Masada Book Two, Vol 7: Marc Ribot plays Asmodeus

I'm not entirely sure how to begin describing the experience of listening to the Masada Book Two, Vol 7. Allmusic.com has it listed only as avant-garde saying nothing else, I suppose I too would say it's pretty far out, but somehow I feel "avant-garde" does not convey the propper message.

John Zorn, composer of the Masada songbooks views it as follows, "The idea with Masada is to produce a sort of radical Jewish music, a new Jewish music which is not the traditional one in a different arrangement, but music for the Jews of today. The idea is to put Ornette Coleman and the Jewish scales together." Radical, indeed.

Now I've been moved by free jazz before, Sun Ra, Coltrane, Rhasaan Roland Kirk - they were all rooted in some form of bebop, hardbop, or even soul/gospel music - they knew how to tug at heartstrings and move shoes. So like I said, I've been moved, but I've never been moved to headbang to free jazz, until now.

Asmodeus benefits greatly by having vetran alt-axe slinger Marc Ribot present this album. Ribot rages at times sounding like a Django/Hendrix combo rolled in crank, and yet at other times like the standout bluesish track Yezriel he lays back relaxed playing up the outstanding rhythm section. Furthermore, the production values are situationally seamless retaining the rugged, angular, raw elements of Ribot's electric guitar while the trio remains perfectly mixed so that during even the most chaotic points of cacophony you can still imagine these huge, hard, Hebrew melodies.

So whether your taste be Zepplin, Waits, Primus, Coltrane, Ayler, or you just want to scare the neighbours, do yourselves a favour and get this album. It comes out today on Zorn's Tzadik label.

Ribot's article on the care and feeding of a musical margin

Ribot playing with Zorn's Bar Kokhba troops - not what asmodeus sounds like at all