Masada Rock

Masada Rock

ASIN: B0009VBTRS

Track Listings

1. Bahir

2. Makom

3. Zidon

4. Shadrakh

5. Chorek

6. Anakim

7. Zemanim

8. Ahavah

9. Arad

10. Terumah

Masada Rock,Rashanim,Tzadik,Avant-Garde Jazz,Instrumental Rock,Jazz,Jewish Music,Jewish: Trad. & Klezmer,Pop,World Fusion

Jerry Goldsmith: 40 Years of Film Music
Average customer rating:

Awesome Set!

Elmer Bernstein Film Music Collection

Overall a strong Goldsmith sampler

Jerry Goldsmith - 40 years of pleasure

Almost the perfect compilation

Jerry Goldsmith: 40 Years of Film Music
Jerry Goldsmith
Manufacturer: Silva America
ProductGroup: Music
Binding: Audio CD

Film Scores | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music
General | Classical | Styles | Music
Movie Soundtracks | Soundtracks | Styles | Music
Star Trek | Soundtracks | Styles | Music
General | Soundtracks | Styles | Music
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The Essential Elmer Bernstein Film Music Collection

The Music of John Williams: 40 Years of Film Music

Epics: The History of the World According to Hollywood

John Barry: The Collection

Paramount 90th Anniversary Collection: Scores

ASIN: B0009KIYDG
Release Date: 2005-08-09

Tracks:

Blue Max, The
Blue Max, The
Blue Max, The
Blue Max, The
Blue Max, The
The Man From U.N.C.L.E.: Doctor Kildare / Room 222 / Waltons, The / Barnaby Jones / Television Themes Medley
In Harm's Way
The Sandpebbles: Chinatown / Patch Of Blue, A / Poltergeist / Papillon / Wind And The Lion, The / Motion Pictures Medley
Generals, The
Tora! Tora! Tora!
Wild Rovers, The
Pursuit
Wind And The Lion, The

Tracks:

QB VII
QB VII
QB VII
QB VII
QB VII
Waltons, The
Papillon
Police Story
Omen, The
Capricorn One
Swarm, The
Boys From Brazil, The
, The (First) Great Train Robbery
Alien
Star Trek The Motion Picture

Tracks:

Masada
Poltergeist
First Blood - Rambo II
Twilight Zone: The Movie
Under Fire
Under Fire
Under Fire
Under Fire
Gremlins
Baby - Secret Of The Lost Legend
Legend
Lionheart
Rambo III
Total Recall

Tracks:

Star Trek Voyager
Basic Instinct
Russia House, The
Gremlins II
Medicine Man
Shadow, The
Forever Young
First Knight
Powder
Airforce One
L.A. Confidential
Mummy, The
Haunting, The

Album Description

Jerry Goldsmith's death in 2004 marked the end of one of the greatest careers in film composing. This lavish 57 track 4 CD set traces the path of his astonishing achievements and includes recordings conducted by Goldsmith himself. Featuring The City Of Prague Philharmonic Orchestra, The Philharmonia Orchestra, The National Philharmonic Orchestra, and The Daniel Caine Orchestra. Includes over 280 minutes of music.

Customer Reviews:

Awesome Set!.......2007-07-01

I am a huge fan of Jerry Goldsmith. They did a great job preserving his vision. I can listen to this collection for hours. Great music!

Elmer Bernstein Film Music Collection.......2006-11-03

This is compilation of hit film music from one of the greatest composers in motion pictures. What is surprising though is the music not included like the Ghost And The Darkness, the 13th Warrior, Rudy and others. To be sure, 4 discs are not enough for a composure of this stature. THe recording, however, is an "engineering masterpiece" which makes the music even more enjoyable than when you first heard it at the movies. When are we ging to get the music that was omittd from this compilaton?

Overall a strong Goldsmith sampler.......2006-04-11

Okay, this is a CD review, so the focus is on music, but I've got to say this first: this has got to be a contender for the ugliest cover art ever. I mean, come on...instead of a tribute to the composer, the cover looks like someone spilled a glass of merlot over a NASA photo.

Fortunately, even an ugly cover will not ruin good music. And the good news is that I'd say about 75 percent of the music is good....and on a 4 cd set, that's a lot. Like other Silva compilations, the strength of this compilation is the variety. There are selections from the big releases (Star Trek, Omen, Rambo), but there is also a healthy dose of tracks from the smaller releases(Under Fire, Lionheart, The Swarm).

Two examples come to mind. Capricorn One and The Great Train Robbery are two movies that are not exactly household names today, but are dominated by two of Goldmith's finest main themes. The City of Prague Philharmonic come through with terrific renditions. And there are plenty of other strong performances...a few being concert versions conducted by Goldsmith himself. Suprisingly, "The Wind and the Lion" works, which is no small accomplishment given the ferentic original performance of "Raisuli Attacks".

It's not a complete success. A few of the performances fall flat, particularly some of the more inventive scores. Total Recall is just bad, mangling the performance with poor percussion and synthesizer choices to boot. Also a letdown is the Klingon Attack from the first Star Trek movie. The Prague Philhamonic attempt doesn't sound bad--it's just that once you've heard the original soundtrack's "blaster beam" with enough bass to rattle your teeth...well let's just say Silva's version is a little tinny in comparison.

But I shouldn't dwell on the negative. Overall, this is a strong sampler of Goldsmith's variety. There are plenty of quality performances here, and despite a few omissions (noticeably Planet of the Apes)this is a very good release from Silva.

Jerry Goldsmith - 40 years of pleasure.......2006-02-22

It was wonderful to hear Mr. Goldsmith's music that went all the way back to The Man from UNCLE, The Waltons, Dr Kildare, etc. And then to hear his music up to the present. The man was a genius!

Almost the perfect compilation.......2005-12-31

Age has its value.... This sweeping collection of compositions brings back so many great memories. This collection shows how significant Goldsmith was for both the movie screen and the small screen. With such a grand collection, every reader can be assured that at least one movie or TV program they like or remember had Goldsmith's contribution. It was an amazing life and the collection well worth having.

However, as sweepig as it is, there are a few holes in the selection. "First Contact", one of the sweetest and richest compositions from the Star Trek is absent. "The Ghost and the Darkness" is missing and the "Medicine Man" music should include the theme song. By dwelling on several selections from the Blue Max, these were squeezed out. Three full and important movie themes got the axe.

However, all but "The Ghost and the Darkness" are readily available and not overly expensive as is the "Ghost" CD. This is a must have for the TV and movie music fan.

Before there was Hans Solo there was Napolean Solo, before ER there was Dr. Kildare. Jerry Goldsmith IS Sci-Fi. "Resistance is futile.. you MUST assimilate this CD collection."

Average customer rating:

I only wish they played at my Bar Mitzvah...
Touching the Flame!
Two blistering live sets from one of Zorn's best projects.

At the Mountains of Madness
John Zorn , and Electric Masada
Manufacturer: Tzadik
ProductGroup: Music
Binding: Audio CD

Jewish & Yiddish Music | Folk | Styles | Music

General | International | Styles | Music

Avant Garde & Free Jazz | Jazz | Styles | Music

General | Jazz | Styles | Music

Jazz Fusion | Jazz | Styles | Music

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General | Classical | Styles | Music
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50th Birthday Celebration, Vol. 11
50th Birthday Celebration, Vol. 4
Bar Kokhba
Astronome
Azazel: Book of Angels, Vol. 2

ASIN: B000BJNTZ8
Release Date: 2005-11-22

Tracks:

Lilin
Metal Tov
Karaim
Hath-Arob
Abidan
Idalah-Abal
Kedem
Yatzar

Tracks:

Tekufah
Hath-Arob
Abidan
Metal Tov
Karaim
Idalah-Abal
Kedem

Customer Reviews:

I only wish they played at my Bar Mitzvah..........2006-02-08

In its original accoustic incarnation, John Zorn's Masada explored more or less standard bebop (with elements of free jazz) using the compositional techniques of "Jewish" music (i.e. Klezmer) as a starting point. This seemed to represent a kind of coservatism for Zorn, who is renowned for his obsessive, fragmented po-mo sensibility. His (and his band's) work under the name Naked City reveled in throwing together as many different styles as possible, sometimes within a single song. So Masada could be seen as Zorn's longing for the "simpler" ways of tradition. With Electric Masada, Zorn seems to have once again decided to let his id run loose and transform his heritage into music that sounds like nothing less (and even a lot more) than a 21st century update of Miles Davis' electric period. I only wish they'd been around about a century ago when I had my Bar Mitzvah; if these guys had played during the reception, I might not have abandoned religion altogether!

I can picture it now: Zorn acting as a conducter/participant with a band including Marc Ribot on electric guitar, Trevor Dunn on bass and Ikue Mori on laptop electronics. They blast full force into the stormy seas of "Lilin" and instantly the dance floor erupts into a moshing mass of marauding Jews, except for my racist great aunt (c'mon, admit it--every family has one) that nobody really likes, who has a conniption and shrivels into an unconscious ball. The drumming of Joey Baron and Kenny Wollesen is as frenzied as the best hardcore punk even as they trade complex rhythmic patterns, which only eggs on the rest of the band. Zorn's signature saxophone playing, with its rapid high-pitched squealing, causes even more damage, shattering wine glasses all over the hall as waiters are trampled underfoot in their efforts to clean up. When the band launches into Naked City holdover "Metal Tov," not even the Roman army can defeat the crowd. The loud, abrasive guitar playing alone sets the roof on fire, and the Rabbi screams (in Yiddish, no less) "we don't need no water, let the m-----f----- burn!" Just when it seems that anarchy is all but inevitable, they play the relatively calm "Karaim" and we are instantly transformed into Torah scholars, bobbing our head to the bebop as we contemplate the mysteries of G-d. But wait! The frenetic "Hath Arob," which makes us imagine a heavenly fistfight between Miles and (Looney Tunes composer) Carl Stalling finally destroys the place, and the survivors emerge from the rubble as new people. I resolve not to waste my Bar Mitzvah money on college and instead travel the world, bringing news of Radical Jewish Culture to the trad, uncool masses. Soon, there is peace in the middle east and decent bagels in middle America. All because of Electric Masada. Amen.

Anyway, "At The Mountains of Madness," two discs of live recordings from the band's tour of Europe, while not enough to make atheists reconsider, is certainly inspiring enough to make H.P. Lovecraft (from whom the title is borrowed) rise from the dead and dance around like a satanic epileptic. And that ain't bubkis, my friends.

Touching the Flame!.......2005-12-07

This is as good, if not better, than the 50th Birthday recording.

The boys are even tighter and most of the improvisation unfolds with a newfound ease. Don't worry, there is still plenty of insanity when the percussion gets going. Musically it is as if these guys are pounding on the gates of heaven, demanding a dialoge with G-d.

John Coltrane approached improvisation from a spiritual level - - THIS BAND DOES THE SAME!

My only criticism is the minimal amount of new material. Don't get me wrong, I could listen to them play the same song five times in a row. It's just that the songs off the last album had a rawness that it lost once the musicians get truly comfortable with the piece. Even so, they do amazing things once they are comfortable so I can't fault the material. I just want them to stay fresh and continue making music for 30 years!

Two blistering live sets from one of Zorn's best projects........2005-11-23

John Zorn's Electric Masada project is one of those bands that carries enormous weight with it-- indeed the label website states that "Electric Masada combines the raw power and manic speed of Naked City, the improvisational edge of Cobra and the spiritual lyricism of the Masada songbook"-- certainly a lofty bill to live up to. As-yet unrecorded in the studio, "At the Mountains of Madness" is the second live release by the band, recorded during two dates on the end of a European tour last year. Like the previous release ("50th Birthday Celebration Volume 4", recorded in September of 2003), this one remarkably lives up to all the hyperbole that the label's description can come up with.

For those who haven't seen this band live (and you really should if you get the opportunity-- the records really only capture a fraction of the power live), a bit about the performance environment. Zorn sits in the middle of the band, part performer, part conductor, indicating solos, moments, noises and so on, encourages solos he enjoys, shifting directions in those he does not, and so on. This leaves a fierceness and edginess reminiscent of the Game Pieces, although with the framework of the piece setting up the "rules", it translates better on album than the Game Pieces did. Zorn assembled for this tour what seems to be his preferred cast for Electric Masada-- the leader on alto sax, Marc Ribot on guitar, Ikue Mori on laptop electronics, Jamie Saft on keyboards, Trevor Dunn on bass, Joey Baron and Kenny Wolleson on drums and Cyro Baptista on percussion. Ribot, Saft and Baptista are in Zorn's direct line of sight in his regular playing position and are most commonly utilized in determining and altering direction of the pieces, whereas Dunn and the drummers are usually more concerned with maintaining the groove and rhythmic figures and Mori is somewhere totally in between all of this, providing an oddity to the music that really quite defies definition. The net result is that the entire performance is under Zorn's control at all times, with direction put forth usually via guitar or keyboard. The members of this band have been in projects together for the better part of twenty years of association with Zorn's downtown scene, however, and they respond to each other in powerful ways-- blending together seamlessly and moving as one voice.

About the music itself-- the two sets are both lengthy (the first disc runs about 80 minutes, the second 77), with eight and seven songs performed, respectively. Six songs are performed in both sets, and all the material except for "Metaltov" comes from the Masada book-- "Metaltov" is a Naked City piece that gets fitting readings in both sets. The performances really cover the range of Zorn's expression, from moody, spacious and lyrical ("Abidan", performed on both sets) to breezy with deep grooves ("Lilin" on the first set after the frantic opening) to explosive and fierce ("Metaltov") and overtly Stalling-influenced ("Hath-Arob"). Along the way, some fantastic playing comes forth from all parties, with the performance nothing short of top notch.

Comparing it to the birthday show, it's fairly similar, but if anything the performances here seem to capture more energy somehow. Five of the seven cuts from the birthday CD receive readings on this one, so you've some expectation of the diversity of material from the Masada songbook.

Bottom line-- this is just as fantastic as that release was-- music this powerful is so rarely performed, the opportunity to hear it on record is extraordinary. Highly recommended.

Average customer rating:

...incredible!
A stunning set, even for Masada.
mega extreme fast jazz
Tremendously exciting powerhouse quartet
Possibly My Favorite Live Masada Performance

Masada: Live at Tonic, 2001
Masada
Manufacturer: Tzadik
ProductGroup: Music
Binding: Audio CD

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Avant Garde & Free Jazz | Jazz | Styles | Music

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ASIN: B00005NZLR
Release Date: 2001-09-25

Tracks:

Intro
Karaim
Ner Tamid
Acharei Mot
Kisofim
Jachin
Malkhut
Nashim

Tracks:

Intro
Lilin
Khebar
Galshan
Malkhut
Shevet
Shamor
Acharei Mot
Kisofim
Shechem

Customer Reviews:

...incredible!.......2006-01-11

These concerts are simply fantastic! Highly recommended.

A stunning set, even for Masada........2006-01-04

"Live at Tonic" is one of those live shows where pretty much everything comes together. The Masada quartet-- John Zorn on alto sax, Dave Douglas on trumpet, Greg Cohen on bass and Joey Baron on drums-- an immensely talented unit to begin with, by this point was so intimately familiar with each other and the music that they always seem to hit the stage running, but these shows were clearly extraordinary, with two sets from one of Zorn's favorite stages, Tonic in Manhattan.

What really separates this group from virtually any other is the extraordinary level of interaction and brilliant performances between the soloists. Zorn's songbook is full of nice pieces and interesting melodies, but this group brings it to life with powerful individual performances and even better collective work. It also helps that an enormously high level of intensity is maintained by the group throughout.

Examples of this can be found throughout the album, but certainly even from the opening notes of both sets, this is clear-- "Karaim" on the first set finds Zorn soloing patiently, building slowly to a head before Douglas comes in and shakes things loose. All the while, Cohen and Baron maintain a fantastic groove below it all. "Lilin", opening the second set, builds in tension from the opening note, primed until it totally cuts loose and features some downright jawdropping soloing from both horn players. But again, it's the group that sets Masada apart-- take "Ner Tamid" on the first disc. Zorn's solo is fantastic, but below him, Cohen restates and twists the theme over and over again, performing with agility and grace rarely found. Or consider the cartoony ecstacy of "Malkhut" (performed in both sets), where all four members of the band get in on explosiveness and melodrama. And quite the opposite, the delicate, lovely and sensitive performance on "Galshan" (of which I believe this is the only live recording), where the band's interaction reaches such an enormous level that you actually pause during Cohen's solo simply because it's the only time someone feels in the spotlight.

Bottom line, the shows here are just staggering, and they capture as well as anything what Masada is all about. I give the slight edge to "50th Birthday Celebration Volume 7" (recorded at the same club two years later) for best Masada piece, but this one is certainly nothing to overlook. Highly recommended.

mega extreme fast jazz .......2004-10-26

cuatro musicos haciendo realmente jazz extremo, pero sin caer en la cacofonia, lo recomiendo solo para avanzados en el mundo del jazz. John Zorn rules

Tremendously exciting powerhouse quartet.......2003-10-31

A tremendously exciting powerhouse quartet of improvising artists who really hit their straps in these live beautifully engineered live recordings. Not always melodic as in track 6 of CD 1 where a long drum solo backed by a bass figure generates huge excitement, or in Track 7 of CD 1 where an improvised conversation between all four master instrumentalists engages a variety of emotions, joy, anger etc. But when they are melodic - as in Track 2 of CD 2 - ravishingly so. One of their best and they've made a few!

Possibly My Favorite Live Masada Performance.......2002-05-07

This CD is incredible. Typical Masada style and class, with awesome solo features by all the musicians. Each musician top class in their own right, when they play together, it is incredible. This CD features all the magic of Zorn, Masada, and the Tonic venue. Awesome. A must have for all Zorn and Masada fans, as well as all true music fans everywhere.

Average customer rating:

another dope release from a doper artist known as Killah Priest
A REAL REVIEW -------------------------WU WORLD ORDER
Where is this guy?
Solid 2nd solo album - maybe 4.5 stars - his best solo CD
Dope

View From Masada
Killah Priest
Manufacturer: Mca
ProductGroup: Music
Binding: Audio CD

East Coast | Rap & Hip-Hop | Styles | Music

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ASIN: B00004T02V
Release Date: 2000-05-09

Tracks:

Intro
View From Masada
Hard Times
Maccabean Revolt (Interlude)
Maccabean Revolt
Gotta Eat
Whut Part Of The Game?
I'm Wit That
Bop Your Head
Rap Legend
Places I've Been
When Will We Learn
Food For Thought
Live By The Gun
If I Die
Outro

Customer Reviews:

another dope release from a doper artist known as Killah Priest.......2006-01-15

"View From Masada", hits me as a second chapter of his crittically acclaimed debut "Heavy Mental". every track bangs and he even worked with Just Blaze before he blew up, which i think is a plus. every track also is a lesson of it own contemplation. for example "Gotta Eat" is the struggle track along with "Hard Times" are both great at capturing the urban struggle. then you have "What Part of The Game?" is a track dissing the fakeness in the industry with Ras Kass providing his own unique perspective along with "Bop Your Head" feat Canibus showing how to tear apart phony emcees. both emcees rip the track with ease. to those who wanted the same actual fact type ideogram of lp that Priest bought for previously i'm sorry this is the next best thing. favorite tracks on "View From Masada" are
1.Whut Part of The Game?
2.Bop Your Head
3.Rap Legend
4.Live by the gun
5.I'm Wit That

A REAL REVIEW -------------------------WU WORLD ORDER.......2005-12-20

KILLA PRIEST FANS NEW AND OLD....... IF ARE FAMILAR WITH KILLAH PRIEST, THIS ALBUM WILL NOT DISSAPOINT YOU.

IF YOU ARE A HIP-HOP LISTENER AND HAVE NOT HEARD OF KILLAH PRIEST, DO NOT SLEEP ON THIS JOINT.

Where is this guy?.......2005-01-30

I listened to this guy off and on. I heard this cd and I was blown away..Whut part of the game? Is excatly how rap is these days. Is that why you dont hear this guy because he is basically calling everyone like 50 Cent, Chingy, Nelly, and so much more in the crowded, talentless rap genre a fake? Well thank you Priest for speaking the truth, I couldnt agree with you more about rap. Im sorry the industry is keeping you down for speaking the truth.

Solid 2nd solo album - maybe 4.5 stars - his best solo CD.......2004-12-22

Killah Priest returns with his second solo album and his best to date. He spits some heavy deep thought provoking lyrics throughout the album and he has some hardcore upbeat tracks as well, more than normal for him and less religious prphcy material than usual for him but it still is very good. Being affiliated with the Wu you can sense this in his delivery and style. Guests are held to a minimum, on 4 of the 13 songs (on 2 songs are Rose Cartel and his Horsemen crew - Canibus & Ras Kass no Kurupt). Production is mostly handled by Just Blaze, Wiz & Daddy Rose (each did 3 songs) as well as a couple other contributors and they did a good job. I was a little disappointed no Wu producers were used onthe album or any Wu related guests (or even any of his Sunz of Man crew). It has 1 or 2 classics and a bunch of good songs and only 1 I skip. A Must have album.

#2 - 8
#3 - 9 (deep song -- good beat)
#4 - 8 (Rose Cartel - no Priest -- just a short intro to the next song)
#5 - 8.5 (f/ Rose Cartel)
#6 - 6.5
#7 - 9 (f/ Ras Kass)
#8 - 8.5
#9 - 10 (classic w/ great beat -- f/ canibus)
#10 - 7.5
#11 - 9 (good beat)
#12 - 8.5 (deep song)
#14 - 9.5 (f/ Rose Cartel -- good beat)
#15 - 8 (deep song)

check all my reviews

Dope.......2004-03-14

this is priest worst album but that doesnt mean that it aint sick!! priest albums are so damn hard to find but they are worth the journey!

Favorite Track:Bob Your Head
Guests:Ras Kass,Canibus

Tracks:

Karaim
Hath-Arob
Sippur
Acharei Mot
Kedushah
Ravayah
Piram
Ashnah

Customer Reviews:

I'm not sure...2 or 3 stars..........2006-01-11

I am a John Zorn mega fan...but this one is more more less than I expected...And if there are more than 50 used CDs, there will be a reason...

Overwhelming and brilliant live set........2005-04-23

This set, recorded September 18, 2003 at Tonic during Zorn's extended birthday celebration, is the most recent recording of the original Masada quartet-- John Zorn on alto sax, Dave Douglas on trumpet, Greg Cohen on bass, and Joey Baron on drums.

What is there to say about this band that hasn't been said already? If you're not familiar with them, the project was Zorn's attempt at coming to terms, musically, with both his Jewish and his jazz heritage-- while parallels are rightfully drawn to Ornette Coleman's original quartet, there's a number of other influences, most thoroughly the Klezmer vibe in the pieces, that sort of Eastern European sound to the melody, vamp-like bass lines, Baron's reliance on his tom-toms, but moreso than that, there's an element of focused, simultaneous improvisation-- Zorn and Douglas often solo together as much as separately. It also many of the standard Zorn ideas-- the Pharoah Sanders/Albert Ayler speaking-in-tongues sax overblowing, the overt Carl Stalling influences, in both timber and arrangement, the sort of pseudo-theatrical nature of soundtrack music. The music is injected with brilliance, wit and humor and for any fan of jazz, is essential, even if the rest of Zorn's work is foreign or too far out of orbit. Probably the magic of this band is that all of them are the center of things, the four of them are phenomenal musicians who sound like they were born to be playing this music.

Truth to be told, given the band's massive catalog (ten studio albums and I think seven live ones, plus several albums of other groups performing Masada material), and the fact that none of the studio records stand out as particularly superb in my mind (they're all quite good), the live sets fare much better, with my own preferences being this one and the "Live at Tonic" release. The material on this set is pretty widely spread over the Masada catalog, three songs from Masada 2, two from 9, and one each from 3, 7, and "The Circle Maker" (Masada songs in a chamber setting).

Right away, you get everything they have to offer-- "Karaim" is a great mid-tempo piece with extended dual improvs between Zorn and Douglas, Zorn's fiery squeals, a great (if brief) drum solo over the bass vamp. The only thing missing is the overt cartoon music sound, with comes to the fore on the next track, "Hath-Arob"-- opening with a great trade between bass and drums, it eventually moves into its frantically stated theme with the entire ensemble using cartoon noises to great effect.

The thing that's amazing is that after twenty minutes of fire, the band keeps lighting it up throughout the album-- "Acharei Mot" features jaw dropping (yet remarkably tasteful given how extraordinary it is) drumming over which Zorn and Douglas really dig in fiercely, it maintains the intensity without drifting out of orbit of its vamp (Zorn threatens, but Cohen and Baron keep things grounded), and check Baron's soloing and the rest of the band when they trade fours towards the end-- incredible!

As this is a collective, and the virtuosity is spread throughout, Zorn leaves room for features for both his rhythm players-- bass feature "Kedushah" and drum feature "Ravayah" allow Cohen and Baron to prove just how brilliant their playing is through extended solos of remarkable creativity, innovation, and technique, and for that matter, through their sympathetic accompaniment for the other underneath the other's solos. Zorn and Douglas, for their parts, maintain full restraint of these tunes, appropriately allowing the rhythm section shine. The opposite is true on "Piram", where the front line pull out all the stops. Zorn in particular is on fire, with Baron pushing him higher and higher, and for a front-line feature, check out Cohen and Baron below Douglas during his powerful solo.

For all this excitement, there are some more layed back moments-- "Sippur" slips nicely and stays in a groove, and "Ashnah" is so tame and quiet as to almost be soporific during the theme before building-- check out some of Baron's brushwork and Cohen's sympathetic accompaniment to Zorn and Douglas' quiet lines. For all the rest that this record is, the use of space on this one is as powerful as the flurries, sympathetic playing, and countering on other pieces. And certainly Zorn and Douglas accompanying Cohen's solo on breathy sounds through their horns is nothing short of breathtaking.

If you haven't gotten the impression, I really can't say enough good things about this one, so few discs stretching 77 minutes are great the whole way through, this one is an exception. Highly recommended.

Average customer rating:

Great Place to Start
Amazing.
quintessential Zorn
white-hot set from a jazz band to die for.
Why I love avant-garde jazz

50th Birthday Celebration, Vol. 4
Electric Masada
Manufacturer: Tzadik
ProductGroup: Music
Binding: Audio CD

Jewish & Yiddish Music | Folk | Styles | Music

Klezmer | Folk | Styles | Music

General | International | Styles | Music

Avant Garde & Free Jazz | Jazz | Styles | Music

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General | Jazz | Styles | Music

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At the Mountains of Madness
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Masada: Live at Tonic, 2001
Masada Guitars

ASIN: B0001XXBD4
Release Date: 2004-05-25

Tracks:

Tekufah
Idalah-Abal
Hadasha
Hath-Arob
Yatzar
Lilin
Kisofim

Customer Reviews:

Great Place to Start.......2005-08-18

When I first heard John Zorn, I was a bit turned off by his styles. I use the plural, 'styles,' because he has so many different groups (naked city, masada, string trio, hemophiliac, etc.) that it would be an injustice to put Zorn into one specific category. After giving him another listen months later, I fell in love with much of his music, and this 'Electric Masada Birthday CD' is where I began.

This was recorded live at Tonic during the month of September '03 in celebration of Zorn's 50th birthday. The lineup is a who's-who of the downtown music scene - Zorn (alto sax), Marc Ribot (guitar), Jamie Saft (keys), Ikue Mori (laptop electronics), Trevor Dunn (bass), Joey Baron (drums), Kenny Wolleson (drums), and Cyro Baptista (percussion). Those who attend Zorn shows regularly at places like Tonic or The Stone will definitely recognize some of these names.

After hearing the wide scope of music Zorn is reponsible for, I can say for certain that this album is a perfect place to start for new fans. Some would argue that Naked City is a good place to begin, but I find that music to be a little too commercial, and frankly, not in line with some of Zorn's more recent projects. The music played here is a 'best-of' from the Masada catalogue with an electric spin on it. The most notable additions are Dunn, (from Mr. Bungle and other work with Mike Patton), Ribot (who is best known for his work with Tom Waits), and Ikue Mori who uses some of the craziest samples you will ever hear, such as the 'giggling madman' sound we hear on track 6, 'Lilin'.

This music is not as challenging as some of Zorn's other work in the way that this is not totally improvised. The songs have structure, for the most part, and at times have some extremely 'catchy' parts. My favorite track here is 'Idalah-Abal' which sounds like Black Sabbath with Zorn! The guitar part is mundane in nature, and matches well with Zorn's squeals, honks, and screeches. This reminds of 'Batman' from the original Naked City album. Another favorite of mine is 'Hath Arob' which is full of dissonant harmonies, probably influenced by cats like Ornette Coleman or some of Coltrane's later work. However, it is irresponsible to compare Zorn to anyone else, because his music embodies the term 'originality.'

If you are growing tired of the stale, bland music that monopolizes the radio these days, and you want something refreshing, check out Zorn. If you take my advice and pick this up, and find it to be too challenging, I would then recommend his first Naked City album from the 80's. Whether you love him or hate him, there is no denying the religious experience of listening to John Zorn.

Amazing........2005-04-19

One of the most highly anticipated bands led by downtown New York luminary John Zorn is the Electric Masada ensemble-- often thought of as Naked City meets Masada, but this sells the concept short-- this is really the culmination of Zorn's career-- the game pieces and conducted systems, the jump cut and genre blending, and the Jewish-tinged jazz. The band's roster is constantly shifting, based I suspect on availability, the lineup on this particular recording is John Zorn (alto sax, conductor), Marc Ribot (guitar), Jamie Saft (keys), Ikue Mori (laptop), Trevor Dunn (bass), Joey Baron and Kenny Wollesen (drums), and Cyro Baptista (percussion), performing as part of the month-long Zorn festival celebrating his 50th birthday at Tonic.

If you haven't seen the Electric Masada band, it may be hard to understand some of what's going on with this recording-- I know my appreciation of it deepened after witnessing this first hand-- Zorn literally conducts the band, bringing musicians in and out, queuing solos, accompaniments, blasts of noise, themes, bass lines, etc. as necessary. Nothing you hear on this, no matter how free and unled it sounds, is out of his control-- the musicians focused intently on him for every sequence-- every free improv is highly structured, every entrance in the midst of chaos is timed by him. It helps that Zorn has an extraordinarily sympathetic group of musicians to work with-- Ribot is perhaps of all the brilliant guitar players to work with Zorn, the best foil for him. The same could be said for any number of musicians on this one-- Baptista, Mori and Baron all have long associations and a real understanding for how Zorn works, or more importantly, how Zorn wants to work. I also believe all of them worked with Zorn on his game pieces, and while there may not be rules defined like there were in the game pieces, Zorn is definitely calling all the shots.

The performance on here is brilliant-- a number of pieces should be familiar to anyone with time spent in the Masada catalog, although one of the things about the Masada songbook that (to me) makes it so special is the infectious and familiar nature of the pieces-- the first time you hear the songs, you almost feel like you grew up with them. The performances cover a lot of territory, blending through genres, keeping the same sort of anchored feel that the Masada pieces have, and highlighting the contributions of every member of the ensemble. I don't know if its fair to discuss highlights as the entire album is phenomenal start to finish-- even as it threatens to overwhelm, it can suddenly switch gears (very much like Naked City) and settle into a groove. And when that groove begins to grow tired, it can explode again. Unexpected sounds abound, usually from Baptista and Mori, who are adept at punctuating the work of the other musicians, although like nearly every ensemble he's part of, Ribot steals the show much of the time.

If you're a Zorn fan, this is the Holy Grail, if you're curious, there's a lot here to love, and a lot of different faces of Zorn's style to look at. Essential.

quintessential Zorn.......2005-02-11

Electric Masada is a quintessence of John Zorn portfolio. It contains of almost all sides of his freeform music vision - from brutal metal jazz of Naked City to post-folk creativity of original Masada series. It was recorded live, that adds some bonuses (as the haunting jazz atmosphere) with some passable minuses (not as perfect as usual sounding and musicianship).
Totally this record is outstanding - it holds your attention every second of 73 minutes playing time. And it's one of the few Zorn's records, that capable to play repeatedly another and another with the same delightful and exciting effect.

white-hot set from a jazz band to die for........2004-10-08

Other than the Hemophiliac disc, the Electric Masada disc from John Zorn's 50th Birthday Celebration series was the one that most excited me. And how could you not be? The lineup is something out of dreams: John Zorn (alto sax), Marc Ribot (guitar), Jamie Saft (keyboards), Ikue Mori (laptop electronics), Trevor Dunn (bass), Joey Baron (drums), Kenny Wollesson (drums) and Cyro Baptista (percussion).

Electric Masada simply rocks. The grand theme of "Idalah-abal" gains new character with its rock-oriented arrangement. "Tekufah" spends its first three minutes spiraling through clamors of triple-percussion attack, plinking electronic glass-like sounds, and tortured guitar feedback, before Dunn's fat, high-energy bass line emerges, laying the foundational groove for the main theme, the melodic anchor of the piece. Then it goes through screaming sax solos, crunchy electric organ jams, mad thematic twists on percussion, a cosmic, heavily reverb'd guitar solo, and more. "Hath-Arob", the shortest piece on the album, reveals Zorn's cartoon music affinity (something uncommon in Masada), cutting Naked-City-like between a zany klezmer melodic figure and erratic instrumental clatters.

It's not all a jazzy firestorm, tho'. "Yatzar" is very hazy and atmospheric, with strange electronics sounding like alien crickets and water-droplets in slow motion, hissing cymbals, quietly rumbling percussion, melodious Rhodes, and entrancing guitar soloing. Zorn uses the saxophone to add curious bird-like sounds to the mix. It has incredible atmosphere and lovely sounds. "Kisofim" is the mellow encore, dominated by Marc Ribot's classy soloing. He further convinces me that anything he does it topnotch. Ikue Mori also proves her impeccable taste with an array of sounds from weird cartoon character screaming (over pounding, dissonant organ chords on "Lilin"), to bizarre animal-like noises and metallic squeals (near the end of "Yatzar"). She adds a great deal of depth and deranged spontaneity that inspire this group at this live performance.

Here, the Masada songbook is interpreted with unrivalled energy and power -- it's electric! This is one of the best jazz releases of the year undoubtedly, and John Zorn's 50th birthday celebration collection is proving to be the ultimate 2004 document for jazz, avant-garde, and free-improvisation. Recommended!

Why I love avant-garde jazz.......2004-07-23

First of all, where else are you going to find two drummers and a percussionist as part of the band--and not only that, two of the world's greatest drummers (Kenny Wollesen and Joey Baron) and probably the world's greatest living percussionist (Cyro Baptista)? Nowhere, that's where. But they're on board here, laying out some of the smartest, grooviest, heaviest beats around.

Second, where else are you going to find an aesthetic that can effortlessly incorporate white noise, wah-wah guitar, world-beat percussion, soul-jazz keyboards, honkin' sax, laptop electronics, the blooze--and make it all sound perfectly natural? Again, nowhere else.

Third, and this is perhaps most important, where else are you going to find deliciously glorious moments, moments of the starkest beauty, emerging from what almost seems like primal chaos? Again, nowhere else. But it happens here. Regularly.

Fourth, where else are you going to get a group of musicians with such res, such substance, such undeniable accomplishment and idiosyncratic genius to record live with such spectacular results? Again, nowhere else.

Look. I'm known for my over-the-top reviews (although I've received many e-mails thanking me for my forthrightness in praising jazz artists). I freely admit that sometimes I get carried away with a way-happening vibe and lose objectivity. But that's not happening here. See, I'm not a Zorn groupie. I don't automatically sign on to anything he does. He's got to EARN if from me. And he does here.

I daresay that this represents perhaps the finest group of jazz musicians ever assembled. Quite a claim, I know. But it's true. Let's just run down each one: Leader Zorn (composer, alto sax, label owner), a man who has an impeccable downtown pedigree (although not one I'm always on board with); Marc Ribot (guitar), a man who has slowly built a reputation as one who can effectively play in nearly any variety of contexts (everything from solo acoustic to avant-classical to freak-out jazz); Jamie Saft (keyboards), owner of the sickest organ sound around, as well as the hippest; Ikue Mori (laptop electronics), founding member of that too-hip outfit, Mephista; Trevor Dunn (bass), a name not known to me (my bad), who exhibits a spectacular command of his instrument; Joey Baron (drums), a fellow who has played in a staggering variety of contexts including holding down the drum chair in John Abercrombie's latest band; Kenny Wollesen (drums), another simply monster player with impeccable downtown as well as straight ahead credentials, and Cyro Baptista (percussion), leader on one of the greatest world jazz albums ever recorded, Vira Loucos.

Together, these artists conceptualize a soundscape of such outrageous and beautiful proportions that it must be heard to be believed. That they do it live is all the more praiseworthy.

Simply too good to be true. Admittedly, not for the faint of heart, but it strikes me that the adventurous listener could greatly widen his or her listening experience by carefully attending to what's going down here.

Highest recommendation.

Average customer rating:

The album title says it all ...
Great take on Masada, 4 1/2 stars.

Masada Rock
Rashanim
Manufacturer: Tzadik
ProductGroup: Music
Binding: Audio CD

Jewish & Yiddish Music | Folk | Styles | Music

Klezmer | Folk | Styles | Music

General | International | Styles | Music

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Masada Guitars
50th Birthday Celebration, Vol. 11
At the Mountains of Madness
Azazel: Book of Angels, Vol. 2
Masada String Trio: 50th Birthday Celebration, Vol. 1

ASIN: B0009VBTRS
Release Date: 2005-07-26

Tracks:

Bahir
Makom
Zidon
Shadrakh
Chorek
Anakim
Zemanim
Ahavah
Arad
Terumah

Customer Reviews:

The album title says it all ..........2005-08-09

Once the enfant terrible of new music, with his jump cut compositions and post-modern all inclusive sensibility, composer John Zorn has dedicated himself to the construction of the Masada song-book, a series of tunes that he hopes will eventually become Jazz standards. Based on traditional Yiddish scales and rhythms, Zorn's investigation of his own Jewish heritage has proven to be his most popular undertaking.

His initial forays into this song-book over a decade ago were documented by his own original Masada Quartet and later by chamber music ensembles, including his Masada String Trio. These infectious, tuneful pieces have now been handed over to a new generation to explore.

Rashanim is guitarist Jon Madof's power trio dedicated to exploring such Hassidic themed music and here delivers ten never before recorded Masada tunes for the first time. The trio proves worthy interpreters of such material with a winning combination of virtuosity and youthful abandon. Working its way from the atmospheric and sublime to the blisteringly intense, "Masada Rock" embodies all the best qualities of Zorn's songwriting potential.

Featuring guest soloist Marc Ribot on two cuts, "Masada Rock" never lacks in punch, but more surprising, is Madof's ability to find the subtleties and delicate nuance of Zorn's quieter pieces. The reverb laden surf inflection of the opening cut, "Bahir" is reminiscent of Zorn's own exotic tinged project "The Gift," while the album closer, "Terumah" features acoustic guitar arpeggios backed by the distinctive boing-boing of the Jew's harp, a sound found frequently on Ennio Morricone's Spaghetti Western soundtracks, one of Zorn's own favorite genres. In complete contrast is the thundering "Zemanim" and punkish "Arad" with their bone crushing power chords and stinging lead work. Overflowing with potential, "Masada Rock" is a brilliant reminder of John Zorn's compositional acumen and an indicator of even greater things to come from Jon Madof.

Great take on Masada, 4 1/2 stars........2005-07-30

Jon Madof's Rashanim is a band that will probably never receive the recognition they deserve. The trio (Madof on guitar, Shanir Ezra Blumenkranz on bass and oud and Matthias Kunzli on drums and percussion) is a sort of downtown answer to post-punk-- guitar driven rock music without the bombastic flair of commercial rock, but instead of a grinding sound, they've got a downtown air to them, a healthy dose of humor and daring to go along with the stunningly high level of musicianship. And while Madof is the leader of the band, all three are fantastic musicians, with both Blumenkranz and Kunzli stealing attention as much as the leader.

This recording, their second, "Masada Rock" features ten songs never before recorded from the first Masada songbook (note that this is NOT material from Masada Book II) and is released as part of the "Masada 10th Anniversary Series". The band is joined on two cuts by guitar genius Marc Ribot, who seemlessly integrates with them, providing color and luminescence in his own way-- Ribot excels at blending into whatever environment he works in, and he does so here, performing on the explosive and up-tempo opener "Bahir", which right away sets the feel for this album. It is definitely a Masada piece, its got that quality to it that is so hard to describe and goes beyond just the choice of scales. Kunzli is positively brilliant as Madof and Ribot take off, blazing through the theme and ending the piece with a dueling guitar solo that recalls the best Zorn/Douglas wars. Ribot also joins in on the acoustic "Shadrakh", which nicely contrasts the opener with its lovely, quiet playing, but again highlighted by the stellar work of Kunzli below a dueling solo by the two guitarists.

The balance of the record covers a number of different styles and feels, from the clean tone electric guitar sounds that dominated the first record ("Makom", featuring nice playing from the trio) to noisy, loud rock ("Chorek", with one of the best solos Madof takes on the record, drenched in feedback and distortion). Along the way, Madof covers Fantomas-esque metal (albeit vocalless "Zemanim", featuring a blistering distorted bass solo from Blumenkranz) , a Morricone-tinged piece ("Ahavah") and nearly straight post-punk ("Arad").

All in all, its a pretty exciting effort, and really a great addition to any collection. I waffled on the rating a bit, but certainly had I not been thinking of this in context of Zorn, I would have given it five stars. We'll call it four-and-a-half. Highly recommended.

Average customer rating:

Picking up where "Voices in the Wilderness" left off.
Simultaneously solves two difficult problems . . .
unknown, no longer ...
Eccellente!!!
High-speed electric klezmer

Unknown Masada
John Zorn
Manufacturer: Tzadik
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Jewish & Yiddish Music | Folk | Styles | Music

General | International | Styles | Music

Avant Garde & Free Jazz | Jazz | Styles | Music

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Azazel: Book of Angels, Vol. 2
Masada String Trio: 50th Birthday Celebration, Vol. 1
50th Birthday Celebration, Vol. 11
Second Grand Constitution and Bylaws, Hurqalya
Suspended Animation

ASIN: B00009Y3QD
Release Date: 2003-07-22

Tracks:

Kinyan
Olamim
Vehuel
Shofetim
Partzuf
Zarach
Shagal
Herem
Kadmut
Zemaraim
Demai
Belimah

Customer Reviews:

Picking up where "Voices in the Wilderness" left off........2005-06-30

"The Unknown Masada" is the third in the Masada Tenth Anniversary series of releases, and like the previous volume ("Voices in the Wilderness") is an anthology of different performers doing Masada tunes. The difference here is that whereas that last volume consisted of performances of previously recorded songs from the Masada songbook, this volume consists of previously unrecorded pieces.

Like "Voices in the Wilderness", this record suffers from a sort of inconsistency induced upon it by having a dozen tracks by a dozen different artists-- the material is all at worse listenable and at best highly enjoyable. Several of the cuts really impressed me, Yoshida Tatsua's "Shofetim" is a sort of prog rock meets Masada sound, with overblown organs and a great synth solo. Julian Kytasty's solo bandura perforamnce ("Kadmut") is quite impressive (although its an instrument I'm largely unfamiliar with, so I can't speak to specifics about the performance), its a delicate an quiet arrangement that recalls the best of the "Masada Guitars" sort of sound, plus it contrasts nicely with the followup-- the Fantomas arrangement "Zemaraim"-- sludgy death metal take on a Masada theme. Its certainly destined not to be everyone's cup of tea, but I loved it.

And there's a couple pieces where some element stands out-- Rashanim's "Olamin" is a pretty standard performance by the, but is saved by Matthias Kunzli's inspired and superb drumming, and Jamie Saft's "Zarach" is full of interesting ideas, finding a home between trance, dub, and jazz, but is mangled for me by an irritating sample. And as one would suspect, some of the performances were a bit disappointing-- I found Erik Friedlander's "Kinyan" a bit overarranged and busy, and while Dave Douglas and John Zorn sound to be having a good deal of fun on "Veheul", its not a particularly inspired take and seems to work hard to avoid falling into a Masada (the band) cliche.

In the end, this isn't a really essential compilation. The standout tracks make it worth having for anyone who exlores Masada's music, but its not one that comes off my racks very often.

Simultaneously solves two difficult problems . . ........2004-06-19

Simultaneously solves two difficult problems . . .

. . . That of the limited range of klezmer music, and that of the stylistic incoherence of anthologies. The first by employing the widest possible variety of performers--everything from The Fantomas purveying klezmer thrash to Julian Kytasty playing solo bandura; from the Medieval-sounding "Shagal," performed on oud, fiddle, ceterina d'amore, and accordion with vocals, to "Demai," featuring Wadada Leo Smith and Ikue Mori. The second by performing all John Zorn compositions. Thus, the annoying sameness of much of klezmer is overcome by such a shocking variety of musicians, while the problem of anthological diffuseness is conquered by focusing on the music of a single composer. The results, it must be admitted, are pretty spectacular: a huge range of aural soundscapes, mercurial, constantly shifting sonic palettes, top-notch artists bridging what would seem like impossibly variegated musical styles. The closest comparison I can think of is that wonderful disc Africa Straight Ahead, which does something similar for African acoustic jazz (though the two disc, of course, sound nothing alike).

Let me come clean for a moment. Although I've come to greatly respect and admire John Zorn's Tzadik label, with such fabulous discs as Susie Ibarra's Songbird Suite, Mephista's Entomological Reflections, Jenny Scheinman's Shalagaster, Tim Sparks's At the Rebbe's Table, Cyro Baptista's Vira Loucas, Marc Ribot's Scelsi Morning, R. J. Rodriguez's El Danzon de Moises, I haven't much cared for Zorn's music in the past. My main objection has been that I detect too much of the mannered and ironic about him. For jazz music to succeed, it needs to operate out of genuine appreciation and appropriation, not cool distance. It's ironic that the artists on his label often seem to do a better job of pulling this off than he himself does.

Bottom line: I guess Tzadik's kinda like ECM; it doesn't always work, but when it does, it works wonders. As it does here. Eminently worth picking up.

unknown, no longer ..........2004-05-16

The third in a series celebrating John Zorn's 10 year anniversary of his Masada ensemble, The Unknown Masada may go the furthest afield yet. Where the previous tribute CD, Voices in the Wilderness, made an attempt to expand the sonic possibilities of previously documented Masada tunes, this album reveals both unrecorded compositions and drastically different ensembles.

Where Voices in the Wilderness utilized a variety of groups to perform Zorn's klezmer tinged jazz pieces, most of those ensembles were either primarily acoustic in nature or more overtly improvisational in their execution. This album, on the other hand, features tunes that have been rarely performed by any of Zorn's various Masada ensembles, if only because most of these pieces are more compositionally intricate.

Dave Douglas' piece is exemplary of the albums best features. Not only does it feature an expanded variation on the classic Masada group (including Zorn himself no less) it has enough tricky time changes and stellar solo spots to make the album worth owning for this cut alone. Interpretations by the likes of Erik Friedlander, Naftule's Dream, and Eyvind Kang mingle with lesser known, but equally talented artists.

The only weak spots lie in the more rock oriented material, which comes of as overly arranged and less freewheeling. Both Fantomas and Yoshida Tatsuya (from the Ruins) contribute tracks that often sound merely like distorted Middle-Eastern chord changes pounding away into oblivion. These however are the exception to a highly varied album whose merits outweigh its flaws.

Eccellente!!!.......2004-02-26

Eccezionali esecuzioni e ottime musiche per uno dei migliori album Masada.
P.S.: piace anche a Pietro, e se non è una garanzia questa...

High-speed electric klezmer.......2003-08-31

Following two great "new arrangement" Masada albums (Masada Guitars and Voices in the Wilderness), John Zorn brings in another large group of musicians to play their interpretations of the Masada songbook. But this time, they're playing songs no one has heard before. On the other albums, you could compare the new arrangement to the original version on one of the ten studio albums. This time it's all new.

The music is fun, fast, and more rock and roll than previous Masada albums. Heavy bands like Ruins and Fantomas plow through these klezmer tunes at high speeds. If you want to get into Zorn's eclectic klezmer music, this is a good place to start. Longtime fans will love it, too.

Another Day
Average customer rating:
Another Day
Voices of Masada
Manufacturer: Strobelight Records
ProductGroup: Music
Binding: Audio CD

General | Hard Rock & Metal | Styles | Music
ASIN: B000LN0VBY

Product Description

Voices of Masada formed in 2002 when the long lasting musical partnership between Eddie Martin (no longer band member) and Rob Leydon took the shape of a real band. Gothic-bass player Danny Tartaglia (ex-Wasteland and ex-Burning Gates) joined and with Raymon Shah taking over the microphone the band soon delighted the world with their promising 3-track demo "Prelude". Strobelight Records immediately secured new versions of "Fallen" on the New Dark Age Vol.2 compilation (2004) and Step Down on Vol. 4 (2006). Voices of Masada quickly establish themselves as a powerful and professional live band, and following the excellent feedback on Prelude ("a must have item") the band hit the studio again to record their debut album "Four Corners". Overwhelming reactions in the press: Not to be missed! (Zillo Magazine), ...enchanting Goth-Rock fans as well as the Deathrock community (Orkus Magazine), Thats the way British Goth is supposed to sound in the new Millennium. (Sonic Seducer Magazine), as well as from the audiences of festivals such as the WGT and JUDGEMENT DAY promise: Voices of Masada are gonna conquer the world. Their brand new album Another Day shows a major step forward for the band. They have elaborated a lot on their compositions and arrangements, and bring us powerful and stirring hymns with ageless new classics such as Alive, Looking Back, and the phenomenal title track. 1. Alive 2. Uncertain 3. Walk Away 4. Wondering 5. Looking Back 6. Reflections 7. Taken 8. Never Again 9. Years 10. Another Day

Average customer rating:

Oceanic
Masada
Manufacturer: Tsunami Productions
ProductGroup: Music
Binding: Audio CD

General | Rock | Styles | Music
ASIN: B0000CG8HV
Release Date: 2003-09-23

Tracks:

ESP Expansion
My Box
Experience
Filtering Bebop
Acoustic Foam
Purple Sky
High Rate of Speed
Dancing Hat

Jazz Music:

Jazz Music

Jazz Music