The Hierophant (Tzadik, 2019), a composition inspired by the Tarot, was performed by Brian Marsella (piano), Trevor Dunn (bass) and Kenny Wollesen (drums).

Nove Cantici Per Francesco D'Assisi (january 2019) and Virtue (Tzadik, 2020), dedicated to the 14th century nun Julian of Norwich, were performed by the acoustic guitar trio of Julian Lage, Gyan Riley and Bill Frisell.

The 3-sided vinyl Pellucidar - A Dreamers Fantabula (february 2015) contains Zorn compositions performed by the Dreamers, a sextet consisting of Cyro Baptista (percussion), Joey Baron (drums), Trevor Dunn (bass), Marc Ribot (guitars), Jamie Saft (keyboards) and Kenny Wollesen (vibes).

Tractatus Musico-Philosophicus (november 2018) contains the 38-minute Philosophical Investigations From The Invisible Theatre performed by Zorn himself on sax, vocals, electric piano, prepared piano, guitar, drums, bass, game calls, percussion, objects and samples.

Simulacrum's seventh album, the live Beyond Good And Evil (july 2019), featured John Medeski, Matt Hollenberg and Kenny Grohowski.

Zorn has probably composed more than 1,000 works. Regardless of the merits of each one, very few composers have mixed musique concrete, Cage, heavy metal, hardcore, atonal chamber music, and free jazz like he did.

Calculus (january 2020) contains two Zorn compositions for piano trio, performed by Trevor Dunn (bass), Kenny Wollesen (drums) and Brian Marsella (piano).

The 39-minute composition of Baphomet (february 2020) was performed by Simulacrum: John Medeski (clavinet, organ), Kenny Grohowski (drums) and Cleric’s Matt Hollenberg (guitar).

Azoth (Tzadik, 2020) collects music for cello composed between 2015 and 2017.

The Turner Etudes (september 2020) contains 18 short pieces for solo piano performed by Stephen Gosling.

Gnosis - The Inner Light (september 2020), ostensibly a hommage to Ennio Morricone, was performed by Bill Frisell (guitar), John Medeski (organ, piano, Fender Rhodes), Kenny Wollesen (vibraphone) and harpist Carol Emanuel.

Songs For Petra (premiered in march 2019) is a set of "lieder" for singer Petra Haden (Charlie's daughter), Jesse Harris (acoustic guitar and keyboards), Jorge Roeder (bass), Kenny Wollesen (drums) and Julian Lage (guitar).

Steve Gosling (piano), Sae Hashimoto (vibes), Jorge Roeder (bass) and Ches Smith (drums) performed Heaven And Earth Magick (december 2019).

The four volumes of Bagatelles (november 2019) collects 48 tunes published in 2015 performed by different ensembles. Volume 1 features Mary Halvorson and Miles Okazaki (both on guitar), Drew Gress on bass and Tomas Fujiwara on drums; Volume 2 sports the cello duo of Michael Nicolas and Erik Friedlander; Volume 3 is played by the trio of Will Green (guitar), Simon Hanes (bass) and Aaron Edgcomb (drums); Volume 4 features only Ikue Mori on electronics.

Simulacrum (now consisting of Brian Marsella on electric piano, John Medeski on organ, Matt Hollenberg on electric guitar, and Kenny Grohowski on percussion) returned with Chaos Magick (october 2020).

Parables (october 2020) features the guitar trio of Bill Frisell, Julian Lage and Gyan Riley.

Nostradamus - The Death Of Satan (july 2021) contains music again composed by John Zorn and performed by Simulacrum, i.e. John Medeski (organ), Matt Hollenberg (guitar) and Kenny Grohowski (drums), the ninth recording by this project.

A follow-up to The Hierophant, Meditations On The Tarot (may 2021), also inspired by the Tarot cards, was recorded by the trio of Trevor Dunn (bass), Kenny Wollensen

 More Bagatelles (december 2020) were performed by: Drew Gress and Trevor Dunn (basses), Kenny Wollesen and G. Calvin Weston (drums), Mary Halvorson and David Fiuczynski (guitars), John Medeski (organ), Kris Davis and Brian Marsella (piano).

Zorn also formed Chaos Magick with Brian Marsella (mellotron, electric piano), John Medeski (organ), Matt Hollenberg (guitar) and Kenny Grohowski (drums), documented on The Ninth Circle (july 2021), a nine-movement suite inspired by the ancient Greek legend of Orpheus and Eurydice.

The New Masada Quartet, featuring Zorn (alto sax), Julian Lage (guitar), Jorge Roeder (bass) and Kenny Wollenson (drums) debuted with New Masada Quartet (june 2021).

The Cleansing (february 2021) collects duets between Zorn on alto sax and Bill Laswell on bass. The two also collaborated on Memoria (january 2023), three improvisations dedicated to three jazz greats (Pharoah Sanders, Milford Graves and Wayne Shorter).

Perchance To Dream (october 2021) contains seven "nocturnes" by John Zorn performed by the quartet of Bill Frisell (guitar), John Medeski (organ), Brian Marsella (piano and Fender Rhodes piano) and Kenny Wollesen (drums).

Spinoza (november 2021) contains two Zorn compositions performed by Simulacrum: himself on alto sax, Bill Frisell and Matt Hollenberg (both on guitar), John Medeski (organ, Fender Rhodes piano) and Kenny Grohowski (drums).

A Garden Of Forking Paths (april 2021), inspired by Jorge Luis Borges tales, is the fifth album composed by John Zorn for the guitar trio of Bill Frisell, Julian Lage and Gyan Riley.

Suite For Piano (february 2022), ostensibly inspired by Bach's Goldberg Variations and Schoenberg’s piano music, contains Zorn compositions performed by Brian Marsella on piano, Jorge Roeder on bass and Ches Smith on drums.

The Hermetic Organ Volume 9 - Liber VII (march 2022) collects Zorn's organ improvisations inspired by Aleister Crowley’s "Liber Liberi vel Lapidis Lazuli", ostensibly perfomed "in a kind of trance state".

Composed in december 2020 and inspired by French philosopher Gilles Deleuze, Multiplicities was released on two discs: Multiplicities - A Repository of Non-Existent Objects (recorded in july 2022 and performed by Chaos Magick, i.e. John Medeski on Hammond organ, Brian Marsella on Fender Rhodes piano, Matt Hollenberg on guitar and Kenny Grohowski on drums) and Multiplicities II (recorded in january 2023 by Incerto, i.e. Marsella on piano, Ches Smith on drums, Julian Lage on guitar and Jorge Roeder on bass).

Incerto (june 2022) contains music that Zorn composed for the quartet of Julian Lage (guitar), Brian Marsella (piano), Jorge Roedor (bass) and Ches Smith (drums and tanbou).

Brian Marsella (piano), Jorge Roeder (bass) and Ches Smith (drums) recorded John Zorn's The Fourth Way (december 2022), a work inspired by the writings and thought of Georges Gurdjieff.

Chaos Magick's fourth release 444 (december 2022) featured Brian Marsella on electric piano, John Medeski on organ, Kenny Grohowski on drums and percussion, and Matt Hollenberg on electric guitar.

Quatrain (april 2023) contains five pieces performed by the guitarists Julian Lage and Gyan Riley, inspired by Richard Hughes' novel A High Wind in Jamaica.

The Incerto quartet returned with Full Fathom Five (january 2023).

3 nauji Zorn'o "padarai"

The Urmuz Epigrams (Tzadik, 2018), dedicated to the visionary Romanian writer Urmuz, marked a return to his dadaistic roots and chance music.

Insurrection (december 2017) was an instrumental project featuring guitarists Julian Lage and Matt Hollenberg with the rhythm section of Trevor Dunn and Kenny Grohowski.

Zorn plays alto sax and electric piano on In A Convex Mirror (Tzadik, 2018) along with Ikue Mori (electronics) and Ches Smith (Haitian tanbou, bell and cymbals).

kas seka John Zorn kūrybą?

kadangi čia diskografijose trūksta pildymų, nauji 2015-2016-2017 m. Zorn'o leidiniai:

The Interpretation Of Dreams (Tzadik, 2017) features John Zorn three works inspired by Luis Bu¤uel and William Burroughs, two for vibraphone and rhythm section and one by piano quintet Obscure Objects of Desire. The performers are: Sae Hashimoto on vibed, Tyshawn Sorey on drums, Jay Campbell (cello), Stephen Gosling (piano), Chris Otto and Austin Wulliman (violin) and John Pickford Richards (viola). Recorded in april and may 2017.

Buer (Tzadik, 2017) features the Volume 31 of endless John Zorn's The Book Of Angels series, with 16 Masada compositions performed by a trio featuring pianist Brian Marsella, Trevor Dunn (bass) and Kenny Wollesen (drums).

Recorded in december 2016, The Garden Of Earthly Delights (Tzadik, 2017) documents ten pieces composed by John Zorn and performed by his Simulacrum ensemble, in their sixth experience: Trevor Dunn (bass), John Medeski (keyboards), Kenny Grohowski (drums), Matt Hollenberg (guitar) and Sara Serpa (voice). They celebrate the 500th anniversary of Hieronymus Bosch's death with an album improvised on the Zorn's themes, spacing from heavy metal to blues, funk, jazz and avantgarde. Instead, There is No More Firmament (Tzadik, 2017) collects nine John Zorn's compositions from 2013-2016, including two works for brass ensembles, a woodwind quintet, jazz piano trio, string trio and two solo pieces for clarinet and trumpet. Let's mention, among the performers, Jay Campbell (cello), Peter Evans (trumpet), Chris Otto (violin), Tyshawn Sorey (drums) and classical virtuoso Marco Blaauw (double-bell trumpet).

Sacred Visions (Tzadik, 2016) presents two Zorn compositions, world premiered in may 2015: the 23-minute The Holy Visions and the 15-minute The Remedy Of Fortune, with vocal JACK quartet and a string quartet. Instead, Flauros: The Book Of Angels - Volume 29 (Tzadik, 2016) is a rocking, driving, unstoppable reading of Masada music by AutorYno trio (bassist Bertrand Delorme, drummer Cyril Grimaud and guitarist David Konopnicki), mixing psychedelia, surf, metal, thrash, reggae, hard rock, etc.

John Zorn's The Mockingbird (Tzadik, 2016) features his sixth collaboration with the Gnostic Trio, i.e. Bill Frisell (guitar), Carol Emanuel (harp) and Kelly Wollesen (vibraphone). The eight pieces Zorn composed, recorded in december 2015, feature a mixing of contemporary jazz, classical and world music.

Andras (Tzadik, 2016), the Book of Angels Volume 28, sports John Zorn's Nova Express ensemble, a quartet featuring Joey Baron (drums), Trevor Dunn (basses), John Medeski (organ and piano) and Kenny Wollesen (vibraphone), joined by the Brazilian percussionist Cyro Baptista. The lineup created a space-age bachelor pad music program for the 21st century. Recorded in november 2015. Another John Zorn's album is The Painted Bird (Tzadik, 2016), that features the interesting quintet of John Medeski (organ), Ches Smith (congas, Voudun drums), Kenny Wollesen (vibes), Kenny Grohowski (drums) and Matt Hollenberg (guitar). Zorn composed nine pieces mixing solos improvisation, metal, classical, atonal and world music.

The Book Of Angels Volume 27: Flaga (Tzadik, 2016) continues the "never ending story" of John Zorn's well known series. This time the performers are a notable piano trio: Craig Taborn along with Christian McBride (double bass) and Tyshawn Sorey (drums). Nine pieces.

John Zorn comes back with Cerberus, the 26th volume of Book of Angels series, recorded between july and august 2015. Fot his new work Zorn composed ten new pieces performed by the Spike Orchestra, a 18-musician ensemble comprising of 11 reedists, plus guitar, accordion, voice, piano, keyboards and drums.

John Zorn's Inferno (Tzadik, 2015) features John Medeski on organ, Matt Hollenberg on guitar and Kenny Grohowski on drums. The third CD from Zorn's new instrumental ensemble is inspired by the work and thought of Swedish playwright, poet, painter, philosopher, novelist, alchemist and occultist August Strindberg. The seven pieces, among which the 21-minute namesake suite, feature metal, jazz, minimalism, atonality, ambient and more. Recorded in may and june 2015.

The True Discoveries Of Witches And Demons (Tzadik, 2015) is the second release by John Zorn's project Simulacrum, featuring Trevor Dunn (bass), John Medeski (organ), Marc Ribot (guitar), Abraxas' Kenny Grohowski (drums) and Cleric's Matt Hollenberg (guitar). Zorn composed ten new pieces.

Gomory (Tzadik, 2015) features the 25th Book of Angels, performing Masada compositions by John Zorn. Recorded at a date in 2015, the album collects eleven pieces performed by Mycale, i.e. the cappella vocal quartet of Ayelet Rose Gottlieb, Sofia Rei, Sara Serpa and Malika Zarra.

Simulacrum (Tzadik, 2015) is the self-titled album by the organ trio of John Medeski, Matt Hollenberg (the same of emergent project Cleric, where he is on guitar) and Kenny Grohowski, whose music is credited to John Zorn, who composed six tracks mixing metal, jazz, minimalism and noise. Recorded in december 2014.

News by always more prolific John Zorn. The Hermetic Organ Vol. 3 (Tzadik, 2015) documents his third solo organ album, live recorded in november 2013: three lenghty pieces featuring loud and hypnotic sonorities. Amon (Tzadik, 2015) is the Book of Angels Volume 24, created along with Klezmerson. And Olympiad The Early Game Pieces (Tzadik, 2015) documents the new guitar quartet Dither's album performing two versions of four Zorn's pieces he composed in the late '70s and early '80s, as yearly retrospectives of his game pieces at various Downtown venues. He called these events his Olympiads. In this second release, Dither are: Gyan Riley (electric and acoustic guitar, banjo), Taylor Levine (electric and acoustic guitar), Joshua Lopes (electric and acoustic guitar, bajo sexto, zhong ruan) and James Moore (electric and acoustic guitar, banjo, mandolin). Among the pieces, the first recording of Zorn's Fencing and Curling (especially the second electric 20-minute version).

The Last Judgement (Tzadik, 2014) is the final John Zorn's project Moonchild album, performed with Mike Patton (vocals), Trevor Dunn (bass), Joey Baron (drums) and John Medeski (organ). The suite Zorn composed features a lyrical approach.

More and more prolific, John Zorn keeps to produce new albums. Tzadik released just now: 1) The Dream Membrane, a collaborative project trio recorded in june 2014, with the leader (shofar and alto sax), Bill Laswell (bass and drones) and writer/illustrator David Chaim Smith, who reads selections from his book The Awakening Ground; 2) Valentine's Day, new trio version of 2011's Enigmata duo version, performed this time by Trevor Dunn (electric 5-string bass), Marc Ribot (electric guitar) and Tyshawn Sorey (drums); 3) Aguares, the 23th volume of Book of Angel's serie, performed by Masada Octeto, an israelian ensemble led by the Cuban Roberto Rodriguez.

Gnostic Trio, the lineup produced by John Zorn and comprising of Bill Frisell (guitar), Kenny Wollesen (vibraphone and bells) and Carol Emanuel (harp), after having debuted with The Gnostic Preludes (december 2011), followed by The Mysteries (december 2012) and the pure jazz In Lambeth, (april 2013), comes back with The Testament Of Solomon (Tzadik, 2014), an album that, as the previous, features a melodic and spiritual approach, that mixes classical, jazz and folk music. Recorded in march 2014.

John Zorn keeps to produce his Book of Angels serie. Adramelech is the vol. 22 (Tzadik, 2014), performed by Zion80 (the brainchild of guitarist Jon Madof), who led a project that mixes the Afro-pop music … la Fela Kuti with the Jewish tradition. The eight tracks feature a 11-piece ensemble, with Klezmatics members Frank London (trumpet) and Matt Darriau: (alto sax, kaval and clarinet), Shanir Ezra Blumenkranz (bass), Yoshie Fruchter (guitar), Jessica Lurie, who played in Birdsongs Of The Mesozoic's Pictures of Motion (baritone sax and flute), Brian Marsella (keyboards), Greg Wall (tenor sax), Yuval Lion (drums), Zach Mayer (baritone sax), plus percussionists Mauro Refosco and Marlon Sobol. Recorded in may 2014. And Zorn comes back with Nova Express, the project with John Medeski, Trevor Dunn, Kenny Wollesen and Joey Baron; they recorded On Leaves Of Grass (Tzadik, 2014), on which Ikue Mori joined the lineup. This is the sixth album, inspired by and dedicated to American poet Walt Whitman. The sound is hypnotic and minimalistic, also quite improvised. 

Stephen Gosling (piano), Greg Cohen (bass) and Tyshawn Sorey (drums) performed in february 2014 In The Hall of Mirrors, the new album composed by John Zorn for Tzadik. The six new tracks sport a mixing of classical and jazz.

ir man labiausiai patikęs, rockavas, gerokai Frank Zappa kūrybą primenantis PAINTED BIRD

ish the Dreamers serijos 

John Zorn - O'o 

https://www.youtube.com/watch?v=X0gXGwk27Zo

(The title refers to the ʻōʻō of the Hawaiian Islands, the last living members of the now-extinct songbird family Mohoidae)

The Gift dabar klausau.

veža!

'Music Romance' serija:

Music for Children (1998)

https://www.youtube.com/watch?v=5hL7NZVOCfU

Taboo & Exile (1999)

https://www.youtube.com/watch?v=ittlvF7QUvs&t=169s

The Gift (2001)

https://www.youtube.com/watch?v=xDvAEeQzvzQ&t=1909s

///

2015 

- Amon: Book of Angels 24 (by Klezmerson)

https://www.tzadik.com/index.php?catalog=8330

https://www.youtube.com/watch?v=WmKjH--7iBE

- Hen to Pan

https://www.tzadik.com/index.php?catalog=8330

- Simulacrum

https://www.tzadik.com/index.php?catalog=8330

https://www.youtube.com/watch?v=1LJwuYbACZ8

/.../  Įdomiausi aštuoniasdešimtųjų darbai buvo atlikti studijoje. Šiam periodui priklauso kompozicijos “The Big Gundown”, “Spillane” /.../

man tai įdomiausia ir nuotykingiausia, o ir nutrūkgalviškiausia būtent ši jo muzika, iš kurios TBG yra laisvas Ennio Morriconės kūrinių filmams interpretavimas.

Transmigration of the Magus (2014)

https://www.youtube.com/watch?v=T1GuzwijdDI&list=PL41arQioCIXtRHoP0q4uCOw3FGwYTrYEr

Drawing inspiration from various Gnostic philosophies of the Nag Hammadi library, Transmigration of the Magus is a musical evocation of the mystical journey of the soul through the bardo. Lyrical and tender, the music has a lush orchestral sweep and features Bill Frisell and John Medeski reveling within the magical sonorities of vibraphones, bells and harps. Created to help the passing of Zorn’s dear friend Lou Reed through the bardo realms and released on the one year anniversary of his passing, Transmigration of the Magus is a memorial tribute to one of Zorn’s musical mentors and is one of his most touching and emotional projects—truly music of the angels.

nepriekaištingas Bill Frisell surfas The Gnostic Trio albume "The Testament of Solomon" (2014)

https://grooveshark.com/#!/album/The+Testament+Of+Solomon/9859276

jei kas dar nesutiko Jono, siūlyčiau pradėt nuo moody exotica, hardcore punk, classical, jazz, surf, world music puokštės "Taboo & Exile" (1999) 

https://grooveshark.com/#!/album/Taboo+And+Exile/9422469

primena vėlionio Frenkos Zappos daugiapusiškumą, daugialypumą ar net potenciją.

man patinka Zornas, kad jis ne iš tų muzikantų, kurių albumų reikia laukti: "ei girdėjai tas ir anas birželį išleis albumą?", su Jonu - visiškai atvirkščiai: "o, ir vėl įrašė. o tai tik vienas šį mėnesį?'' žinoma, kai milžinika diskografija, daug ir šlamšto, bet džiugu, kad anūkai, po Jono mirties praėjus trisdeišmt metų sakys: "ė, žėėk naują, negirdėtą John Zorn albumą radau".

Filmworks XI: Secret Lives (2002)

The Masada String Trio. Feldman, Friedlander and Cohen are not only brilliant soloists, but also sensitive ensemble players, thoughtful composer/arrangers and the best of friends. Their incredible rapport is at its best in this haunting score for Aviva Slesin’s documentary film on Jewish children hidden from the Nazis during the Shoah (modern Hebrew shō'āh, literally, catastrophe). Orchestral arrangements, intimate improvisations, lyricism and a handful of new Masada tunes make this one of Zorn’s most memorable film scores.

,,,

full album:

https://grooveshark.com/#!/album/Filmworks+XI+2002+Volume+One+Secret+Lives/9566623

,,,

Filmworks XIX: The Rain Horse (2008)

for Dimitri Geller`s animated parable

https://grooveshark.com/#!/album/Filmworks+XIX+The+Rain+Horse/4959127

,,,

p.s. grooveshark`e ganėtinai daug Zorno sudėta, valio

Mount Analogue (2012)

"Another album of the 21st century mystical music series is “Mount Analogue”, which is based on the philosophy of G.I. Gurdjieff. The extensive liner notes and the spine wrapper claim “Mount Analogue”, which is named after an unfinished novel by surrealist writer René Daumal (who was one of Gurdjieff’s disciples) and which consists of one single 38-min.-track, as one of John Zorn’s file card pieces although he claims that it is based on conventional notation.

Zorn is the composer and conductor of the music, the band is Cyro Baptista (percussion, prayer bells, vocals), Shanir Ezra Blumenkranz (bass, oud, gimbri, vocals), Tim Keiper(calabash, drums, percussion, orchestral Bells, vocals), BrianMarsella (piano, organ, vocals) and the ubiquitous Kenny Wollesen (vibraphone, chimes, vocals) – and again the musicianship is tremendously great. Zorn’s projects often switch between mellifluous sweetness (The Dreamers) and harsh repulsive brutality (Painkiller), but “Mount Analogue” might be attractive to fans of his more avant-garde and hardcore sounds as well as to those who are more into his easy listening compositions. The music could be described as mystical “Naked City unplugged”, there are dozens of abrupt changes and peculiar sounds to keep you hooked, there are tons of unexpected twists and turns, supported by the again unconventional instrumentation. The musicians easily move between angular new classical music, restrained mumbling and panting, 1950s film noir soundtracks, Jewish or Middle Eastern folk, the typical John Zorn exotica, jazz, lonely piano tunes, or minimalist approaches. Every note is exactly at the right place, there is not one bell tone too much, which creates a lush atmosphere on the one hand but the spooky and creepy elements refer to a dark world also inherent in this music." (by Martin Schray)

labai įdomi kelionė, 10//10

Tzadik išleido : 

Wollesen, Haffner, Naujo - Rasa Rasa (2014)

"For their first Tzadik release Rasa Rasa members Kenny Wollesen, Dalius Naujo, Jonathon Haffner and Sean Francis Conway have arranged the ancient polyphonic vocal music of Lithuania using a variety of ensembles and the result is an entirely new musical world. Charming, infective grooves, imaginative arrange- ments and ancient vocal rounds featuring six Lithuanian singers, brand new Wollesonic instruments and Neapolitian poet Giuseppe Zevola blend together in this fabulous new project."

Personnel:

Doug Wieselman: Tenor Saxophone, Guitar

Kenny Wollesen: Wollesonics, Percussion, Bass Drum

Sean Francis Conway: Trumpet, Wollesonics, Piano

Laima Griciute: Cosmic Manager

Jonathon Haffner: Alto Saxophone, Guitar

Michael Irwin: Trumpet

Lana Is: Voice

Aaron Keane: Bass

Tim Kieper: Percussion, Wollesonics

Kriste Krupovisovaite: Voice

Milda Laužikaite: Voice, Wollesonics

Panagiotis Mavridis: Panaphone

Dalius Naujo: Drums, Wollesonics, Percussion

Eivind Opsvik: Bass

Živile Rimšaite: Voice

Lina Saveikyte: Voice

Agota Zdanaviciute: Voice

Dorote Zdanaviciute: Voice

Giuseppe Zevola: Voice

...ieškojau konors apie Joną lietuvių kalba, ha, radau 2009-tų Respublikos straipsnį, matau music`e tik vienas sakinys, tai kopypeistinu daugiau, trys du vienas:

Džonas Zornas (g. 1953 m.) – kompozitorius ir saksofonistas, gyvenantis ir dažniausiai koncertuojantis Niujorke. Jo muziką sunku kategorizuoti, nes šis muzikantas dirba su labai įvairiais žanrais, neretai tiesiog  trindamas juos skiriančias ribas. Jis kūrė muziką džiazo ir simfoniniams orkestrams, roko muzikos grupėms, filmams. Viena, kas vienija visą kūrybą – judėjimas pirmyn, nuolatinis eksperimentavimas garsu.

„Terminas „džiazas“ man yra bereikšmis. Muzikantai negalvoja terminais ir stalčiukais. Aš žinau, kokia muzika yra džiazas. Mokiausi jos. Myliu ją. Bet pradedu kurti muziką, vienu metu susideda labai daug dalykų. Kartais viskas krypstu į klasikinę pusę, kartais – link džiazo, kartais pasisuku į roko pusę, o kartais – tiesiog plūduriuoju nežinomybėje. Tačiau tai visada būna šiek tiek keista. Muzika nėra susijusi su tradicija. Ji unikali, ji kitokia, ji tai, kas išeina iš mano širdies,“ – savo kūrybą apibūdina muzikantas. Tokiam apibūdinimui pritartų ir Zorno gerbėjai, kurių yra tiek džiazo gurmanų, tiek roko, sunkaus roko ar eksperimentinės gerbėjų gretose.         Dažniausiai jo muzika yra kiek kandi, ją galima apibūdinti kaip garsinį “stilizuotą smurtą”. Klausytojai neturi kito pasirinkimo kaip atsisėsti ir klausyti arba tučtuojau išeiti. Panašiai kandūs yra ir muzikanto pasisakymai retuose interviu. „Nesu politiškai aktyvus. Neskaitau laikraščių ir žurnalų, net nežiūriu televizoriaus. Tarkim, Frankas Zappa (Frank Zappa) buvo aktyvus, jis buvo nuostabus. Norėčiau toks būti. Norėčiau, kad būtų kas nors, kas pakeistų Zappą šiandien. Tačiau tai ne aš. Man svarbiau veikti nei plepėti. Tai viena iš priežasčių, kodėl nustojau duoti interviu – ne tik jaučiau, kad manim manipuliuojama ir mano žodžiai iškraipomi, bet svarbiausia, pajutau, kad iš esmės neturiu ko pasakyti, aš darau muziką. Ir kartais net pilnai nesuprantu ką iš tiesų darau. Kartais tam prireikia dešimties metų. Tarsi išsiruoštum į kelionę ir tik po kurio laiko suvoktum, kas tada tave taip sujaudino ir įkvėpė,“ – yra sakęs muzikantas.

Septyniasdešimtaisiais Zornas daugiausiai dėmesio skyrė kūrinio struktūrai. To laiko kūriniai yra teoretiški, jų skambėjimas daugeliui primintų triukšmą. Dažnai šie kūriniai buvo meno performansų dalimi, kai vizualioji atlikimo dalis prilygsta muzikiniams aspektams. Įdomiausi aštuoniasdešimtųjų darbai buvo atlikti studijoje. Šiam periodui priklauso kompozicijos “The Big Gundown”, “Spillane” ir pirmieji garso takeliai filmams. Jo muzika įgijo daugiau postmodernizmo aspektų, apjungdama ir sugretindama skirtingus muzikos žanrus. Aštuoniasdešimtųjų pabaigoje Zornas dirbo kartu su roko grupe „Naked City“. 1993-iaisiais Zornas pradėjo naują didžiulį projektą – „Masada“. „Masada“ – tai hebrajų kultūrinio identiteto tyrimas, kurį sudaro virš dviejų šimtų kompozicijų.   Nuo 1995-ųjų Zornas įkūrė įrašų studiją „Tzadik“, skirtą avangardinei ir eksperimentinei muzikai. Kalbėdamas apie savo studiją, Zornas traktuoja ją kaip galimybę suteikti šansą daugeliui muzikantų, leisti pasauliui išgirsti kažką visiškai naujo. Įrašų studija yra nesuvaržyta jokiais rėmais, o tai labai svarbu pasaulyje, kuriame tiek daug muzikos ir informacijos mums tiekia didelės korporacijos, pirmiasia žiūrinčios savų interesų ir paprastumo dėlei kūrybą mėgstančios sukišti į žanrus, o netelpančius – ignoruoti. Tačiau Zornas nėra optimistiškas avangardinės, eksperimentinės muzikos išplitimo klausimu, sakydamas, kad „Nuolat ateina kažkas, kas tiki, jog gali parduoti šią muziką masėms, bet to niekad nenutinka. Savo apibrėžimu ji yra skirta nedidelei žmonių grupei. Ir visiškai gerai dėl to jaučiuosi.”

Įrašų studija “Tzadik” yra ir savotiškas muzikanto įsitikinimų, veiksmų ir kūrybos manifestas. Tačiau paklaustas apie galimybę, kad neužilgo kiekvienas muzikantas turės savo svetainę, iš kurios klausytojai siųsis muziką, Zornas netrykšta optimizmu: „Tai puiki idėja. Bet ar tikrai tiki, kad visos tos didelės korporacijos tai leis? Jie visi yra godūs šikniai ir jie būtinai suras būdus kaip „išdurti“ visus likusius. Visada bus žmonių manančių, kad gali manipuliuoti kitais. Tokie žmonės susirenka koorporacijose ir jie tikrai sugalvotų, kaip ištraukti muzikantą iš jo asmeninės svetainės ir atitempti jį į „Warner Bros“. Kiekvienas galėtų turėti savo asmeninę įrašų studiją, tai ne taip ir brangu. Kiekvieną kartą tai sakau muzikantams. Bet žinote ką? Jie nenori!  Jie tenori kurti muziką ir negalvoti apie kitą veiklą. Ir kol taip bus, tiek mieli muzikantai bus aukos. Aš tikiuosi, kad už 500 metų kiekvienas muzikantas bus savarankiškas. Tačiau nepergyvenčiau, jei materialieji dalykai apsritai išnyktų nuo žemės paviršiaus, o mes dalintumėmės informacija mintimis. Bet ir tada atsirastų tie, kas norėtų gauti daugiau nei kiti. Galia yra narkotikas. Pinigai – to dalis. Ir jei visi tapsime tik dvasiomis šioje planetoje, būtinai rasis sušikta dvasia, kuri norės turėti daugiau nei kiti”.

Šešis mėnesius į metus Zornas gyvena Tokijuje, domėdamasis kultūra kurią dievina už gebėjimą perimti ir atspindėti kitas kultūras. Su savo grupe jis dažnai keliauja po visą pasaulį – nuo Amerikos iki Japonijos ar Europos. 

Pastaruosius kelis metus kurdamas muziką taiko Zornas individualų kompozicinį metodą. Jis ant kortelių trumpai žymisi įvairias idėjas ar vaizdus – muzikinius „momentus“. Renkamos ir rūšiuojamos kortelės tampa kompozicinės struktūros pagrindu. Šis Zorno metodas įkvėptas animacinių filmų garso takelių bei jų kūrėjų, ypač Karlo Stallingo (Karl Stalling) iš „Warner Brothers“. Šį kompozitorių Zornas už gebėjimą iš visiškai skirtingų elementų sukurti vieną visumą, lygina su Stravinsiu. Greitis, augantis tempas yra esminiai Zorno muzikinio judėjimo taškai, kai muzikiniai „momentai“ užleidžia vienas kitam vietą ar susiduria. Išsiskirianti visų pirma nepaprastai lankstaus saksofono partijomis, pastarąjį dešimtmetį Zorno muzika pasipildė ir kitais instrumentais, neįprastais garsais. Kaip ir Djukas Elingtonas (Duke Ellington), Zornas jo kūrinius atliekančius muzikantus laiko  kūrinių bendraautoriais.  

Nuolat stebinantis klausytojus naujais eksperimentais ir muzikos kryptimis, Zornas galėtų būti savo laikmečio tendencijų indikatoriumi. Tačiau jo ateities planai neprognozuojami ir galbūt nežinomi jam pačiam: „Vienas iš nuostabiausių dalykų mano gyvenime yra tai, kad neturiu jokių tikslų. Tiesiog dirbu diena iš dienos. Nesvajoju apie operas Metropolitano operos scenoje, nesvajoju apie sutartį su filharmonija. Dirbu su tuo ką turiu savo rankose su muzikantais, kurie yra šalia ir esu labai laimingas kartais galėdamas žengti po vieną mažutį žingsnelį pirmyn“. 

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