The Big Gundown (album)
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2000 (15th Anniversary Edition)
74:54 (15th Anniversary Edition)
| The Big Gundown | ||||
|---|---|---|---|---|
 | ||||
| Studio album by John Zorn | ||||
| Released | 1986 2000 (15th Anniversary Edition) | |||
| Recorded | 1984−1985 | |||
| Genre | Avant-garde jazz[1] | |||
| Length | 49:27 74:54 (15th Anniversary Edition) | |||
| Label | Nonesuch/Icon, Tzadik | |||
| Producer | Yale Evelev | |||
| John Zorn chronology | ||||
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| 15th Anniversary Special Edition | ||||
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The Big Gundown is the third studio album by American composer and saxophonist/multi-instrumentalist John Zorn. It comprises radically reworked covers of tracks by the Italian film composer Ennio Morricone.
The album is named after a 1966 Spaghetti Western of the same name, directed by Sergio Sollima, starring Lee Van Cleef, and scored by Morricone. The album was first released in 1985 on the Nonesuch/Icon label. In 2000 a remastered 15th Anniversary Edition with additional tracks was released on CD on Zorn's Tzadik Records label.[2]
In 1985 Zorn had been working in New York City's experimental music scene for almost a decade (the album was originally to be called "Once Upon a Time in the Lower East Side"), but The Big Gundown launched him to wider prominence. In the notes for the 2000 reissued CD, Zorn describes The Big Gundown as representing a creative breakthrough as well for being the first time he worked extensively with multitrack recording, overdubbing and ornate orchestration. Though his main instrument is alto sax, Zorn did not play on most tracks, adding only a few touches of piano, game calls, harpsichord or musical saw.
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [3] |
| The Penguin Guide to Jazz | 👑[4] |
| Spin | (favorable)[5] |
| Spin Alternative Record Guide | 9/10[6] |
The AllMusic review by Scott Yanow stated, "There are certainly no dull moments on this often-riotous program".[7] The Penguin Guide to Jazz selected this album as part of its suggested "Core Collection" and awarded it a "crown", calling it "utterly remarkable in every way and one of the essential records of the '80s".[1]
The Rolling Stone review by Steve Futterman was less enthusiastic, and Futterman stated, "Despite high-spirited contributions from a first rate cast, Zorn's tentative and analytical remakes tend to bleed Morricone's high drama and joyous kitschiness dry".[8]
