"This film score is for just one film (as opposed to so many of these film work discs which feature cuts from a few films). In addition, all cuts feature just one band with no cutting back and forth between innumerable styles of music, and groups. What transpires is not just well-crafted music played exceedingly well - that is typical of Zorn outings (and expected!) - but a band gelling to create some very inspired music. Regulars Ribot, Friedlander, Cohen, and Wolleson join forces with Rob Burger on accordion to create some well textured tunes that tackle a variety of settings, but carries an overall theme and coherence. It's great stuff. Will definitely draw the listener in - even newbies to Zorn."
A note on the track order
PH-50-NC | Southeast USA | 07/22/2003
(4 out of 5 stars)
"Zorn writes in the liner notes that this session was a 'pivotal moment.' He compares it to the other highpoints of his career.At first, I wasn't feeling it. Track one treats one of the main themes in a repetitive manner, and to me it was more Penguin Cafe Orchestra-repetitive than Steve Reich-goosebumps-inducing repetitive. In fact, track one may be my least favorite track on this very good album (though I like it more now that I've placed it at the end of the program).So I let it sit for awhile, then came back to it to see if I would hear it any different. I rearranged the track order (the better part of an hour, trial-and-error), and now I love it. I'll only add that Ribot is understated and most excellent as always, and my track order probably reflects my Ribot jones to a certain extent. I agree with the comments of the earlier reviewer, that the unity of players, instrumentation, and to an extent, style (there is enough variation to keep things interesting, but this is definitely not jump-cutting music a la Naked City) make this a pretty outstanding disc.
The track order I settled upon is this: 3, 8, 6, 10, 5, 13, 2, 11, 17, 16, 15, 14, 12, 9, 4, 18, 7, 1. I also put a little more silence between the tracks to give them some breathing room.Yes, I am a music nerd."
One of Zorn's best albums
SPM | Eugene, Oregon | 08/23/2003
(5 out of 5 stars)
"John Zorn wrote about ten songs for this movie, then he wrote a few more arrangements for each one. It takes a while before you notice the repetition. "Getting Suicidal," for example, is a guitar version of "Suicide Blues.""Suicide Waltz," "The Suicide Kid," "Lonely Are the Dumb," and "Bugsy's Jazztet" are all the same song in different arrangements - accordion-led jazz ensemble, cello-led jazz ensemble, "country" guitar, and rock/jazz fusion (respectively).This approach unifies the feel of the album without giving you the impression that you're hearing the same thing over and over. It helps that the musicians play so well --- rather than approach each new arrangement as an alternate take, they play like it's a whole new song. It's an amazing thing to hear.Even if you're not into Zorn, you'll love this."
Zorn's best soundtrack so far?
Michael Stack | North Chelmsford, MA USA | 05/02/2005
(5 out of 5 stars)
"John Zorn's soundtrack to "Invitation to a Suicide" is a unique, multilayered, and brilliant piece within his catalog. As the movie is (evidentally, I've not seen) a black comedy, Zorn has done his best to match the mood by composing a soundtrack of haunting, yet almost bouncy pieces, reprising themes repeatedly and allowing his band (Marc Ribot- guitar, Rob Burger- accordian, Erik Friedlander- cello, Trevor Dunn- bass, Kenny Wolleson- vibes, marimba, drums), in particular Ribot, to really stretch. One thing that Zorn historically excels at is getting the best possible performance out of his musicians, and this one is no exception. Zorn as a composer this time makes subtle reference to horror soundtracks, Morricone, and Sonny Rollins amongst others in this fantastic record. Between these touchstones and the endless reprising of themes on the record, the music develops a familiar and somewhat timeless quality.
Nowhere is this more apparent than in the main theme, dark and haunting, building layer upon layer with superb interplay between the cello (as lead voice) and the other instruments. Zorn has captured from what I'd read the intended feel of the movie and reprises the theme several times, with subtle differences in mood and feel.
But this is a record of musicians performing to their peak, with many fantastic moments, in particular from Ribot-- his soloing on such pieces as "Shifting Sands", "Suicide Blues Part 1", and "Lonely Are the Dumb" is nothing short of stunning. This shouldn't discount great playing from Friedlander ("The Suicide Kid"), Burger ("Suicide Waltz") or the others in the band, the great performances throughout are what makes this record stand out.
If you're curious about Zorn as soundtrack composer, this is probably a great place to start. Recommended."