Filmworks XII: Three Documentaries is an album containing three scores by
John Zorn for documentary films released on Zorn's own label,
Tzadik Records, in 2002.[1] It features music that Zorn wrote and recorded for Homecoming (2002), a tribute documentary about the dance program at
Performance Space 122 in New York by
Charles Dennis, Shaolin Ulysses (2002) a film by
Mei-Juin Chen and
Martha Burr that follows Shaolin monks living and training in the United States, and Family Found (2002), a portrait of outsider artist
Morton Bartlett which was directed by
Emily Harris.
Reception
The
Allmusic review by Thom Jurek awarded the album 4½ stars noting that "The music here is, not unexpectedly, all over the map, but Zorn's focus is not; he is a keen student of the image, and listening to the way he crafts his music for the movies is more than a little revealing of his intensely methodological approach to seeing both the image as it unfolds and the music itself as it tends carefully to the projected frame... Zorn's Film Works volumes keep on coming, with each one being more complex, asking more questions, and composed more beautifully than the last. This is among the finest recordings of his music ever released".[2]
Filmworks XII: Three Documentaries is an album containing three scores by
John Zorn for documentary films released on Zorn's own label,
Tzadik Records, in 2002.[1] It features music that Zorn wrote and recorded for Homecoming (2002), a tribute documentary about the dance program at
Performance Space 122 in New York by
Charles Dennis, Shaolin Ulysses (2002) a film by
Mei-Juin Chen and
Martha Burr that follows Shaolin monks living and training in the United States, and Family Found (2002), a portrait of outsider artist
Morton Bartlett which was directed by
Emily Harris.
Reception
The
Allmusic review by Thom Jurek awarded the album 4½ stars noting that "The music here is, not unexpectedly, all over the map, but Zorn's focus is not; he is a keen student of the image, and listening to the way he crafts his music for the movies is more than a little revealing of his intensely methodological approach to seeing both the image as it unfolds and the music itself as it tends carefully to the projected frame... Zorn's Film Works volumes keep on coming, with each one being more complex, asking more questions, and composed more beautifully than the last. This is among the finest recordings of his music ever released".[2]