John Zorn: Gnosis: The Inner Light

John Zorn's album Gnosis: The Inner Light serves as a poignant memorial and homage to the creative genius of one of modern music's most visionary composers, Ennio Morricone, who played a vital role in shaping Zorn's musical path. Decades ago, Zorn captivated audiences with The Big Gundown (Nonesuch, 1986), a groundbreaking release that boldly reimagined Morricone's compositions. Now, with Gnosis: The Inner Light, Zorn once again pays tribute to the maestro's enduring influence, delving into mystical realms and creating a haunting collection of luminous chamber pieces. With the Gnostic Trio, featuring Carol Emanuel on harp, Bill Frisell on guitar and Kenny Wollesen on vibraphone, as well as the mesmerizing presence of John Medeski on organ and piano, Zorn crafts a profoundly introspective and spiritually resonant musical experience.

The album opens with the title track, as Emanuel's delicate harp introduces a mesmerizing eight-note motif, accompanied by Medeski's ethereal organ and Frisell's captivating guitar work. Together, they weave a tapestry of evocative harmonies and enchanting melodies that transport us beyond the confines of our ordinary experiences. Wollesen's vibraphone subtly joins the ensemble, adding ethereal touches that create a sense of otherworldliness. Throughout the album, Zorn's masterful fusion of genres subtly hints at spaghetti western themes, pastoral landscapes and the enigmatic allure of alchemical traditions.

The longest track on the album, "Dance of the Cross," showcases Zorn's effortless ability to traverse musical boundaries. Frisell and Medeski's collaboration infuses elements of blues, cinematic grandeur and folk music, crafting a sonic journey that is captivating from start to finish. In "Parthian Songs," the music takes on a lithe and spectral quality. Frisell's intricate guitar work intertwines with Medeski's B-3 organ, evoking a sense of space-age pop reminiscent of Zorn's Dreamers group, while Wollesen embellishes their lines.

In a daring move, Zorn incorporates a fragment of the Lennon & McCartney melody for "Eleanor Rigby" into "Prayer of the Messenger" for Frisell. However, Medeski's organ refracts it with a pulsating rhythm, leading us on a captivating and expressionistic musical journey. "A Garment of Light" opens with a circular four-note vamp played by the ensemble, gradually shifting and interlocking melodic patterns between the quartet's members. Frisell delicately weaves in a quote from the bridge of George Harrison's "Something," subtly bridging the familiar with the spiritual.

Despite its modest instrumentation, Gnosis: The Inner Light radiates an orchestral quality that envelops with its lush harmonies and enchanting musical landscapes. Zorn's exploration of mysticism and mystical traditions is not only evident in the album's spiritual essence but also reflected in the evocative song titles that beckon us towards hidden depths. This album showcases his ability to push boundaries and create captivating music that resonates on a profound level. Gnosis: The Inner Light effortlessly blends genres, evoking a range of emotions, and delving into spiritual themes. Its haunting beauty, divine harmonies, and profound lyricism stand as a testament to Zorn's unwavering commitment to expanding the horizons of contemporary music.

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