Zorn: A Legend of the Days to Come

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She had always attended all my competitions and it was hard to know she was not going to be there. It was a tribute to my mom. From a little girl I wanted to compete on the international level.

John Zorn explores heavy, precise rock music in Simulacrum, and will play with the trio in Chicago

I then wanted to win a gold medal and was blessed to do that 41 times. Sport week: Paralympic legend Trischa Zorn recalls her glory days The most decorated Paralympian ever shares her view on para-swimming and how it has changed since she competed. Despite her long dominance of swimming, Zorn says she never felt invincible. Related Topics Swimming. Related Stories Imagen. Sport Week: History of swimming. Sport Week: Brazil aim for top five finish in swimming. Sport Week: Classification in swimming. They were always at gigs, giving rock-solid support. I got to know them and they really were great supporters of John and the whole scene down there.

There was a couple that was there every week who were older than me.

That couple turned out to be Irving and Stephanie Stone. We became friends and they would show up for all the gigs and they were close with all the musicians and would help them out.

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Zorn remained very close with them for many, many years. Jen Shyu vocalist, musician : I was lucky to know the late Stephanie Stone. Irving Stone had passed [in ] before I moved to New York City, but I spent some time with Stephanie—a beautiful and sweet woman, so dedicated to music and musicians. I went to her home way out in Brooklyn, and she played and sang for me old songs that she thought I should learn. It is this extreme dedication, this complete abandon to art, that the Stone symbolizes to me.

Bleckmann: I had some of my Upper East Side friends come to one of my concerts. Friedlander: Because of the proximity to the audience, when you packed it in there you really felt like everybody was there to have an experience. Tourists would come and their minds were blown.

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I remember the smells—the griminess and the smells. The funny thing about the Stone is that it never changed. There were no surprises. But other than that it was the same bathroom, the same lighting, the same chairs that you slid down on during the show. During the summer it was hell, and during the winter the radiator would go on during the middle of the gig and hiss. It would be too hot in one section and too cold in another. Halvorson: There were quirks.

I remember seeing Secret Chiefs 3 and it was totally sold-out, packed, and it was a sauna. I think I drank three bottles of water during one set alone. But there was something about that that was a really magical experience, too, being in this totally extreme environment hearing this really intense music. Smith: That was one of my first shows there, with Secret Chiefs 3. All the sets were completely oversold, and with all those people right up in your face, it was really intense. I was completely soaked after the first song, and then it got completely delirious.

But you have to watch it.

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  • It got to the point where Shahzad started literally overheating, so we had to take a break or play the last tune without him. Friedlander: We did a Masada String Trio gig there before the air conditioning.

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    It was unbelievable. They had lights onstage that would just be baking you. It was totally packed, people were on the floors, on pillows, and everybody just hung in there. We were drenched in sweat but it was an incredible night of music. It was like an Olympic event. Douglas: Great music developed at the Stone. I personally got to experiment with all sorts of things.

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    That was a trip! Wonderful nights. The first time I ever played with Marc Ribot was at the Stone, during my residency in Sorey: In I curated a week there, and I really wanted to put myself in situations where I was collaborating with people who were generations older than I was. I had hung out with Milford Graves, and one of the key things he said to me was that we need to be in situations where younger folks are hanging out with older folks, talking shop.

    I picked 25 of my favorite musicians from around the world to play. I also asked Keith Tippett, my favorite piano player, to play with his quartet. Bleckmann: The weeklong residency allowed me to workshop the material that became the Elegy record [on ECM]. People sat behind you and around you. This is where it starts. As musicians we need a place like that, a space between the rehearsal space and the full monty. Douglas: For me, the most quintessential events in [my] memory are the Improv Nights. Playing with dozens of musicians over the years, often for the very first time, was always a thrill.

    I love it. I miss it. Shyu: One of my most memorable gigs was with my dear friend Tyshawn Sorey, in I was grieving the loss of a young friend and the Stone always allowed for that vulnerability and honesty. Sorey: Each duo encounter that Jen Shyu and I have had keeps growing on this very spiritual, meditative level, to the point where the Stone becomes this shrine or temple. It becomes something other than what people know the Stone to be. Halvorson: As an audience member, it was a really great listening space. I had gotten back from Europe that day and was exhausted, but I had to see it.

    And it was incredible, such a cool combination of musicians. Bleckmann: I saw a Zeena Parkins solo harp concert there that I loved. She had a residency, and the fact that she could leave her harps and toys set up over the week [made it feel] like she was at home and we were visiting her in her living room. It would have been impossible in any other space. Bill Frisell did a bunch of solo shows last summer that were phenomenal, and I remember seeing Jessica Pavone do a solo viola thing there which was amazing. The space was so quiet and so focused. Friedlander: One night Julian Lage and Gyan Riley played a gorgeous interpretation of the Zorn Bagatelles—so transparent and beautiful.

    Another night I saw Mark Dresser lead 10 bassists in a few pieces—what a sound! Wayne Horvitz once brought a big band in from Seattle. That was a special night with lots of great colors and terrific compositions. It was incredible. I saw a solo gig of his where there must not have been more than 10 people in the room and I sat practically next to him on the bench. Considering where he is now, 10 years later, that was interesting.

    Sorey: Seeing Milford Graves perform there at any time was like an out-of-body experience.