Zappa-Bootlegs
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Here I Played with Various Rhythm Sections in Festivals, Concerts, Clubs, Film Scores, on Record Dates and So on - the List Is Too Long
MICHAEL MANTLER RECORDINGS COMMUNICATION FONTANA 881 011 THE JAZZ COMPOSER'S ORCHESTRA Steve Lacy (soprano saxophone) Jimmy Lyons (alto saxophone) Robin Kenyatta (alto saxophone) Ken Mcintyre (alto saxophone) Bob Carducci (tenor saxophone) Fred Pirtle (baritone saxophone) Mike Mantler (trumpet) Ray Codrington (trumpet) Roswell Rudd (trombone) Paul Bley (piano) Steve Swallow (bass) Kent Carter (bass) Barry Altschul (drums) recorded live, April 10, 1965, New York TITLES Day (Communications No.4) / Communications No.5 (album also includes Roast by Carla Bley) FROM THE ALBUM LINER NOTES The Jazz Composer's Orchestra was formed in the fall of 1964 in New York City as one of the eight groups of the Jazz Composer's Guild. Mike Mantler and Carla Bley, being the only two non-leader members of the Guild, had decided to organize an orchestra made up of musicians both inside and outside the Guild. This group, then known as the Jazz Composer's Guild Orchestra and consisting of eleven musicians, began rehearsals in the downtown loft of painter Mike Snow for its premiere performance at the Guild's Judson Hall series of concerts in December 1964. The orchestra, set up in a large circle in the center of the hall, played "Communications no.3" by Mike Mantler and "Roast" by Carla Bley. The concert was so successful musically that the leaders decided to continue to write for the group and to give performances at the Guild's new headquarters, a triangular studio on top of the Village Vanguard, called the Contemporary Center. In early March 1965 at the first of these concerts, which were presented in a workshop style, the group had been enlarged to fifteen musicians and the pieces played were "Radio" by Carla Bley and "Communications no.4" (subtitled "Day") by Mike Mantler. -
Frank Zappa and His Conception of Civilization Phaze Iii
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III Jeffrey Daniel Jones University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2018.031 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Jones, Jeffrey Daniel, "FRANK ZAPPA AND HIS CONCEPTION OF CIVILIZATION PHAZE III" (2018). Theses and Dissertations--Music. 108. https://uknowledge.uky.edu/music_etds/108 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
An Autocratic Approach to Music Copyright?: the Means Through Which Frank Zappa Translated and Adapted Both His Own and Other Composers’ Music
Performa ’09 – Conference on Performance Studies University of Aveiro, May 2009 An Autocratic Approach to Music Copyright?: The means through which Frank Zappa translated and adapted both his own and other composers’ music Paul Carr, University of Glamorgan [email protected] Aims In preparation for an examination of how and why such a diverse range of tribute bands and ensembles are so intent on continuing to experiment with Zappa’s music despite the threat of legal challenges, and an investigation into the various philosophical, legal and industrial factors behind why the ZFT are so intent on selectively prohibiting performances of his music, this paper will discuss the ironic means through which Zappa expressed himself consistently through both recorded and live performance during his 27 years in the public eye. Context Since the death of Frank Zappa in 1993, there has been an ongoing legal battle between the Zappa Family Trust (ZFT) and the so called ‘tribute bands’ that are determined to continue translating his music through live and recorded mediums. It could be argued that these ensembles effectively not only pay direct homage to Zappa’s legacy by interpreting his music in numerous innovative ways, but also keep his memory alive by interfacing with both his long standing audience, and with a younger generation who may not be aware of his music. The most famous of the rock-based ensembles is entitled Zappa Plays Zappa and has the unusual credit of being ‘legally’ sanctified to perform his music live. This legality is no coincidence, as the band is headed by Zappa's eldest son Dweezil and features the 'Vault Master' responsible for compiling the legal recordings heralding from the ZFT - Joe Travers on drums. -
An Experiment in Multidisciplinary Teaching: the Musical Theatre of Frank Zappa
An Experiment in Interdisciplinary Teaching: The Music Theatre of Frank Zappa Paul Carr and Richard Hand, University of Glamorgan Project Report, June 2006 The global aim of this project was to investigate the viabilities of interdisciplinary teaching with undergraduates in the area of Drama and Popular Music: these are separate programs of study at the University of Glamorgan albeit within the same Department of Performing Arts. Popular Music is a relatively new degree scheme that commenced delivery in 2004, while Drama is well established, having been a single subject since the early 1990s. This report will examine the process of our multidisciplinary teaching experiment, and measure its effectiveness against the project aims set out below: • Enable staff and students from different disciplines to work together • Assist the assimilation and awareness of sister disciplines in order to discover commonality, and to learn from each other • Present a challenge for teaching staff who have extensive teaching experience in their own discipline but are new to academic investigation of colleague’s expertise • Begin the experimental and radical extension of the curriculum, with a view to develop other interdisciplinary modules and, ultimately, degree programmes The units chosen for this experiment were a final level module on the BA (Hons) Drama entitled American Theatre, and Ensemble Studies 3, drawn from the BA (Hons) Popular Music degree. The former module runs for a whole year and covers American theatre and live performance from the early twentieth century until the present day. A substantial and traditionally popular area of study within the module is the study of 1960-80s drama and performance which covers dramatists and theatre-makers like Sam Shepard, August Wilson and David Mamet and addresses topics such as the Vietnam war, the Civil Rights movement and AIDS. -
Compositions-By-Frank-Zappa.Pdf
Compositions by Frank Zappa Heikki Poroila Honkakirja 2017 Publisher Honkakirja, Helsinki 2017 Layout Heikki Poroila Front cover painting © Eevariitta Poroila 2017 Other original drawings © Marko Nakari 2017 Text © Heikki Poroila 2017 Version number 1.0 (October 28, 2017) Non-commercial use, copying and linking of this publication for free is fine, if the author and source are mentioned. I do not own the facts, I just made the studying and organizing. Thanks to all the other Zappa enthusiasts around the globe, especially ROMÁN GARCÍA ALBERTOS and his Information Is Not Knowledge at globalia.net/donlope/fz Corrections are warmly welcomed ([email protected]). The Finnish Library Foundation has kindly supported economically the compiling of this free version. 01.4 Poroila, Heikki Compositions by Frank Zappa / Heikki Poroila ; Front cover painting Eevariitta Poroila ; Other original drawings Marko Nakari. – Helsinki : Honkakirja, 2017. – 315 p. : ill. – ISBN 978-952-68711-2-7 (PDF) ISBN 978-952-68711-2-7 Compositions by Frank Zappa 2 To Olli Virtaperko the best living interpreter of Frank Zappa’s music Compositions by Frank Zappa 3 contents Arf! Arf! Arf! 5 Frank Zappa and a composer’s work catalog 7 Instructions 13 Printed sources 14 Used audiovisual publications 17 Zappa’s manuscripts and music publishing companies 21 Fonts 23 Dates and places 23 Compositions by Frank Zappa A 25 B 37 C 54 D 68 E 83 F 89 G 100 H 107 I 116 J 129 K 134 L 137 M 151 N 167 O 174 P 182 Q 196 R 197 S 207 T 229 U 246 V 250 W 254 X 270 Y 270 Z 275 1-600 278 Covers & other involvements 282 No index! 313 One night at Alte Oper 314 Compositions by Frank Zappa 4 Arf! Arf! Arf! You are reading an enhanced (corrected, enlarged and more detailed) PDF edition in English of my printed book Frank Zappan sävellykset (Suomen musiikkikirjastoyhdistys 2015, in Finnish). -
The Real Frank Zappa Book Contents
The Real Frank Zappa Book by Frank Zappa with Peter Occhiogrosso eVersion 3.0 - click for copyright info and scan notes THIS BOOK IS DEDICATED TO GAIL, THE KIDS, STEPHEN HAWKING AND KO-KO. F.Z. August 23, 1988 06:39:37 Contents INTRODUCTION -- Book? What Book? 1 How Weird Am I, Anyway? 2 There Goes the Neighborhood 3 An Alternative to College 4 Are We Having a Good Time Yet? 5 The Log Cabin 6 Send In the Clowns 7 Drool, Britannia 8 All About Music 9 A Chapter for My Dad 10 The One You've Been Waiting For 11 Sticks & Stones 12 America Drinks and Goes Marching 13 All About Schmucks 14 Marriage (as a Dada Concept) 15 "Porn Wars" 16 Church and State 17 Practical Conservatism 18 Failure 19 The Last Word Introduction Book? What Book? I don't want to write a book, but I'm going to do it anyway, because Peter Occhiogrosso is going to help me. He is a writer. He likes books -- he even reads them. I think it is good that books still exist, but they make me sleepy. The way we're going to do it is, Peter will come to California and spend a few weeks recording answers to 'fascinating questions,' then the tapes will be transcribed. Peter will edit them, put them on floppy discs, send them back to me, I will edit them again, and that result will be sent to Ann Patty at Poseidon Press, and she will make it come out to be 'A BOOK.' One of the reasons for doing this is the proliferation of stupid books (in several languages) which purport to be About Me . -
Frank Zappa, Captain Beefheart and the Secret History of Maximalism
Frank Zappa, Captain Beefheart and the Secret History of Maximalism Michel Delville is a writer and musician living in Liège, Belgium. He is the author of several books including J.G. Ballard and The American Prose Poem, which won the 1998 SAMLA Studies Book Award. He teaches English and American literatures, as well as comparative literatures, at the University of Liège, where he directs the Interdisciplinary Center for Applied Poetics. He has been playing and composing music since the mid-eighties. His most recently formed rock-jazz band, the Wrong Object, plays the music of Frank Zappa and a few tunes of their own (http://www.wrongobject.be.tf). Andrew Norris is a writer and musician resident in Brussels. He has worked with a number of groups as vocalist and guitarist and has a special weakness for the interface between avant garde poetry and the blues. He teaches English and translation studies in Brussels and is currently writing a book on post-epiphanic style in James Joyce. Frank Zappa, Captain Beefheart and the Secret History of Maximalism Michel Delville and Andrew Norris Cambridge published by salt publishing PO Box 937, Great Wilbraham PDO, Cambridge cb1 5jx United Kingdom All rights reserved © Michel Delville and Andrew Norris, 2005 The right of Michel Delville and Andrew Norris to be identified as the authors of this work has been asserted by them in accordance with Section 77 of the Copyright, Designs and Patents Act 1988. This book is in copyright. Subject to statutory exception and to provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Salt Publishing. -
Frank Zappa –
Frank Zappa – Halloween 81 (67:53 + 63:56 + 58:13 + 73:26 + 76:51 +76:52, 6 CDs,Zappa Family Trust, 2020) He’s back to thrill and chill you! Die legendären Zappashows zu Halloween in New York gehen in die nächste Runde. Nachdem bereits die Jahre 1973 und 1977 gewürdigt wurden, sind nun die drei Shows vom 31.10. bzw. 1.11.1981 an der Reihe. Die Auftritte vom 31.10. wurde damals sogar bei MTV (!) ausgestrahlt, während das Material teilweise später auf diversen Alben und Veröffentlichungen Verwendung fand. Die zweite Show kursiert durch die zeitgleiche Live- Übertragung im Radio seit einigen Jahren ebenfalls als Bootleg („Nasty Rats – Live At The Palladium New York 1981“). Die ersten beiden Shows (8 P.M./12 P.M.) entstanden übrigens an einem Abend mit komplett unterschiedlichem Songmaterial und dokumentieren jeweils über zwei Stunden lang die präzise und mitreißende Spielfreude der damaligen Bandbesetzung. Ende der 70er / Anfang der 80er warZappa zwar gewohnt produktiv wie immer, veröffentlichte stilistisch unterschiedliche Alben von modernen Orchesterwerken („London Symphony Orchestra“), Rockoper („Joe’s Garage“) bis hin zu jede Menge Rockalben. Doch trotz des gewaltigen Outputs erreichte er leider nicht mehr die Qualität seiner essentiellen Meisterwerke der 70er, während er und seine wechselnden Mitstreiter auf der Bühne immer noch grandiose Performances boten. So steht bei „Halloween 81“ in erster Linie das konzeptionell geprägte 81er Doppelalbum „You Are What You Is“ im Fokus, wobei bei jedem der drei Konzerte der musikalische Schwerpunkt neben diesem Album und weiterem 80er Jahre Material etwas anders gewählt wurde. CD1+2 greifen vor allem auf „Sheik Yerbouti“ zurück (logischerweise auch mit ‚Bobby Brown‘), CD3+4 bieten diverse Songs von „Zappa In New York“ / „Joe’s Garage“, während CD5+6 zu Beginn sehr tief mit sound- und spieltechnisch modifizierten Klassikern aus den 70ern (u.a. -
Armchair Treasure Hunt 2014 Solution Compiled by BRUCE HINDSIGHT
Armchair Treasure Hunt 2014 Solution compiled by BRUCE HINDSIGHT Summary The puzzle has five principal parts: a genetic code, a quiz, a picture quiz, four sets of boxes establishing locations (‘bases’), and a jigsaw. The genetic code explains what to do with the solutions to the quiz questions: each answer (apart from the missing Q42) provides a letter pair and a fivecharacter sequence. The fivecharacter sequences yield a message explaining how to find the treasure site by intersecting two lines joining pairs of the ‘bases’. The letter pairs spell out acrostics confirming details of the four ‘bases’. In combination with the chromosome diagram on p.12, they also yield the final steps to the treasure. Pictures in circular vignettes, when identified, yield a oneone correspondence with the answers to the questions. Jigsaw pieces on the reverse of these vignettes can be assembled to discover a discouraging message (‘this is not the correct solution’), with one piece missing. The jigsaw can be resolved by putting the vignettes in order, boustrophedonstyle, using the numbering of the corresponding questions. The missing piece (corresponding to the treasure) is now in the shape of an X in location 42. Four of the vignettes, which also relate to the four ‘bases’, now line up in the jigsaw, creating lines which intersect at the missing piece. The puzzle is themed around deoxyribonucleic acid (DNA) and The Hitchhiker’s Guide to the Galaxy by Douglas [Noel] Adams (whose initials are also DNA). The number 42 (the answer to “the Ultimate Question of Life, the Universe, and Everything”) variously represents the centromere of a chromosome and the location of the treasure. -
The Mothers of Invention Uncle Meat Mp3, Flac, Wma
The Mothers Of Invention Uncle Meat mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Rock Album: Uncle Meat Country: Canada Released: 1969 Style: Musique Concrète, Avantgarde, Fusion, Doo Wop, Experimental, Parody MP3 version RAR size: 1764 mb FLAC version RAR size: 1989 mb WMA version RAR size: 1822 mb Rating: 4.5 Votes: 329 Other Formats: APE AUD MMF VOC AC3 AHX WMA Tracklist A1 Uncle Meat: Main Title Theme 1:54 A2 The Voice Of Cheese 0:27 A3 400 Days Of The Year 5:56 A4 Zolar Czakl 0:57 A5 Dog Breath, In The Year Of The Plague 5:51 A6 The Legend Of The Golden Arches 1:24 A7 Louie Louie (At The Royal Albert Hall In London) 2:28 A8 The Dog Breath Variations 1:36 B1 Sleeping In A Jar 0:49 B2 Our Bizarre Relationship 1:05 B3 The Uncle Meat Variations 4:40 B4 Electric Aunt Jemima 1:53 B5 Prelude To King Kong 3:24 B6 God Bless America (Live At The Whisky A Go Go) 1:22 B7 A Pound For A Brown On The Bus 1:29 B8 Ian Underwood Whips It Out (Live On Stage In Copenhagen) 5:08 C1 Mr. Green Genes 3:10 C2 We Can Shoot You 1:48 C3 "If We'd All Been Living In California . " 1:29 C4 The Air 2:57 C5 Project X 4:47 C6 Cruising For Burgers 2:19 D1 King Kong Itself (As Played By The Mothers In A Studio) 0:53 D2 King Kong (Its Magnificence As Interpreted By Dom DeWild) 1:15 D3 King Kong (As Motorhead Explains It) 1:44 D4 King Kong (The Gardner Varieties) 6:17 D5 King Kong (As Played By 3 Deranged Good Humor Trucks) 0:29 King Kong (Live On A Flat Bed Diesel In The Middle Of A Race Track At A Miami Pop D6 7:25 Festival . -
Daren Burns Curriculum Vitae
DAREN BURNS USA: 818.693.1734 [email protected] China: +8613011221792 http://www.darenburns.com Education 2008 MFA, California Institute of the Arts Valencia, CA Performer/Composer African-American Improvisational Studies 1997 BFA, California Institute of the Arts Valencia, CA Jazz Performance, Electric bass 1990 Certificate, Musicians Institute Hollywood, CA Electric Bass Performance 1994 Fullerton College Fullerton, CA Transferred Teaching Experience 2017- Full-time Music Instructor, Chaoyang Kaiwen Academy Beijing, China ● Founding faculty member ● Taught: Cambridge and DP music ● Developed and implemented curriculum ● Prepared syllabus outlining clear class expectations ● Actively recruited students to music department ● Arts department head from 2019 overseeing all disciplines ● Participated in various faculty committees and departmental meetings 2015-16 Full-time Assistant Professor of Music, Imperial Valley College Imperial, CA ● Taught: Music Foundations, Classroom Piano, Classroom Guitar, Recording Class, Music Appreciation, Applied Music Bass, Guitar, Composition ● Developed curriculum ● Prepared syllabus outlining clear class expectations ● Actively recruited students to music department ● Organized performances on and off campus ● Conducted guitar and jazz ensembles ● Participated in various faculty committees and departmental meetings ● Supervised and maintained computer recording lab 2014-15 Full-time Music Instructor, Squaw Valley Academy Olympic Valley, CA ● Taught: music fundamentals, music skills, performance techniques, -
Statesman Contacted Mccoy and Letter
AO e- I-) r Sa- "I',) MIONDAY OCTOBER 28 1974 Stony Brook, New York Volume 18 Number 19 Distributedfree of charge throughout campus and community every Monday, Wednesday, and Friday <______________~~~~~.^ He . - r el----------'-, ---- IN 00, Mount Dedication; I Communications Major The Suffolk Museum dedicated its new Fine Arts building yesterday. I Housed in the new building is the I May Begin in September largest collection of William Sidney By MARY PAT SCHROEDER political sdence cou_, ch Mount paintings in existence. The and DAVID GILMAN 'Political PKganda and sow dedication was highlighted by the The Stony Brook Communications socoogy c such as "Ma acceptance by Mrs. Ward Melville of a Department is aiming for State icato could be d Mount portrait donated to the I certification as an interdisciplinary major with "amre" commui -ta couEs museum's collection. Mount was a for next fall, according to Professor of form a *public a Oro- k mid-19th century American-artist who, Sociology and Communications Gladys reaserh" major. lived in Setauket. Iang. The failure to secure such Aodigto Long& aseerh KStorv on Paloa 2 certification, however, would not of thisp does, Mt m a A &W- A I preclude the University from offering "at upon the ei an least a concentration in interdisciplinary major. 'I see w of Getting Sleepy* communications," according to Lang. doing this even while we go lhogh tde The audience at the first Sunday The Communications Department was pocess, of getting certicatko for an Simpatico Series concert of this initiated three years ago in response to interdisciplinay miort" said .