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Originally Posted by narlus
I think his strongest work is the Masada stuff (in all guises) and the Filmworks. I have tons of these, and can listen to them quite frequently.
the best thing about Zorn is that (aside from his weird infatuation w/ Patton) he attracts some REALLY FUCKING GOOD players. i love hearing Ribot play w/ him, and of course the quartet of him/Baron/Cohen/Freidlander is above reproach. Baptista, eYe, Dunn, Mori, Wolleson, etc...all excellent players.
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I remember chatting to someone (who's remaining nameless) who'd played with Zorn a handful of time who said he was a total bastard, playing over everything. I think Zorn reacts very well to a certain sort of improviser, but he takes a very bandstanding approach to improv, which is fine for a lot of Americans/ jazz guys, but I think, because he's at the forefront of a lot of people's perceptions of improv, he tends to distort a lot of people's impressions of what improv actually is. It's not Zorn's fault that, in the improv context he's a massive celebrity. I just get really, really hacked off when people assume I'm into Patton because I like improv.