Customer Reviews

Zaebos: The Book of Angels, Vol. 11

5 star:		(1)
4 star:		(3)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

I haven't heard other albums in the Book of Angels series, so while I tend to appreciate the work of John Zorn, I approach this record with Medeski, Martin and Wood as the focus of my interest.

And Zaebos IS interesting. Recent MMW studio albums have all involved guitarists, horn sections, turntablists, rigorous production strategies and other additions to create a layered soundscape that simultaneously enfolds and expands the trio's dynamic range. Zaebos, by contrast, is stripped-down and somewhat subdued, and it plays a little like --dare I say it?-- a traditional jazz album, though not without MMW's characteristic edge and energy.

The trio is in elemental form here, and they develop and shape Zorn's compositions without ever being constricted. The result is original and refreshing, at turns prowling and meditative. The melodic structures of Zaebos are distinctly middle-eastern, and while the rhythms are strong, these songs don't seem to groove so much as slink, drift, and whirl, the music of clandestine intrigue and hypnotic reverie. Evocative of the restless excitement and haunting quietude of late nights in distant lands, this album is an excellent addition to MMW's already diverse catalog...

As a Medeski, Martin and Wood fan, I've come to really appreciate "Zaebos," even if it did take time to grow on me. This is electric Medeski, Martin and Wood (MMW) with a Middle Eastern flavor. Driving through psychedelic darkness, melody and avant-garde find a precarious truce. If nothing else, it works for variety sake. 'Asaliah' is one of my all-time favorite MMW songs and 'Sefrial' is up there as a stunning highlight. 'Agmatia' and 'Chafriel' are two additional sparklers off this album. Comparatively, I believe that "Zaebos" is stronger and certainly more interesting than the "Radiolarians" trilogy. This will instantly resonate with fans of "Edom," a similarly minded John Medeski project. Aside from the inherent charm of the material and performance, this was a gateway album for me. Since this is Book 11 in the Book of Angels, I decided to explore the rest of the discography and what I heard blew my socks off. Previously, I had never really heard anything by John Zorn so I'm grateful to this project for bursting the doors open and introducing me to a new musical hero. As a satisfying MMW album or a rockin' expression of Zorn, "Zaebos" is fantastic.

Medeski, Martin & Wood's last non-children's CD was "End Of The World Party (Just In Case)". That CD was very studio-sounding, and was hampered by its post-production. For "Zaebos", MM&W take a set of John Zorn-written Masada songs and tear into them. It's a very live-sounding disc, and fun to listen to as a result. The opener "Lagzagel" is almost metallic. The moods from there vary -- some are funky, some soulful, some aggressive -- but they all have a live, vibrant feel. This was a good wake-up for the band, and MM&W fans should pick it up.

I have been a cult fan of Zorn's "Book of Angels" series since the Feldman/Courvoisier disc came out in 2005. So it was with considerable excitement that I read that Volume 11 would be performed by the Medeski, Martin, and Wood. I was excited to to hear the Book of Angels material interpreted with a funky backbeat. To that end, the disc is a disappointment; MMW did a masterful job in their interpretation of Zorn's music, but the boys have unfortunately left the funk at home. In short, it sounds like a Zorn record. There are HINTS of the signature Medeski, Martin, and Wood groove throughout. "Sefrial" evokes that slow, gentle groove that peeks its head on MMW's slower numbers. And "Rifion" harks back to the group's more acoustic sound in the early 90's. But these are after all only hints.
Now, I am NOT being unfair here. Volume 1 of this series is a masterful collection of original piano jazz. Volume 7 (probably the most abrasive in the series) takes the Book of Angels melodies and translates them into Hendrix-styled acid rock grooves. And Volume 10 of the series has a vaguely Cuban feel. I wanted to hear the BOA material "all funked up" as they say.
That said, for a fan of the Book of Angels material iteself (no matter who performs it), this disc IS quite good. "Zagzagel" opens the disc with a sinister bass line and intense (yet controlled) drums. Sets a mood of dread that permeates the disc. "Malach ha Sopher," practically a tone poem, brings the disc to an ironically subdued climax before the denouement of "Tutrusa'i."
It's an excellent disc, but the promise of what MMW could have delivered to the Book of Angels series makes for quite a letdown.

In the past few years, composer John Zorn breathed new life into his Masada project by composing a second book of songs for it: the Book of Angels-- some 300 jazz heads written using "Jewish scales", performed by musicians in and out of Zorn's downtown community. Referred to on the record label's website as "three prodigal sons...returning to the fold", keyboardist John Medeski, bassist Chris Wood and drummer Billy Martin at one time or another were associated with the downtown community, but found success as part of the jam band scene. "Zaebos" finds them performing eleven of Zorn's Book of Angels compositions.

Right from the start, the band hits the ground running on opener "Zagzagel", with some superb drum work, a nice driven keyboard line and a great splattering solo over a deep groove. In fact, this is pretty much the recipe for the album-- somewhat disjoint playing by Medeski over consistently phenomenal drumming and groove-locking basslines. The trio moves through a number of moods, covering trancey organ trios ("Sefrial"), acoustic piano jazz ("Rifion"), fractured, downtown jazz ("Ahaij"), deep funk ("Vianuel") and bubbling, tense, minimalist avant-garde (the stunning "Malach Ha-Saphor").

But as diverse as it is and as good as the performances can be, something doesn't quite grab me about this one. I can't put my finger on it, but with many of the other other volumes in this series, I was floored. But except for "Malach Ha-Saphor" and spiritual-jazz tinged "Chafriel", not much on this one really grabbed me. This is a good album, but it's missing something to make it a great one.

I agree with most everything the other reviewers have said except for the rating. This disc is diverse and full of passion. I love the subtleties of so many of the tunes. Its so satisfying to hear mmw play within these structures. For me the one of the most welcome additions is medeski's piano playing. the piano sounds so good on the fourth track. I'm glad they didn't turn everything funky- some of the tunes demand a different rhythmic edge. It's not as elegant or quite as colorful as vol. 10, but energy, ideas, and interplay are all on display.