig Year 2008
All Time Sales Rank   60240  
CD Universe Part number 7771794
Catalog number 7372
Discs 1
Release Date Dec 09, 2008
Studio/Live Studio
Mono/Stereo Stereo
Producer John Zorn; John Zorn
Recording Time 44 minutes
Personnel Marc Ribot - guitar
Joey Baron - drums
John Zorn - alto saxophone
Mike Patton - vocals
Trevor Dunn - bass instrument
John Zorn Crucible Songs


John Zorn Crucible Album Track Listing



1.Almadel, for voice, alto sax, bass & drum
2.Shapeshifting, for voice, alto sax, bass & drum
3.Maleficia, for voice, alto sax, bass & drum
4.9 x 9, for voice, alto sax, guitar, bass & drum
5.Hobgoblin, for voice, alto sax, bass & drum
6.Incubi, for voice, alto sax, bass & drum
7.Witchfinder, for voice, alto sax, bass & drum
8.Initiate, for voice, alto sax, bass & drum, The
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The methodology went like this: former Faith No More/Mr. Bungle/Tomahawk frontman Mike Patton sends hip-hopping turntable masters the X-Ecutioners a bunch of oddball records, then the X-Ecutioners create "sound blocks" out of the albums and send them back to Patton for final tweaking and song-building. Two years in the making, the collaboration feels more like a Patton project than an equal-footing outing, but that doesn't narrow the sound down much, does it? On one hand, there's Patton's penchant for the aggressively avant-garde. On the other, there's his not-as-wild-as-you'd-think appearance on Handsome Boy Modeling School's White People. Ridiculously long and cryptic song titles might point to a crazed, "out there" experience, but General Patton vs. the X-Ecutioners is surprisingly crisp and funky over half of the time, and it's a good guess the X-Ecutioners were the ones to bring the noise. Crazed turntable workouts that recall the crew's greatest underground DJ battle tapes appear throughout the album. They sound untouched for the most part, leading the listener ...
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This album is an attempt to document the live energy of a group whose sound was developed over the years they played weekly at Burlington Vermont's famed Radio Bean Cafe (usually in quartet form - Santor, Cassarino, Carr and McNamara). The album art for "Beyond Human Aid" was done by Kalmia Traver. The back of the album features a collage about war and includes letters written home by American soldiers while stationed in Vietnam and Iraq. Please read the bellow review:All About Jazz Album Review by Dave Major:Soul, instrument, listener—the ideal signal flow for free jazz. Sadly, the sound that can sear across a club all too often falters when forced to travel the shorter distance towards a microphone and on to CD. The inherent difficulty—and some might argue irrelevance—of successfully documenting a primarily improvised form, makes successful releases all the more valuable. Beyond Human Aid presents three lengthy, but tempered and focused tracks from a New York-based group led by bassist Anthony Santor and percussionist Ari Diaconis.The first of these tracks, "Sorcerey and Southern Bells," is plunged forward by guitarist Nick Cassarino's probing strokes of harmony, and teetering, over growing, embryonic rhythm. Drummer Geza Carr and Ari Diaconis on congas effortlessly coax ideas from each other, juxtaposing portions of phased, aggravated battery with tight, clinical interplay, all the while underpinned and indulged by Santor's bass. The sound is quickly dialed into sharp focus by a harmonious and concerted horn solo led by Alex Woslton on trumpet before swiftly dissolving again into an angular, progressive improvisation from Cassarino. Further in, Santor interjects a contrasting solo interlude that is initially haunted by airy horn lines which grow into a much freer, surrealist soundscape. Here the rhythmic and ...
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