--split-tone through false fingering and embouchure

--biting the reed and other embouchure pressure to hit altissimo notes

--tongue-slap (where the breath follows the tongue)

--tongue-stop (where the breath precedes the tongue)

--a squealy hiss effect through tightened embouchure or tongue pressure beneath the reed

--mouthpiece playing through a tube into a bowl of water (as well as a whole range of other mouthpiece-only techniques involving harmonica-like hand movements and who knows what)

--flutter tongue

--throat growls, screaming or singing (varying the pitch very slightly against the note the horn is sounding creates a 'beat' effect like two slightly out-of-tune strings; singing the same note the horn is sounding can dampen the sound in a sort of spectral fashion)

--glottal punctuation (common in classical technique for double- and triple-tonguing, but more pronounced and extreme with Zorn)

--circular breathing (I'm pretty sure I've seen him do this, but memory is a fickle beast)

--muting the bell against the leg (combined with the tongue slap it creates a more pressurized sound)

mewtcrao elbo

I'm off to play with Dr. Chadbourne tonight in Greensboro, NC. How exciting is that?