Bora Yoon - Musical Perspective

 Zorn...of course seek out the "best" people to perform your music

I became familiar with John Zorn’s music in the mid 80’s when I moved to New York City to attend the New School’s Jazz Program. John had formed a bond with the then new Knitting Factory (and its owner Michael Dorf). The Knitting Factory in its original location (on Houston Street just off Elizabeth) as well as in its second location (in Tribeca on Leonard Street) was a home for experimental and/or improvised Jazz and rock music and Zorn had regular appearances at both. Tonic was another spot where he would perform on a fairly regular basis. 

John Zorn’s recorded output is somewhere in the hundreds whether credited as saxophonist, composer, arranger or producer. While his work was released on American, European and Japanese labels from his emergence in the mid 70’s to the early 90’s, it was in 1992 when he formed his own Tzadik record label to release not only his own recordings but those of his peers and other as well.

The move to run his own label and release his ever growing discography in a more timely fashion (one that could keep up with his output), seemed indicative of his desire to take control of his situation rather than rely on the schedules and needs of commercial record companies. I have always appreciated and respected Zorn for being one to be completely uncompromising in how his music is performed, by who and in what environment. 

Following John Zorn’s appearance at Composer’s Forum, I have heard, seen here on our blog and have been involved in discussions about his appearance and some of the points he made. I am truly surprised by how many people seem to, in my eyes, misinterpret a particular point John made regarding wanting his music performed by whom he considered the “best musicians” to play it. As a composer and bandleader myself, this idea seems so natural to me and certainly not a “privilege” as many seem to see this being. For myself (and I’m fairly sure for John) this situation is the result of many years of hard work in developing close relationships with instrumentalists who become well versed with my musical language. Perhaps Zorn didn’t express this point as clearly as he could have and maybe assumed that we all knew what he meant by this. Or maybe there is a disconnect between the Concert, Film, Songwriting, and Jazz worlds we are all coming from in regards to this concept? But again, much surprise in seeing such a strong reaction to an idea that I think is so natural.
Is he ridiculously opinionated? Absolutely, yet I think he could always back up his strong opinions up with the knowledge and understanding he’s gained through his own real experiences.

I have to say I’m also quite surprised and disappointed in having heard and now seen some comments about his character and/or his personality. I suppose being enrolled in an arts program at an esteemed university such as NYU, I expected something much better from fellow artists and composers!