Abraxas: Book of Angels Volume 19 is the debut album led by Shanir Ezra Blumenkranz performing compositions from John Zorn's second Masada book, " The. Shanir Ezra Blumenkranz steps out on his own to make one of the most primal and tribal installments in the Book of Angels series. Drawing on his Sephardic. Abraxas: The Book of Angels Vol. 1K likes. Shanir Ezra Blumenkranz was born in in Brooklyn, NY. Shanir has recorded and performed extensively.
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View credits, reviews, tracks and shop for the CD release of Abraxas (Book Of Angels Volume 19) on Discogs. Shanir Ezra Blumenkranz: Abraxas, Book of Angels Volume 19 Shanir Ezra Blumenkranz steps out on his own to make one of the most primal and tribal. Find album reviews, stream songs, credits and award information for Abraxas: The Book of Angels, Vol. 19 - Abraxas, John Zorn on AllMusic -
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Unseen Trost Records. New York Trio Intakt. WE Intakt. Milan Immediata. Vulcan Emanem. Caroline Kraabel: After that, Zorn asked me to maybe do something on my own, so I formed the band Abraxas. We thought it would be great to have something that was like an attack, kind of an aggressive band.
This seemed to be something that would be a great addition. At the time, I was addicted to this instrument called the gimbri. So I had this kind of addiction to the gimbri and, at the same time, I was talking to Zorn about doing something that was powerful and electric and intense. I was able to bridge these two worlds. In the music than is meant for healing and hypnosis a lot of the elements come from noise. The problem was the drummer, but we found the real killer — Kenny Grohowski. Electric Masada also took it to a very aggressive and extreme place but, for Abraxas, it really comes from the idea of noise and how to incorporate noise in a way that is not really meant for attack, in general.
I see the music that Zorn wrote as spiritual music. I think, in years, we will look back on it and it will be considered one of the major spiritual musics of now. Also, in the Gnawa music, where the gimbri comes from, they have the qraqab, which is like a castanet that comes from Sub-Saharan Africa and was brought to Morocco. For me, a lot of those musics are dealing with noise, so I thought to deal with noise in the way we do it here in New York.
Tell me a little bit about the gimbri. How did you get interested in this instrument? Where is my family from? What is my DNA? My mother is from Egypt and her parents come from Syria, and the parents before that were from Morocco.
When I learned to play oud, it was directly because I ate the soup my grandmother served.
This is the main element of why you can play an instrument. And gimbri also comes from my history. The idea was to choose the instruments that were associated with my DNA. One of the things I always found interesting about Masada is the way this music transcends cultural barriers. No matter who you are and no matter your personal history, I think you can find a bit of yourself reflected in it. What made you connect with the music of Masada emotionally?
What does Masada mean to you on a personal level?
The name is Masada for a reason. We all share similar roots. The sounds are close. The scales are similar. We all share a lot of background. The sound of it is the sound of many musics from the past, of many different religions. Sometimes it can sound Arabic. Sometimes, it can sound European, Eastern European. Many religions are coming from there. I think it touches the person in a historic way, something they can remember from their past and from their grandparents. Did the fact that you were involved in so many different Masada projects influence you creatively?
Each thing is its own world, in a way, and has its own language. In Abraxas, the first record was really kind of a struggle, because certain elements need to be in place in order for it to work. We had to work a little bit to bring out this energy that was needed.