Tag Archives: zappa

RIP Dave Brubeck


News just in that Dave Brubeck passed away at 91

My first exposure to the music I came to know as “jazz” was listening to my dad’s Dave Brubeck records.  I listened to them side-by-side with the soundtrack to South Pacific, Bill Cosby, Bluegrass, 60’s folkies, Bird with Strings, Jimmy Smith, etc… basically rummaging through my parent’s vinyl collection and taking it all in without much idea that it was all different.  And far from schlocky white-boy jazz, that Brubeck band with Joe Morello, Paul Desmond and Eugene Wright was fantastic.  Their work still holds up extremely well today.  I later learned that Dave Brubeck was pushing his idea that there was a frontier of modern music to be approached via rhythmic devices, as opposed to purely melodic/harmonic routes.  So you have all these Brubeck records with textbook examples of “odd meter” jazz, the most famous of which is Take Five.  Extra Credit: Most folks forget that Take Five has a killer drum sola in addition to that stunningly beautiful melody.  In a large way it was Dave Brubeck that set me up to be not the least bit disturbed by the rhythmic gymnastics of Frank Zappa, and his guiding light Edgard Varese, and Monk, and Cage, and Mingus, and Charles Ives, and a seemingly endless list of rhythmically interesting musicians and composers.  He truly did succeed at putting the time signature into the toolbox of modern 20th century music.  Listen to something as seemingly unrelated as Sting’s album “Mercury Falling” for a modern example.

Dave Brubeck continued to make new and interesting music, often with his sons, and for no less reason than his failure to engage in faddish behavior, was often disregarded by modern jazz listeners.  I could say that it wasn’t fair, but that isn’t true.  The important part is knowing who you are and what you want to do, and to my knowledge Brubeck never wavered in his direction.  He was nobody but Dave Brubeck, ever.  RIP, Man.  You Rocked The Place.


Son of Bizarre Zappanale Rant!

Another Zappanale has come and gone… and I wasn’t there.  It seems fair to say that I knew Zappanale during its adolescence.  It had grown beyond its humble beginnings, but hadn’t become a mature stop on the European Festival Circuit, which it what it is becoming, or has become.  That is not a problem.  I think big is good, and if this year is any indication, the festival is still bringing in a great mix of alumni, top shelf professionals, and the regular FZ-loving local bands that always seem to crank out the Frank with gusto (if not flawless intonation).  The last Zappanale I attended was Z20 in 2009, and it was a great time, and I love my Zappateer buddies, and the beer is excellent, and yet I still have a lot of mixed feelings about it.  In ’09 Terry Bozzio was paid a lot of dough to basically avoid all human contact, clog up the main stage with his drumiverse for a full day of other band’s performances, and then put on the same fucking clinic he would run at the fucking Modern Drummer wankfest.  Thanks, Terry.  You used to be an OK musician before you decided you were a Musician and not a drummer.  At least you didn’t pull out an acoustic guitar and try to sing “Angie”.  Mad Props for that.

I hope to go back to Bad Doberan, enjoy Zappanale, and get tore up on Rostocker beer in the hot sun and then swin the the coldest damn water I have ever swam in.  But if I don’t, I can at least say that I did it already, multiple times, with elan.

The aftermath of the Zappanale holiday, alternately known as Zappadan, usually brings out the reflective side of the fans and the festival organizers.  Case in point: Recently Thomas Dippel, ARF Society honcho, and a guy I think of as a friend, wrote:

If you want to stage a festival honoring Frank Zappa – you might have to reckon with the Zappa Trust, headed up by Frank Zappa’s widow, Gail. His widow should finally stop putting hurdles in our path and help us further promote this fantastic music. Frank would probably agree. He was all about freedom of expression and was opposed to censorship. I’m not sure he would dig the way his legacy is being micromanaged.

I agree.  The ZFT should be able to tell the difference between sincere homage and scamming.  I don’t think that will happen, ever, and here is why: back in the early days after the tragic death of FZ, there was this official release called “Frank Zappa Plays the Music of Frank Zappa”, which despite the cute title and barely catchy packaging was really nothing more than an official bootleg released by Dweezil Zappa.  I get a vague sense of nausea every time I see the CD box.  Yes, it was a Zappa performance, and yes the sound quality was a cut above the audience-tape variety sound that hardcore enthusiasts were familiar with.  But there was no way in hell that it was a FZ project.  First, Frank would have done a load of editing because there is a lot of noodling on this particular gig.  He may have seen it as more than just a live recording, perhaps extracting a solo as a standalone composition, or done something asynchronous to add some texture to the otherwise uniform corduroy of the mobile truck recording.  Whatever it was to be, it would have had continuity with the FZ process.  None of that was in the cards.

And this motif continues to this day, with Joe Travers afraid/unable to emulate FZ, Dweezil unable to emulate FZ, the guys who actually worked for FZ sent off to exile on some mysterious island for wanting to actually get paid, and the public getting regular doses of legal bootlegs in professional packaging in exchange for princely sums of legal tender.

Anyhow, back to the friendly climes of northern “Yurrip”…

To many FZ fans it is a bit odd that there is an independent festival in the former East Germany that showcases a lot of interesting music and has the audacity to invoke Zappa’s name in any sort of way, while there is no such festival in the composer’s home country.  Odd, that.  In a land where every jagoff stoner jamband rodeo becomes its own little bong-a-palooza empire, and modernist groups like Bang On A Can manage to run multiple concert series and feature the music of people like Conlan Nancarrow… the Trust in charge of a composer with one of the deepest and most varied catalogs in the whole of the 20th century manages to endorse a coverband, reeking of nepotism and cheap cologne, and not a tremendously good one (IMO) at that.

Not exactly what I would call a harbinger of a bright future full of tolerance and creativity.

stupidity really is the most abundant element in the universe

…and the Zappa Family Trust appears to be at the center of a galactic stupidity-aggregation-nexus.

They want Gail Zappa, Dweezil Zappa, and Joe Travers to be the sole custodians of the legacy of Frank Zappa?  Really?  The “Three Stooges” are getting their way lately thanks to some witless co-conspirators.

There are real questions about what is and is not appropriate when it comes to performance rights.  We have seen the ZFT attempt to treat the FZ catalog as theater, so performing any piece would be like playing an excerpt from CATS.  They have also claimed to be unaffiliated with any of the performance-royalty agencies like BMI or ASCAP.  But missing is the fact that BMI and ASCAP are private enterprises and separate from actual copyright law.  They aren’t like the IRS, a government agency created to manage tax law enforcement.  Meaning: even if you are not under agreement with ASCAp or BMI you still have to play by the rules.  As I have said before, this means that you cannot say “no” to a performance.  Compulsory licensing and fair-use issues don’t evaporate because you claim to be self-published.  By the same token the ZFT can send cease-desist orders just like anyone else.  The band RUSH recently sent a letter asking walking-human-excrement Rush Limbaugh to cease using their music on his show.  That specific complaint involves the use of a RUSH recording, an actual published piece of recorded music.  If it was the use of a cover-version, or thematic material, they would be on shakier ground because there would be issues of substantiality, but if the version was clearly based on the original it would be a simple process to continue the C&D beyond the original injunction. The ZFT wants a level of control that goes beyond fair use, and into “no use”, which is monopolistic and not supported by US Copyright law.  They also will not engage in actual legal action because they don’t have the desire to lose in court again.  I’ll leave the details to the actual copyright lawyers, but I feel very strongly that the legal onus has to be on the ZFT at some point.  They have made many claims on a personal/subjective basis.  That is definitely not supported by the law.

I write this as I listen to Dutch guitarist Corrie van Binsbergen, who has never made any bones about being a student of Zappa.  Her music is strikingly original, but she also works within the Zappa oeuvre.  When she plays an homage like Zoot Suite, is it “good”? Is it “sincere”? Is it “disrespectful”? Is it legal?  …and the list of what it is or is not goes on to the horizon. When Terry Bozzio gets paid handsomely to perform a 45 minute drum clinic at a festival, and performs The Black Page as a *solo*, just as he did with Zappa Plays Zappa, is he breaking the law?  Was he breaking the law when he played it with ZPZ?  Is the ZFT breaking the law by allowing Dweezil to perform Zappa music for free, while preventing others from playing his music *at all*?

Most artists avoid this quagmire by just acknowledging that their music was performed and broadcast to a huge number of humans over a period of decades, and other people learned to play those songs and might play them in live performance.  Nobody is out there claiming to have written Zappa’s music… claiming his compositions as their own.  Similarly, Zappa did not claim to have written Whipping Post, or Stairway to Heaven, etc… which he performed with his band in 1988. Subjective as well is the possible decision by an artist that the world is better off with the music in the public eye, and if the cover version is horrible then it just makes the original that much more valuable/desirable.

YouTube presents a very interesting case in “fair use”, because they don’t stop anyone from posting anything up front.  You want to put up a video of a still image of a goat with a rip of an album cut playing in the background?  Go for it.  Prove that it isn’t a post modern artistic commentary on the vapid nature of popular music and the media. Unless someone complains… which is kinda weird, really.  YouTube bears no burden in this process?  Where they facilitating the infraction?  That would require a legal decision, and legal costs.  As it stands they operate in a gray area.  What makes them any different than thepiratebay?

Notice here that we aren’t talking about using original recordings as backgrounds in a beer commercial.  Rarely does a corporation appropriate content without the consent of the owner.  That may seem like an issue of scale, but it really is an issue of intent and fair-use.  Mos of the ZFT issue revolves around musicians who have performed music which is based on a Zappa composition, or purports to be derived from a Zappa recording.  Since nobody can replicate the recording exactly, it is an artistic interpretation.  Is it substantially derived from the original?  Again, that is for lawyers to decide.  And to date the ZFT has received zero legal judgements in their favor on this issue.

If I am on stage in mid performance and quote a Lennon/McCartney composition, was I supposed to corral the instinct, even though it was rooted in a memory of hearing it in 1968?

This could go on ad-infinitum, but I believe that the overarching issue is not purely legal, or purely objective.  The issue at hand is one of an emotional turf-war.  After a career that began over 45 years ago, involving about 80 official audio releases, many video releases, public speaking appearances, collaborations with other artists, and thousands upon thousands of live performances, is the public supposed to sit on its collective hands and let one person decide how they will be influenced by that legacy?  Is one person allowed to dictate the actions of others to that degree?  As I stated in the previous post, this is the kind of control that was attempted under some of the most oppressive political regimes the world has ever known.  These regimes hoped to exact a level of social control so absolute that only their words were allowed to be considered “truth”.  All those who disagreed were punished, silenced, and worse.  Right now we are seeing a silencing of those with the audacity to perform this forbidden music.  Look ahead, if you can, into a future where this approach has been completely successful, and think about that landscape.

we know who the brain police are…

Earlier today I received notice that a video of my band “DOOT” received a takedown notice on YouTube.  The requester was Zappa Family Trust.  I don’t even remember if the video had any Zappa content, but it was a performance at the Zappanale festival, and Andre Cholmondeley was part of the band for that gig.  Andre is the guy behind the band project/object, and his “project” has been a consistent “object” of scorn from Gail Zappa.  Gail is of the opinion that nobody gets to perform, interpret, or reference any of Frank Zappa’s compositions without her express authorization.  I have expressed my opinion on this subject before… it’s archived here somewhere.  I believe that while the Zappa Family Trust can protect Zappa’s actual works, and the products that they have released since Zappa’s death, they can not enforce a selective moratorium on his influence on contemporary music.  Zappa himself “cut his teeth” covering popular popular music, orchestral music, experimental music… all written by someone else… and specifically rubbed the music industry’s nose in it by pointing out that by changing one note in “Louie Louie” it was now an original composition (Plastic People, YCDTOSA 1).

The past week or so has seen an uptick in the ZFT’s takedown notice activity.  To be clear, the media in question were not Zappa recordings, videos or performances.  They were live performances that involved thematic material from the Zappa catalog, references to the composer, homages to the composer, and lyrics based on Zappa’s lyrical concepts.  Gutless organizations like YouTube know it is far less expensive and less involved to take down videos at the drop of a hat and let the account owner and the takedown notifier deal with the particulars in a court of law.  So the ZFT gets what they want up front.  Gail couldn’t ask for more.  I have been witness to a decade where the ZFT went from non-participant in the Zappa legacy, to employing anti-democratic tactics that would make Goerbels blush.  The ZFT’s hypothesis that they can stuff Frank Zappa’s music legacy back into the bottle and dispense it on an ad-hoc basis MUST be challenged in a court of law, and challenged successfully.  Until then the musical world will be a poorer place, and the freedom of expression that Zappa himself enjoyed will be denied to generation after generation of artists and the public at large.

This is my immediate reaction to the recent events:

nobody can take away the importance that the man and his music have had on my life, but equally, i can not be compelled to participate in what his legacy has become. everything that has been done in his name since december of 1993 has been less than what the man himself did. no musician or composer has effectively enhanced the legacy that zappa created during his life. homage has been paid, some fine music has been made, souls have been stirred…. but none of it has moved the needle in comparison to the actual works that zappa oversaw during his lifetime. nothing that the zft ever does will enhance his legacy. nothing that his lox of a son tries to do with his cute little cover band. and frankly, nothing that *any* of the people playing zappa’s music since his death will *ever* do will matter one iota in comparison to the actual legacy of zappa’s own work. i’m content with that, and content with taking the odds that there is a chance that i might live to see zappa’s music set free to inspire the world in an active way. but ironically, in the 21st century, his widow has forced musicians around the world into the same situation endured by those living under the communist regimes of the soviet union, china, czechoslovakia, east germany, and other oppressive regimes where zappa’s music was spoken of in hushed tones and played out of earshot in secret locations. it is officially ILLEGAL to perform certain music without a dispensation from the authorities.

Rochefort Festival Wrap Up – Finale

I will be looking over the previous posts and inserting images, and cleaning up text, fixing typos and misspelled names, and maybe editing some dupe info and omissions.  Otherwise, that is the story from beautiful Rochefort, France.  Some really amazing and dedicated people run a very ambitious festival, the artists are treated very well, and the results are very enjoyable for both the audience and the artists.

What I have tried to relate is my experience, my reality, and my observations during a week where I made a point to stay open and positive at every moment.  That is probably the thing I am proudest of.  Many bass players could have done a better job with the music, would have had an easier time, and been able to contribute more.  I am what I am: a person in love with music and the bass, who has had the good fortune to be able to express that in some very interesting venues.  Whether that is the intimate “Never Open Books” of New Haven, or Cafe Nine, or an outdoor festival stage in France, I try to bring the same ethic.  I owe my friends from New Haven Improvisors Collective a huge debt of gratitude, and maybe none more than drummer Steve Zieminski.  Playing bass alongside him for the past two years has allowed me to grow as a bassist, and trust my instincts more than ever.  As I approach 50 years old, that is not an easy thing to do.

From the beginning of this trip I have focused on the concept of being open, in the way that one opens their heart to the opportunity and does not try to mold the experience to their will.  My work with NHIC, or DOOT!, or the Sawtelles, or Lys Guillorn…. and others has been a fantastic training ground for that approach.  An experience like the one I just had at Rochefort is a type of validation.  Likewise, it was dependent on encountering other with the same generosity of spirit, the same patience, and the same willingness to set out on a journey and trust that you will work as hard as they will to reach the destination.  I was fortunate to encounter those people at every step of the way, in circumstances where it would have been easy to cop an attitude or cede to some negative element.  It simply never happened.

I would be remiss to not mention, again, what a pleasure it was to work with Napoleon Murphy Brock.  The timing of this event was very opportune, as the time that has elapsed since Zappanale 20 in 2009 has allowed me to make some observations and allow my cynical voice to recede.  Napoleon is a world class performer, educator, musician and person.  He does that on his terms, and I can’t say that I would want to be tied to those terms, but in an instance like this it was his stability and patience and focus that created a safe haven when other situations were spiraling into disarray.  And hell… I held down a flimsy canopy in a driving storm on an electrified stage in hopes of him not being speared through the neck with a broken piece of aluminum!  So there is always that 🙂

With hopes for continued musical adventure,

Bon Journee’

Rochefort Festival Wrap Up – 5

The Festival

The actual performances were scheduled for Thursday August 25 through Saturday August 27.  After three days of prep and rehearsals I was now balancing rehearsal schedules with performance schedules.  On Thursday I had one gig with Innes Sibun at the Corderie Stage.  This is at the west end of the historical Corderie building, a restored rope making factory that was the center of the Rochefort naval base.  Rochefort is a true Garrison Town, built as an alternative to La Rochelle which was not suitable controlled by the French crown.  but I digress…

Innes had run the band through some song forms back at the Clos, and from the get go we had a really good feel and the audience was enjoying the show.  Innes took a trip out into the crowd for a solo, and Bruno Bertrand, Or Solomon and I made up a good rhythm section, with Or taking some sweet solos.  This was where things kinda got blurry.  Esra Mowhawk played before Innes, and then Vic Moan played, and then I left to get back to the Clos for either a rehearsal or food or both… I’m pretty sure it ended with a late rehearsal with Moris.  The demands of the highly-proscriptive arrangements in Napoleon’s, Moris’ and the Beefheart sets meant that I needed to be interlacing rehearsal time with performance time and had very little availability to either sit in or to just watch a performance.

The next day we started as usual… Shiatsu at 9:30 (Caroline, to the rescue), then working on material in the headphones until I was needed at a rehearsal.  This was where things got ugly because of conflicts between Moris, Napoleon, and Moris’ sleep schedule… I had not been so much running my own schedule as being run on other musician’s schedules.  So it was hard for me to switch gears, and that was even harder because by Friday morning I was not able to remember who asked me to rehearse when. Add in the fact that rehearsal schedules kept changing and needed to be interlaced with actual performance schedules, and it was borderline mayhem.  As a musician who has been working in the format of improvisation and experimentation, all of this rehearsal and tight arrangement demands took some adjustment.  It certainly didn’t seem to be in the true spirit of the festival.  But those are the cards that I got dealt.  Anyhow… Mother Nature had a solution:

The Friday schedule had a break of about 3-4 hours between the early performances and the evening schedule.  During this time I was scheduled for soundchecks on the main stage with Moris, then napoleon.  For some reason Moris decided not to soundcheck, so it became a combo soundcheck and last-minute tweak session with Napoleon.  As I stood on stage I was noticing some very dark clouds bowing by, but the locals didn’t seem nervous, so why should I be?  About halfway through the wind picked up, and up, and up… and I heard this sound like a tearing bedsheet behind me… It was a wall of rain, accompanied by 40-50+ knot winds and hail, blowing onto the stage from the rear at the stage-left corner.  This proceeded to blow Benoit’s marimba off the riser, sent 70kg road cases scurrying toward the lip of the stage, and put down about an inch of water and ice on an electrically live stage.  This drenched Nicolas’ effects rig, and had me wondering what the odds of being electrocuted were.  I was also having a memory of the recent stage collapse tragedies, and i didn’t want to be next.  All of this was happening while holding on to a portable metal-frame canopy by one of the legs, while two road crew held two other legs, and napoleon crouched in the middle holding his flute and music, while deflecting the rapidly disintegrating metal frame of the canopy… It was like rounding the fucking Horn on a soundstage.

Finally we persuaded Napoleon to make a run for it, and the storm began to subside.  It looked 50/50 that the show was going to be either cancelled or postponed.  About 30 minutes later, while I was getting a ride back to the Hotel Roca Fortis for a quick break before what was supposed to be my second gig with Innes at the Place Colbert, a second storm hit, trashing the canopy over the main stage mixing desk and then dumping the mixing desk itself.  That effectively ended the performance portion of Day 2. The same kind of wind and water damage impacted all the stages, and everything was going to be moved to Saturday.  There was a feeling that the whole thing might be compromised if they couldn’t get the sound gear back together.

Back at the Clos there was a simultaneous feeling of shock and relief.  Another great dinner at the hands of the Rochefort crew, and the relief turned into a party.  As it got later I started looking for a beer (don’t get me started on French beer) and that led me to the beer tent, where I did the sensible thing and had a cognac.  That twist led to the most fun I had at the festival, hanging in the little beer concession tent with the volunteers, drinking and passing around iPods and headphones.   Tomorrow will bring whatever it brings, but for now we drink, and dance, and sing, and converse.

Saturday was the “big one”… I had been waking up at about 0800 like clockwork, getting cleaned up, and having a light breakfast at the Roca Fortis.  The crew there was Eric Longsworth, his wife Pascale, Eric Drew Feldman, Laurie Hall, Rob Laufer, Moris Tepper, Napoleon Murphy Brock, Nicolas Mignot, his wife Pascale, Declan DeBarra, and Emmanuelle Parrenin… I hope I have not forgotten anyone.  The Roca Fortis makes fantastic coffee (Illy, the best! as Jean Marc told us with great conviction, and the results proved it), and fresh juice.  The Apple-Kiwi was the star, and I used the excellent orange juice on my cereal.  The long coffee was great, but when I found the double espresso… the deal was sealed.  Jean Marc was right… The Best.

It was raining at first, but by 0900 the sun was out and we had a beautiful day on our hands.  The deal now was that I had a 1000 soundcheck at the Place Colbert (outdoor stage in the town square), then a set with Innes at about 1330, then back to the Clos for a meal, and then the afternoon’s schedule which I hadn’t seen yet.  I was able to walk the weekend market after soundcheck, with Innes and Celia, and that was my first and only actual touristy activity.  The Innes gig was lightly attended but we had a ball, again.  And I was ravenous after having nothing more than juice and coffee all day.  The lunch at the Clos was awesome, as always, and I got about 30 minutes to get horizontal while listening to Karen Mantler’s set.  That featured Nico (not a bass player) and Jeff (not a bass player) on bass and guitar… and that band sounded awesome.  My work was to come at the end of the night.  The last three sets of the festival were Napoleon, Moris, and the Beefheart Hommage.

Napoleon’s set was the big challenge for me because I knew all the songs by ear, but had only played a few of them, and had to get up to speed on some that required the bass to be in specific places at specific times.  Advance Romance, Pygmy Twilight, and Inc Roads were the ones that I needed the most work on.  The routine in Advance, and Pygmy, and Torture, and Willy… is that each section may be similar, but there are small tweaks each time.  If the band isn’t coordinated it sounds awful.  Inca Roads, which is alternately easy and ball busting, involbed having a good feel in the solo sections and being accurate in the hard sections.  Watching Charly, Benoit, and Nicolas drill those parts all week was inspirational.  I may have been the weakest member on that tune, but I was not going to let them down.  Luckily Napoleon let me simplify some parts, and I was able to get through just fine.  I found myself leaning on the sense of timing and funk/soul that I have been working with since the beginning, so even if there are less notes, it will still sound like me getting funky and trying to nail that timing.  Napoleon complimented me on my work and performance, so no matter what the playback sounds like, it worked in the moment.

I only played on three songs with Moris, and I had said from the beginning that I have no ego about that kind of thing.  If he wants to work with me I am fine with that, but I won’t bitch if he wants to go in another direction.  He did, and I think the set had good energy, though there was a lot of frustration evident as some of the fine points had not been worked out.  A pro-co rat would have solved the problems with bass distortion…  I stood on the side of the stage and watched the show, and I would be lying if I didn’t think about what it could have been like.  The most surprising thing was how huge the sound was Moris was pushing for.  The recordings have this very detailed and often delicate sensibility, but the target for the live show was borderline manic.

The Beefheart Hommage was a triumph, but the actual set list was about a third of the prospective (24 tune) set list, and with songs being cut from the set right up to the opening piece, well, that was that.  I said it before: a more accurate set list would have meant higher quality and less wasted rehearsal and preparation.  I will probably have an audience recording to review to get the song list right, but IIRC:

  • Hair Pie (solo)
  • Love Lies
  • Party of Special Things to Do
  • Ice Rose
  • Orange Claw Hammer
  • Observatory Crest
  • Carrot is As Close As A Rabbit Gets To A Diamond
  • Sue Egypt
  • When I see Mommy I Feel Like A Mummy
  • Floppy Boot Stomp
  • Tropical Hot Dog Night
  • Suction Prints

Whew!  Nice Set!

And with that there was a bow to the audience and a feeling that we had all thrived, as much as we survived.  The after-party was filled with photos and back slapping, but then a dance event broke out, with drumming and singing and Leo on Saxophone, and it sounded like an echo of an American field-holler washed through the European and the Nautical.  Fantastic night.  I dropped into bed at about 0600, Skyped Sandy to get the latest on Hurricane Irene and then got two hours of sleep before making revolutions to return to Paris, and then Home……..

Rochefort Festival Wrap Up – 2


The invitation to this festival came almost exactly two years after my last festival experience, Zappanale 20.  I came back from Zappanale 20 drained, disgusted, disillusioned, and thinking that I was done playing covers of Zappa.  When I returned from Zappanale I received the invitation to play bass in Mayhem Circus Electric, and that has defined my playing for the past two years.  These past two years were among the most fulfilling, if not the most productive, I have had as a musician.  Working with MCE and the other New Haven Improvisors Collective events gives me the opportunity to play the way I like to play (instinctively), with people I like to play with.  It is also notable that the last time I played any of the music of Captain Beefheart was the last gig I played with Doctor Dark… at Zappanale 16 in 2005!  In that context the invite to play Rochefort, which came via Zappa frontman Napoleon Murphy Brock, and was pitched as me playing Beefheart music, was in one way a large step backward.  But I also know that I value the connections I made through Zappanale, and still deeply love the music of both Zappa and Van Vliet.

So that is the framework of the “grand bargain” that keeps cropping up with me and festival performances.  My hope is that gigs like Rochefort lead me toward opportunities to play experimental, improvisational, and world-style music.  Meanwhile, when I get an opportunity that involves playing “inside the lines” in the way that this one did, I just put my nose to the grindstone and do my best.  I *can* play this way, it is just that I don’t play this way naturally.  And no mistake, the gigs I was asked to participate in at Rochefort were very inside the lines affairs.  I thought I was doing one set of Beefheart music, with a few tunes involving Napoleon… uh, no.  The Rochefort gig turned out to be a complete set with Napoleon, and no hacking the corners off the music there.  Play the piece correctly, and play it well as an ensemble.  Then came participating in a Beefheart tribute with ex-Magic Band members.  Beefheart music is hard to play correctly.  Even though it sounds improvised it is not, and the parts are very specific.  I think that I have some very good bass parts for Beefheart music, but they are not exact to the reference recordings.  Next, Moris Tepper wanted his bass parts played very tightly, and that would have involved me reading chord charts, which he didn’t want me to (but happened anyway, just not by me).  Oddly, the closest thing to carte blanche was given to me by blues guitarist Innes Sibun.  I had never heard of him before, but now I have and am thankful for that opportunity.  In a way it was just slinging blues shuffles and Hendrix tunes.  But I was also able to work with timing and dynamics and feel and all the things that I can do when not replicating someone else’s bass parts. The blues shall set you free!

Napoleon was a real pleasure to work with.

Napoleon, holding court at Louatre

He and I are very different, and in the past I have not been able to square-up that difference.  I met him for the first time at a Paul Green School/Doctor Dark gig at the Knitting Factory NYC back in 2004.  After that I met him when we were at Zappanale, or he was on the road with project/object.  The main difference I feel is that Napoleon takes himself very seriously, and has no self deprecation at all.  That is rare, and maybe so rare that I did not know how to interface with it.  I have had some time to reflect on what he does, who he is, and how he works.  He is a professional and a showman.  There is no shoegazing, ennui, or artifice.  What you see is who he is.  Very serious, very consistent, very funny, very giving, and in a way very patient.  Being able to work directly with him, as part of the challenge of bonding with new bandmates, and playing some music I have never played before, was just amazing.  The core of the band was Charly Doll, Nicolas Mignot, and Benoit Moerlen from the band Peach Noise (among other credits).  Suffice it to say that they are all top-shelf players, hard working to the brink of mania, and I can now count them as my friends.  Working with that unit was pure pleasure.

The Beefheart tribute was a different story, but not a bad one.

Eric Drew Feldman chats with Charly Doll, Rochefort, France

Eric Drew Feldman ended up playing a lot of the bass parts on keyboard, and in the end the Magic Band alums did a lot of the heavy lifting.  I played bass on a few things and was more than happy to let Eric take the bass chair.  In the end the huge setlist of over 24 songs never materialized, and the setlist was being cut down on the side stage before the hommage/finale. I got to watch Eric play the bass solo “Hair Pie” to open the hommage set, and damn did it send shivers down my spine.  It was a real honor to watch him work.  Same with Moris.  I believe that the Beefheart tribute was a triumph, and the credit goes foremost to Eric and Moris for making sure the pieces were done in the form and spirit that was intended.

Innes Sibun was one of the nicest people I have played with, maybe ever.

Innes, Jamming at the Clos, Rochefort, France

He is also a real-deal guitar strangler and Rory Gallagher freak!  I think back to that Rory album I got out of the cut-out bin back in the late 70’s and this encounter takes on a deeper significance.  I love the blues, and love playing it and immersing myself in it.  At Rochefort we made a 4-piece with Bruno Bertrand on drums and Or Solomon on keys. That was a pretty rockin combo, and it seemed that Innes was pleasantly surprised that his mutant “pickup band” worked so well together.  Bruno and I got on great, and the same with Or.  At our first gig at the Corderie park Innes created a “secret word” moment by blurting out “Giggity”, in reference to Glenn Quagmire from the show Family Guy.  That led to a running joke and a lot of unintentional hilarity.  WOOT!

Moris Tepper was the wild card for me.

Moris at Louatre, France

He had contacted me early and asked me to play bass with him.  He sent me MP3’s and my impression from our conversations was “get the feel right, don’t worry so much about the notes”, but the more I listened and played along to his songs the more I knew that this wasn’t a person who was going to let anyone freelance on his material.  So I worked my ass off, but what I should have done is asked for charts.  I believe that on Moris’ side of the table he wishes he had just delivered charts along with the MP3’s.  On a personal level we got along fine, and shared some really fine moments together.  Musically what he wanted was so far outside of my comfort zone that I had to scramble, the stress got a bit much, and a compromise was reached.  French bass/guitar player Jeff (name soon) played on most of the set.  I played three songs that has 2-bass-2-drum arrangements.

Moris’ set was, I believe, one of the most ambitious at Rochefort.  He had Rob Laufer with him, writing horn arrangements, playing drums, directing sidemen, and even writing out a few chord charts for me.  That ambition, combined with the lack of rigid rehearsal scheduling, shifting priorities, and some tricky set changes, made it a very gripping experience.  My feeling is: I could have played his set and done it well, but there would have been compromises on my need for charts, and to a lesser degree on intonation.  Fretless bass is cruel mistress, and if you need super strong fundamental pitches and are used to keyboards and fretted Fender bass, then fretless will always come up short.  And not being the best (I have good pitch, not perfect) I was never going to nail it the way he wanted it.  Moris wasn’t willing to make those compromises in rehearsal, but IMO ended up with a compromised live performance.  Still, the audience dug what he did, and I got to be part of a really cool set by an artist I now have a deep respect for.

Moris, on the Main Stage, Rochefort en Accords festival

For the festival program in general: In hindsight it would have been better if I knew what pieces I was playing, and could practice them without working on a load of extra pieces that I never got to play live.  As it was I busted my ass learning a lot of material that I never got to play and as a result I was spread a bit thin.  I also never got to see a few of the sights around the town of Rochefort that I wanted to see.  That is in hindsight.  In the moment I was having a ton of fun and would not have changed anything.

Rochefort Festival Wrap-Up 1

This is the first in what I believe will be a string of blog posts where I will try to make sense of what the past ten days have involved.  I think it it is fair to say that the intent is for me to make some kind of concrete statement, but I don’t think I can make anything like a final statement.  A big part of this experience was taking the lessons I learned from festivals like Zappanale, and applying them. My feeling right now is that I succeeded, and maybe learned some new lessons that will serve me going forward.

The deal with Rochefort en Accords is that the intentions are very ambitious, and I believe are meant to stimulate both the artists and the audience with unexpected results.  In some cases that is exactly what happened.  You had a mixing of styles and voices and something new emerged.  In other cases there were artists who basically recruited sidemen to replicate the parts they had already either played, written, recorded, or all three.  That is more about the festival promoter not being in the business of artistic enforcement.  This is a fact, not a criticism: the organizational aspects of this year’s festival did not match the ambition, but everyone found a way to get work done.  As I blog along I will, most likely, name names and relate observations of various degrees of success that I witnessed.  Regardless, what I witnessed was an astounding effort by the promotion team, volunteers, musicians, photographers and stage crew, and I can’t leave out the kitchen staff!

What I write in the following posts is my immediate impression, and subject to review.  I am starting out topically, and perhaps moving into specifics as I feel they are appropriate.

Cosmic Convergence? Or just Stuff That Happens?

In the midst of all of the machinations, emails, phone calls, decisions, and other whoop-de-doo involved in making this Rochefort gig happen, something really wild happened.  The point person for getting this “Roy Replacement” thing going is Napoleon Murphy Brock, who is one of the most recognizable frontmen ever to work with Zappa.  If you have heard Roxy and Elsewhere, Bongo Fury, or YCDTOSA Volume 2, for example, you have heard his singing, sax playing, and comedic timing in full effect.  He is a hard working guy (understatement alert), and you never know where he will turn up.

On Monday, as we were breathing a sigh of relief that the travel plans were going to be resolved, he mentioned that he was on the road and had just played a gig in… South-ing-something, in Connecticut… with the Ed Palermo Big Band… at some golf course or something….

He was in Southington, Connecticut last Friday, which is my hometown, and where I still live, and he played a wedding at the Aqua Turf, 5 minutes from my house.  The Aqua Turf is one of the premier event sites in Connecticut, and the place is booked way out in advance.  Think weddings, charity events, galas, and such.  Apparently a lawyer with much FZ themed ink and a real lust for Zappa hired Ed Palermo Big Band to play his wedding, and Napoleon officiated the wedding ceremony, as well as playing with the EPBB.  Which makes it probably the most badass concert ever to take place in Southington.  being a private affair, I had no idea about it and neither did most anyone else…  whaaaaaaaaaaaaaaaaaaaa

Two things spring to mind:

  1. It would have been good to know this ahead of time because we could have dome some actual communicating instead of rushed phone conversations with me at work and Napoleon in an airport somewhere.  It is just the nature of bid-nezz that we were not exchanging a lot of details about our itineraries during phone calls about the travel issues surrounding Rochefort.
  2. and, the Aqua Turf thing is kinda hilarious because back in the day it was a “swim club” with a 9-hole chip and putt golf course.  I had family with memberships there so I swam in the old concrete and sand “ceee-ment pond” and used to catch lunker bass in the golf course ponds!  It was very much a redneck scene as far as I remember it.  How the place became a major event destination is a tribute to the Calvanese family…. but I do miss the bass fishing.

BTW, if you are, or know of, who the FZ-mad lawyer is, drop me a line!  Love to know the missing link to this story.

Burn That Weeny!

OK… I think we are at the end of the BWS saga. One more post when the thing gets released on CD. More or less. The mission: create an homage to Zappa’s Burnt Weeny Sandwich album in 5 minutes or less. My additional “special ops” task: create a 21st track form all 20 official tracks. A sort of megamix sample mashup.

At Zappanale 18 I was approached by Andrew Greenaway about this project. Usually Zappanale is, for all it’s charms, almost hostile to the older Zappa material. The Flo & Eddie band is almost entirely ignored. The original mothers are lauded, but their music is not heavily exposed. I was shocked to hear Andrew dare to speak of something that came before Roxy! The NERVE! Perhaps we should find a quiet spot so as not to be detected? I digress… But, he also hit on my soft spot for this album, and of the excellence of that version of the Mothers.

It’s no secret that I enjoyed working on this project. Burnt Weeny Sandwich (BWS) was a revelation to me when I first heard it some 30+ years ago. I always saw it in the shops and had formed some expectations that it would be like a more modern version of Freak Out or something… That was easy to do when access to the audio on the vinyl disc meant either knowing someone who owned it and would lend it, or coughing up the cash for your own copy. I had borrowed Apostrophe, and I had bought a used copy of Absolutely Free, and I had heard Freak Out at some parties in my neighborhood. The more modern, arena rock (if you will) sound of the albums from the Ralph Humphrey band onward was what I was hearing. It turned out that the later efforts of the Mothers was what I needed to be hearing. BWS is a wide ranging melange of chamber music and guitar solos, bracketed by doo-wop numbers. It has great compositions, above average recordings (maybe as good as it got for the original Mothers), and overall it has excellent symmetry.

One of the most beautiful things about the Zappa catalogue is the way you can hear Frank learn, improve, mature, push boundaries (his and ours), and consistently forge ahead, whether the audience (or sometimes himself, I believe) was ready. The mix of concert audio, chamber/orchestra, and studio material was almost unheard of. FZ pulled it off like it was de rigeur.

So yeah… I was in. He had me at “weeny”.

Some months ago, about 18 or so as I count it, I finished my contribution to the 21xBWS compilation, titled Radioveture. It is impressionistic, heavily influenced by the musique concrete techniques that I was introduced to by Zappa, and featuring some of my dearest friends’ musical input. I was one of the first to complete a submission, and I thought that we would be finished tracking in early spring of ’09, and seeing a CD in Summer ’09. I think Andrew Greenaway did as well. One year later we are back on schedule, and it has really been worth the wait.

About a month ago Andrew did something really cheeky to me. When he sent me the other 19 tracks for the “special ops” project he didn’t send me the names of the tracks! Just 19 numbered files and a small batch of “outtakes”. I played along. I gave the whole batch an audition in numerical order. I was, as I hear the kids say… gobsmacked. I heard the other contributors using some of same the textures I had used, some of the themes, some of the humor, some of the love… It was like BWS had transmitted a kind of intrinsic musical DNA that was leaking through the various projects. Of course it does, as all great music does. Still, it caught me by surprise.

On the megamix track I left some of the samples are out in plain view. As well, some are so mutated that they are reduced to subliminal textures. My guide star was the feel of Civilization Phaze III, but not in a direct way. I also received, at the 11th hours and 30 minutes, a bonus piece of spoken-word/sprechstimme from my bestest cosmic amigo Gamma. That was crucial because I wanted to have something to tie it all together and provide a layer of continuity. Thanks, Gamma. You came through in the nick!

The track is titled Weenyization Phaze 21 and I’ll put up a link when it goes live to the public (special bonus track to the official release is what I hear brewing).

I have a plan to use the techniques from the BWS and IBS projects as the foundation of a full length release, but more on that as/if it comes to fruition. So, that’s a ramble through some of the background and concepts that have been running through my cranium lo these 18+ months. Hope some of you get to dig it when it comes out.

Later, and Cheers.