Frank Zappa & The Mothers of Invention - Grand Wazoo
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Free Music Notes for Grand Wazoo
Free Music Review: Zappa's Best Musical Achievement
Hit: 5 Stars
Back in the time which "The Grand Wazoo" was released, Miles Davis' masterpiece "Bitches Brew" was already a few years old. Davis essentially created a whole new genre which fused jazz and rock music together. It combined the complexity and soul of jazz music, and the attitude and energy of rock music, to give birth to a new hybrid: Fusion.
Fusion music was still a pretty young concept when Frank Zappa relased this ground-breaking title. Similar bands such as The Mahavishnu Orchestra were selling out concerts to a wide variety of fans and gaining popularity. Though no Zappa fans had heard anything like The Grand Wazoo before. The two previous similar albums, Hot Rats, and Waka/Jawaka, were nice - but The Grand Wazoo was a totally different experience.
Combining the tallents of the likes of George Duke and Ansely Dunbar, and numerous other musicians to make an enormous jazz orchestra, Mr. Zappa composed many professional and creative pieces to tell the story of a strange man (who I assume goes by the name of Arwetus). The LP consists of very few lines of lyrics - maybe only five or so. The album is almost completely instrumental, and full of soul and funk it is!
In my opinion, the selling track here is the self-titled song of the album. "The Grand Wazoo" is a 13-minute construction in which every band members' tallent is used superbly. The trumpet, guitar, bass, and drums in specific sounded fantastic. The other brass instrumentals, and the woodwinds as well, all were a very fitting and complementary addition to this song. The result is a hugely-improvised, energetic, and unique work of art. Zappa fans were simply amazed. It took more than just tallent to make a creation like this - it took Frank Zappa. Of course, this isn't just fusion. It is Frank Zappa's Fusion. It is a whole new sound, which to this day still hasn't been rivaled.
Though it will sound like a few other notable Frank Zappa records, and though it will sound like a few other bands from the late sixties and early seventies, this is an album which all fans must experience. Whether you are a Zappa fan, a Jazz fan, a rock fan, or just a plain open-minded individual, this album is for you. It is weird, eerie, and strange, but it is also impressive, virtuous, and unique. If you already have Zappa's more accessible music such as Sheik Yerbouti and some of his Mothers of Invention work, this album is a must have. For all jazz fans looking to get energized and woken up, this is also another must-have album. If you are an appreciator of any work from Miles Davis, Billy Cobham, John McClaughin, or Tony Williams, this is an album to get.
Who do I not recommend this album to? I suppose people with a closed mind, people that can't stay focused on a song longer than four minutes, and rap afficiandos.
However, if you're looking for an adventure, this album will do it. It is one of my favorite instrumental albums for a very good reason - it is one of the most unique listening experiences that you will ever have. Enjoy the music!
-Andrew
Free Music Review: The Grand Wazoo
Hit: 5 Stars
Frank Zappa And The Mothers Of Invention-The Grand Wazoo *****
A previous reviews have stated Frank Zappa belongs to a select few composers of jazz that surpass all the rest and are among some of the most talented musicans ever, Miles Davis, John Coltrane, Duke Ellington, Frank Zappa. Now, and really even during his career Frank Zappa was mostly known for his satirical comedy in his lyrics and his vituosic guitar playing which is fine and good because he was amazing at both, however Zappa was also one of the greatest arrangers of classical and jazz that the world has ever known, as well as one of the most inventive and innovative, and that is often disgarded and overlooked, and The Grand Wazoo does a wonderful job of showing all of showing all of Zappa strong suits.
The Grand Wazoo was released in 1973 as part of the tilogy of albums begining with the legendary classic Hot Rats, continuing with the brilliant Waka/Jaka, and concluding here with The Grand Wazoo. While not the overwelming classic that Hot Rats is this is far superior in composistion and form. More mature and thought out even though most of this is 'free form/improv' though not much was ever improv with Zappa other then guitar solos. While this is more orchastral then Hot Rats it is more like Waka/Jawaka, and once again this album is superior in all the techincal ways of playing and composition and form, however the other two albums in the genra are favorites above this one. Doesnt make since does it. See while this one is most innovative and revolutionary it does not compare to the other albums as a whole.
Zappas playing as far as guitar playing goes is nothing short of breath taking here, not that it ever is, but this album shows a more adventurous nature to Zappas playing one that had not been heard by him before and he had tried after The Grand Wazoo but was never able to reach this level of experimentation with such success again.
As composing goes this is possibly his strongest album in that area. The songs, well piecces of music rather are so of his most original and interesting. The time signatures and molodic lines and harmonies are out of this world. Zappa was really on a role with The Grand Wazoo.
Aside from Zappa himself Sal Marquez owns the trumpet here and shines like never before or since. This album may contain the most talented and cohesive group of musicians ever assembled together to play on a Zappa album, which explains the incredible results. Aynsley Dunbar, Don Preston and George Duke all in the same room playing together...are you kidding, there is no way this album would be anything short of phenonomal!
For jazz fans and Zappa fans alike this is an album not to pass up. This is the album Miles Davis wishes he would have made with Bitches Brew!
Free Music Review: Grand Indeed
Hit: 5 Stars
"The Grand Wazoo"-5 stars
Instead of a paragraph, I'll give a track-by-track analysis.
1. "The Grand Wazoo"
Frank switched this one and "For Calvin" to make the title track first, and it's a good thing he did. But more about that later. This track is, in fact, a collection of solos--very jazz influenced solos--put together in an upbeat track. The trombone shines, second only to the guitar solos (one by FZ, another one on bottleneck). Overall a great opening track.
2. "For Calvin (And His Next Two Hitch-Hikers)"
The title is based on a story by Cal Schenkel (he did the cover for this albuma and many others), and works best in the second slot. Much slower than "Grand Wazoo," it's a nice drop from the energy of the former song. The only track with full-blown vocals, it's still a nice track. A la slow jazz, "For Calvin" is what I call "the one you can dance to" for it has that perfect tempo where it doesn't change and stays nice and easy. Think "prom dance gone wrong" tempo. Great track, again.
3. "Cletus Awreetus-Awrightus"
My favorite track. The theme repeated throughout the song will stay in your mind for days upon end. Again, trombones shine in the first run through of the theme. With "vocals" (it's just "la-la-la" and "rum-pum-PUM") singing the theme at the end, Zappa really showcases his "wonderful voice" (as he called in in his authbiography). The tenor sax solo will blow any listener away not only for its technical difficulty, but for the way the octave key is so effortlessly used (if you know about the sax, then you'll get this). Much to my dismay, a score isn't available from Barfko-Swill for this one. [Note: Spring this one on a dissenter of FZ, then see if they still agree to disagree.]
4. "Eat That Question"
Replace "question" with a certain religious group that Romans fed to large felines. There's the original title. Anywho, Don Preston's piano really pops out in the opening and later on, and yet another theme will haunt you for days. A bit more of a straightforward "jazz" piece, "...Question" features great trumpets and overall brass. Woodwinds still come out, but aren't as incredible as brass. This one is just perfect.
5. "Blessed Relief"
The finale. Words cannot describe this one. Just beautiful. Sit back and enjoy this one, maybe with one of those pesky dissenters, then spring the FZ trick again.
If you don't have "Hot Rats," then I highly suggest that you purchase that with or directly after "...Wazoo." "Hot Rats" shows the roots of this album, and "Waka/Jawaka" (plus it has "Little Umbrellas" and "Peaches En Regalia"). Not a single second wasted on this album, nor any other albums in the full catalogue of FZ.
Free Music Review: FZ Journal # 7
Hit: 5 Stars
This is absolutely one of my favorite recordings by Zappa. I refer to it as his "big band" album, partially because of the size of the band he's using here (at least 8 and at most 20 members), but also because of its strong jazz leanings. Of all of the recordings that I own of Zappa's this is the one that feels the most like a jazz recording. All of the songs besides For Calvin are instrumental and feature extended brass and woodwind solos.
Despite its instrumental nature, The Grand Wazoo can be viewed as a concept album. The liner notes tell a story of Uncle Meat's creation of an illusory replica of Rome. This replica is ruled by Cleetus Awreetus-Awrightus (which is a conceptual continuity phrase), and has a complex but entertaining mythology based entirely on music. Non-musical people (called Questions) are rounded up and put out of their misery, but only after several chances at redemption. His army consists of musicians, and their battles with Cleetus' arch-nemesis Mediocrates (whose army is heavy on vocals) are fought on a sonic battleground, playing shuffles to drown out their barrage of Ditties. His staff includes Gregarious the drummer and Erroneous the bass player. To reinforce this mythology, Erroneous is credited with playing bass on the Grand Wazoo, although Erroneous' actual identity is shrouded in mystery. The instrumental sections conjure visions of the goings-on of these people.
The melodic material bears his unmistakable angularity, and there is lots of noise that Zappa must have conducted in the studio. Perhaps it is because of period equipment, but I really dig Zappa's playing here. His tone reminds me very much of David Gilmour's, but Zappa's chops leave Gilmour's in the dust (and I love Gilmour's playing). I've also always thought that Blessed Relief was one of the best modal jazz standards you never heard in your life.
The Lowdown: This is not a recording for the Zappa inductee. However, on the off chance that you dig this recording as your first listen, you might have a very compelling view of Zappa's musical conception. Regardless, it's worth checking out - maybe even worth studying!
Free Music Review: Jawaka no.2: he does it again...
Hit: 5 Stars
I see this work as a continuation of "Waka/Jawaka," very similar, but it seems to be more crafted, a more solid body of work. One peculiar thing about the label on this record, it is accredited to "The Mothers;" yet another assembly of musicians almost completely unrelated to the previous "Mothers" lineups. But this time around, it is a line-up of twenty-odd something players, a huge band to lead, in a studio or on a stage.
Like its predecessor, it is a vehicle for the featured musicians to show off a little in the framework outlined for them, yet it has the trademark Zappa approach, which the true fan, as well as even the casual fan, will notice right away. A very busy, layered sound, full production, and just odd-ball enough to throw you a curve.
This is a very beautiful performance. The title track, "Grand Wazoo (not to be confused with the other 'Grand Wazoo' from "The Lost Episodes," a monologue delivered by Don Vleit with synclavier accompaniment)" is a swinging blues/jazz fusion piece with electronically treated electric guitar and dark, brooding horn arrangements, very ominous, but still nice. "For Calvin" is another taste of the bizarre, it has a dream-like quality, rambling sound, but still organized. "Cletus Awreetus-Alrightus" is just playful, tack piano, with its "La-La-La" lyrics and horn solos by Ernie Watts, from Johnny Carson's Tonight Show Orchestra. Somewhat silly, but very entertaining, nonetheless.
"Eat That Question," what can I say? This is a vehicle for George Duke to treat you to a taste of his piano playing, and the horn section's repetition of the melody line throughout provides a solid backdrop; and I have always thought a high-school marching band could win a competition with this arrangement. And "Blessed Relief" is a soft, big-band piece, soothing melody, kind of mournful, but as with the rest of this material, a wonderful arrangement, pulled off immaculately by this huge ensemble.
On the whole, this release, teamed up with "Waka/Jawaka," can provide many entertaining, educational hours of listening and learning pleasure.