Masada - Live in Sevilla 2000

When we talk about "the best jazz bands in the world", we inevitably think of Miles Davis' first and second great quintets. We also think of the John Coltrane Quartet, the Art Ensemble of Chicago, the Duke Ellington Orchestra, the Pat Metheny Group (for those who like 80's jazz, deal with it).... And more recently, we can think of Masada. The quartet of John Zorn (alto sax), which blithely blends Ornette Coleman's Free Jazz , Post-Bop and Klezmer music. For this highly personal project, Daddy Zorn has teamed up with three of the best musicians in the world: Dave Douglas on trumpet, Greg Cohen on double bass and Joey Baron on drums.

Absolutely EVERYTHING Masada has recorded (in its classic form) is worth a listen. Whether it's the 10 studio albums (come on John, release it in a box set, please! ) or the many other albums. Having seen them live in Paris in 2018, I think they are at their best in this context. It was one of the most memorable shows of my life; probably the tightest thing I've ever seen (despite the fact that a small part of the roof of the building collapsed on Baron's drums in the middle of an incredible room; which didn't stop the guy from keeping the tempo like a god, without flinching. This guy can adapt to ANYTHING).

So you have "live Masada" in all his glory here. Perfect sound recording. You feel like you're there. Incredible compositions by Zorn who will draw the essence of old Hebrew tunes to make a new, free and beautiful sound material; a magnificent base on which 4 of the best musicians in the world can express themselves, improvise, dialogue, give free rein to their controlled madness, their colours, their emotions, their rigour, their velocity.

The pieces alternate here, sometimes festive, soaring, chaotic, sometimes gentle, nocturnal, impalpable (but always bubbling). The Douglas/Zorn exchanges are particularly tasty; and their respective solos are all stunning and completely unique. Two fucking masters at work, on the edge almost all the time, with a hell of a chemistry. Douglas is more subdued and warm. Zorn, more tormented and visceral. Then the rhythm section (Cohen/Baron), splendid and essential, manages to hold all this shaggy sound mass together, allows it to keep its foot on the ground, prevents it from getting completely lost in a cosmic firmament... I must underline the exceptional playing of Baron, who succeeds in the delicate task of "anchoring" Zorn/Douglas' deliriums but who also "dances" rhythmically through it all, making majestic interludes while propelling the primary rhythm. Probably the best drummer I've seen live (on par with Christian Vander of Magma).

A monumental jazz record. And a superb gateway to the world of Masada.