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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. -
A Spasso Con Frank
Giordano Montecchi A SPASSO CON FRANK Melologo underground intorno al grande Frank Zappa da Baltimora reinvenzioni zappiane di Giorgio Casadei e Emilio Galante 0 [SENZA MUSICA] A Mister Edgard Varèse, 188 Sullivan Street, New York. Agosto 1957 Gentile Signore, forse ricorderà la mia stupida telefonata dello scorso gennaio... Mi chiamo Frank Zappa e ho 16 anni. Le sembrerà strano ma è da quando ho 13 anni che mi interesso alla sua musica. All’epoca l’unica formazione musicale che avevo era qualche rudimento di tecnica del tamburo. Negli ultimi due anni però ho composto alcuni brani musicali utilizzando una rigorosa tecnica dei dodici suoni con risultati che ricordano Anton Webern. Ho scritto due brevi quartetti per fiati e una breve sinfonia per legni ottoni e percussioni. Ultimamente guadagno qualche soldo per mantenermi con la mia blues band, The Blackouts. Dopo il college conto di continuare a comporre e penso mi sarebbero veramente utili i consigli di un veterano come lei. Se mi permettesse di farle visita anche solo per poche ore gliene sarei molto grato. Le sembrerà strano ma penso proprio di avere qualche nuova idea da offrirle in materia di composizione. La prego di rispondermi il più presto possibile perché non resterò a lungo a questo indirizzo. La ringrazio per l’attenzione. Cordiali saluti Frank Zappa Jr. ................... 2 1 PEACHES EN REGALIA [VAMP] I duri del rock lo sentono come loro proprietà esclusiva, come profeta anti- establishment. Gli accademici lo tollerano in quanto compositore... un’eccezione! per il mondo del rock. Chi lo vuole un giullare simbolo della trasgressione più anarcoide..... -
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). -
Actes Intermédiaires De La Conférence ICE-Z 69
"Actes intermédiaires" de la 3ème Conférence Internationale de Zappologie (ICE-Z 69) Nous sommes en attente de la retranscription des interventions de Jean-Christophe Rabut, Philippe Mérigot, Jonathan Pontier et Serge Maestracci. Tous les textes présentés ici sont susceptibles d'être corrigés par leurs auteurs avant publication définitive en édition bilingue anglais-français. 14 juillet 2008 p.3 — Marco Belluzi (I) Une présentation de "New Mother, Old Dust", une re-création de "200 Motels" p.10 — Andy Hollinden (USA) "Everything Is Now: How Frank Zappa Illustrates The Universe" p.17 — suivi de la traduction en français par Michel Sage p.23 — Simon Prentis (UK) "As Above, So Below : One Size Fits All" p.29 — Dr Richard Hemmings (UK) "Conceptual Wazoos : Kazoo Concepts : Whizzle-whizzle" p.34 — Paul Sutton (UK) “God bless America!”: Frank Sinatra and the Mothers of Invention p.43 — Pacôme Thiellement (F) "De la guerre : Continuité Conceptuelle, Freaks, Polices du cerveau et Mutations Unies" p.49 — suivi de la traduction en anglais par Michel Sage p.54 — Ben Watson (UK) "Anti-Zappa, Or, not getting the point : the "French problem" Marco Belluzi (I) Une présentation de "New Mother, Old Dust", une re-création de "200 Motels" NEW MOTHER, OLD DUST Musical Phantazie on Frank V. Zappa's '200 MOTELS’ Original Soundtrack (United Artists, 1971) A shameless description for the 3rd International Conference of Esemplastic Zappology (ICE_Z) Paris, 5th ‐ 6th July 2008 by Alessandro Tozzi & Marco Belluzzi ‐ ‐ ‐ INTRODUCTION In primis et ante omnia [first of all and before everything], let's give ourselves up to the ineffable pleasure to thank you all for having given two wandering musicians as we are, such a high‐level opportunity to introduce this specimen of our work. -
On Deathsmarholiday Gaiety Japan Names Leader
on SEE STORY PAGE 2 Rainy Periods Cool with periods of rain FINAL around 70, low tonight in the Red Bank, Freehold upper 50s. Long Branch EDITION 34 PAGES Monmonth County's Outstanding Home Newspaper VOL, 95 NO. 7 RED BANK, N.J. WEDNESDAY, JULY 5,1972 TEN CENTS iiiiuiiiiBniiiiiiiiiiiniiiifimiiiiiiimiiiiuiiiiiiimiiiiiiiiiniiiiiiniiiiiiiiiiiiiiiiiiiiiii tmimmiHiiiiiiiiinniiiiiiinimiiiiuniBHUiuiiunuimuiHiiiiiiwiiiiiiiiuiuuiniiniiiiiiiiiiiiniiiiiiin iiinniiiiiiiiiiiiiiiiiiiiiimiiiiiiiimiiiniiiniiiiiiiiiiiiinii DeathsMarHoliday Gaiety Herman Blank, 49, collapsed the government By The Associated Press were also two homicides, a took place during a family ar- drowning and one fireman gument. Hooks died some at the scene of a fire that de- Alderman Frederick W. Lie- stroyed the roof of a restau- berhauser told a meeting of The long July 4th holiday died of an apparent heart at- hours after the incident in a tack. Philadelphia hospital. rant. Camden County Coroner the Board of Aldermen that was filled with sunshine and • everyone should "counter this Later today in Mount Holly, Yesterday, Mark D'Ambro, Blair M. Murphy said Blank ceremonies throughout New "negativism" by declaring, "I, Bill M. Jordan, 75, of Pember- 18, of Yeadon, Pa., was apparently succumbed to a Jersey, but deaths caused by am proud to be an Ameri* ton is scheduled to be ar- charged with the fatal stabb- heart attack, his second with- traffic, homicides and fire can," and fellow Alderman raigned on murder charges in ing of Steven P. Warren, 18, of in a year. marred the celebration for Emidio Cacciabeve, praising connection with the shooting Philadelphia during a North This year, the holiday many. the American way of life, death of his son-in-law, Army Wildwood street brawl. -
Frankly, It's Dweezil
AI Z BON R. M Frankly, It’s Dweezil By mr. Bonzai he year 2006 has shaped up to be a big one for Dweezil Zappa. He’s releasing his first solo album since 2000’s Automatic (Favored Nations), he completely remodeled the control room T of the renowned Zappa studio—the Utility Muffin Research Kitchen—and he launched a full-scale tour of entirely Frank Zappa compositions, called “Zappa Plays Zappa” (aka the Zappa the “Tour de Frank”). Joining the touring band are Frank Zappa alumni Steve Vai, Terry Bozzio, and Napoleon Murphy Brock (see Fig. 1). younger on Dweezil and I met in the studio as he was finishing two months of rehearsals and putting the final touches on the album,Go with What You Know (Zappa Records, 2006; see Fig. 2), which engineering his comprises Dweezil’s compositions as well as Frank Zappa’s “Peaches en Regalia,” a tune origi- nally recorded in 1969 and altered in 2006 with the Dweezil touch. The album will be released new CD, revamp- during the final leg of the tour, which stretches throughout Europe and America. ing his dad’s I was listening to you playing a part that Frank wrote. Is that in preparation for your tour? studio, and the Yes, we are preparing for the “Zappa Plays Zappa” tour. It’s the first official event that we’ve been able to put together where we’re actually going to go out and play Frank’s “Tour de Frank.” music. We’ll have other elements as well. The 25-minute opening of the concert will include excerpts from a documentary film about Frank’s work as a composer as well as some rare FZ concert footage. -
Grover Kemble and Za Zu Zaz Reunion
Volume 39 • Issue 7 July/August 2011 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. above: Winard Harper Sextet; below: Allan Harris. Photos by Tony Mottola. 2011 “Ring dem Bells!” azzfest 2011 on June 11 at the College of Saint J Elizabeth in Morristown kicked off with the ringing of the noon bells at Anunciation Hall just as Emily Asher’s Garden Party was set to begin playing outside its entrance. That caused only a minor setback at our brand new venue where the benefits outweighed any clouds and drizzle. All activities had been seamlessly moved indoors, which turned out to be a boon for one and all, with no missed notes. Dolan Hall proved to be a beautiful venue and the Jazz Lobsters easily fanned across its stage. The languid start to “Splanky” gave way to a crisp, sparking horn crescendo. Bari sax man Larry McKenna was featured as arranger and soloist on “You Go to My Head,” and his velvety, luxurious tone sparked bandleader/ pianist James Lafferty’s continued on page 30 New JerseyJazzSociety in this issue: Deconstructing Dave NEW JERSEY JAZZ SOCIETY April Jazz Social: Dave Frank . 2 Dave Frank digs into Dave McKenna at April Jazz Social Bulletin Board . 2 Governor’s Island Jazz Party 2011 . 3 Text and photos Mail Bag. 3 by Tony Mottola NJJS Calendar . 3 Co-Editor Jersey Jazz Jazz Trivia . 4 Editor’s Pick/Deadlines/NJJS Info . 6 ianist and educator May Jazz Social: Sue Giles . 52 PDave Frank explored Crow’s Nest . -
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. -
Zappa Et Le Cinéma Zappa and Film
Volume ! La revue des musiques populaires 3 : 0 | 2004 Rock et Cinéma Zappa et le cinéma Zappa and Film Sylvain Siclier Édition électronique URL : http://journals.openedition.org/volume/2181 DOI : 10.4000/volume.2181 ISSN : 1950-568X Édition imprimée Date de publication : 30 janvier 2004 Pagination : 123-132 ISBN : 1634-5495 ISSN : 1634-5495 Référence électronique Sylvain Siclier, « Zappa et le cinéma », Volume ! [En ligne], 3 : 0 | 2004, mis en ligne le 30 août 2006, consulté le 10 décembre 2020. URL : http://journals.openedition.org/volume/2181 ; DOI : https:// doi.org/10.4000/volume.2181 L'auteur & les Éd. Mélanie Seteun Sylvain SICLIER, « Zappa et le cinéma », Volume ! La revue des musiques populaires, hors-série n° 1, 2004, p. 123-132. Éditions Mélanie Seteun 123 Zappa et le cinéma par Sylvain SICLIER Journaliste Résumé. La figure de Zappa reste une référence pour de nombreux amateurs et artistes. Sylvain Siclier examine les liens du compositeur/guitariste avec le cinéma, les usages et les détournements qu’il en a fait. La conclusion est évidente : le dialogue n’a jamais cessé. Volume! Hors-Série I Volume! 124 Sylvain Siclier Zappa et le cinéma 125 ositeur, guitariste, parolier, chef d’orchestre et producteur, Frank Zappa, mort le Comp4 décembre 1993, a aussi été réalisateur ou initiateur d’une poignée de courts et moyens métrages – des documents sur son activité de musicien – et de trois longs métrages, dont deux, 200 Motels (1971) et Baby Snakes (1979) ont trouvé une exploitation en salles. Cette relation de Zappa au cinéma ne se contente toutefois pas de cette partie visible.