During his lifetime, Frank Zappa was called many things by his admirers and critics alike; a musical genius, a brilliant satirist, a fearless iconoclast, a tireless innovator, a workaholic, a control freak, a puerile humorist, a dictatorial band leader. His recordings and stage performances – both as a solo artist and with his various groups, most infamously the late '60s lineups of the Mothers of Invention – covered the waterfront of contemporary American music, from the greasiest '50s doo-wop, meaty, early R&B and blustery big-band jazz to pummeling hard rock, brainy electric fusion and vigorously complex orchestral works. He wrote and recorded conceptual suites, film soundtracks, witty teen-beat fluff, at least one intended-for-Broadway musical (1984's darkly surreal Thing-Fish) and piquant – and often sexually graphic – social and political spoofs. Zappa could also jam his ass off on guitar. One of my personal, all-time favorite Zappa tracks remains the galloping out-twang excursion "Invocation and Ritual Dance of the Young Pumpkin," on 1967's Absolutely Free. But for a man of such apparent contradictions, catholic interests and comprehensive ambition, Frank Zappa – who died Dec. 4 at the age of 52 at his home in Los Angeles after a long battle with prostate cancer – was an artist of singular conviction and focused energy.
When it came to music, Zappa believed in no limits, no categories and, above all, no bullshit. After two years of warring with high-level straitjackets at MGM Records over in-house censure of the Mothers' early releases, Zappa established the first of his own record labels, Bizarre, in 1968. He was as outspoken about jive talking (and accounting) in the music business as he was about cultural and political issues, and he was not shy about resorting to litigation in order to protect his art and copyrights. Yet Zappa had a wide-open ear for prodigious talent; musicians who passed through his bands and on to bigger things included Little Feat's Lowell George, drummer Terry Bozzio and guitarists Adrian Belew and Steve Vai. Zappa also had no trouble finding common ground with artists as diverse as Captain Beefheart (Zappa produced his milestone album Trout Mask Replica), the French violinist Jean-Luc Ponty (he played on Zappa's instrumental-science classic Hot Rats) and the great jazzman Rahsaan Roland Kirk (they jammed together in 1968). And Zappa was completely devoted to the audiences that listened to and supported his music. One of my most vivid personal memories of Frank Zappa was sitting next to him in a hotel in 1978, waiting to begin an interview as he patiently went over a set of written transcriptions of his music with two excited (and knowledgeable) player-fans.
Zappa would be amused that the impact and recognition of his work, largely taken for granted during the late '70s and '80s, will no doubt grow in the wake of his passing. He influenced, directly and indirectly, much of the progressive and experimental rock-related music of the past two decades, including the brainy end of British art rock, George Clinton's deep art-funk research and the cut-and-paste jazz-core of John Zorn and the New York City downtown noise mob. We still have our homework cut out for us, too; Zappa left behind over 60 officially released albums. But the rigorous consistency of his vision still astonishes. That Zappa should have spoken out so strongly against right-wing music censorship in the '80s was no surprise. He was nailing the mind vigilantes in song with "Who Are the Brain Police?" back in 1966. As for music itself, he always lampooned with love. One of the great japes on Zappa's final concert tour, in 1988, was a surprisingly straight reading of Led Zeppelin's "Stairway to Heaven" overturned at the last minute by the brass section, which played the original guitar climax, note for note, with five-part Ellingtonian luster. For Zappa, music was not just art. It was a passion and, at its best, a hell of a lot of fun.
And now, we want to share some nice tributes (from ZINHOf Shoutbox)
The Ed Palermo Big Band is led by alto saxist and arranger Ed Palermo; he has had this big band with much of the same personnel for over 30 years, which is a hugely impressive feat in itself, and has had his band performing the music of Frank Zappa for 20 years. The band is a 18 piece ensemble of five woodwind players, four trumpeters, three trombonists, two keyboardists, guitar, violin, bass and drum.
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Ensemble Ambrosius is a young Finnish ensemble playing contemporary music on baroque-era instruments (cello, violin, oboe, harpsichord, dulcimer, and chamber organ). Eric Lievonen and Olli Virtaperko started from scratch to transcribe and arrange a selection of songs covering the whole palette of Zappa's writing. This Album presents a baroque music ensemble playing the music of Frank Zappa. Surprising, isn't it? Well, the surprise turns into delight upon listening to The Zappa Album. The repertoire includes old favorites like "Black Page #2," "Sofa," "The Idiot Bastard Son," and the inevitable "Inca Roads," but also more obscure tracks like "Night School," "T'Mershi Duween," and "Echidna's Arf (Of You)." Ensemble Ambrosius succeeds in borrowing from the master's comedy music, big-band music ("Big Swifty"), Synclavier works ("Night School," "G-Spot Tornado"), complex mid-'70s music, etc., and delivers it all in suite-like form, fitting it all together just like Zappa used to do -- except it's played on baroque instruments, with no percussion at all, and it works just fine. Pleasure peaks include the virtuosic "Uncle Meat" and "Alien Orifice," a beautiful zither playing the melody in "RDNZL" and the surprising segueing of "The Orange County Lumber Truck" with "Echidna's Arf (Of You)." The only below-average moment is "The Idiot Bastard Son," which would have been better off without vocals (all other tracks are instrumentals). Zappa fans will find in this Zappa Album a chance to rediscover some tunes in a very different and charming context. This is the most original Zappa tribute album released yet. Strongly recommended.
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The fabulous Ensemble Modern present another all-Zappa program following up the Yellow Shark project from about a decade earlier. The main difference between the albums is that Zappa died in 1993, so there are no new pieces written specifically for the Ensemble and Frank isn't conducting. Also, with the exception of an exercise entitled "What Will Rumi Do?" (which conceptually ties back to Ruth Underwood in "Don't You Ever Wash That Thing?"), all the pieces should be known to Zappa fans, who are a pretty hardcore lot. For many listeners, that may make for a more enjoyable program, but it's not like this is the Mantovani Orchestra performing the "Hits of Frank Zappa." The track selection is excellent, although it is a bit off the beaten Zappa track. There are several compositions that have only appeared as Synclavier pieces, from the albums Jazz From Hell and Civilization Phase III, and "Revised Music for Low Budget Orchestra" and "Greggery Peccary" are probably not very high on the average FZ fan's hit parade. That being said, these are great, if sometimes challenging compositions, and the Ensemble Modern clearly rise to the task. The Jazz From Hell tracks ("Night School" and "Beltway Bandits") are perhaps the most transformed, mostly due to the fact that the early Synclavier sounds were more synthesized and mechanical than the sounds later used on Civilization Phase III. The CPIII tracks actually become more interesting as compositions, divorced from their original context among a great deal of sometimes silly spoken material. Here, they are just wickedly polyrhythmic modern compositions that stand quite well as individual pieces. In particular, the arrangement for "A Pig With Wings" is stunning, scored for two guitars and two keyboard/samplers that sound like they have a hammered dulcimer patch at times. "Revised Music for Low Budget Orchestra" gets a fantastic reading, and it's simply thrilling to hear the passage with the guitar solo (replaced here by viola) doubled by brass and percussion. That anyone would actually undertake a live performance of "Greggery Peccary" is a bit of a surprise, and again, the Ensemble Modern demonstrate their incredible talent. Incorporating all the known orchestral devices, they also use samplers and vocalists Omar Ebrahim and David Moss, who really "put the eyebrows" on their performances (who'da thunk an opera guy could perform like Ebrahim?). Anyone familiar with David Moss' bizarre, cartoonish vocalizing over the years will realize what an inspired choice he was. As an added bonus, there's a wonderful arrangement of the old favorite "Peaches en Regalia," and a hidden track that originates from 200 Motels (no need to completely spoil the surprise). Greggery Peccary & Other Persuasions is another fantastic recording from the Ensemble Modern, and since there aren't a whole lot of new performances coming out of the Zappa vault, this is a nice treat for those who still want to hear more from the great Frank Zappa. Excellent.
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It's too bad that Frank Zappa didn't live to hear this recording of his works by Harmonia, a talented trio of Italians. This group has Classical roots but is open to importing touches from several genres. Utilizing overdubs of their respective instruments and an occasional guest as well, Harmonia will entertain the most knowledgeable Zappa fans as they explore new dimensions within his challenging compositions. "Hungry Freaks, Daddy" is a mix of Damiano Puliti's overdubbed cellos (one pizzacato and one arco) and multiple clarinets by Orio Odori in a swinging arrangement. A dramatic take of "Peaches En Regalia" features superb piano by Alessandra Garosi and a few humorous passages added to the theme by the group, especially the wild finale. Garosi tackles "What's New in Baltimore?" unaccompanied, inserting some original lines and some tongue-in-cheek barroom piano during its finale. The trio adds an intriguing introduction to "Son of Mr. Green Genes," which is eventually fleshed out with a sampled guitar solo. "Little Beige Sambo" was written and recorded by Zappa on the synclavier, Harmonia's version relies on programming as well, though it is quite different from the composer's version. But it is the stunning overhaul of Zappa's "Waka Jawaka" that stands out as Harmonia's greatest achievement. This once intense uptempo piece has been slowed considerably to show off lyrical interplay between the overdubbed clarinets and cellos, while Garosi's piano adds a solo finale. A Baroque flavored reprise of "What's New in Baltimore?" is an appropriate conclusion. Harmonia also plays a number of original works that fit in well with the Zappa material. This highly recommended CD ranks along side Ensemble Modern's interpretations of the late composer's music, though Harmonia didn't have the benefit of rehearsing with Zappa as Ensemble Modern did.
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The selections on Oh No are many of the more well known jazz-inspired pieces from the early 1970s Frank Zappa and the Mothers of Invention. Hard core and maybe no so hard core Mothers of Invention devotees will know much or all of this music. The familiarity of the music sets a high bar which Le Bocal crosses in great form. I loved Le Bocal’s inspired interpretations. The technical craft and musicianship all the way through the album is frantastic. I believe Le Bocal gives Frank Zappa’s works their due as serious classical music, yet avoids being stuffy, and brings along jazz and rock elements that make this music fun. This record is not just another homage to the Mothers of Invention, but a serious transcription of the music to the next logical level of understanding of Frank Zappa’s legacy. The arrangements are fresh, but they are true to Zappa’s musical ethos. I won’t mention a particular stand-out moment because the whole record is good.
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Marc Guillermont has a lot of audacity. The bet is very daring to make a new album, especially when it is dedicated to Frank Zappa, but there with the flair of the one who listened respectfully to the master. Even more when one is very good guitarist and multi instrumentalist like Marc. He was inspired with greatness for this great regretted Frank Zappa. Accompanied by Marc Baccarini (sax tenor) and Carole Dreamt (voice) on the beautiful title "I wanna stay inside", the rest is just as much! Everything goes from jazz rock to groove and contemporary music. Not to mention the humor of the mustachioed genius for titles chosen with finesse. The record is there without appeal this "Zappostrophe" is a nice tribute to Zappa....
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In 1992, PierreJean Gaucher formed a band with drummer André Charlier and bass player Daniel Yvinec. Their two albums were praised throughout the music press as the most original projects of the moment. In 1994, at the request of French festivals, the New Trio became a quintet and paid homage to Frank Zappa, who had passed away the year before. The project, entitled "Zappe Zappa", tours regularly today and attracts an audience that largely surpasses the regular jazz following. A live CD of this band was released in March of 1998.
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Zappa’s Universe is a 1993 Frank Zappa tribute album featuring alumni from many of Zappa's bands. The music was compiled from a series of concerts from four consecutive nights of concerts at The Ritz in NYC, and filmed for a concert DVD of the same name. Steve Vai’s cover of the song "Sofa" from the album won a Grammy Award for Best Rock Instrumental Performance in 1994. When the Zappa’s Universe project was first underway Frank Zappa was supposed to be part of the project, but was too ill to attend the shows. When reporters attempted to find out why, they reported that he was ill. This led to Zappa’s children, Moon and Dweezil exposing to the public for the first time their father’s prostate cancer during a press conference in the fall of 1991. His cancer had been first diagnosed during the spring of 1990.
Zappa's Universe (1991)
Zappa's Universe Live At The Ritz (1991)
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The Muffin Men are a British band, based in Liverpool, England, which primarily plays the music of Frank Zappa and his band, The Mothers of Invention. The group formed in 1990 for a concert in honor of Zappa's fiftieth birthday. They went on to perform his music as a tribute band, along with some of their own compositions, worldwide. Until his death in 2008, the band often featured guest vocals and percussion by Jimmy Carl Black, former drummer and vocalist from Zappa's Mothers of Invention, with whom they also performed songs by Captain Beefheart. Since their debut, the Muffin Men have featured no less than seven original Zappa band members, along with original Mothers Of Invention drummer/vocalist Jimmy Carl Black, as well as performing with Don Preston and Bunk Gardner in 1993. In 1994 they played a nine-week European tour with guest vocalist Ike Willis, and again teamed up with Willis in 2003 for a special Zappanale festival show, which also featured Napoleon Murphy Brock. (Zappanale is a yearly tribute concert festival dedicated to Frank Zappa's compositions.) Mike Keneally has also appeared with the band, along with Ray White, and Robert Martin. Denny Walley has performed on several occasions since 2010. Rather than play pieces note-for-note, the band plays Zappa's material working to the strengths of the current line-up, often giving the music a different slant to the original versions.
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