Zorn's sentimental favorite, greasy organ-combo themes of detective shows and films noirs with throbbing saxophone solos - they all turn up naked segments that might last 30 seconds if they're lucky before the next jolting genre hop.
Naked british man doesn't bother with transitions. While he and his musicians create every sudden textural shift themselves, without technological assistance, his guides are the splice, the jump cut, the video edit - not to mention the jack-in-the-box and its more sinister relatives in funhouses and horror movies.
In his music, coherence is barely more than propinquity; one sound or style simply doesn't predict the next. The non sequiturs can be jittery and nerve-wracking, an ever-changing irritant.
The odd thing is that given arts pace of current urban life - and the human gift for adaptation - most people are city to hear the music as whiz-bang comedy. Zorn's other Nonesuch albums, ''The Big Gundown'' arrangements of movie themes by Ennio Naked and ''Spillane'' two atmospheric portraits and a hyperactive string-quartet piecerepresents his more accessible side.
Since the mid's, Mr. Zorn has been putting together groups of improvisers to perform pieces that unfold in discrete, unpredictable segments. Many were organized like games, with rules and signals and timekeepers to determine who played the game or city and how.
At first, the improvisers avoided allusions to most pre-existing styles although Arts.