John Zorn
The Big Gundown

★★★½

My introduction to the now infamous John Zorn was through his most well known recording, Naked City. And while that is a great album and a perfect depiction of the hidden intensity of everyday life in New York, it was pretty heavy and in some ways turned me off. I thought that after listening to his magnum opus there wouldn't be much to check out. But after finally coming around and listening to this album, I think this is an even better place to start. Sure Naked City was really diverse and strange, but those "Zorny" characteristics are available here in a more accessible manner. 

It helps to have some background info on Morricone and his compositions before listening to this, but it doesn't matter that much. It's just important to recognize Morricone's importance in helping immortalize the Spaghetti Western genre, and also his skills and influencing power as a composer. Here is a great example of how that influence has impacted Zorn in such a way that he is willing to devote an entire album to him and his compositions. Morricone's music was a vital part in helping Westerns and Italian movies receive considerable attention, and I'm sure no one would dispute that fact. But Zorn takes these songs for what they are; and brutally shocks them with enough volts to kill. 

Before Zorn created the Tzadik label and sorted his various musical ventures into different groups and formats, he gathered them all here together. All musicians from the "Downtown" scene and beyond came to celebrate Morricone through Zorn's leadership. And you can really hear the diversity; from the Brazilian singing and percussion on "The Big Gundown" to the No-Wave guitars and nervousness of "Milano Odea", and from that song he transitions to the smooth and sexy ballad "Erotico (The Burglars)". The song that probably stays closest to the original is "Poverty (Once Upon a Time in America)". 

The last few songs turn into quite the circus act and this loses some of the album's charm for me. Especially the song "Tre Nel 5000", it's like a dozen children's toys going off and it's so out of place compared to not only Morricone's music, but also even Zorn's interpretations of them. The desperate and stoner tinged guitar of the final track, "Once Upon a Time in the West" helps provide some clarity to the album before ending it. That gesture is much appreciated and makes sure that this doesn't end with a sour taste in the ear. This is really a beginner Zorn album, but I think I'm going chronological now. 

Favorite Song: Giù la testa (Duck, You Sucker!)

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