Frank Zappa - 1976 [1990] "Zoot Allures"

 

Zoot Allures is the 22nd album by the American rock musician Frank Zappa, released in October 1976 and his only release on the Warner Bros. Records label. Due to a lawsuit with his former manager, Herb Cohen, Zappa's recording contract was temporarily reassigned from DiscReet Records to Warner Bros.

The title is a pun on the French expression "Zut alors!", which conveys mild surprise.

The album was originally conceptualized as a double LP, but Zappa rearranged, edited, and shortened the track listing to what was eventually released as a single album. Zappa played a test pressing of the original album for Circus magazine in 1976, which reported a radically different, though slightly erroneous track listing that included "Sleep Dirt", "The Ocean Is the Ultimate Solution", "Filthy Habits", and "Night of the Iron Sausage". The former three tracks eventually surfaced on the 1979 Sleep Dirt and the posthumous Läther; "Night of the Iron Sausage" remains unreleased, but was seemingly intended to be a guitar solo of fair length. "Wind Up Workin' in a Gas Station" and "Zoot Allures" were absent from test pressings.

Zappa recorded the album after completing a world tour with a band including Napoleon Murphy Brock on tenor sax and vocals, Andre Lewis on keyboards, Roy Estrada on bass and Terry Bozzio on drums. However, this band appeared only on the live track "Black Napkins" with only Bozzio retained to play on the sessions, although Lewis and Estrada contributed backing vocals. After Zappa's death, one of the band's 1976 concerts was released as FZ:OZ. By the time Zoot Allures was finished, Zappa had begun forming a new live band, including Bozzio, Patrick O'Hearn and Eddie Jobson, who were pictured on the cover with Zappa, although the latter two did not perform on the album.

"Black Napkins", one of several guitar-driven pieces on Zoot Allures, began life accompanied by themes that would later make up "Sleep Dirt".[5] The performance heard on the album was culled from Zappa's February 3, 1976 performance in Osaka, Japan, though it was edited for the official release.[6] Along with "Zoot Allures" and "The Torture Never Stops", "Black Napkins" became a signature piece for Zappa, featuring heavily in nearly every subsequent tour and several official releases.

"Wonderful Wino" was originally released on Jeff Simmons' 1970 album, Lucille Has Messed My Mind Up. The album, produced partially by Zappa (though credited as "La Marr Bruister"), also included the title track, which later appeared on 1979's Joe's Garage.

On the liner notes to 1979's Sheik Yerbouti, Zappa notes that "Friendly Little Finger" (from Zoot Allures) was created using xenochrony.

The album's sound is influenced by heavy metal music, particularly that on the song "Ms. Pinky".

Zoot Allures, released in October 1976, is mostly a studio album (there are some basic live tracks, as in the title track and "Black Napkins") featuring a revolving cast of musicians who, oddly, do not correspond to the ones pictured on the album cover (for instance, Patrick O'Hearn and Eddie Jobson did not contribute). Compared to previous releases like One Size Fits All, Roxy & Elsewhere, or even Over-Nite Sensation, and to upcoming ones such as Zappa in New York, Studio Tan, or Sheik Yerbouti, Zoot Allures sounds very stripped down to bare essentials.

Zappa focused on limited instrumentation, lots of bass, and whispered vocals to create a masterpiece of dark, slow, sleazy rock. Except for the opening and closing numbers ("Wind Up Workin' in a Gas Station" and "Disco Boy"), all the material is slow to medium tempo with Zappa delivering the closest he'll ever get to a crooner vocal performance. "The Torture Never Stops" is the highlight, ten minutes of suggestive lyrics, crawling riffs, searing solos, and female screams of pain. That song and "Disco Boy" became classic tracks; "Black Napkins" and "Zoot Allures" rate among the man's best guitar solos. Historical note: The album was first devised as a two-LP set and would have included "Sleep Dirt," "Filthy Habits," and "The Ocean Is the Ultimate Solution," which all also fit the mood.

Although humor has not been completely evacuated, Zoot Allures comes through as a much more serious rock record. Yet, it is more than a transitional album; it represents one of Zappa's strongest accomplishments.

Frank Zappa was a hugely prolific artist, but it’s still worth marveling at the fact that 1976’s Zoot Allures was his 22nd. The album saw Zappa once again welcoming Captain Beefheart into the fold. Donnie Vliet added his harmonica to a pair of cuts – “Ms. Pinky” and “Find Her Finer.” As always with Zappa, there’s a bit of strangeness to grapple with. The album artwork pictures Zappa sidemen Patrick O’Hearn and Eddie Jobson, though they don’t play here. Zoot Allures also has a typically punning Zappa title, parodying the hackneyed exclamation “Zut alors!” while also – intentionally or not – referencing the post-war zoot suit.

Overall, Zoot Allures satisfies on every Zappa count. The man himself remastered it for CD later at his home studio, UMRK (Utility Muffin Research Kitchen), while the Zappa Family Trust’s arrangement with Universal Music Enterprises later found it a new home – on both CD and vinyl, no less. Over 40 years later, Zoot Allures still shines.

Personnel:

    Frank Zappa – guitar (all tracks), bass (1, 3–7, 9), lead vocals (1, 3, 4, 5, 7, 9), synthesizer (1, 4, 5, 9), keyboards (3, 5, 7, 9), director of recreational activities (3)
    Terry Bozzio – drums (all tracks), backing vocals (5, 9)

Also featuring

    Davey Moiré – lead vocals (1), backing vocals (1, 9), engineer
    Andre Lewis – organ (2), vocals (2), backing vocals (5, 9)
    Roy Estrada – bass (2), vocals (2), backing vocals (4, 5, 9), drone bass (6)
    Napoleon Murphy Brock – vocals (2)
    Ruth Underwood – synthesizer (4, 6, 7), marimba (6, 8)
    Captain Beefheart – harmonica (4, 5) (credited as "Donnie Vliet")
    Ruben Ladron de Guevara – backing vocals (5)
    Ian Underwood – saxophone (6, 7)
    Bruce Fowler – trombone (6, 7)
    Sal Marquez – trumpet (6, 7)
    Dave Parlato – bass (8)
    Lu Ann Neil – harp (8)
    Miss Sparky [Linda Sue Parker] (credited as "Sharkie Barker")[7] – backing vocals (9)

Keyboardist Eddie Jobson and bassist Patrick O'Hearn, who by the time of Zoot Allures' release were members of Zappa's band, appear on the album's cover but do not perform on any tracks.

Tony Williams - 1996 "Wilderness"

 

A full orchestra joins Tony Williams, Herbie Hancock, Michael Brecker, Pat Metheny and Stanley Clarke in this collection of tone poems that compare and contrast several takes on the meaning of wilderness. The leader provides a glimpse of the moods being portrayed through his choice of titles, as well as by supplying in the liner notes several familiar quotations about mankind and the natural world. Drummer Williams, who led the fusion band Lifetime in decades past, opts to contrast the natural sounds of an orchestra with the electronic sounds from keyboard synthesizers, electric bass, and electric guitar. Three distinct thoughts on wilderness present themselves through the musical moods being portrayed. The full orchestra, with its natural sounds, supplies pastoral scenes of the outdoors. The fusion quintet, through its "China Town" trilogy, expresses the brash rhythmic attitude of city life. Several pieces are special in that they employ thoughtful and soulful improvisation, which of course comes from that other wilderness lying deep within the mind.

One of drummer Tony Williams' final studio projects, this adventurous effort alternates selections by an all-star quintet (which includes tenor saxophonist Michael Brecker, guitarist Pat Metheny, pianist Herbie Hancock and bassist Stanley Clarke) with string orchestra tracks (usually using the rhythm section). Williams wrote most of the music (there is one song apiece from Metheny and Clarke), and despite the general unpredictability of the music (which ranges from melancholy to fiery), there is a surprising unity throughout the CD. Highlights include the pretty opener for strings "Wilderness Rising," a lyrical quintet number, "The Night You Were Born," the rockish freakout "China Moon" and the heated "Gambia"; only guitarist Lyle Workman's guest spot on his droning "Machu Picchu" is a minus. Otherwise, this is intriguing music that rewards repeated listenings, making one further appreciate the great loss suffered as a result of Tony Williams' premature death.

"The Night You Were Born" features Michael Brecker with a challenging tenor sax outing that shows off his technique and deep, ringing tone. Hancock on piano and Metheny on guitar blend to produce an image of some smoky dance hall late at night with only a few customers left standing around. Hancock stretches out in "Gambia" to share his unique mix of energetic and blues-based piano stylings; Metheny follows that with some of his delicate and fluid solo guitar work. Finally, "Cape Wilderness" sums it all up with fine solo work and group interplay from the quintet. Recommended.

This is the Tony's authoral last work, if i'm not wrong.
As he said in a 1997 interview to modern drummer, he was very proud with this album. He composed almost all musics. He was feeling himself more mature as a composer. This album is about a travel. Something like an imigrant in the new world travelling across the new land by train. This work is a movie in music format. The arrangement have an harmonic orchestration. For him, one album is a complete history, not a fragmented number of peaces. This songs are linked, musical, peacefull, not a drum show in first plane (this he made as a master in all his life). It's a beautyfull and poetical goodbye from one of the greatest master of the music. And, defying simple categorization, right to the end. Tony William's last album (?) and in many ways a synthesis of more new beginnings for him - jazz meets the orchestra - neo-fusion - funk - latin - swing - classical. If anything, I was only disappointed he didn't throw in some hard bop - but his own compositional leanings were more toward jazz-rock-fusion, and in some ways that has become mainstream - only because Mr Williams was one of the key innovators of these genre, and we are appreciating his work from a post-Williams, post-Zappa perspective, if you get my drift. Anyway, it's a fantastic album - with great synergy between all players - all giants of jazz!! Highly recommended.

Track listing:

01 Wilderness Rising     7:35
02 China Town     8:33
03 Infant Wilderness     2:31
04 Harlem Mist '55     4:03
05 China Road     2:46
06 The Night You Were Born     8:05
07 Wilderness Voyager     2:07
08 Machu Picchu     6:42
09 China Moon     3:24
10 Wilderness Island     2:49
11 Sea Of Wilderness     3:06
12 Gambia     6:13
13 Cape Wilderness     7:15

Personnel:

    Drums – Tony Williams*
    Piano – Herbie Hancock
    Bass – Stanley Clarke
    Guitar – Lyle Workman (tracks: 8), Pat Metheny
    Bassoon – John Steinmetz (tracks: 1, 3, 4, 7, 11), Rose Corrigan (tracks: 1, 3, 4, 7, 11)
    Cello – Armen Ksajikian (tracks: 1, 3, 4, 7, 11), Steve Erdody (tracks: 1, 3, 4, 7, 11)
    Clarinet – Charles Boito (tracks: 1, 3, 4, 7, 11), Ralph Williams (4) (tracks: 1, 3, 4, 7, 11)
    Double Bass – Chuck Berghoffer* (tracks: 1, 3, 4, 7, 11)   
    Flute – Gerri Rotella* (tracks: 1, 3, 4, 7, 11), Susan Greenberg (tracks: 1, 3, 4, 7, 11)
    French Horn – David Duke (tracks: 1, 3, 4, 7, 11), Rick Todd* (tracks: 1, 3, 4, 7, 11)
    Harp – Katie Kirkpatrick (tracks: 1, 3, 4, 7, 11)
    Oboe – Chris Bleth (tracks: 1, 3, 4, 7, 11), Earle Dumler* (tracks: 1, 3, 4, 7, 11)
    Percussion – Bob Zimmitti (tracks: 1, 3, 4, 7, 11)
    Percussion [Additional] – David Garibaldi (tracks: 2)
    Tenor Saxophone – Michael Brecker
    Trombone – Alan Kaplan (tracks: 1, 3, 4, 7, 11)
    Trumpet – Walt Fowler (tracks: 1, 3, 4, 7, 11)
    Viola – Alexis Carreon (tracks: 1, 3, 4, 7, 11), Brian Dembow (tracks: 1, 3, 4, 7, 11), Ken Burward-Hoy* (tracks: 1, 3, 4, 7, 11), Margot Maclaine (tracks: 1, 3, 4, 7, 11)
    Violin – Karen Jones (2) (tracks: 1, 3, 4, 7, 11), Kathy Lenski* (tracks: 1, 3, 4, 7, 11), Ken Yerke* (tracks: 1, 3, 4, 7, 11), Liane Mautner (tracks: 1, 3, 4, 7, 11), Margaret Wooten (tracks: 1, 3, 4, 7, 11), Mario De Leon* (tracks: 1, 3, 4, 7, 11), Ralph Morrison (tracks: 1, 3, 4, 7, 11), Sheryl Staples (tracks: 1, 3, 4, 7, 11)
    Orchestrated By – Tony Williams* (tracks: 1), John Van Tongeren (tracks: 3, 7, 11), Stanley Clarke (tracks: 4)
    Producer – Tony Williams*

Tony Levin - 2002 "Double Espresso"

 

Although bassist Tony Levin has played on countless albums since the early '70s, he did not get around to issuing his first album until the late '90s. Perhaps to make up for lost time, Levin has cranked out solo releases on a consistent basis since his 1996 solo debut, World Diary. 2002 saw the release of his fourth solo outing in six years, the double-live disc Double Espresso. Credited to "the Tony Levin Band," the album sees Levin joined by synth player Larry Fast, and a pair of guitarists/vocalists, Jesse Gress and Jerry Marotta. Included are renditions of Levin solo tunes, tracks that Levin has played on by other artists, and also non-related covers performed just for the heck of it. Standouts include a cover of Led Zeppelin's "Black Dog" (in which Levin replaces Robert Plant's sex-crazed vocals with his bass, of course), as well as readings of King Crimson's bass showcase "Elephant Talk," Genesis' "Back in NYC," and a few moody Levin solo tracks, including "Silhouette" and "Utopia." If you couldn't have already guessed from any of the exceptional live DVDs by King Crimson or Peter Gabriel that he's appeared on, Double Espresso proves once and for all that Levin has no problem replicating his bass mastery on-stage as a band leader.

This (double) live album offers an excellent overview of the man's career, as sideman as well as with his own band (feat. (Peter Gabriel) band mates Larry Fast and Jerry Marotta). Styles and moods stretch far and wide, as could be expected with these outstanding musicians, from the angular workouts of the opening Pieces of the Sun to the almost new-agey Silhouette it only takes two steps and there's so much more to come! Original material mixed with picks from his own past and brilliant - and often quite surprising - cover versions (Black Dog, Tequila, Peter Gunn!) served with a good dose of tongue-in-cheekness.

If you have enjoyed Tony Levin's two most recent solo works ("Pieces of the Sun" and "Waters of Eden") then this live album will be highly enjoyable, since the track list is taken mostly from them. Now, if you are (like most Levin fans are) a follower of Peter Gabriel, Genesis and/or King Crimson, then there's WAY more to dig in this live production by Tony Levin and the boys (essentially, almost a repeat of the line-up of Peter Gabriel's band from the eighties, with Levin on bass and stick, Jerry Marotta on drums, Larry Fast on keyboards and Jesse Gress on guitars). The song written by Peter Gabriel "Dog One" is featured live, on disc 1 and even Led Zeppelin fans get a bonus, with an incredible rendition of the Zep classic, "Black Dog," but even better are the songs on disc 2, where "Phobos" by Larry Fast is featured, along with (YESSSS!!!) an amazing version of the 1974 song "Back in NYC," from the last album Genesis recorded with Peter Gabriel. This song became a classic performance with Gabriel and his band in his early solo years, before 1980.
King Crimson fans are up for an exquisite couple of songs from the band's 80's work: "Sleepless" (disc1) and "Elephant Talk," both of which are impeccable. Finally, California Guitar Trio, joins the band for a magnificent version of the Henry Mancini classic "Peter Gunn" that was made even more popular by Emerson, Lake and Palmer in the seventies. Closing the second disc is my favorite recent song by Tony Levin, but with a twist: "Belle," with Pete Levin on keyboards and Tony playing some of the most exquisite jazz bass you will hear around. So, who can ask for more? For someone who saw Tony Levin during his concert in Phoenix in 2000, this was a very rewarding addition to my collection: he's a gentleman on and off the stage, who opens up to his fans and is willing to devote time to them. Tony: we salute you, and thanks for putting this double-album together for us!

Track listing:

CD 1
    "Pieces Of The Sun" - 7:15
    "Geronimo" - 3:27
    "Silhouette" - 4:35
    "Dog One" - 5:36 (Peter Gabriel cover)
    "Tequila" - 5:15 (rearrangement of The Champs song)
    "Black Dog" - 5:35 (Led Zeppelin cover)
    "Ooze" - 4:33
    "Apollo" - 8:44
    "L'Abito della Sposa" - 4:06
    "Sleepless" - 6:59 (King Crimson cover)


CD 2
    "Pillar of Fire" - 6:59
    "Ever The Sun Will Rise" - 7:48
    "Phobos" - 7:01 (band arrangement of a song recorded by Larry Fast under his Synergy project name)
    "The Fifth Man" - 5:56
    "Back in N.Y.C." - 6:13 (Genesis cover)
    "Utopia" - 7:39
    "Elephant Talk" - 5:51 (King Crimson cover)
    "Peter Gunn" - 3:48 (Henry Mancini cover)
    "Belle" - 4:24

Personnel:

    Larry Fast : synthesizers, bass drum (disc1-07)
    Jesse Gress : guitars, vocals (disc1-04 and 05)
    Tony Levin : bass, cello, Chapman stick, acoustic guitar (disc1-08), lead vocals (disc1-09, disc2-07), vocals (disc1-04,05 and 10)
    Jerry Marotta : drums, sax, vocals, percussion (disc1-05), acoustic guitar (disc1-08), Funk Finger guitar (disc1-07), lead vocals (disc1-10, disc2-05)
    The California Guitar Trio (Bert Lams, Hideyo Moriya, Paul Richards) : acoustic guitars (disc2-08)
    Doug Stringer : drums (disc1-05)
    Pete Levin : keyboards (disc2-09)

Miles Davis - 1973 [1997] "Black Beauty" - Miles Davis at Fillmore West

 

Black Beauty: Miles Davis at Fillmore West is a live double album by American jazz trumpeter, composer, and bandleader Miles Davis. It was recorded on April 10, 1970, at the Fillmore West in San Francisco, shortly after the release of the trumpeter's Bitches Brew album and the recording of Jack Johnson (1971). Black Beauty was produced by Teo Macero, Davis' longtime record producer.

A jazz-rock album, Black Beauty captured one of Davis' first performances at a rock venue during the early stages of his electric period. At the concert, he led his band—saxophonist Steve Grossman, bassist Dave Holland, keyboardist Chick Corea, drummer Jack DeJohnette, and percussionist Airto Moreira—through one continuously performed set list which functioned as a musical suite for soloists to improvise throughout. He signaled changes from one piece to the next with phrases played on his trumpet.

Black Beauty was first released only in Japan by CBS/Sony in 1973 without individual songs specified in the track listing. Columbia Records, Davis' American record label, had difficulty identifying the compositions for royalty purposes, and the album was not released in the United States until 1997. Critics were generally positive toward Black Beauty, although some were critical of its sound quality and Grossman's solos; Corea said the recording was an accurate document how that particular band of Davis' played live.

The recording of this concert, not released until 1973 and only in Japan, took place on April 10, 1970 at the Carousel Ballroom, where Bill Graham, the legendary west coast impresario of psychedelic rock, had moved his Fillmore Auditorium in 1968. Steve Grossman, who replaced Wayne Shorter, used only the soprano saxophone, an instrument more capable than the tenor of penetrating the wall of sound produced by the decidedly free and powerful rhythm section, which was pervaded by the electronic effects created by Chick Corea’s electric piano. On its first release, the four sides were simply titled “Black Beauty Part 1,” “Part 2,” etc. Admittedly, identifying these pieces, which flowed into each other in an unbroken medley, was not easy. Although fragments of “I Fall in
Love Too Easily” and “The Theme” (Miles’ sign-off since the 50s) remained, he was in the process of leaving behind his popular standards. Aside from the very abstract “Masqualero” by Wayne Shorter and “Directions,” his habitual opening number borrowed from Joe Zawinul, his program was drawn from In A Silent Way, Bitches Brew, and the Jack Johnson sessions, completed three days before the concert.

When Miles Davis gave his triumphant live date at the Fillmore East in New York City in 1970 (where it was captured in the widely acclaimed Miles Davis At Fillmore) he also gave another highly successful live performance at the Fillmore West in San Francisco the same year when he became one of the top live attractions of this rock venue.
Released in 1973, Black Beauty: Miles Davis At Fillmore West again feature the exhilarating fireworks and hard-rocking funk highlighted with a series of nonstop artistic action, soaring electric keyboard artistry which sways or screams through the live performance with stunning vitality and sheer background that have made it such a surefire hit.
By starting off with a superlative bang on Directions, the crash course- driven track set concludes on Miles Runs The Voodoo Down, Willie Nelson, a rather brief reindition of I the classic standard Fall In Love Too Easily, Sanctuary, It’s About That Time, Bitches Brew, Masqualero and Spanish Key as Miles and the band plays
them in absolute timing. Again heading a vigorous band line-up which feature Steve Grossman on tenor or soprano saxophones, Chick Corea on Fender Rhodes electric piano, Dave Holland on electric bass, Jack DeJohnette on the drums and percussion maestro Airto Moreira (who also plays the cuica) alongside Miles’ wah-wah powered trumpet solos, they give Black Beauty: Miles Davis At Fillmore West the high energy and low key vim that made it quite a hit on the jazz and R&B charts.

Track listing:

Disc 1
    Directions
    Miles Runs The Voodoo Down
    Willie Nelson
    I Fall In Love Too Easily
    Sanctuary
    It’s About That Time

Disc 2
    Bitches Brew
    Masqualero
    Spanish Key/The Theme

Personnel:

    Chick Corea – electric piano
    Miles Davis – trumpet
    Jack DeJohnette – drums
    Steve Grossman – saxophone
    Dave Holland – bass
    Airto Moreira – percussion