The last time I heard John Zorn was the Knitting Factory on Jul2, 1993. He sat in with a band composed of Rashied Ali, Louis Belogenis, Steve Bernstein, Alan Chase, Joe Gallant and William Parker that was playing the music of John Coltrane and Albert Ayler. He sat in on two of Coltrane's compositions, played a duet with Louis on the first and most original, even for him, alto solo on the second.
In the intervening 15 plus years that I have been an admirer of Zorn's music I have heard him perform or heard his music performed at least 200 times. This has almost always been exciting and adventuresome because not only does the content change but so does the formats, the locales and even John's instrumental weaponry.
FORMATS: Many of the combinations that I head during the 15 years I have been following him are to be reprised during this month of Zorn so you can check out the listing of events herin. AMong still other groups that come to mind are 400 (300 statues as above plus T. Kondo on trumpet), The Golden Palominos, the music of Dorthy Ashby and the music of Oscar Pettiford.
Locales: After the Theater of Musical Optics there have been principle venues where John Zorn has been able to present himself without compromise and/or hassle. From 1979 through 1982 there was Studio Henry (1 Morton St.) which was a musician's coop where he had free reign. 1983 brought him and his listeners to the Saint (206 E. 7th St.). From 1984 through 1986 there really wasn't a headquarters for John and his music but there were performances at places like "King Tut's Wa-Wa hut" and "The Chandelier". I even recall a furtniture store and a health club. Since 1987 there has been the Knitting Factory where the management has been understanding, sympathetic and permissive.
Through the years there have also been musician generated festivals. The first of these that I was aware of was held at Zu in June of '79. There was another festival somewhat later which involved five different locations on five consecutive days none of which had ever had music before. (Or I believe since.)
Instrumentation: When I first heard him, John was playing alto, soprano and wooden clarinet. He added a metal clarinet to the mix that enabled him to take apart the wooden clarinet and play the various parts one part at a time. He then added "duckcalls" to his arsenal. This was followed by water. He didn't play water as such but play his clarinet pieces and duckcalls in water. He then started subtracting instruments until he wound up with just his alto saxophone. He has in recent years also started to vocalize, wordlessly.
Given John Zorn's history future changes in all these areas would seem most likely.
The month of Zorn is a birthday celebration for a totally honest, totally committed and totally fearless musician. It celebrates the fact that a man can succeed on his own terms and in his own unique fashion. If John has made an intelligent career move to I know he did't do it with premeditation. The Month of Zorn is not a retrospective; John hasn't even reached mid-career yet. It is a party and I intend to enjoy it as such. I sincerely [hope] John will too and his past, present and future public as well.
Irving Stone