Zappa in New York

★★★★★

   Live record from New York was moot point in the crisis between Frank Zappa and his manager. The imbroglio became Zappa’s victory, leading to full artistic and business independence and forming phenomenon of mature Zappa’s live performances. In December 1976, between Christmas and New Year Frank Zappa and his band had played in Palladium four shows for 14 000 listeners. In 1977 he edited some material for double LP which was released the same year in UK by DiscReet Records label. Album has been immediately withdrawn and reedited by DiscReet distributor Warner Bros. This was the moment small Zappa’s company has been losing its independence. The original idea became the part of 3CD album Läther, the project realized in 1996. Censored and shortened version of the album has been published in March 1978. Despite these manipulations album has won commercial success and in Billboard 200 albums chart Zappa in New York it took 57th position.
   Even in such form Zappa in New York was the album setting new trends. Totally renewed band was not the straight continuation of the idea of consecutive Mothers of Invention lineups. New faces were singer and guitarist Ray White, bass guitarist and singer Patrick O’Hearn and both were active in next years. From Saturday Night Live band came strong wind and brass section with Brecker brothers Randy (tp) and Mike (ts), Lou Marini (as), Ronnie Cuber (bs, cl) and Tom Malone (tb). It was like new incarnation of Hot Rats band. And musicians known from Mothers of Invention, Ruth Underwood and Terry Bozzio who was also singing, were the core of the band. Interesting member of this lineup was Eddie Jobson, singer, keyboardist and violinist, a legend of British progressive rock playing with Frank Zappa for short period only.

Zappa in New York (1978)

   Due to corporation censorship, album was shorter than usual. Side one was 11 minutes only, side two 15 minutes and side three and side four were 17 minutes each. It was easy to figure out that something was missing. Opening Titties and Beer has been shortened to 5:31 omitting long fragments of improvising dialogue with the devil played by Terry Bozzio. Another intended for this album narrative with Terry Bozzio acting one of Warner Bros. stars Punky’s Whips was excluded and published five years later, when Zappa has regained full rights to his own material. Other great narrative songs were two songs filling the entire side three – sung by Zappa satirical ballad defined as “just another love song”, Honey, Don't You Want a Man Like Me? and blues ballad The Illinois Enema Bandit, based on a true story on criminal activity of Michael H. Kenyon a great performance of Ray White opening his long stage with Frank Zappa’s bands.
   Narrative, satirical songs and even improvised sketches were always extremely popular part of Zappa’s public performances. But Zappa in New York was composed as contrasting juxtaposition of quite easy popular songs and pieces of highest complexity level. In such compositions as Manx Needs Women and Black Page Zappa was using techniques and ideas taken from serialism and other conceptions of composition. Thanks to some citations and references to masters of contemporary music like Igor Stravinsky, Edgar Varese and many others, he made outstanding chance of intellectual adventure, bridging the gap between listeners with different experiences and levels of musical knowledge. As I can say observing my friends listening to Frank Zappa’s records, this idea was quite effective way to promote language of new music.

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.