"I Called Him Morgan" : A Lee Morgan Documentary

This weekend I watched a great documentary on Lee Morgan. The film is not totally related with his musical life but more on his personal life and most importantly about his charisma and unfortunate death. The film takes the viewer to the New York of 50s, 60s and early 70s with some really good footage from those amazing times.

Just take a look at the trailer below, and if you are curious about the brilliant but damaged life of the Morgans, watch the film...

I Called Him Morgan:

The 2016 film is written and directed by a Swedish documentary filmmaker called Kasper Collin. He is also the director of another beautiful jazz documentary, "My Name is Albert Ayler".

"I called him Morgan" tells the viewers Lee Morgan's and his common-law wife Helen Morgan's lives in a dramatic way and depicts the tragic story how she had shot him in 1972. 

In the film you can see many notable jazz musicians who were his colleagues and friends, such as Wayne Shorter, Bennie Maupin, Charli Persip, Billy Harper and Albert "Tootie" Heath speaking about Lee Morgan's life and his musical talent. 

"The Sidewinder" by Lee Morgan

The story of the film is based on the interviews of Helen Morgan by a local Wilmington, North Carolina radio host, Larry Reni Thomas, who had the opportunity to meet Helen and hold a series of meetings just before her death in 1996.

You can see and hear the fascinating stories how Lee Morgan arrives in New York at a young age, how he became famous playing side by side with Dizzy Gillespie and Art Blakey, his drug related problems in the later years and amazingly how Helen Morgan saved him from totally going down and pulling him out of his heroin addiction.

At the same time the film very well reflects Helen Morgan's life since childhood, how she ended up in New York and her interactions with the jazz community.

The film is also a good opportunity to get to know Lee Morgan and his talent a little better and how he could easily become a trumpeter maybe bigger than Dizzy Gillespie or Miles Davis if he hadn't died so early. In one part of the movie, Lee Morgan talks about jazz music and says he does not like the word "jazz", finding it an imposed definition especially for the black people's music. He chooses to use the "black classical music"...Something else to ponder about, right?

I think it is a sad documentary. It is beautifully structured, blending very well the talent of a young jazz artist with a true crime and it does this in a very humane way. Everyone being interviewed is so sincere, mainly Helen Morgan. The director's concentration on specific emotional parts of the couple's intense relationship make the documentary a real pleasure to watch. But one cannot stop to think what would be of Lee Morgan if it hadn't snowed so heavily in New York that very night or the ambulance had arrived on time.

It is bittersweet and it is tragic but at the same time makes one to remember virtues like forgiveness and compassion which turns the film to a poetic and atmospheric one...

An Energetic Virtuosa: Hiromi

Japan has many talented jazz pianists like Tsuyoshi Yamamoto, Toshiko Akiyoshi, Aki Takase, Junko Onishi and Kei Akagi. But in my opinion, Hiromi Uehara is the wittiest of them all. I had the chance to see and listen to her live on stage couple of times and I can tell you that it is both a visual and a sonic experience. She is full of energy and talented in so many ways yet so humble. I have to confess that another reason I like her musically is that she also uses synthesizers during her performances.

Hiromi:

Born in Japan in 1979, she started her classical piano lessons at the age of 6. Later she was accepted to the Yamaha School of Music (maybe that's why she is so fond of Yamaha pianos) where she was introduced to jazz. She was a real child prodigy and played with the Czech Philharmonic Orchestra at the age of 14 and with Chick Corea at the age of 17. Couple of years later she went to Boston to attend the Berklee School of Music where she graduated from with a jazz composition degree. During the school years she had the opportunity to study with Ahmad Jamal.

Hiromi Uehara & Chick Corea "Concierto de Aranjuez / Spain"

So what makes her such a special pianist and musician?

First of all, her dynamism takes her playing to a different level. She can even be extreme sometimes,  where the listener feels more like attending a rock concert rather than a jazz concert. I am not saying this in a bad way, the audience loves it. In one interview she said she had always wished to be a member of Frank Zappa's band...
Her usage of uncommon parts of the piano (very low and high notes as well as the inside of the piano) is quite fascinating. She is obsessed with acoustics of the places she plays as she always tries extend the dynamic ranges of the piano. You can hear her playing Pachelbel's Canon with her very own authentic style and witness how she shapes the sound of the piano.

"Pachelbel's Canon" by Hiromi

Apart from being an excellent performer she is also a brilliant composer who can compose in many styles. Once can easily grasp the marvels of her pieces both with a classical and jazz perspectives.

When I listen to her music, especially the solo piano and her trio recordings, I often think about her cultural background and how different would her playing be if she'd been American or European...I think there is a commonality between Eastern musicians, especially between the ones from the Far East. They all have a high sense of responsibility both against the music and the audience. Her compositions and playing style are quite detailed, with an approach that will not tolerate a single slip or flaw and yet very humble, very similar to the Japanese culture. If you listen to her trio recordings, silence is also an important part of the music that expresses her serenity in contrast with her passionate physical performances on stage.

"Time Difference" by Hiromi's Sonicbloom

We can maybe classify her discography in 3 categories. Her recordings as the "Hiromi's Trio Project" with Anthony Jackson on bass and Simon Phillips on drums including the titles "Voice", "Move", "Alive" and "Spark".
Secondly her "Sonicbloom Project" with David Fiuczynski on guitar, Tony Grey on bass and Martin Valihora on drums with the titles "Time Control" and "Beyond Standard".
Lastly her initial recordings with various artists called  "Another Mind", "Brain", "Spiral" and "Place to Be". She's also contributed to many notable musicians in their recordings such as Chick Corea, Stanley Clarke and Edmar Castaneda.

"Fire" by Hiromi and Edmar Castaneda

As you can also observe from all the videos, she is a free spirit with a deep respect to all her surroundings, be it the other musicians or the audience or the music itself. Always displaying an incredible amount of energy, amazing playing technique and profound composing aptitude will keep her very much in the forefront of the jazz scene for many years to come...

“I have to be in the best condition for my audiences. 

I have to thank them that they have chosen to give two hours of their life to me. 

I feel like the captain of the boat and I invited them along for a ride on the boat 

so I have a great responsibility to provide the best possible ride on the boat!” 

Hiromi

Jazz in Japan

It's always been a wonder for me how Japan became a country that is so fond and appreciative of jazz with such a large proportion of jazz fans compared to the other parts of the world. I know some stories from my dad who was born and lived in Japan until the age of 22. He was more of a crooner guy, but always had told me how jazz had been the leading musical taste after the WWII.

So I made a little research on this topic that I would like to share with you in this post with some fine examples of Japanese jazz figures and their music.

Jazz in Japan:

Unlike general beliefs, jazz music in Japan goes way back than the WWII. In the early 1920s, cruising across the Pacific Ocean was quite popular, making Kobe, Osaka, Shanghai and Manila important ports of the time on the Asian side along with San Francisco and Seattle on the US side.
These cruise lines, especially the luxurious ones, always had musical bands on them either consisting of Asian or American musicians. When the Asian musicians arrived in the US, first thing they did was to go ashore looking for sheet music and records in order to dig the latest music and musical trends. This was one of the first explanations how jazz music arrived in Japan.

Another main reason was the Filipinos. At that time Philippines was like a US colony with a lot of US corps stationed there. Filipinos learned how to play jazz and blues from the US soldiers and these Filipinos traveled to Japan to work in hotel lobbies and clubs.

"My Blue Heaven" 1928

Maybe the first usage of the word "jazz" was in the below song that was used for a 1929 silent movie called "The Tokyo March". The lyrics to the song speak about modern life and things like jazz music and cinema.

"Tokyo March" by Sato Chiyoko

Busy ports such as Osaka and Kobe were the leading cities in Japan for entertainment. This was partly due to those cities attracted the cruise traffic hence tourists, and the 1923 big earthquake in Tokyo and the city needed a vast rebuilding. Even in the first half of the 1920s, Osaka had a vibrant nightlife with many dance halls and music clubs.

The "Satchmo of Japan", trumpeter Fumio Nanri from Osaka (later moved to Shanghai and San Francisco), is considered to be the first jazz musician of Japan.

One amazing story from the Osaka nightlife is that the dance halls had sold tickets to their customers per song. One ticket covered one dance to one song. Therefore the club owners hired musicians that would only play short songs without adding any touch to the original short composition and restricting the players from long improvisations. Obviously this meant short songs but many songs and many songs equaled more tickets...

In the beginning of the 1930s, exactly like what happened in Germany, jazz music started to be seen as an inferior music that was contradictory to the Japanese traditions and moral values. One by one the dance halls and clubs began to close down especially in Osaka. This led the musicians to flee to Tokyo where it was still less conservative. They found recording opportunities in many American record companies had already entered the Japanese market by establishing branches in Tokyo. Some jazz musicians such as Ryoichi Hattori combined Japanese sounds with jazz in order to avoid the controversies of pure jazz.

"Oiwake" by Ryoichi Hattori's Columbia Jazz Band

Another interesting story is related with the Japanese "Jazu Kissa" concept. This is a jazz cafe where people can go and listen to a jazz record while sipping their coffees. The main difference is that the audience in these Jazu Kissas are more like concert goers rather than coffee goers. They sat and quietly listened to the music just like they were attending a live concert.

I am following an instagram account about the current "Jazu Kissas" and they share wonderful posts. Here is the link if you would like to follow them.

https://www.instagram.com/jazz_kissa

Obviously jazz music during the WWII was considered as the music of the enemy and was banned to be played publicly. However on the contrary, jazz had become so popular to be banned by then. Music continued in different forms and mostly in the underground but never lost its popularity during those tragic years.

By the end of the war and with the US occupation in Japan, jazz again began to be widely acclaimed. The US troops were looking for dancing halls and these dancing halls were looking for musicians. 

Oasis of the Ginza Dancehall in Tokyo after the WWII

Between the years of the Allied Occupation in Japan (1945-1952) thanks to the American Forces, jazz music became amazingly popular, very parallel to the developments in the Western world, but there was such a shortage on jazz players. Many American army members used every means to bring up new musicians for the Japanese jazz scene to entertain their troops stationed there. I have read many memoirs of notable jazz players saying that they had learned the jazz music with the help of American soldiers and officers in the army barracks.

One of the main jazz figures of Japan, Toshiko Akiyoshi was discovered during these years. She was only at the age of 20 when she moved to Tokyo with a passion in bebop. Couple of years later she met Oscar Peterson and that's how her life changed. She went to Berklee College of Music and after that became a notable bob pianist and a big-band leader. 

Toshiko Akiyoshi Trio (including Eddie Safranski and Ed Thigpen)

Japanese jazz scene expanded immensely during the occupation years and following the end of the occupation, a lot of new artists began to develop their own sounds and styles and kept jazz music very much alive until today. Leading musicians are, sax player Sadao Watanabe (who started his career as a member of Toshiko Akiyoshi's band),  trumpet player Tiger Okoshi, pianists Masahiko Satoh, Aki Takase and Tsuyoshi Yamamoto. 

"Hank Jones Trio feat. Sadao Watanabe and Hiromi"

I have intentionally picked the video above in order to introduce you one of the greatest young Japanese pianists around, Hiromi. I believe she deserves a post just for herself which will come soon on this blog. I have to confess that I am a big fan...

The main problem of the Japanese jazz especially after the 1960s was that its image, most of the critics saw a little authenticity in the artists and calling the Japanese jazz as an imitation of the American jazz. I believe this was partly true due to the fact that jazz was not in the DNA of Japanese people and secondly all the musicians had been trained with American material. Just around these times and in response to these comments, a majority of the musicians tried to combine the Japanese traditional sounds (including instruments) to their music.

"Children in the Temple Ground" by Toshiko Akiyoshi/Lew Tabackin Big Band

"Yamanaka Bushi" by Hideo Shiraki Quintet & 3 Koto Girls

Japan still continues to be a leading country where jazz appreciation is relatively significant with its notable young musicians gaining global reputation just like the pianist Hiromi and trumpeter Takuya Kuroda.

"I Got Rhythm" by Hiromi

One additional info here is that most probably Japan is the Mecca for Hi-Fi enthusiasts and audiophiles. Today the Japanese LP pressings are the most sought after pressings.The country is still dynamic in terms of sales and full of record shops (both new & used) where the listeners have all the resources and means to reach all kinds of recorded physical music. 

Let's finish with a video that explains a lot about where this audiophile obsession can lead a man especially if you are in Japan...

A Book Review: The Speed of Sound by Thomas Dolby

"She blinded me with science" was one of my favorite songs in the early 80s.

We were familiar with pure synthesizer music of Kraftwerk, Tangerine Dream, Jean Michel Jarre and Vangelis and also appreciated the usage of synths in progressive and psychedelic rock such as Pink Floyd and Yes.

However with Giorgio Moroder and Donna Summer collaboration on "I feel love", I remember something was starting to change and a new sound was being developed. Thanks to declining prices and wider availability of synthesizers in the beginning of the 80s, a lot of bands began to make music with such electronic instruments, thus leading the way to New Wave and Synth Pop.

Then came the video games, perms and big hairs, shoulder pads and neon make-ups, thin leather neckties and jean jackets. The world witnessed the emergence of disco and New Wave. The 80s are commonly remembered for an increase in the use of digital recording, associated with the usage of synthesizers, with Synth Pop and New Wave music and other electronic genres featuring non-traditional instruments.

As it has always been the case, my generation's musical idols had completely changed (don't get me wrong, 70s were great as well, but the world needed another sound to dance to). In a very short period of time New Wave popularized many artists and bands such as Yazoo, Ultravox, Depeche Mode, Human League, Soft Cell, New Order, Thompson Twins, Alphaville, etc...

"She Blinded me with Science" by Thomas Dolby

Thomas Dolby had made a brilliant entry to the New Wave scene with his famous song "She blinded me with science". Unfortunately this song had been on the very top of the charts only in Canada and surprisingly not in his home country, the UK. I remember him making another song called "Hyperactive!" couple of years later than his most well-known song. But that was it for me. I had forgotten about him in the second part of the 1980s until I recently came across his book "The Speed of Sound: Breaking the Barriers between Music and Technology: A Memoir"...

I picked up the book with a smile on my face thinking what the hell he had written about. I was truly shocked when I read the inner sleeve that mentioned the things he had done and had been doing since the 80s. I was shocked because I felt ashamed how I had missed his achievements in the last 30 years.
Since I had listened to him last on my tape recorder, he had been a technology entrepreneur in Silicon Valley, musical director for the TED conferences and a professor at the Johns Hopkins University.
Oh man, how I had missed so many details about him. Of course with much remorse I immediately purchased the book from Rough Trade East in London and started to read...

Buy from Amazon

First of all, it is a very well written book. From the first pages on you can feel that it is not solely a musician's life story. You don't feel like you are reading an autobiography but rather a fiction novel about a hero and his adventures. It is a very sincere book telling the reader total ups and downs of Thomas Dolby throughout his musical and technological journey. The reader can grasp the technological developments throughout the last 30 years and not only limited to musical technology but also developments about internet, art in general and digital revolution.

It is fun and amusing to read his interactions with other artists like Michael Jackson, Joni Mitchell and David Bowie as well as tech gurus such as Steve Jobs and George Lucas.

"I Scare Myself" by Thomas Dolby - A bit different sound huh?

The way he describes his younger years that he refused to go to university and working in a green grocer is quite enjoyable to read. How his parents (his dad was an internationally acclaimed professor teaching classical Greek art in Oxford and Cambridge) raised him with self-confidence and supported his desire for a musical career is fascinating. The musical environment that he is born and raised into is also a smashing one as he speaks about going to shows of Police, Elvis Costello and Talking Heads one after the other. The story how he acquired (thrown in a trash bin) and repaired his first synth is inspiring.

If you are interested in the musical evolution starting from the 80s along with the development of synthesizers, record labels, recording industry and technology in general, this is definitely a book for you.
One spoiler here; did you know that it was Thomas Dolby who programmed the melody of Grand Vals by Tarrega into Nokia phones, calling it the Nokia Waltz? He is the true pioneer responsible for the development of ring tones in the mobile phones.Please visit the below website for further information.

Read more on Nokia Waltz

Dolby explains the Nokia polyphonic ring tone

It is an excellent book, very informative and fun to read. Who knows maybe one day we can watch the movie produced out of the book...

Now, I leave you with the man himself if you want to hear more about the book.

Thomas Dolby speaking about his book

The King of Musical Diversity: John Zorn

During the creation of this blog, I was not planning to publish any posts dedicated to a single jazz figure. I do not wish to write biographical pieces, as you might most probably find much more informative and well written articles elsewhere. However there are certain musicians whom I have a great deal of admiration because of their works, their ideas, their approach and contributions to the music world.

I can already hear you grumbling about the choice of this post's jazz figure. And it is exactly this dissatisfaction of yours that motivated me to write about John Zorn.

I promise to publish posts also on more conventional (according to what?) jazz artists in the future but today please bear with me and John Zorn. I am sure you will appreciate him enormously once you understand and feel his genius.

John ZORN:

"My music is ideal for impatient people, 

because it is packed full of information 

that changes very rapidly"

A young and restless soul from New York aged 64 who has made more than 400 ground breaking albums either as a composer, arranger, producer and performer. His main instrument is the saxophone but he is a true multi-instrumentalist playing guitar, flute, clarinet, keyboards, bass, percussion along with many unconventional sound producing instruments like duck calls and horn mouthpieces.
He is the founder of Tzadik Records (Tzadik), the label specializes in avant-garde and experimental music. He also runs a club called The Stone (The Stone) in New York.

I find him so very different than all the jazz musicians, maybe not only jazz, but different than all musicians. He is way above styles and genres. You can hear him playing pure jazz, rock, modern classical, heavy metal, noise music, klezmer, film music and ambient. He is constantly experimenting in a highly prolific way and his versatility changed the perception of the listeners about the musical diversity.
"What I completely reject," says John Zorn "is the idea that music is a hierarchy: the so-called more complex forms, such as classical music, are higher than jazz, which in turn is more complex and therefore higher than the blues, which is higher than rock music or whatever. All of them are on the same level! And all of them deserve the same respect."
Thanks to his point of view, we can feel and hear "Looney Tunes"(Bugs Bunny) music next to Ornette Coleman, surf music next to 12 tone music, trash metal next to Stravinsky and Beatles next to Beethoven while listening to his music...
It is extremely difficult to catch John Zorn's ideas both in his performances and his compositions. Don't get me wrong, I definitely do not mean that one needs to be trained or be highly familiar with all the avant-garde styles of the 20th century to grasp his music. I think we can somewhat start to grasp his music just by being open-minded and letting go off our harmonic, melodic and rhythmic cliches.
So how come John Zorn's music evolved in the way it did? He was born into a music loving family, he learned how to play the piano, guitar and flute when he was a kid. He attended the United Nations International School and met a lot of friends from different cultures, he even played bass guitar in the school band. This might be one reason explaining his multi-cultural approach. He was a keen listener of classical music and film music. I must highlight here that he is also an avid record collector which he was poisoned with the passion during his high school years. He began to acquire a taste in avant-garde and experimental music with Mauricio Kagel recording in 1968 when he was only 15. He thought himself counterpoint and orchestration and studied composition during those years. He was a musical genius after all...
One other and maybe a more important thing that influenced his musical development was his admiration in the cartoon music, especially Bugs Bunny's and Tom & Jerry's music. He speaks about this music being hectic and somewhat anarchic without any direction and slow build-up. He says he always wanted to make music in the same manner where there is a discontinuity and lacking a linear relation with time.

In one interview he said he always watched the cartoons with eyes closed so he could disassociate the music with the pictures. Most probably this enabled him to develop his unique style where he mentions being "fast evolving, cinematic, contradictory just like zapping from one channel to another"...
He started to play alto saxophone during his college years after listening to the "For Alto" record by Anthony Braxton. After dropping out of college he returned to New York and immersed himself in the underground experimental art scene where he began performing, producing and composing.

John Zorn Documentary Part I

John Zorn Documentary Part II

In order to get acquainted with John Zorn, it might be wiser to divide his musical journey into certain categories (not to be treated chronologically but more overlapping in a stylistic fashion);

• Early Compositions: Zorn as a creator of "game pieces" where he was influenced by new classical music composers like Boulez, Xenakis and Stockhausen. He made these compositions in which the musicians, using a predefined symbolic language, play according to the rules taken from various sports and/or games. The main element of these compositions were improvisation but with the help of signals or written signs, musicians had the opportunity to intervene in the development of the music. His compositions like the one below, called Cobra and it is one of his most complex pieces. Others are Lacrosse, Hockey, Baseball, Curling and Track & Field.

"Cobra" composed by John Zorn performed by NEC Cobra Ensemble

• Free Improvisation: This category includes his first albums. "Classic Guide to Strategy Volume 1 and Volume 2". He played alto and soprano saxophones, clarinet and game calls (whistles hunters use to attract the game) and various saxophone mouthpieces in these 2 recordings. 

"Part 2 (Cartoon Music)" a.k.a. "The Moon In The Cold Stream Like A Mirror" by John Zorn

• Card File Compositions: Within this category, Zorn's compositional approach was rather enigmatic. He composed his pieces on file cards as opposed to conventional scoring on sheet paper. These cards included vague instructions leaving the progress of the music to the imagination of the musician. The cards mostly contained verbal instructions such as "noise of a car accident while someone plays a flute" and "try to avoid the paths with energy units until you are ready to attack the monster"... His two greatest recordings of this category are "Spillane" and "Godard". On "Spillane" the inspiration is Mike Hammer (Mickey Spillane's private detective character) and on "Godard" the French director Jean-Luc Godard.

"Spillane" by John Zorn

• Naked City: In 1988 John Zorn decided to form a band as a compositional workshop featuring Bill Frisell (electric guitar), Fred Frith (bass guitar), Wayne Horvitz (keyboards), Joey Baron (drums) and Yamatsuka Eye (vocal). The music was close to thrash metal and hardcore punk with fast changes and jumps from one genre to another even between a couple of measures. These recordings are still being used for cinematic purposes.

"A Shot In the Dark" by Naked City

• Painkiller: This is another Zorn band featuring Bill Laswell on bass and Mick Harris on drums (Napalm Death drummer). This was probably the noisiest band of John Zorn. The band's involvement with hardcore, punk, noise and trash metal, Zorn's t-shirt's print " Die, Yuppie Scum" and the usage of shocking pictures gave us clues how controversial Zorn could get.

"Live in NY" - Painkiller

• Jazz Interpretation: Surprisingly John Zorn made a couple of albums that are relatively closer to the jazz tradition. These works were mostly project based and brought together key jazz musicians such as Bill Frisell, George Lewis and Big John Patton.  Two main recordings under this category are "News for Lulu" that honored the hard-boppers Hank Mobley, Kenny Dorham and Freddy Redd, and the other being Voodoo, dedicated to Sonny Clark. Obviously as you can imagine Zorn did not play in a traditional bebop sound in these albums. This was the period that Zorn had criticized the Wynton Marsalis approach in which he was trying to sound as close as possible to the traditional bebop. 

"Funk in Deep Freeze" from the album News for Lulu

• Film Music: Zorn has written music for documentaries, underground films, television advertisements and cartoons which were released in his Filmworks series. As can be imagined, he mostly worked with indie filmmakers.

"Shaolin Bossa" by John Zorn

• New Music Compositions: John Zorn created a series of classical works especially in the chamber music arena. He made several compositions based on influences from Messiaen and Schoenberg.

"Eleven" from the Chimeras album

• Masada Books: Following his composition of "Kristallnacht" (his work regarding the infamous "Night of Broken Glass", a pogrom against Jews in Nazi Germany of 1938), Zorn started to concentrate on his Jewish roots throughout music. He formed the band Masada with a klezmer and jazz sound. The band members other than Zorn were Dave Douglas on trumpet, Greg Cohen on bass and Joey Baron on drums. The project Masada initiated with John Zorn's idea of composing 100 short tunes in order to create something positive for the Jewish musical tradition. However the tunes dramatically increased and the number of Masada books went up to three. The original Masada albums were named after the first ten letters of the Hebrew alphabet and contained compositions with Hebrew titles.

"Tahah" from the 1st Masada album Alef

The music of John Zorn is so versatile and diverse that even nine categories are not enough to explain him. There are 2 additional albums that I would like to mention in this post but could not place them in above mentioned categories.

First one is "The Big Gundown" recorded in 1985 that comprises the covers of Ennio Morricone. I think it is one of the best albums of Zorn.

"Once Upon a Time in the West"

The other recording is "Spy vs Spy: The Music of Ornette Coleman" from 1989 featuring the compositions of Ornette Coleman performed in the brief intense style of Zorn's hardcore miniatures.

"Mob Job" from the album Spy vs. Spy

John Zorn is an important composer and performer, because he is the living proof of the fact that everything in this world whether be it sound or style or culture is available to composers today to use as musical material. 

I find him and his music extremely inspiring and structurally deep. When I reviewed the post before publishing I must confess that I found it a bit shallowly written compared to Zorn’s genius, but that's Zorn, no one knows a great deal about his musical mind and yet he never ceases to surprise us...