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I said chamber, but that isn't accurate. Chamber jazz with a Jewish musical heritage. The percussion and electric guitar keep this sounding current and modern, even though the acoustic strings are often associated with classical music. When I play this at the office, my coworkers joke that it sounds gypsy-ish. Whatever it is, it's great, with warm strings and some electric sound. While this sounds like a fresh interpretation of various musical elements to me, I wouldn't call this particular album avant-garde. Many of the rhythms and melodies have a familiarity that I don't associate with AG.
While accessible, these compositions are exciting and allow the band to stretch out. Having listened to all of the Second Masada, I've decided that not only is "Lucifer" my favorite, but it it's one of my new all-time favorites. Half of the group (Mark Feldman, Erik Friedlander & Marc Ribot) have their own Book of Angels releases. His playing is articulate, enchanting and passionate on a rare level. More over, while "Asmodeus" is another of my least favorite releases, Marc Ribot shines in this project. In less able hands, the execution might be kitschy. The Bar Kokhba Sextet plays Middle Eastern Jazz.
These fellows pull it off with dignity, inventiveness and elation. Bar Kokhba is nothing less than an all-star band. For me, the Book of Angels has become one of the most deeply rewarding musical odysseys. Together, these guys are greater than the sum total of their parts. For example, while "Malphas" was one of my least favorite Book of Angels, I believe that Mark Feldman is the real star in this group. I don't recall being as moved by a Jazz violin since hearing Stéphane Grappelli play with Django Reinhardt's Quintette du Hot Club de France. The demon Lucifer was believed to seduce by appealing to human desires. I could go on and gush about "Lucifer" but I think that you get the idea.
I'm talking about one of those discs that you can play four times a day for months. The audio quality is much better when compared to the "50th Birthday Celebration." In contrast to both previous releases, this is more honed, tighter and melodically satisfying. Those who don't (Cyro Baptista, Joey Baron & Greg Cohen) are long time John Zorn collaborators. Perhaps because most of these musicians played on the initial "Bar Kokhba" album and on the "50th Birthday Celebration" live release, this group has chemistry. "Lucifer" is more succinct with stronger compositions, a better production and it sounds less Jewish with more of a pan-Middle Eastern sound. Let yourself be sonically seduced because the dark side never sounded so good.
this is jewish cowboy music. the genres, apparently, needed zorn's ear to hear similarities and blend the two of them together. relaxing music. real nice.
This is just superb - great grooves as ever (Zorn can conjure up perfect basslines at will it seems - 'Lilin' springs immediately to mind, but the Masada Books contain so many others), intense yet always sensitive drumming and percussion, and, of course, endlessly beautiful soloing and comping from Ribot, Feldman and Friedlander. Only Zorn is coming up with music this vital, this engaging and this seriously committed, again and again. And when he's not releasing this series, he's releasing his consistently good Filmworks stuff - it's enough to convince you that you're witnessing a Golden Age in music.Now we just need the Electric Masada, Shanir Ezra Blumenkranz and Trevor Dunn/Shelley Burgon takes on Masada Book Two.
This is a beautiful work. Completely original. The Bar Kokhba sextet plays Zorn's music wonderfully. Zorn's compositions on this album are great and interesting. Traditional Jewish music meets surf rock meets contemporary jazz. Very cool.
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