Avant-garde composer and saxophonist John Zorn has been the object of ecstatic praise and furious outrage, much like his iconoclastic forebears Igor Stravinsky and Ornette Coleman. With his omnivorous approach to music — drawing on everything from classical, free jazz, and film soundtracks to lounge exotica, experimental noise, and hardcore punk — the New Yorker embraces a radical aesthetic that renders listener indifference... More >>>