Archive for December, 2013

Nel Segno di Zappa - program (photo: courtesy of Guido Harari)

Nel Segno di Zappa – program (photo: courtesy of Guido Harari)

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On December 18, a long Zappa celebration took place in Milan. Two different concerts in a row: for Symphony and Chamber Orchestras, and for rock band. Before the concerts a new Italian book has been presented (“Frank e il Resto del Mondo”, by Alessandra Izzo), and later the same night a video retrospective was played for the audience of the Milan Auditorium.

The event was presented by Barley Arts and LaVerdi, full program available on both web sites (BA, LV).

The Symphonic Orchestra and Symphonic Chorus Giuseppe Verdi of Milano Foundation was instituted in April 2002 to promote and support the Symphonic Orchestra and Symphonic Chorus Giuseppe Verdi of Milano. The first concert has been played by members of the Institution in various ensembles, according to the instrumentation needed. They have been conducted by Danilo Grassi for what looks like a one shoot deal evening.

The program and the performance should be viewed in two parts, being the first the more “classical” one, and the second a Yellow Shark selection. As far as Zappa, let’s say Boulez vs. Ensemble Modern. The “classical” part worked fine: Intégrales has been delivered with the right strenght; Dupree’s Paradise has been rendered with drama due to a tempo slower than the original (see also RAMME); The Perfect Stranger was full of the original ambiguous anxiety; Ragtime was a pleasure, the right balance of fun and tension. Also, I found particularly effective to open with Varèse, not only because he was the idol of such a youth, but it was also appropriate to relate Intégrales with the Boulez-ian Zappa. And Ragtime is the perfect move to Yellow Shark.

However, the rest of the program was unfortunately below the standard to be reasonably expected for such a musical Institution. When more or less performed correctly, the music often had no swing. I may be wrong but this is the typical effect of an under-rehearsed execution (unconfirmed rumors say 5 hours). Dog/Meat was the lowest point of depression, due to a lot of confusion in the winds parts. Be-Bop Tango was quite fine. Questi Cazzi di Piccione worked very well (including the toy pistol finale), en exception for this part of the program, thanks to the string section, who delivered a good performance throughout the whole concert. G-Spot Tornado was played two times in a row (the second as the encore), and take two worked better than take one. I would take this as the evidence of the fact that with more rehearsal time it would have been a great Zappa performance. I will stop here on this matter, is the same old Italian story (see also Get Ready to Zappa), maybe less evident for this night because of the quality of the musicians and of the director.

Danilo Grassi (photo: fg)

Danilo Grassi (photo: fg)

First violin and Danilo Grassi (photo: fg)

First violin and Danilo Grassi (photo: fg)

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Please click here for some other photos of the Orchestra I took.

Elio, of the Elio e le Storie Tese band, acted as the sophisticated Anchorman of the night. You should be aware of this band and of some Italian pop culture to get this hook. In short, we could say he knows how to nasty, his band too, they are all extremely tight and from time to time they have a lot of fun playing Zappa, both as a band (in a few occasions with Ike Willis), and Elio alone with Ossi Duri. In the following, some YouTube videos to have a quick glance over.

Sofa #1 – Elio e le Storie Tese (October 29, 2010, from the “Parla con me” Italian TV show)

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You Are What You Is – Elio e le Storie Tese featuring Ike Willis (April 24, 2000, RTSI “Auditorium Massimo”, Lugano, Switzerland)

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Florentine Pogen – Ossi Duri featuring Elio (October 8, 2004, Hiroshima Mon Amour, Torino, Italy)

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The Nel Segno di Zappa night was again a chance to hear Elio with Ossi Duri, but first was a chance to listen again to Ossi Duri live after 20 years of playing together. They are still a band a young musicians since when they started they were under 10 youngsters! Please visit their web site if you don’t know them, also to get to know about their brand new cds. One of them is entitled Frankamente, features Ike Willis and is a tribute to the music of Frank Zappa (available through iTunes). Please visit the Elio e le Storie Tese web site too, you may be interested to The Lugano Tapes, a great live dvd featuring Ike Willis for four songs.

The rock band side of the Milan celebration had another great guest: Fabio Treves, aka “il Puma di Lambrate” (“Lambrate‘s Cougar”) on harmonica. Fabio played as a guest twice with the 1988 FZ band, on Pound for a Brown in Milan, and on Big Swifty in Genoa. The whole story has been recently told on Blow Up (December 2010 issue) an Italian music magazine. Fabio has a lot to tell also about the never to be realized Dio Fa opera, that would have been the Zappa way to celebrate the Football World Cup to be held in Italy in 1990. The following photo has been taken in 1988.

Frank Zappa and Fabio Treves (photo: Galimberti)

Frank Zappa and Fabio Treves (photo: Galimberti)

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Back to December 18, Ossi Duri were:

Martin Bellavia: guitar, vocals
Alex Armuschio: keyboards, background vocals
Ruben Bellavia: drums, background vocals
Andrea Vigliocco: keyboards, marimba, background vocals
Simone Bellavia: bass

And this was the set list:

The Purple Lagoon (band intro)
The Black Page
Pygmy Twylyte
Echidna’s Arf of You
Don’t You Ever Wash That Thing (fragment)
Son of Orange County
Trouble Every Day
Peaches in Regalia

Elio enters as lead vocalist

City of Tiny Lights
Dancin’ Fool
Broken Hearts Are for Assholes
Stick Out
Crew Slut (feat. Treves)
Cosmic Debris (feat. Treves)
Dice sempre sì (Easy Meat in Italian)
Perché Brucia la Pipì? (Why Does it Hurt When I Pee? in Italian)
Florentin Pogen

Encores
I’m the Slime (Ossi Duri only)
Tell Me You Love Me (feat. Elio & Treves)

A very effective set list for a celebration! We the audience had a lot of fun with this repertoire focused in the 70′, obviously those of us born in the 60′ or the 50′, but also the younger fans. Ossi Duri have a quasi prog-metal sound, the evident reference is the 81/82 FZ band, but the 80′ were a million years ago, and the drums, for instance, sound different here. Listening to the Zappa 70′ through the tight and hard filter of Ossi Duri has been a great pleasure, and Elio gave a great performance on vocals and humor. Finally, the Fabio Treves cameo was amusing and useful to remember that the blues is as important for the FZ “output macrostructure” as musique concrète or moster movies!

Here they are, the monster players, rock side!

Martin Bellavia (photo: fg)

Martin Bellavia (photo: fg)

Alex Armuschio (photo: fg)

Alex Armuschio (photo: fg)

Ruben Bellavia (photo: fg)

Ruben Bellavia (photo: fg)

Andrea Vigliocco  (photo: fg)

Andrea Vigliocco (photo: fg)

Simone Bellavia  (photo: fg)

Simone Bellavia (photo: fg)

Elio (photo: fg)

Elio (photo: fg)

Fabio Treves (photo: fg)

Fabio Treves (photo: fg)

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Some more picture here.

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For a very special quality Giclée Print of the Cal Schenkel acrylic on paper study of the Grand Wazoo cover artwork 13×13 (12½x12½ in image) a very special frame, hand made from recycled materials by Elisa Majnoni!

Giclée Print of Cal Schenkel acrylic on paper study of the Grand Wazoo cover artwork, frame by Elisa Majnoni

Giclée Print of Cal Schenkel acrylic on paper study of the Grand Wazoo cover artwork, frame by Elisa Majnoni

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The Road Tapes, Venue #2

Posted: December 5, 2013 in album review, zappa
Road Tapes, Venue#2

Road Tapes, Venue#2

1973 and 1974 were prolific years for Zappa. He was constantly on tour (recording as much as he could), he released a double live album (Roxy & Elsewhere), produced a live in studio video (parts on The Dub Room Special, fully released as A Token of His Extreme in 2013) and issued two studio albums (Apostrophe(‘) and Over-Nite Sensation).

Further live recordings found later their way through the YCDTOSA series: The Helsinki Tapes (74) and some other sparse stuff.

He also produced various studio sessions, later to be released as part of albums (One Size Fits All, Studio Tan, Sleep Dirt) overdubs, or as part of posthumous releases (Lost Episodes, Lather, One Shot Deal, QuAUDIOPHILIAc).

For a full chronology see Roman Garcia Alberto, for an insight into the 73/74 live side, see Charles Ulrich.

From a conceptual point of view, this two years period can be considered as a unique era, the band being the signature. Even if there were several influential changes, the continuous presence of Tom Fowler, George Duke and Ruth Underwood (with a two months hiatus in 1974), and the smooth transition between Ralph Humphrey and Chester Thompson keep the sound of these groups distinctive and recognizable.

The following chart pictures the differences between the 73/74 live bands, relating them with peer releases.

73/74 musicians/productions comparison

73/74 musicians/productions comparison

Click here to download the xlsx file.

This two years period is divided in the nine parts defined in the FZShows pages. However, four main periods emerge:
1 Feb-Sep 1973
2 Oct 73 – Mar 74
3 Apr-May 74
4 Jun-Dec 74

Jean-Luc Ponty and Ian Underwood were in the band during the first period only. Period two was the two drummers one and marks the arrival of Napoleon Murphy Brock. The third was devoted to the “10 Years of The Mothers” anthological tour (Ruth hiatus). And eventually, during the last one, the band was extremely tight! A sextet at the end, and after almost two years on the road, some pieces were speed light numbers!

Live periods 2 and 4 are very well represented by Roxy & Elsewhere (2), A Token of His Extreme (the KCET-TV special, period 4) and YCDTOSA #2 (4 again). A great sample of the anthological tour (3) is on Roxy & Elsewhere. Road Tapes, Venue #2 is the first official long live release recorded during the first period. As shown in the previous chart, only a few minutes from this part of 1973 live shows have been published before.

Luckily, hard-core fanatics are well aware of this particular era due to some very good sounding guerilla audio and video recordings (i.e. Sydney and Stockholm), however these Road Tapes represent the first chance to enjoy the music through the original audio source, after a great production work. Joe Travers informs that the album includes recordings from three different shows, performed in Helsinki on August 23 and 24, 1973. “Show One and most of Show Two on 2 track stereo tapes while the rest of Show Two and all of the Show Three on four-track tapes, configured with a 2 channel stereo mix and two channel of audience microphones” (from the liner notes). The result is good, surely below the average Zappa standard, however, as a road tape, highly enjoyable in spite of some distortion issues.

Please click the classic Roman Garcia Alberto link for track list, lyrics and production credits.

And take your time to explore two interesting charts by Charles Ulrich to compare this track list with the 73/74 repertoire and sequences.

And the first sequence (tracks 2-9) is one the most relevant distinguished feature of this set, particularly suited to the venue: the Finlandia-talo in Helsinki, a concert Hall designed by the great Finnish architect Alvar Aalto. It’s a very well balanced mix of chamber music (EMBBQ, KF, E#4, Dog/Meat), rock & roll (Penguin) and jazz-rock (RDNZL). It could be a great challenge for orchestras like the Ensemble Modern, and Ali Askin should invent a special treat for the RDNZL guitar solo, a transcrption for strings will make it! But back to 1973, this first guitar solo, as well as the first short solos by Ponty and Duke, are appropriate ingredients to close the suite. As noted by Jason Gossard in his essay devoted to this tour (a must read), the other special feature of the sequence is Penguin in Bondage:

“This song premieres on this tour, magically appearing both fully clothed and completely prepared from the start. Pretty amazing- I mean, how many times has Frank succeeded in debuting a song and leaving it be for the rest of his career? The only difference is that in the early performances, there is no solo, just an immediate segue from the pre-solo verse to the post-solo verse. Apart from that, what we get here is what is essentially performed as on TBBYNHIYL (the “Roxy and Elsewhere” version is edited), allowing for obvious differences in instrumentation, and with the standard deviation coming in Frank’s solo”.

Right after the first sequence, Montana enters, as RDNZL one of the classic numbers of the 73/74 era (see Charles Ulrich repertoire page). It is also time for the second guitar solo of the set, about 2 minutes long, like the previous one on RDNZL.

It is the prelude to the 40 minutes of extravaganza that closes the first cd:
11 Your Teeth And Your Shoulders And Sometimes Your Foot Goes Like This . . . /Pojama Prelude (10:14)
12 Dupree’s Paradise (15:55)
13 All Skate/Dun-Dun-Dun (The Finnish Hit Single) (14:10)

Track 11 is actually the expected long Dupree’s Paradise intro, the usual George Duke keyboards showcase, normally intercut with conducted improvisations before the exposition of the Dupree theme. In this case, before going to D Paradise, we have a special treat: an early version of Pojama People, actually a little more than a slow rap. Then the DP theme opens a long section of extended and extremely intriguing solos. First comes Ponty (ca. 4:45 long), then Bruce Fowler (a shorter 2:10), and finally FZ for a 6 minutes long one. At the beginning of this guitar solo Zappa decides to change the key, bringing the band in an unknown musical territory, as noted by Pat Buzby on the zappa.com forum:

Weird solo (even by FZ standards). Sounds like he plays quite a few “wrong notes” (notes outside the key center) but George Duke had a great ability to figure out what FZ played and come up with a good accompaniment.

Zappa presents what follows as a one-time only event, which turns out to be a blues number, after a space synthesizer intro by Ian Underwood and a conducted improvisation section. The blues number includes two funky short solos (ca. 2 minutes long) by Duke and Zappa. Please note the bluesy rhythm guitar parts along the keyboard one. The finale is devoted to a brief and funny speech with audience participation, on how to design a monster movie soundtrack: The Finnish Hit Single.

Second cd starts with the classic 73/74 sequence Village/Echidna/Ever Wash, premiered just a few days before. The Helsinki rendition of the first one features George Duke on “high voice” (this is how FZ presents him for this song) and “new” intro and outro. The opening theme set the tone for a “sort of rock and roll song […] but don’t despair, it’ll get weird and abstruse and non intelligible again in just a couple of minutes” (from the Zappa intro). The same sort of pop theme is used again as outro. The whole piece is slower than the Roxy and YCDTOSA #2 versions, and, as properly noted by Jason Gossard, George Duke sounds “remarkably like Ike Willis during his Fall ’78 “Village of the Sun” duties.” Echidna is the well known one, augmented with highly enjoyable violin parts. Same for Ever Wash which is also a showcase for four great solos: bass clarinet (with effects), trombone (with effects), electric piano and drums.

The set continues with Big Swifty. After the well known theme, solos for George Duke, Jean-Luc Pony and FZ, all of them remarkable, particularly the last one, 6 minutes long. Then the last long piece, an “instrumental event” named Farther O’Blivion, which, as expected, includes Steno Pool, Be-Bop Tango, The Hook and Cucamonga (an excerpt). The first section includes a violin solo, the second includes distinctive violin parts, and trombone and bass clarinet solos. Be-Bop Tango ends with an audience participation devoted to the relationships between psychedelic music and The Hook. A drums solo follows as a prelude to Cucamonga. The Hook comes back for the very end of the piece (24 min long).

Brown Shoes Don’t Make It is the closing number, though listed as “Show 1 encore” it does not seem that it was often played to close the show. The chart below compares some summer 1973 set lists (taken from the zappa.con forum).

summer 73 set lists comparison

summer 73 set lists comparison

Beside the peculiar orchestration, also remarkable for this rendition is the George Duke vocals, often difficult to recognize when the style is unusually “rude” for him (“She’s a dirty young mind, corrupted, corroded!”).

In summary, one of the best posthumous Zappa releases, although the audio is below the FZ standard, but we know the intent of the Road Tapes is to give birth to otherwise obscure episodes. I am wondering if, more specifically, the leading criterion is to release non circulating recordings only, to give the public the chance to listen to live concerts for the first time. If this is true, it would be a pity not to give a professional treatment to some other better quality tapes (Sydney 73?) just because they are very well known as great guerillas (sometimes in a wrong pitch!).

I for one would go for both, obscure and enlightened!

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As two closing feature to this post, the video of the Helsinki 73 Zappa press conference and an 1973 article (in Finnish!), available through the amazing afka.net site.

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Zappa fell in love with Finnish audience (Intro, 1973 October, No. 10)

Zappa fell in love with Finnish audience (Intro, 1973 October, No. 10)

A brief abstract of the article as been given by Ogo at the zappa.com forum. Here it is:

I don’t feel like translating the whole article (there may be a translation already floating around somewhere), but I’ll pick a couple of interesting things. The concerts were held at Finlandia Hall on two consecutive dates and there was an afterparty jam without Frank at N- Klubi. The article is from a magazine called Intro.

“A future release called Live In Finlandia by The Mothers Of Invention wouldn’t be a surprise because Frank recorded all of his performances and was quite pleased with them.”

Ian Underwood had caught a cold in Sweden and didn’t attend the N-Klubi jam, but I take it he played at the actual concerts. The article also mentions a 3-hour soundcheck on first day and a rehearsal on second. Also in the end there’s a mention of the Mothers’ 10-year anniversary and plans for a “several-LP box” for the occasion.

Finally, the band!

B.Fowler, R.Humphrey, T.Fowler, I.Underwood, FZ, G.Duke, R.Underwood, J-L.Ponty

B.Fowler, R.Humphrey, T.Fowler, I.Underwood, FZ, G.Duke, R.Underwood, J-L.Ponty

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POST SCRIPTUM (March 19, 2014)
cosmikd posted to zappateers a Jean Luc Ponty quote from Jazz Magazine – Jazman (n. 658, February 2014) concerning Road Tapes, Venue #2. Thank You!

Cet album est une bonne surprise car il contient des compositions de Zappa qui pour moi sont parmi les plus intéressantes, les plus créatives. Certaines étaient complètement sorties de ma mémoire et me replongent dans cette période de ma vie. Et puis ces enregistrements témoignent de la complicité musicale que j’avais avec George Duke, et dont je parlais au moment de sa disparition en août dernier (Jazz Magazine Jazzman n° 653, septembre 2013). Pour ne citer qu’un exemple, la façon dont il me suit pendant mon improvisation dans Dupree’s Paradise me sidère encore aujourd’hui. Il joue très rythmique quand je le suis, ou soulignant en écho quelques notes d’un passage où je suis plus mélodique, ou me suivant dans quelques escapades carrément “free”.
Frank était un perfectionniste, il nous avait fait répéter pendant un mois avant la première tournée aux Etats-Unis, et nous faisait encore souvent répéter pendant cette tournée en Europe quelques mois plus tard. Il avait raison quand on entend la précision avec laquelle on jouait ces arrangements sur scène.

This album is a pleasant surprise because it contains Zappa compositions which for me are the most interesting, the most creative. Some were completely out of my memory and submerge myself in this period of my life. And these recordings reflect the musical complicity that I had with George Duke, and I mentioned at the time of his death last August (Jazz Magazine Jazzman No. 653, September 2013). To cite just one example, how he follows me during my improvisation in Dupree’s Paradise amazes me today. He plays very rhythmic when I’m in, or echoing some notes of a moment where I am more melodic, or following me in some escapades very “free”.
Frank was a perfectionist, we had rehearsed for a month before the first tour in United States, and we was still rehearsing during this tour in Europe a few months later. He was right when we hear the precision with which we played these arrangements on stage.
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