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Composer John Zorn is a man of many projects, genres and styles. When once asked about styles, in Option, he replied "I'm not afraid of styles; I like them all." He also has a short attention span and because of that his music is a unique aural crosscut of styles—be it avant jazz, classical, cartoon cutups, free improv, computer music—continuously plunging himself into less expected musical territories. Being an intrepid explorer and musical sponge, his wide-ranging interests are so vast and ever-changing that is futile to place him in anything but in a category for himself. It seems that exploration is the motivation and main engine that leads Zorn along his journey to the extreme limits of constant and rigorous research. But not only are his musical interests so wide; his literary and film interests and influences are equally maddeningly broad and diverse, too.

All those references to literary and film interests can mainly be found in the titles of records and compositions. Zorn has found equal inspiration in various literary sources, from crime novels and Japanese manga comic books to occult subjects such as the books of Aleister Crowley, various seekers of the truth and mystics such as G. I. Gurdjieff, the Kabbalah mysticism, and demonology or Gnosticism; in other words, the alternative branch of Christianity. Literary and mystical sources aside, Gnostic Preludes is a fine example of Zorn's unique and fascinating fusion of classical music with western improvisation.

It could have easily been part of his Filmworks series because of its meditative nature. The melody of opening track, "The Middle Pillars" (referencing one of the recommended practices for Sophian initiates) closely resembles the main theme of Filmworks XIII: Invitation to a Suicide (Tzadik, 2002).

Zorn uses the talents of this unusual combination of instruments—harp, vibraphone, bells and guitar—to maximum effect and, as always, he fully engages the performers to be not just dutiful interpreters, but creatively invested collaborators. The sense of beauty lies in the way these instruments are melded in a multi-textured tapestry of sound. Guitarist Bill Frisellis particularly inspired, as his playing shows him being more engaged and focused than he has ever been. Rather than hiding behind his immediately recognizable slow and weaving guitar tones and melodicity, he is more playful and virtuosic. The interplay between vibraphonist Kenny Wollesen, Frisell and harpist Carol Emanuell on "Book of Pleasure" is beautiful, with characteristically minimalistic repetitive motifs on vibes and Frisell providing Dave Gilmour-esque edgy guitar works. It is a gorgeously slow tune with lyrical imagery for the mind and the soul.

"Prelude of Light" continues down this strange yet inviting path. It alters between beautiful backwash of harp and vibes melodies and drones, with Sephardic melodies provided by the intricate guitar. The shimmering nature of the sounds produced on "Diatesseron," "Sounds of the Spheres" and "Circumbulation" creates delicate filigrees that pulsate with absorbing detail. The layered production gives these compositions a hypnotically captivating quality that induces a dreamlike state; the effect is really intoxicating. "Sign and Signal" is another delightful track, featuring beautiful and intricate interplay between Emmanuel and Wollesen's vibes and bells. 

It shimmers with Steve Reich -like pulsating repetitive motifs taken further with Frisell's overtly blissful Sephardic guitar lines. 

It is an infinitely fascinating track that begs to be revisited over and over.

Gnostic Preludes is an intriguing and seductive recording, with a gentle and contemplative feeling that resonates with emotive power. 

It combines the feel of ambiance music with lyrical and melodic prowess seldom seen in Zorn's work. As such, it is a moving work well worth surrendering to.

:::Review by Nenad Georgievski:::

John Zorn - The Gnostic Preludes (2012)

1. Prelude 1: The Middle Pillar 6:39

2. Prelude 2: The Book Of Pleasure 6:06

3. Prelude 3: Prelude Of Light 5:56

4. Prelude 4: Diatesseron 4:35

5. Prelude 5: Music Of The Spheres 8:14

6. Prelude 6: Circumambulation 6:34

7. Prelude 7: Sign And Signal 6:22

8. Prelude 8: The Invisibles 3:35

Credits

Composed By, Arranged By – John Zorn

Guitar – Bill Frisell

Harp – Carol Emanuel

Vibraphone, Bells – Kenny Wollesen

Claudia Heuermann's "A Bookshelf on Top of the Sky: Twelve Stories About John Zorn" is not quite what it seems. Expectations ran high, a documentary about John Zorn, the man who rarely grants interviews and when he does, seems to say everything and not say anything at all, whose music jumps genre to genre in a matter of seconds, captivates some, horrifies others, and has a strange sway over its fan.
What Heuermann did though was quite a bit different-- she told the story about her trying to make the movie, about her relationship with Zorn, from the moment she first discovered him (a friend playing her Naked City's "Torture Garden") to her meeting him for the first time, travelling to New York and deciding to make a movie about Zorn. It's really a piece about self-discovery, about learning to be one's "own parent".
Along the way, we get snippets of interviews with Zorn, brilliant statements, footage of rehearsals, recording sessions, remastering of "The Big Gundown" and live performances from Naked City, Painkiller, Masada, Bar Kokhba, Emergency, and "Rituals". We also get a brief explanation of game pieces and a picture of a frustrated artist who can't stop looking, who views music as problem solving, and who does it not for listeners, but for himself and the musicians.
This is the second time I've watched this-- the first time was when it first came out, and I was still in the process of discovering Zorn's work through a chance encounter at an independent movie theater (Naked City was the house music before the show, and somehow I knew who it was). Three months and a dozen or so Zorn CDs later and this came out to guide my way, to help put the pieces together.
A year after that and my Zorn collection is bordering on obscene and the piece still holds weight. It still is entertaining, and yeah, its not a lot of revelatory stuff, but it's a worthwhile viewing. Truth to be told, in many ways, the piece gave validity to my own view on my choice of career and my great passions. And I keep thinking that maybe when my coworkers ask why I'm making the four hour trip to New York City yet again to see some obscure musician who they've never heard of (and who if they did hear, they'd probably dislike), maybe in those situations I should let them borrow this and certainly Heuermann's experience isn't really that much different from mine. Isn't that powerful enough to merit a recommendation to someone else?
If you're just learning about Zorn, get this, it's critical. If you're already initiated, you probably already have it. It's got its flaw, but invariably, it's a deeply personal expression, how could it not? Either way, it's a fun film to watch. Recommended.

:::Review from amazon.com:::

John Zorn - A Bookshelf on Top of the Sky: 12 Stories about John Zorn, DVD (2004)

Credits
- Cyro Baptista
- Joey Baron
- Stefan Blum
- Anna Carewe
- Jennifer Choi
- Greg Cohen
- Anthony Coleman
- Ariadne Daskalakis
- Uwe Dierksen
- Dave Douglas
- Mark Dresser
- Yamataka Eye
- Mark Feldman
- Erik Friedlander
- Bill Frisell
- Fred Frith
- Mihoko Fujimura
- Joyce Hammann
- Wayne Horvitz
- Susie Ibarra
- Matthias Kaul
- Otis Klöber
- Briggan Krauss
- Bill Laswell
- Hartmut Leistritz
- Dave Lombardo
- John Medeski
- Ikue Mori
- Nele B. Nelle
- Mike Patton
- Jim Pugliese
- Marc Ribot
- Roberto Rodriguez
- Josh Roseman
- Jamie Saft
- Astrid Schmeling
- Michael Schröder
- Stefan Schäfer
- David Shea
- Chris Speed
- Jim Staley
- Mason Wendell
- William Winant
- Kenny Wollesen
- John Zorn

Releases information
DVD Tzadik (TZ 3001), Mar 2004

Bill Frisell has long been one of the most unique guitarists around. Able to switch on a moment's notice from sounding like a Nashville studio player to heavy metal, several styles of jazz, and just pure noise, Frisell can get a remarkable variety of sounds and tones out of his instrument. This set features Frisell in a quintet with Don Byron (on clarinet and bass clarinet), Guy Klucevsek on accordion, bassist Kermit Driscoll, and drummer Joey Baron. To call the repertoire wide-ranging would be an understatement. In addition to eight melodies from Aaron Copland's Billy the Kid, Frisell and company explore (and often reinvent) pieces written by Charles Ives, Bob Dylan, Muddy Waters, Madonna, Sonny Rollins, Stephen Foster, and John Phillip Sousa. This is one of the most inventive recordings of the 1990s and should delight most listeners from any genre.

:::Review by Scott Yanow:::

Bill Frisell - Have a Little Faith (1993)

1. Billy the Kid: The Open Prairie 3:11
2. Billy the Kid: Street Scene in a Frontier Town 1:45
3. Billy the Kid: Mexican Dance and Finale 3:44
4. Billy the Kid: Prairie Night (Card Game at Night) / Gun Battle 5:02
5. Billy the Kid: Celebration After Billy's Capture 2:17
6. Billy the Kid: Billy in Prison 1:33
7. Billy the Kid: The Open Prairie Again 2:34
8. The "Saint-Gaudens" in Boston Common (excerpt #1) 0:42
9. Just Like a Woman 4:49
10. I Can't Be Satisfied 3:00
11. Live to Tell 10:10
12. The "Saint-Gaudens" in Boston Common (excerpt #2) 3:05
13. No Moe 2:37
14. Washington Post March 2:05
15. When I Fall in Love 3:26
16. Little Jenny Dow 3:30
17. Have a Little Faith in Me 5:42
18. Billy Boy 1:38

Credits
Accordion - Guy Klucevsek
Bass - Kermit Driscoll
Clarinet, Clarinet [Bass] - Don Byron
Drums - Joey Baron
Guitar - Bill Frisell

Although officially released in 1990 as a John Zorn solo album, “Naked City” was in fact the debut of a whole new band of the same name. Although it turned out to be a short-lived formation (it lasted only a couple of years), it existed long enough to obtain a legendary status among avant-garde fanatics. With his Naked City project - which also featured Wayne Horvitz, Bill Frisell, Fred Frith, Joey Baron, and occasionally Yamatsuka Eye - John Zorn produced a challenging mix of jazz and hardcore/metal. Zorn had already experimented with this combination on the cover album “Spy Vs. Spy” - on which Ornette Coleman tunes in the melody section were set against hardcore ‘grooves’ in the rhythm section - but with Naked City he ventured even further into rock territory. Add to this Zorn’s love for film and cartoon music, superb musicianship, and a good dose of humour, and you’ll get an idea of what “Naked City” sounds like.

The album contains both original compositions and cover songs (seven in total). The latter, however, are arranged in such a way that they fit into the style of the album perfectly and they don’t disturb the flow. The most notable covers are “The James Bond Theme” and “Lonely Woman” - a famous film tune and an early free jazz classic (Ornette Coleman). One of the best originals on the album is the unpredictable “You Will Be Shot”, but even more unpredictable - and also the most impressive - are the eight tracks that make up the center of the album. These agressive bursts of energy, all of which clock in at less than fourty-four seconds, pretty much summarize the musical language of the band. Moreover, the fragmentary character of these pieces is distinctive for John Zorn’s musical vision at the time. (According to the American musicologist Richard Taruskin, Zorn once wrote that “‘I’ve got an incredibly short attention span’, and that his music is meant for listeners who, like him, grew up with television.” *)
In my opinion, “Naked City” is a postmodern masterpiece and an artistic statement in the line of such landmark works as Ornette Coleman’s “The Shape Of Jazz To Come”, Frank Zappa’s “Freak Out!” and Captain Beefheart’s “Trout Mask Replica”. Apart from that it could be a nice introduction into Zorn’s gigantic discography. People who like wild, experimental music will certainly enjoy it, and especially fans of Mr. Bungle or Fantômas will be delighted.

* Richard Taruskin, The Oxford History Of Western Music, Volume 5: The Late Twentieth Century (Oxford University Press, 2005), p. 504

:::Review by Joren:::

John Zorn - Naked City (1990)

1. Batman (2:04)
2. The Sicilian Clan (Ennio Morricone) (3:33)
3. You Will Be Shot (1:31)
4. Latin Quarter (4:12)
5. A Shot In The Dark (Henry Mancini) (3:13)
6. Reanimator (1:43)
7. Snagglepuss (2:20)
8. I Want To Live (Johnny Mandel) (2:12)
9. Lonely Woman (Ornette Coleman) (2:45)
10. Igneous Ejaculation (0:24)
11. Blood Duster (0:17)
12. Hammerhead (0:11)
13. Demon Sanctuary (0:42)
14. Obeah Man (0:20)
15. Ujaku (0:31)
16. Fuck The Facts (0:14)
17. Speedball (0:44)
18. Chinatown (Jerry Goldsmith) (4:28)
19. Punk China Doll (3:06)
20. N.Y. Flat Top Box (0:46)
21. Saigon Pickup (4:50)
22. The James Bond Theme (John Barry) (3:06)
23. Den Of Sins (1:14)
24. Contempt (Georges Delerue) (2:54)
25. Graveyard Shift (3:32)
26. Inside Straight (4:17)

Musicians
- John Zorn / alto sax
- Bill Frisell / guitar
- Wayne Horvitz / keyboards
- Fred Frith / bass
- Joey Baron / drums
special guest:
- Yamatsuka Eye / vocals