Customer Reviews

Volac: Book Od Angels 8

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In December of 2004, John Zorn premiered new works for his Masada project-- some 300 songs written in the previous few months and collectively referred to as "Masada Book II: The Book of Angels". During four nights of perfomances at the dearly-missed Tonic, Zorn revealed his plan to have different groups perform and record songs from the new book. Virtually everyone I spoke to left the shows talking about two things, the unnerving intensity and power of Electric Masada and the delicate beauty of Erik Friedlander's solo performances. In over two years since, we've yet to see an Electric Masada studio record, but "Volac: Book of Angels Volume 8" presents a dozen of the pieces performed by Friedlander's solo cello.

Before going further, just in case anyone reading is out of the loop, I'll provide a brief introduction to Masada and Friedlander. In the early '90s, Zorn began a musical exploration of his roots as both a Jew and a jazz performer. He composed a book of songs, inspired by those of Monk, Ellington, et.al., of brief melodies to serve as a basis for improvised performance, recorded ten albums with a pianoless quartet, and expanded the project to other musicians. One of these was cellist Erik Friedlander. A much in demand session virtuoso, Friedlander's work, whether with Zorn (often as a member of the Masada String Trio, including an earlier reading of Masada Book II pieces, Azazel: Book of Angels, Vol. 2), as a leader or soloist, or a session man, is consistently stunning, with a technique that is virtually beyond compare, particularly in pizzicato performance. For fans of his work, this has been a particularly good year, with the (highly recommended) Americana-laced solo cello recording Block Ice & Propane having been released just a couple months ago.

Split about evenly between arco and pizzicato, Friedlander's performance on "Volac", regardless of playing method, is filled with a staggering sensitivity. This is nicely illustrated on arco cut "Kadal", where Friedlander's statement of the theme is filled with a sense of longing and his improvisation, slightly uptempo, is almost insistent. Similarly insistent is the track immediately after it, pizzicato "Ahaniel", where Friedlander allows the theme to slowly develop, lending an air of foreboding in his gentle playing. When he solos on this piece, it is with harsh finger-plucked tones.

These two are just a snapshot of a record that is consistently superb, whether simply lovely downtempo, fluid arco playing (opener "Harhazial"), gentle, rolling, performances pizzicato performances ("Yuruel") or the cartoony bursts that seem to work their way on every Zorn record (the extraordinarily visual "Ylrng"). Along the way, Friedlander shows staggering technique, particularly in pizzicato ("Haseha"), remarkable patience and willingness to allow ideas to develop ("Anahel") and a clear love of the music he is performing.

I had extraordinarily high expectations for "Volac", having been blown away time and again by Friedlander's performances and really enjoyed the other entries in the Masada Book II series. I am happy to report that "Volac" does not disappoint. Highly recommended.

Generally, there are two types of releases in the Book of Angels. There are the bombastic electronic groups and the more contemplative acoustic volumes. "Volac" is one of the lower-keyed, mellower projects. Volume eight is by long time John Zorn collaborator and cellist Erik Friedlander. On this project, Friedlander gives John Zorn's second Masada a sound that is infused with Classical sensibilities. Soaked with Middle Eastern micro-tones, most pieces are melodic but there are a few excursions into the avant-garde. 'Kadal' probably burns brightest while other highlights include 'Harhazial' and 'Yeruel.' Played entirely on solo cello, this is an odd project. Given that most listeners prefer ensemble music, there is the sense that this project shouldn't really work. Indeed, Uri Caine wasn't able to pull it off on "Moloch." While Caine played piano on volume 6, the cello is by most standards a far less accessible solo instrument. Despite such challenges, "Volac" is successful. Being smaller than a bass and larger than a violin, Friedlander exploits the full sonic range of his instrument. From the high to the low, whether by plucking or bowing, he somehow manages to keep things interesting. The music comes off with elegance, intellect and enchantment. While not everybody's cup of tea, the melodic compositions and the technical fireworks make "Volac" a good listen.