Frank Zappa • Orchestral Favorites

★★★★★

   The 1979 with five new albums was record year in Frank Zappa’s discography. Warner Bros. has released two further albums from material provided by Zappa as a consequence of a contract – Sleep Dirt in January and Orchestral Favorites in May. And in March launching new label, Zappa Records opened with Sheik Yerbouti double album and continued in September and November with two albums of Joe’s Garage Act I and double Joe’s Garage Act II & III. This year was also record for the number of three singles – Dancing Fool, Bobby Brown Goes Down and Joe’s Garage. Every 1979 album is different in style which is one of great features of Zappa’s works. Publication of two albums with instrumental music proved to be fortunate event. The 1979 edition was published by Warner Bros under DiscReet label without permission from the author. And even with the tracks which had not been edited, issued hastily and without the participation of artists, the compositions are able to defend itself.

   Material for this album was recorded in Royce Hall, Los Angeles in September 1975 with large group of more than three dozen artists. The core of the orchestra were Terry Bozzio on drums, Dave Parlato on bass, Emil Richards playing percussions and playing guitar and keyboards Frank Zappa who was leader, composer and producer. Many musicians involved in this project were known as members of Abnuceals Emuukha Electric Symphony Orchestra & Chorus from Lumpy Gravy album. Zappologists separate the existence of this bands as – first Lumpy Gravy 1967 incarnation and second Orchestral Favorites 1975 incarnation. Many musicians were hired just for September 17 and 18, 1975 concerts in Royce Hall.  From 1967’ AEESOC incarnation there were keyboardist Mike Lang, playing french horn David Duke, cellist Jerry Kessler and percussionist Emil Richards. Some musicians came to Zappa’s bands after Lumpy Gravy. From The Grand Wazoo trumpeter Malcolm McNabb, oboist Earle Dumler, flutist, clarinetist and saxophonist Mike Altschul, from latest Mothers lineup Bruce Fawler, Terry Bozzio. New musicians in AEESOC were John Wittenberg, Bobby Dubow (violin) Pamela Goldsmith (viola), Dana Hughes (bass trombone), Ray Reed (flute), David Shostak (flute) and Tommy Morgan (harmonica). The conductors of the orchestra in Royce concerts were Frank Zappa and Michael Zearott.

Frank Zappa – Orchestral Favorites (1979)

   First and last works are instrumental versions of 200 Motels compositions. Opening A-Side Strictly Genteel was published as vocal finale of 1971 soundtrack and later in orchestral form with London Symphony Orchestra and in rock band version from October 31, 1981 concert in Palladium, NYC on You Can’t Do That On Stage Anymore vol. 6. Next two compositions were new works and like many other were later reworked and republished – Pedro’s Dowry in January 1983 recorded London Symphony Orchestra conducted by Kent Nagano and Naval Aviation in Art in January 1984 recorded Ensemble Intercontemporain conducted by Pierre Boulez.

   Opening B-Side Duke of Prunes later known as The Orchestral Duke of Prunes is instrumental version of 1966 song published on Absolutely Free and Mothermania albums. Zappa called it „surrealistic love song” and this tune was frequently played during Mothers of Invention gigs in sixties. The last piece of this set Bogus Pomp comes from 1968 whet it was played as a prologue to the concert on October 25. The musical material of this composition was base for Sealed Tuna Sandwich suite in 200 Motels soundtrack and then reworked and published as Bogus Pomp on Orchestral Favorites (13:29) and in much wider form on London Symphony Orchestra album (24:31).
Closing series of three Warner Bros’ editions, the Orchestral Favorites album was a kind of conclusion for this exposure. Three records giving balanced picture of Zappa’s creative works with very little rock songs, well developed narrative work and various instrumental compositions pointing directions of future developments. Many evil can be said about the policies of big corporations towards artists. Many talented people never fully developed their talents. Frank Zappa had a sufficiently strong position to fight for freedom of his artistic expression. Reduced to the status of the product, art defended itself once more. This series was like cuckoo egg in the nest of corporative governance, a formation of independent post in the world of supermarkets. It was in fact enough anti-system to provoke a series of furious attacks of the Washington generals' wives so much politically involved in the coming era of Reaganite neo-conservatism.

Frank Zappa • Sleep Dirt

★★★★★

   Four months after premiere of Studio Tan, January 19, 1979 next Zappa’s album Sleep Dirt has been released by Discreet Records (DSK 2292). For customers this looked like continuation of previous publications and maybe new series but this time Discreet Records label was totally controlled by big record company and three albums delivered to Warner Bros were treated as a legally secured debt. Zappa has treated these recordings rather as lost and not fully edited. But from today’s point of view this three albums should be treated more as the series of recordings establishing new position for composer’s creative output. In late seventies Zappa was already a well-known artist, so it was no surprise that the company has struggled with the artist to gain control over the largest possible amount of his music. In fact this became first commercial success of Zappa’s instrumental music and at Billboard’s North America Pop Albums Chart Sleep Dirt reached 175 position.
   Sound and constructive ideas of Sleep Dirt were something new, maybe not revolutionary but quite different than music dominating on earlier records. After all these albums merging satiric song, rock and fusion jazz, Zappa played some more abstract music of pure aesthetic meaning. This album has relatively fresh shape even in comparison to Studio Tan, which in fact was evolution of 200 Motels and Billy the Mountain ideas. After narrative Greggeary Peccary and two orchestral compositions from Studio Tan, second album was example of more jamming than symphonic attitude. What was the intention it's clear considering this album was titled by Zappa as Hot Rats III. Violating contract, company changed the album title. In effect program of Sleep Dirt was the cycle of instrumental works for various groups, from guitar duo with James Youman to compositions played by Mothers group with some extended sound structures developed through the multi-track recording, but not connected by title to earlier Hot Rats music. Republishing this album Zappa didn’t changed the title.

Frank Zappa – Sleep Dirt (1979)

   The meaning of the title was not clear for many listeners. Especially with the creature getting up from bed shown on Gary Panter’s cover painting. Taken from 1971 Japanese movie Godzilla vs. Hedorah, in seventies Hedorah a.k.a. “Smog monster” was symbol of pollution. It was clear reference to Zappa’s works from his first movie attempts to Cheepnis, song known from many concert events and 1974 double album Roxy and Elsewhere. In Zappa’s individual style combining pop culture artifacts and surreal imagination was one of distinctive features. Most convincing explanation of this title is an assumption that Zappa refers to popular description of excretions and contaminants gathering in the corner of an eye during sleep, also called „sleeping dirt”. This is reasonable clarification since the title track has something of a dream at the edge of sleep and wakefulness. This inspired miniature is sound simple but is organized in impressionist way, thus may evoke early 20th century music with its power of unreal expression. At the end, when sounds of accompanying guitarist James Youman has weakened Zappa asked “You getting tired?” and Youman answered “No, my fingers got stuck”.
   Material for Sleep Dirt was recorded by group of musicians in various configurations. All of them are well known from Zappa’s previous records. As always the core of the group was Frank Zappa playing guitars, keyboards, percussion instruments and programming synthesizers. His companion were playing keyboards George Duke, Ruth Underwood with variety of percussion instruments, bassists James Youman and Patrick O’Hearn and drummer Chester Thompson. This album was something distinct from the recordings for which listeners were previously accustomed.

   From opening composition Filthy Habits showing soloing Zappa with accompanying bass player Dave Parlato and drummer Terry Bozzio. In this trio Zappa was featured artist playing guitars as well as some keyboards. Strong guitar phrases over steady ostinato has its role in preparing the ground for Zappa’s improvised music which blossomed few years later on Shut Up And Play Yer Guitar triple album. In next two pieces Zappa switches to easy jazz, even piano bar style, but these are only externals. In fact Zappa was constructing this compositions from elements of jazz style, exactly the same as he was doing in his debut album.
   Patrick O’Hearn played perfectly musical bass parts in Flambay and Spider of Destiny and this was beginning of his fruitful collaboration with Zappa. In fact he was not new on music scene, after private studies with Garry Peacock he was playing in San Francisco jazz groups with best artists - Charles Lloyd, Joe Henderson, Dexter Gordon, Joe Pass, Woody Shaw, Eddie Henderson, and Bobby Hutcherson. His bass has great jazzy sound, perfect articulation and was recognizable for his own style. He has his own contribution to the success of Shut Up And Play Yer Guitar. It’s easy to find the foretaste of this work in the closing composition of Sleep Dirt album The Ocean Is the Ultimate Solution were Zappa shows with Patrick O’Hearn playing bass and Terry Bozzio playing drums. In Zappa’s intention this was probably an answer for Filthy Habits, but this time it’s much more than jamming. Whole piece sounds perfectly different – unless first trio was rock, this is jazz.
   This recording was republished in 1991 with drums overdubs by Chad Wackerman and some instrumentation changes. Songs Flambay, Spider of Destiny and Time is Money were originally composed for abandoned 1972 musical Hunchentoot. Digital versions of this songs had been enriched by vocals by Thana Harris. Although well written and perfectly performed, for many listeners this version was just surprise. Once more Zappa’s works occurred beyond the boundaries of fashion and style.