Frank Zappa • Apostrophe (’)

★★★★★

   Eighteenth Frank Zappa’s album – released March 22, 1974 and almost immediately placed on hit lists – remains his greatest commercial success. It had reached 10th position on Billboard Charts and gave artist his first Gold certified by the RIAA only two years later. No wonder listeners had accepted this album – on its semantic level these songs were threaten the cultural taboo melting sexual contents with some jokes and rebel attitude. Musical layer was highly energetic, rhythmic music – from hard rock to comedy, from rhythm & blues to fusion jazz – basically in mainstream of rock fusion. And it was well done, a way much better than many seriously progressive albums. Every genre presented here was connected and interacting with lyrics context.
   The material for the album was recorded in various sessions and studios in five year period since 1969. This resulted in doubles and triples in lineups. On the cover of the record one can find names of four casts of rhythm sections from various periods – four drummers (Jim Gordon, Johnny Guerin, Aynsley Dunbar, Ralph Humphrey) and four bass players (Jack Bruce, Tom Fowler, Frank Zappa and Erroneous what stands for Alex Dmochowski). Great keyboardist George Duke, playing percussion instruments Ruth Underwood whose marimba became hallmark of Zappa’s sound in mid-seventies, two great violinists Sugar Cane Harris and Jean-Luc Ponty, two saxophonists Ian Underwood and Napoleon Murphy Brock, trumpeter Sal Marquez, trombonist Bruce Fowler, nine back-up vocals, even five sound engineers, working in New York Electric Lady Studios, Inglewood Bolic and Hollywood Paramount Studios. Zappa was credited for lead vocals, guitars, production, arrangements and struggle with.

Frank Zappa - Apostrophe (1974)

   The album has been called Apostrophe (’) or A’POS! TRO’PHE(!) as in alternative spelling used on the label. What makes this album so exceptional is fusion of RnB, pop and rock with elements of utilitarian music known from media and associated with advertising jingle style. With seditious obscenity and much inkling suggesting there’s one more mask and deeper sense of the text layer it gave the feeling of revealing the hidden truth. Maybe Frank Zappa was not considered of all these flickering senses. The title of the album came from only instrumental piece. It is an instrumental jam and the fact Zappa gave this name for the whole album may suggest he was intended to turn to more intuitive forms. Although it sounded modern and strong, from intellectual point of view it was weakest fragment of the album.
   The intellectual and philosophical backgrounds of Zappa’s lyrics were unveiled in 1993 in The Negative Dialectics of Poodle Play by Ben Watson. British author has shown Shakespeare and Platonic topics in Apostrophe (’). Brave comparison of Don’t Eat the Yellow Snow suite and King Lear is showing some parallels which are in fact archetypical values common to many cultures. Ban Watson’s dissertation is maybe first critical analysis of this album which for many reviewers was just loathsome and obscene. Zappa’s obscenity, then recognized as a part of sexual revolution, later occurred to be quite serious part of anti-establishment rebellion. His revolutionary and subversive attitude has strong impact for few generations of listeners.

Lost in the Stars – The Music of Kurt Weill

   Born in Berlin in 1900, Kurt Weill was especially famous for his avant-garde works in 1920’s. He was well trained and versatile composer, writing concert music and theatrical stage music. As many avant-garde composers of this years, Weill was socialist and believed all kinds of art should serve the social development. His compositions for orchestra and for choir, songs and cameral music were well received but his great success came with his cooperation with Bertold Brecht. The greatest achievement of Weill and Brecht were The Threepenny Opera (Die Dreigroschenoper) composed in 1928 and Rise and Fall of the City of Mahagonny (Aufstieg und Fall der Stadt Mahagonny) from 1930. In March 1933 he has left Germany.
   The series of tribute albums produced in 1980’s by Hal Willner was quite a succesive story of establishing some new promotional mechanisms ahead of the times. The main idea was to join different stylistic idioms and one composers output and to generate wide monographic vision of contemporary creative music. After great commercial success of first two tribute albums with music of Nino Rota and That's the Way I Feel Now: A Tribute to Thelonious Monk, Willner continued the idea with subsequent albums. Both have enthusiastic reviews and such warm critical response gave producer some more heart for selection of artists. Third album was Lost in the Stars with music of Kurt Weill which was likewise previously issued records, a nicely done introduction of Weill’s music and a wide exposure of artists breaking schematic modes and creating new sound in mid-eighties. The main title is also the title of his last musical composed in 1949 for Broadway with book and lyrics by Maxwell Anderson. It was last  Kurt Weil’s creative achievement before he died April 3rd, 1950.

Lost in the Stars – The Music of Kurt Weill (1985)

   As another Hal Willner’s productions, Lost in the Stars is perfectly balanced assortment of most understandable avant-garde jazz musicians and most creative pop music artists. Well known voices of Tom Waits, Marianne Faithfull, Lou Reed, Todd Rundgren and Sting, saxophones by Phil Woods and Gary Windo, beautiful bass solo by Charlie Haden, Armadillo String Quartet and unconventional musical narration by Johan Zorn with Boby Previte, Guy Klucevsek and Fred Frith. Arrangements by Carla Bley, Steve Weinberg, Sharon Freeman, Bruce Fowler and Van Dyke Parks – every part of this set is perfect and opens new perspective, while all together make complete vision. The quality of these performances shows real temperature of artistic life in 1980’s. In Reagan’s America there were still great open spaces for human creativity. And the history was not even close to an end.

Der kleine Leutnant des lieben Gottes – John Zorn

   Few dozens of musicians in 16 songs give a chance for everyday disclosure of another great interpreting idea. It can be any of songs, and everywhere one can find the best musicians and perfect performances. Like in The Ballad of Mac the Knife sung by Sting, where in Dominic Muldowney arrangement took part Mike Zwerin (bass trumpet, trombone), Branford Marsalis (soprano sax), John Marle (tenor sax), David Roach (alto and baritone saxophones) and Kenny Kirkland (piano). It can be as well The Cannon Song from The Threepenny Opera perfectly played by The Fowler Brothers with Stanard Ridgway – a rare occasion to hear the five Fowlers brothers – Walt Fowler (trumpet), Bruce Fowler (trombone), Steve Fowler (alto sax, flute), Ed Fowler (piano) and Tom Fowler (bass). It comes with a great sound and clear idea of how radical music should be.

That's the Way I Feel Now: A Tribute to Thelonious Monk

   Between masters of jazz, exact as it is in any other creative discipline, there are two opposite positions – first is occupied by master teachers and second by inspired visionaries. Teachers show the way to mastery, visionaries points the possible directions of development. Many artists are between these extremes, trying to find necessary balance. Some are unable to find this point, which is usually leading to the fiasco – frustrating lack of passion or excessive creativity leading even to autodestruction. But in the case of geniuses these dangerous attitudes are somehow connected not as balancing factors but in more complex way. One of such artists is Thelonious Monk, who was one of most unorthodox musicians in so rebellious generation. No surprise he is second most recorded  jazz composer after Ellington.

   The 80’s were hard times for jazz, the era of punk and rap melted in disco products, the AIDS epidemic, the Reagan Star Wars and rough economic policy reshape the perspectives of American culture. Jazz musicians tried to connect different genres and styles into one current of complex and creative music. Probably the best series of multistyle albums of the 80’s was Hal Willner’s productions of tribute albums. First was Amarcord Nino Rota (1981), then That’s the Way I Feel Now: A Tribute to Thelonious Monk (1984), Lost in the Stars: The Music of Kurt Weill (1985) and series of consecutive albums with music from Vintage Disney Films, Charles Mingus, once again Kurt Weill, Harold Arlen, Leonard Cohen, Sea Songs, Chanteys and American Folk Music. Second album with Monk’s themes and inspirations was real hit. Thank to carefully selected and diverse lineups all of included productions are unbelievably creative. This is what makes the undertaking the best chance for contemporary exposure of Monk’s ideas. Double LP comprises 23 pieces in renditions of avant-garde and most creative musicians available in 1984.

That's the Way I Feel Now: A Tribute to Thelonious Monk (1984)

   In various lineups Willner collected great company of most creative artists from modern jazz veterans to new radicals, from avant-garde to rock and pop artists. Exploding Thelonious for overdubbing trombones by Bruce Fowler and Phil Teele with bassist Tom Fowler and unbelievably driving drummer Chester Thompson is probably shortest, most dense performance of Monk’s tune ever. But this is only the beginning of surprising events. Donald Fagen belongs to the few super professional musicians from pop side of the scene. He is playing synthesizers in Reflections with Steve Khan on guitars. Others are Peter Frampton solo in Work and Todd Rundgren in Four in One. Bounds with tradition are clear foundations to Dr. John’s solo piano Blue Monk performance which is so naturally enchanting and so close to blues or even zydeco. 

   Old jazz school is presented by duo of Monk’s comrades, Steve Lacy and Charlie Rouse performing Ask Me Now on unaccompanied saxophones and Sharon Freeman version of Monk’s Mood for 5 French horns with section – the first side of this album shows it is full of surprises. Steve Lacy is featured artist. In duo with Elvin Jones in Evidence they show pure understanding for the Monk tradition. Elvin Jones is playing with such power even 30 years after it gives goose-flesh. And again Steve Lacy solo Gallop’s Gallop and in closing piece Bemsha Swing with Gil Evans – both owe Monk a lot. The perfect tenor solo played in Misterioso as a special guest Johnny Griffin. There are some nice pieces of poetic tranquility and meditation, like in nostalgic tack piano rendition of Pannonica by Barry Harris or in Functional played by Randy Weston. 

   There is beautiful Joe Jackson’s chamber arrangement of ‘Round Midnight played under direction of Sharon Freeman and perfect Misterioso in The Carla Bley Band performance.  Vocal jazz presented in Friday the Thirteenth by duo with great sense of humor Bobby McFerrin and Bob Dorough with Dave Samuels on vibes, marimba and percussions. Phenomenal avant-garde musicians with saxophonist John Zorn, guitarist Arte Lindsay, pianist Wayne Horvitz and drummer M. E. Miller testing our flexibility in Shuffle Boil. Interesting esthetical work has been done in 3-guitars Brilliant Corners with Steve Swallow and Joey Barron and then the Jackie-Ing with additional horns section. Various renditions show how versatile and carrying are Monk’s ideas. They are present in every smaller or bigger band productions and this is the victory of all musicians engaged in this project and especially Thelonious Monk creating alternative world of modern music.

Frank Zappa • Studio Tan

★★★★★

   After splitting with manager and long-time associate Herb Cohen, Zappa signed a contract with Warner Bros. Soon it became clear that this company also treats Zappa with the superiority of ownership, as yet another star on their already considerable constellation. After Warner Bros pressed for changes in Zoot Allures which was primarily intended as double LP album and then rejected Läther project. In short time list of corporation abusive decisions was long sufficiently to make artist quit. But the company used legal tricks to demand four additional albums. This may be the cause Zappa lost his heart to the greatest projects of mid-seventies. As a result of censorship imposed by the label, full versions of Zappa’s records saw daylight after years, Zappa in New York on double CD in 1991 and Läther on triple CD after artist’s death in September 1996. Zappa delivered recordings demanded by the company. Tapes with recordings did not contain complete information, what made the three albums released by Warner Bros appeared with no cooperation from artist side.
   Three albums Warner Bros decided to release under Discreet label is a series made against artist will, regardless or maybe even malice. First album was Studio Tan, released September 15, 1978. Cover including only information on tittles was decorated with painting by Gary Panter – this cover, just like next two projects for the records Sleep Dirt and Orchestral Favorites was next cause of resentment. And although Zappa didn’t accepted this works, he decided to publish them as covers to CD edition. Zappa was deceived and wounded pride did not allow him to work, even if the price was losing control on some of his best compositions, but that’s another story.

Frank Zappa – Studio Tan (1978)

   The reasonable attitude is to formulate a different question, why the record company did not try to communicate with the artist to achieve adequate quality of his recordings publication. Position of company clerks can be explained only by hostility of decision makers. Greggery Peccary filling Side A of the record has been brutally faded out. Thanks to full version published in 1991 as The Adventures of Greggery Peccary by Barking Pumpkin Records it’s easy to find, fading this work just few bars before the end was completely unjustified. The removal of the final part from this piece ruined its formal stability. But what do you expect from people who have rejected one of the major projects of the seventies progressive rock.
   Material appeared in Studio Tan was intended as a part of Läther album where it has been included 18 years later. This four compositions were recorded in various moments by musicians who worked with Zappa in previous years, but core team was Mothers of Invention lineup featuring Frank Zappa singing and playing with George Duke, Tom Fowler, Chester Thompson and Ruth Underwood. Whole staff had over 30 musicians and some of them played in Zappa’s bands during tours in past years and many were just studio musicians. Absolutely unique artist, first one in the group of four trombonists, Bruce Fowler is known from more lineups and numerous recordings with Frank Zappa (since Over-Nite Sensation in 1973) and Captain Beefheart (since Shiny Beast in 1978) and many others jazz and progressive bands in over forty years of artistic activity. Some artists were famous for different kind of musical activity, like Don Brewer, the drummer of Grand Funk Railroad, who in Let me take you to the beach played bongos and like Emil Richards who was famous from fifties percussionist and member of both lineups of Abnuceals Emuukha Electric Symphony Orchestra.
   Text of this dramatic work continues satirical style of older compositions. Frank Zappa since his protest songs in the sixties has the clear tendency to comment the political and social realities. This attitude blossomed with both satirical and serious artistic expressions. In sixties and eighties he was more specific in his criticism, while in seventies his works were dominated by surreal sense of humor. This character corresponds with instrumental works from Side B - Revised Music For Guitar & Low Budget Orchestra and REDUNZL – somehow ironically undermining too serious style of progressive music in late seventies. This was also characteristic feature of instrumental tracks provided on the next two albums ending story of Discreet Records.

Zappa / Beefheart / Mothers • Bongo Fury

★★★★★

   There are many good live recordings by Frank Zappa and his bands. Definitely it is hard to count every great gig played by successive groups in the span of more than quarter of the century. And it was always a question, which one is best to take first. Almost ultimate choice is Bongo Fury, recorded in Austin, Texas May 20 and 21, 1975 and released October 2, 1975. This is album, mainly covering recordings of two concerts, that can be seen as a turning point both in Frank Zappa’s and Captain Beefheart’s career. 

   The place of the concert was quite magic. Despite its ugliness and poor acoustics, its worth to notice, the adopted old military depot, named Armadillo World Headquarters, became main music and entertainment center in Austin during the seventies. In early years it became the center of hippie culture, because of inexpensive tickets, tolerating using of the marijuana and no police raids. These freedoms established an asylum for any kind of the audience, especially for the counterculture and progressive music, but in second half of decade jazz concerts and pop music events were also located here. Conforming didn’t save the Austin’s concert center. December 31, 1980 it has closed and torn down to make place for office building of One Texas Center. 

   Zappa was playing in Armadillo not for the first time, but in 1975 it happened to be the place for the breakthrough change in Zappa’s career. It was the last time Zappa played with Mothers in its early seventies line-up with Tom Fowler on bass and George Duke on keyboard instruments. Some of them he will play again after years – Bruce Fowler came back in Broadway the Hardway and Napoleon Murphy Brock in some albums in forthcoming years, including Thing Fish where he played the role of Evil Prince. In Austin concert and main part of Bongo Fury for the first time appeared as a member of Zappa's group Terry Bozzio – long time drummer and frontline personality on numerous Zappa’s records. In two studio songs on drums was still playing Chester Thompson – drummer of last Mothers line-up featured on Roxy and Elsewhere and One Size Fits All.

Frank Zappa & Captain Beefheart - Bongo Fury (1975)

   Bongo Fury was also last time Frank Zappa and Captain Beefheart appeared together. Two great artists, personalities and friends, made outstanding performance. For Don Van Vliet it looked like trying to comeback into the mainstream of progressive music. Which itself in 1975 was on its way to change. Two songs credited as his works are in fact melodic recitations of his poems - Sam With the Showing Scalp Flat Top (ended with refrain Bongo Fury) and Man With the Woman Head. Despite this Captain Beefheart sings with great blues feeling. He is also playing saxophone and harmonica like old delta blues recordings in Smithsonian archives. 

   Even if most of pieces was composed by Zappa, Beefheart’s contribution is huge. His vocals in Debra Kadabra, one couplet in Carolina Hard-Core Extasy, phenomenal narrative singing and harmonica solo in Poofter’s Froth Wyoming Plans Ahead, and so on in every consecutive piece of this album. And there is a quite vocal personnel – singers are Frank Zappa, George Duke, Napoleon Murphy Brock and Denny Walley. But hearing the voice of Captain Beefheart in first part of Advance Romance, there can be no doubts about who is leading this spectacle. Great stage personality and outstanding artist!

   Zappa is quite out of any trend he was before or after. His solo in Carolina Hard-Core Extasy gives foretaste of next ten years of jamming documented in numerous live recordings and two huge collections of guitar solos, beginning with Shut Up And Play Yer Guitar in 1981. The Bongo Fury album shows one more time Zappa as great leader who can stand down and give place for concurrent musicians. Two studio recordings and some overdubs were recorded one year before, January and February 1974 at The Record Plant in Los Angeles. No matter what part of his work you like best, rock, orchestral, social or political satire, comedy or electronic, Bongo Fury belongs to most important albums by Frank Zappa, Captain Beefheart and musicians of the Mothers group.