Opening the iTunes Store.If iTunes doesn’t open, click the iTunes icon in your Dock or on your Windows desktop.Progress Indicator
Opening the iBooks Store.If iBooks doesn't open, click the iBooks app in your Dock.Progress Indicator

iTunes is the world's easiest way to organize and add to your digital media collection.

We are unable to find iTunes on your computer. To preview and buy music from Filmworks XVIII - the Treatment by John Zorn, download iTunes now.

Do you already have iTunes? Click I Have iTunes to open it now.

I Have iTunes Free Download
iTunes for Mac + PC

Filmworks XVIII - the Treatment

Open iTunes to preview, buy and download music.

Album Review

The 18th volume in John Zorn's Film Works series is on the surface an unlikely one. Zorn was asked to write the score for Oren Rudavsky's The Treatment — a romantic comedy! According to his liner notes, Zorn initially refused, but at the director's request consented to see the film before giving him a final answer. Zorn was intrigued by the dark undertone in the film, and its rather twisted plot. When Rudavsky suggested tango music as a starting point, Zorn bit. Zorn's appreciation for the music of Astor Piazzolla, Miguel de Caro, Osvaldo Pugliese, and others is well known. When considering material, he didn't set out to write actual tango music, but music informed by the tango. He needed to form an ensemble for the kind of music he envisioned and built it around violinist Mark Feldman, who is versed not only in classical, jazz, and improvisational music, but also tango and Gypsy music. The other members of this fine quartet include Kenny Wollesen on vibraphone (!), accordionist Rob Burger, and bassist Shanir Ezra Blumenkranz. Marc Ribot also guests in a couple of spots. Musically, this is some of the "lightest" music Zorn has ever written, but also some of the saddest and most deeply emotionally moving as well. Beauty is everywhere; it drips from the score in all its cues. The playing of Feldman on "Why Me?" is intense, dark, swirling. The ensemble covers him in his flights of virtuosity —Wollesen's twinning his vibraphone with Feldman's violin lines in the choruses is breathtaking. Blumenkranz's bass playing may keep things rhythmically grounded, but one listen to the aforementioned track, "Freud's Rondo," or "Rush Hour" is evidence that he's both pushing and pulling the ensemble. The playing between Burger and Feldman on the last of these is utterly astonishing. This plays, as have all of Zorn's scores of late, like a piece, a gorgeous piece of divinely inspired tight writing that brings not only the Argentinean tango to mind, but also klezmer, Yiddish folk music, and even cantorial music. There is a bit of Radical Jewish Culture in everything Zorn writes, and this set is a furthering of his own vision. Suffice it to say, and even though he doesn't let on in the liner notes, his scoring of The Treatment may have even surprised the composer himself.


Born: 02 September 1953 in New York, NY

Genre: Jazz

Years Active: '70s, '80s, '90s, '00s, '10s

The one word virtually everyone can agree on in any discussion of the work of composer John Zorn is "prolific," in the strictest sense of the definition. Though he didn't begin making records until 1980, the recordings under his own name number well over 100, and the sheer number of works he has performed on, composed, or produced easily doubles that number. Though now an internationally renowned musician and the founder and owner of the wildly successful and equally prolific Tzadik imprint, Zorn...
Full bio