A propos de FZ...

[Ayler]

The first two Zappa records I heard as a teenager were Apostrophe and Roxy and Elsewhere, both of which really changed my life and my open-mindedness about music. I think the most important thing that we can all learn from Frank is that music doesn’t have to be any certain thing, it can be whatever you make it. He was one of those people who was just so good that he forced people to pay attention to whatever he was doing. He often said he would prefer to make instrumental records and the only reason he wrote lyrics and sang was because people demanded it, that the world didn’t accept instrumental music. So if he was going to write lyrics, they were going to be his kind of lyrics which I love him even more for.
I had the pleasure of seeing Zappa at the Fox Theater in Atlanta when I was a senior in high school in 1978. It’s still one of the greatest shows I’ve ever seen.

Source : http://www.jambands.com/Features/content_2008_07_22.11.phtml

[Ayler]

http://www.noemedia.net/documents/FrankZappaGW5-87.pdf

[Ayler]

En ligne :

http://concerts.wolfgangsvault.com/dt/frank-zappa-concert/20051493-2431.html

[Ayler]

Il y a 15 ans jour pour jour, FZ tirait sa révérence...

[Purple Jim]

J'ai le boot 3CD "The Lost Solos" dans la voiture cette semaine ! Alors je vais me connecter à Frank.

[Purple Jim]

FZ boot blog
http://frzappa.blogspot.com/

[Be-Bop Tango]

pour le FZ boot blog ! Mais il y en a tellement que le choix est un peu difficile à faire.
Par curiosité, j'ai récupéré le Bongo Fury in El Paso de 75 en espérant y trouver une version alternative intéressante de Muffin Man.
Raté, y a pas ce morceau.

Aurais-tu un ou deux concerts à me recommander pour commencer la dégustation ? Période 73 - 75 par exemple, s'il faut en cibler une.
Merci d'avance !

[Brian Taylor]

Pour les bootlegs de zappa, rien de mieux que Zappateers.com, c'est simple: il y a tout ce qui existe et avec la meilleure qualité possible.

[Be-Bop Tango]

Merci pour le tuyau, j'irai y jeter un oeil.

[Ayler]

Parution prochaine de "Lumpy Money", un coffret qui devrait ravir les amateurs du Zappa des années 60 :

The Zappa Family Trust will kick off a comprehensive campaign to commemorate the 40th anniversary of the late Frank Zappa's albums next month. "Lumpy Money," a three-CD "audio documentary" due out Nov. 25, is the first offering in the series -- and, according to Zappa's widow Gail, the most unique.

"These two records happen to be Frank's masterworks," Zappa tells Billboard.com, "so this is the most ambitious of all the (40th anniversary) projects. The challenge is how to educate the audience to understand what 'Lumpy Gravy' and 'We're Only in It for the Money' are, and what they're part of.

"So in this particular case we have to be more about the process than the outtakes. You're going to be listening to how Frank worked, all the little developments of these pieces as opposed to just an outtake or another performance of that particular piece. You're going to hear how he got there from here."

The "Lumpy Money" package will feature two separate mixes of each album, done by Frank himself. It will include feature the first official release of the instrumental, Igor Stravinsky-influenced orchestral "ballet" version of "Lumpy Gravy" that Zappa recorded in 1967 for Capitol Records but decided to revamp, adding rock musicians and eventually releasing it on MGM/Verve four months after "We're Only in it For the Money" in 1968. Gail Zappa says a "sister" project will be released shortly after "Lumpy Money" that will contain more music from those sessions.

Other releases in the series will be treated "more as individual albums," drawing material from the Sequin Mines vault underneath the Zappa family home. A new version of "Cruising with Ruben and the Jets," Frank Zappa's third 1968 release, is also being prepared, while the Zappa Family Trust is working on other projects such as a vintage live album from the Roxy in Los Angeles and a set of Zappa's renditions of the compositions French composer Edgar Varese.

"With the 40th anniversary projects, it's not as much about 'Can we make a date?' as 'Can we make it? Do we have vault material we can put together for these?'" Gail Zappa explains. "That's something we have to do if these are going to be worth anything to people."

http://www.billboard.com/bbcom/news/article_display.jsp?vnu_content_id=1003876040

[Ayler]

Gail Zappa à propos de "Lumpy Money" :

Before you completely tune out the endless procession of 40th-anniversary tributes to 1968’s rock ’n’ roll landmarks (hey, it was a big year), reserve a little head space for Lumpy Money, a three-CD package honoring Frank Zappa’s historic one-two punch of Lumpy Gravy and We’re Only in it for the Money.

The albums have always been linked, thanks to Zappa himself, who insinuated on the album covers that they were Phase One and Phase Two of a single work. (The final phase came decades later, with the posthumous release in 1993 of Civilization Phase III.)

Conceived as Zappa’s first solo record, Lumpy Gravy was originally recorded in 1967, as a 20-minute orchestral work. After a legal tangle with Capitol Records prevented its release, Zappa, whose prowess with an editing razor was second to none, chopped up what he had and tossed it with a bunch of crazy sounds and weird conversations. The result is a 30-minute mindfuck that blurs the boundaries between rock, classical, and noise.

We’re Only in it for the Money, released six months earlier, flirted with those same boundaries but ultimately cast its lot with rock ’n’ roll. The cover is a crude send-up of Sgt. Pepper’s Lonely Hearts Club Band, the music twists familiar genres into sonic pretzels, and the lyrics viciously ridicule everyone from weekend hippies (“Oh, my hair’s getting good in the back!”) to frigid housewives (“You’re phony on top, you’re phony underneath/You lay in bed and grit your teeth”). Zappa was calling out the hypocrites and fakers, no matter which side they were on.

At least that’s how it’s always seemed to me.

To get a more authoritative read, I spoke to Frank’s widow, Gail Zappa, who is known for her tireless (some have said extreme) efforts on behalf of her husband’s legacy. She runs Zappa Records and has been overseeing the 40th-anniversary releases.

VF Daily: How would you explain these two albums to somebody who isn’t all that familiar with Frank Zappa?

Gail Zappa: Lumpy Gravy and We’re Only in it for the Money are part of what Frank called his master work. For him, every album was just part of the same composition and everything was all one big piece of music. But the three particular pieces that he considered his absolute masterwork were Lumpy Gravy, We’re Only in it for the Money, and Civilization Phase 3, the last album that he actually finished. They’re constructed in a similar way.

Lumpy Gravy is Frank’s first outing on his own as an artist, and We’re Only in it for the Money is his first outing as a producer. It was supposed to also be his first outing as a rock ’n’ roll artist, but the record company insisted on it being a Mothers album, for marketing reasons. [The Mothers of Invention were Zappa’s band.] But technically these are both Frank’s first ventures as rock ’n’ roll artist and also as a classical composer.

How does this fit in with the rest of the re-release series you’re working on?

We want to honor all the re-releases in the 40th anniversary. But the exception is these two, because they are also part of the masterwork. Because they belong with Civilization to be seen properly. So in this particular case what we’re going to try to do is to be more focused on the process on Frank’s work, as opposed to [including alternate] versions [of individual songs]. If you look at a score, sometimes you’ll see sketches of what’s going to be in the score before the score is written. That’s kind of what we’re going for with this record. Little sketches of it, as opposed to completely other versions that didn’t “make it to the record.”

Will Civilization be sold separately?

Yeah. Although we are going to do a special edition of these three records, shortly. We didn’t announce that because we thought it would be too confusing. And it already is confusing. I’m going to be really surprised if I manage to get through this alive.

If you don’t like confusion you should probably step away from the Frank Zappa discography. That’s part of the fun of it, don’t you think?


Confusion I’m not fond of. But chaos I thrive on.

You’re very conscientious about protecting Frank Zappa’s legacy. What’s the thing that worries you the most about that legacy and how it’s being treated?

Identity theft. I’m glad you asked me. No one has asked that before. And that’s what it is: Identity theft. Because everybody imagines who Frank Zappa is. And then they go on, some of them, to imagine, I could make some money if I reinvent Frank Zappa in my own image. Which may suck, by the way. So people write books and they make records and they do this stuff. So every day my job is to protect and serve, like the L.A.P.D. Protect the integrity of the work itself. And serve the intent of the composer.

How does that work out, pragmatically speaking?

It’s a lot of squabbling over copyright issues. The real reason why I do this is because it’s just my obligation to Frank Zappa, who really believed in the Constitution of the United States of America, and one of its provisions covers copyright. And I don’t like people fucking with Frank’s last word, and his last word is his music.

I know that you’ve had some issues with iTunes, and that you object to the MP3 format because it requires music files to be so compressed. Do you ever worry that if people can’t get MP3 downloads, you’re going to miss a chance to reach new fans?

Well, you know, I’m of two minds there. First of all, this is a concept that Frank thought up in 1983 and published a copyrighted document on, that was filed with the copyright office. The idea was to deliver music over phone lines. As usual, he’s prescient. I don’t know how it would be different had Frank lived. Or how he would necessarily feel about it. But I do know his intention was that his music should not be massively compressed. And for that reason he insisted that his masters be sold in a specific format; anything less than that format was not permitted under the agreement. And iTunes was way below 16-bit technology [when Rykodisc, which had the rights to the Zappa catalogue, made it available there]. So I’m not having an argument with iTunes. I was always having the argument with the delivery by Ryko of something that they weren’t entitled to do, which is the digital download of less than 16-bit technology.

I don’t want to fault delivery systems. Really what is happening with music—because people steal it more and more, I think they just want to have it. They don’t want to listen to it. Because if they wanted to listen to it, they wouldn’t buy it that way.

You mean compressed?

Yeah. It’s like you want a knock-off of something. You just say that you have it. To appear as if you’re hip or cool, whatever it is. You want to hear the musical idea. But you don’t want to hear the music.

Frank makes fun of hippie culture a lot in We’re Only in it for the Money. What do you think he’d be making fun of today?

Well, anybody who takes themselves seriously. Nobody was spared, including himself. He was certainly relegated to that sort of—it’s hard for you to imagine, because you sound like you’re about 12.

I’m 33.

Very close, from my perspective. I have a son your age. When these records were made, everything in the media was about them and not us. We were excluded. And if we were talked about at all, they pointed the finger: those are them and they’re dangerous. So we were a little separate community, everybody under the age of 25 in 1965. It’s hard to imagine for people now, especially your age, that your whole country, your parents and everybody, would be against you if you behaved or looked a certain way. It’s so pervasive now that no one cares anymore.

The mainstream culture has also become very adept at co-opting anything that’s at all creative or “edgy.”

Absolutely. That’s absolutely true. Frank never intended to be psychedelic or avant-garde or any of those titles that have been visited upon him by everybody else in retrospect. That wasn’t what he was trying to do at all. He was just saying, This is what I think about that, and this is how I’m going to show you what I think.

Speaking of your children, I caught one of Dweezil’s performances of the Frank Zappa catalogue a year or two ago at the Jammies.

You have to see it now! It’s nothing like that now. That was when they first started out. And there was so much pressure for them to have original members that played in Frank’s band. And it was just so heartbreaking for all of us—especially the family—that we had to do that. Because we just believe in the music and that it’s alive and well, and that it doesn’t need those guys to hold it up anymore. Or to participate in any way. If it can’t be played by people of your generation, then what’s the point?

http://www.vanityfair.com/online/culture/2008/10/21/gail-zappa-on-franks-new-reissue-lumpy-money.html

[Bloomers]

I was in a place called The Experience one night in ‘68 or ‘69. Mike Bloomfield was in there, Jimi Hendrix was in there, Elvin Bishop. The premier guitar players all playing, all taking a solo … then Frank gets up and does an imitation of everyone there - Mike, Jimi, the whole thing - and then plays his own stuff. You should’ve seen the look on Hendrix’s face! He blew everybody away. People were just astounded by the guy’s virtuosity.
Alice Cooper on Frank Zappa, Mojo Magazine March2002

[Purple Jim]

Super concert avec Frank en grand forme guitaresque !

[Ayler]

Annonce d'Universal Music :

La musique de Frank Zappa est de retour dans les mains de la Zappa Family Trust! A cette occasion les ayants-droits ont signé une licence avec Universal Music afin de ressortir 60 enregistrements emblématiques du guitariste dans leur ordre de parution, par vagues successives d’une dizaine jusqu’à la fin de l’année.

[the old new thing]

C'est pour ça qu'hier je me suis étonné de trouver ça :
http://www.deezer.com/fr/music/frank-zappa

En même temps ça va donner à beaucoup de monde l'occasion de découvrir l'immense discographie de l'artiste.
Par contre je me demande sur quoi vont être basées les rééditions : avec les retouches faites par Zappa au moment des premières rééditions ou repiquage du vinyle d'origine?

(Je dis ça car j'ai vu que la "gumbo variation" est minutée à 12'54 et que sur mon cd elle dure 16'55).

[Purple Jim]

C'est pour ça qu'hier je me suis étonné de trouver ça :
http://www.deezer.com/fr/music/frank-zappa

Oui, j'ai vu ça il y a quelques semaines. J'attends la mise en ligne avec impatience.

[leptilou]

Palais des Sports, Paris, France (11th June 1980) ... je pense que j'y étais... je viens de le visionner en entier... grand plaisir... même si c'est pas sa meilleure équipe... quel leader de show !!!!

[Purple Jim]

I was in a place called The Experience one night in ‘68 or ‘69. Mike Bloomfield was in there, Jimi Hendrix was in there, Elvin Bishop. The premier guitar players all playing, all taking a solo … then Frank gets up and does an imitation of everyone there - Mike, Jimi, the whole thing - and then plays his own stuff. You should’ve seen the look on Hendrix’s face! He blew everybody away. People were just astounded by the guy’s virtuosity.
Alice Cooper on Frank Zappa, Mojo Magazine March2002

[Purple Jim]

Edition spéciale Zappa pour Décembre.

[Tontonjimi]

Je l'ai

[Chino]

http://www.lemonde.fr/culture/article/2013/07/05/le-genie-zappa-sans-censure_3441889_3246.html

[the old new thing]

Bon avec quelques jours de retard mais quand même :
http://www.slate.fr/story/80617/frank-zappa-vingt-ans

[Wu wei]

merci du lien...
je trouve que ça reste une bonne nouvelle de ne pas le célébrer si célébration doit rimer avec ton mielleux, hypocrisie et opération financière

[telegraphroad]

Moi je le célèbre tous les jours !!

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