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Many artists, after they have achieved success, it is at this moment that they begin

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exploring other music. But Frank Zappa was completely mobilized in this regard.

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before he even started. Zappa was O'Fey with modern classical composers, he was O'Fey with

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the most obscure RandB artists, the most obscure jazz artists, Archie Chet, Eric Dolph, you name it

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this. I mean everything was in place.

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How could someone who liked Varesse, Stockhaus and Schoenberg like Dewaup? But he liked it.

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For him there was not much difference between what he liked and the fact that he liked something unusual.

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The quintoles he heard on the Dewaup record. He heard them the same way. For him these

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There were virtually no genres or divisions. It was just music.

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He doesn't like music. Dot.

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When Frank Zappa and the Mothers of Invention entered the international music scene

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with their 1966 debut Freak Out, few knew what to make of the record or the band

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Famous frontman. Bright album cover, its satirical content and combination

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various disparate musical forms confused many, not knowing whether it was simply caused by drugs

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a joke or something much more important. However, inside this double album there was a list

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Influences, 179 names, a few famous but most obscure, that provided clues

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the musical vision of band leader Frank Zappa.

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Zappa was very open about his sources of inspiration. Each column contains 23 names. I always thought

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This was quite significant. And he tells you where he got it all from. I think

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Zappa had a strong dislike for lazy glamor boys and girls. He had a strong dislike for

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people who are just popular at school and then play guitar and stuff like that

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Success simply leads to success for the entire industry. He wanted to stop this. He wanted, he wanted

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there was that guy who sat at the back of the class. He had his own principles and delinquent behavior.

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This was done to show very clearly where he got the materials he

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organizer And one of his main features is that I am an organizer. I'm a composer. Give me anything.

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and I will organize it.

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And the music that Zappa composed and organized under these influences was complex and

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Stupid, highbrow and base at the same time. As the group grew and their music became more popular,

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to attract a wide base of loyal and ardent supporters, they have become a completely unique team in

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rock world. And Zappa himself, a musical visionary, an artist whose work could not

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cannot be compared with any of his contemporaries.

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We did some really complex music that he wrote. We arrived at a certain time.

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It was perfect. It couldn't have happened before or after. This should have appeared

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Right at that moment. If you took a group like the mothers, even 20 years ago...

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This wouldn't have happened before. At that time there were many groups

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who played music that could be considered art, if you like. Starting with The Beatles.

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And then the Rolling Stones and Doors. They were trying to do something that was artistic.

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In a way, they succeeded, but without the complexity that Zappa's music had.

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This complexity was due in part to the influence of some of the lesser-known names mentioned in

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While many of the figures seeking to include a new artistic dimension

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popular music began to come into vogue with the avant-garde towards the end of the decade,

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Zappa entered the world of rock already fully immersed in music from the outskirts.

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As a teenager, he was particularly drawn to the more complex works of cult classics

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composers of the first half of the 20th century.

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These composers were revolutionaries who rewrote the rules and radically changed sound

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the possibilities of classical music, which has dominated over the past 200 years, and

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Both their work and their attitude had a huge impact on the young Zappa.

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In the 19th century, I think there was a musical lingua franca that was quite

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Which every composer spoke, regardless of his background. This language was

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Austro-German tonal tradition, growing out of the past of Bach, Mozart, Haydn, Beuter,

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and so on and so forth. In the 19th century this was greatly developed in Austria and Germany.

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and to a lesser extent in the countries around Austria and Germany. It really comes to a head

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in the work of Wagner in the second half of the 19th century, where the existing language

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developed to such an extent that it begins to overcome the barriers it perceives, rather than

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at least in terms of chromaticity, extended time scale, orchestra size, etc., etc.

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Once Wagner questioned these basic tenets of the Austrian-German tradition, a challenge arose

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composers to the extent that they continue Wagner's innovations or react in some way

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against them. This reaction to Wagner and the two key composers took two different directions.

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who represented both ends of this spectrum were major influences on Zappa. Austrian Arnold

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Schoenberg tried to expand the German romantic tradition and ultimately abandoned the musical

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As part of his musical philosophy, he

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he was the pioneer of the 12-tone technique, a widely used method of superimposing a hierarchical structure

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While Schoenberg was experimenting with atonality, the Russian composer

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Igor Stravinsky developed techniques for both writing in two keys simultaneously and creating

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New rhythmic structures. The innovation of both composers had profound significance.

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Influence on classical music of the 20th century. Schoenberg believed that Wagner's example

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movement in an increasingly chromatic direction must have been the base point from which development proceeded

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happened and therefore at the very end of the 19th century, at the beginning of the 20th century, the work of Schoenberg

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becomes increasingly chromatic until a point around 1970 or 1980 when it loses all real

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connection with the term tradition and instead becomes completely chromatic.

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Schoenberg's work in the 1920s was certainly little appreciated by his contemporaries.

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I think it was perceived as radical work, extremely unpleasant music that seemed

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have little connection with the past. Schoenberg, in his opinion, was actually

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desperately trying to continue the past. Despite the initial suspicion with which his music...

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was met with enthusiasm, Schoenberg's innovations created an entire musical system, serialism, and his

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These practices were reflected throughout the 20th century. Zappa also studied the work of Schoenberg and

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The Austrian composer was one of the key classical music names on the Freakouts eclectic roster.

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I think Schoenberg's main influence on Zappa was that he realized

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Thanks to Schoenberg, it was possible to see alternative ways of composing music. There are several passages

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in Zappa's earlier music, which was clearly written using, if not the 12-tone method, then very

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Chromatic compositional methods. It sounds like the wrong musical note to use this unfortunate phrase.

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and they are very clearly visible in Zappa's tracks.

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There are other things that I think it would be fair to say that it's almost as if

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Performed by the prestigious Schoenberg. Sometimes in a choral work, which can be found e.g.

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on 200 motels or in the piano composition that can be found on some of the other tracks.

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And just as Zappa was fascinated by the completely unique path that Schoenberg took, he was also

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intrigued by the equally unique work of Russian composer Igor Stravinsky. Named

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Thai magazine named Stravinsky one of the 100 most influential people of the 20th century. Answer

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Wagner's compositional challenge found a much larger audience than Schoenberg's, although it was

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no less daring and inspired. The tradition in which Stravinsky grew up was largely associated with

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Rimsky-Korsakov and earlier Russian composers. She owes a lot to Russian folklore,

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It was very colorful music, it used tonality, but in such a variety that it included many chromaticisms.

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colorful kind. And this really culminated in the Rite of Spring festival in 1912 and 1913, which

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is largely based on the traditions of Russian folklore, which uses many traditional

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Russian melodies, although in many cases heavily disguised.

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This in a sense sets the agenda for a certain kind of post-tonal creativity in which interest

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very superficial in music in terms of its color and immediate sensation.

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It is also very rhythmic music, as one would expect from the Russian tradition.

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Many of Stravinsky's early works were written in the genre of ballet, and inevitably in a ballet score the idea

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the kind of through, composed long, arched musical argument must fall by the wayside because

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The music should largely focus on the individual episodes that make up the ballet story.

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Accordingly, even such a work as “The Rite of Spring” is very much divided into sound blocks that

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are opposed to each other. Stravinsky is moving more and more towards a sandy world, which

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To a greater or lesser extent relies on popular musical archetypes, but also, on the one hand, colors them

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with additional chromaticism or distances and with additional tonal colors, but also considers them in

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very blocky. It turns out almost like a copy and paste format: columns, fragments, blocks.

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music that is opposed to each other rather than developing in a more traditional direction

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Astra-magazine. And just as Schoenberg's work influenced Zappa's, so too

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Stravinsky's compositional methods. This type of writing, based on copy and paste blocks,

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What developed during this period was extremely important to Zappa. This can be found on one level

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in individual tracks that seem to jump from one musical idea to another without any idea

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In particular, they develop, but rather oppose each other. But this can also be found on some

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entire sides of an album, for example, or in very long tracks where it's almost as if

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Small peaks attract attention. I think it would be fair to say that in the first part of "Lump Grave"

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This is exactly what happens when we get a series of compositions that are cut and

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inserted along with other musical elements, as well as sound effects, snippets of conversations, etc., etc.

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In a sense, it all becomes a kind of collage or mosaic of different color blocks,

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sound, texture, etc. etc., and not any organic long-term developed

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Arch of ideas. Zappa's interest in 20th century composers led him to the pivotal Schoenberg.

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Webern's student. Electronic works and magnetic tape manipulation by Karl Heinz Stockhaus and his

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Pierre Schaefer and random music pioneer John Cage. However, his greatest inspiration in this area

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the first classical composer whose work he discovered was the Frenchman Edgar Verres.

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Another musical visionary, author of a relatively small number of works written in France

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and in America he rethought the role of Tamboro and rhythm in classical music. His main work

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Ionization, written in the late 1920s, was a piece written exclusively for percussion instruments and directed towards

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At the end of his life he became interested in electronic music. Zappa and his mother's debut album, Frozen Out, not only...

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Verres's name is among the list of influences, but his statement that the modern composer refuses

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die Zappa included a sort of battle cry in the lyrics, a statement of intent that would also appear on

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Several other mother releases in the 60s. Quote that a modern composer refuses to use

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die is the first quote in a series of related quotes you get when you're terrified, and it appears again

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on many subsequent recordings. So Edgar Verres Zappa's name was probably promoted more than any other.

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This influence was great, and he was very attached to Edgar Verres, because he considered him

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No one told him that Edgar Verres was good or great, but he had the idea that in fact

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there was a conspiracy to hide this music from him. He found her the same way he found her

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Lots of RandB in a dusty record store. Verres is an interesting figure both in himself and in

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in terms of his influence on Zappa. If we consider the music of the 20th century from a generally accepted point of view,

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History as a dichotomy of following either Schoenberg or Stravinsky. I think it's fair

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it is said that Verres actually stood completely outside this dichotomy. His views were largely based on

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a combination of two composers, but also I think they came out of Russian and especially

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The French attitude towards sound as such. Verres liked to portray himself as an orphan, left without parents.

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Of course, one cannot be born an orphan, and in his early music there are several clear examples of how

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he consciously borrows from Debussy and Stravinsky, but he tried very hard to create an image

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a composer who was pushing forward into entirely new territory, while both Stravinsky and Schoenberg

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moved forward, without taking their eyes off what was before them. It was clear that

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Verres had no real understanding of music history and was much more focused on discovering the musical future.

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Verres was so strange. What he did with the percussion and sirens and all that stuff, you know.

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It was very strange. I think it worried him because he didn't understand everything right away.

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What is extraordinary about Verres's essay on ionization is the fact that it is almost

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Completely written for percussion instruments. Therefore, all sense of melody and harmony disappears.

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music and simply the timbres of individual percussion instruments, their collective sound

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barbarism, if you will, and an absolute focus on rhythm in terms of moving the music forward.

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It must have been an amazing experience for Zappa to discover this music as a teenager.

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and, of course, it is the percussive aspects of Verres' work that stand out most obviously.

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in the music of Zappa himself.

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Music

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The music is rhythmic and complex, and it does things with rhythm that are very very

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Interesting if you're a drummer or interested in rhythm, and Zappa immediately heard it and

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for him there was little difference between liking this and liking the unusual quintuplets

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He heard them on the Do What record. He heard them the same way. For him these genres and divisions

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didn't really exist. This is one music.

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Music

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Therefore, the modern composer’s quote “refuses to die” became for him a kind of slogan about how

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to approach a classic heritage, you approach it on your own terms, you take what you like

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And you celebrate it. The Verres quote not only became synonymous with Zappa, but also

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The Frenchman's artistic philosophy also proved highly influential. Verres was very good at

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perpetuating his own myths, like many composers, and therefore the idea that Verres is

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a completely isolated person, having no connection with any musical institution, I think,

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he was treated with a certain degree of suspicion. Verres, of course, relied, like most other composers,

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for various types of income, be it commissions, speaking fees,

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support from individuals and so on. However, he immortalized the image of a man

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very extraordinary and in itself, and I think that the aesthetic view that he tried to cultivate,

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The composer, as an ardent individualist, must have influenced Zappa. Zappa –

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almost unique among so-called rock musicians in that he acts much like a composer

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as a member of the group, and not as an o-terl. He writes music that he hires musicians to perform.

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if he rehearses them to the point of exhaustion, he expects complete dedication, but he sees them in

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feel like just workers, and this is very similar to the position of a rugged individualist modernist

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Composer. I don't know if this is a good way to communicate with people, but Verres is definitely

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and this was something that Zappa followed closely even in his early years with The Mothers

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Inventions. And although Zappa drew inspiration from these composers, his own music was

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often firmly rooted in rock language, and so these classical influences were synthesized in this way

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that it could never be dismissed as obvious or merely imitation. I don't hear about this often.

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I think he just brought that kind of texture or those kind of writing ideas to it.

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more complex lines, that's all. He did not try to reproduce Po-Chonell or

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writing about spring or something like that, but feeling it and bringing that idea into the writing

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specifically, just specifically, straight into the realm of rock and roll, which he did for sure, but

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but he didn't, it wasn't like you suddenly heard a rock 'n' roll tune and thought, "Oh,

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I'm listening to something rock 'n' roll right now, but why does it sound like Stravinsky?

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He just never did that. He didn't take over someone else's work, he just took over the style.

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but he created in his own way his own version of what was, and what's funny is that he did it in a way

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He wanted to do it in a way that would make people

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to listen to it, incorporate it into the work and make it become an integral part of

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an album that you wouldn't take off the record and say, "Oh, I don't want to listen to that."

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Let me get to the track too. No, he was just part of the album, you can't imagine him listening to this album.

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Without this, and this is the key to everything. However, over time it became clear

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some listeners that there were more direct references to Zappa's heroes in the music

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often hidden and reproduced in completely different musical contexts. I think the most

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A prime example is probably on a completely free site that has a little bit of Patrusky

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Status is back, baby, and there's a passage from Holst that leads into the invocation and ritual

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dance of a young pumpkin.

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Us Episode 51

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I think if Jean-Zappa quoted five or two from Beethoven or something like that,

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This would mean that he is recognizable. Although I think people recognize it when he quotes Hulse.

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Absolutely free, but I mean it wouldn't be so obvious otherwise. I mean, especially in cases like this.

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Uncle Me, in which the title song was literally spoken by Millhout and Om Asonde.

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Perhaps it was not entirely playerism. I think he barely got away with it.

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But I don't think the average rock fan knew that.

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There are quotes here and there, but all these quotes, like in "The Duke of Prunes"

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I represent them. Because, basically, I knew them, and Zappik liked that I played.

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their. That is, most of this material was first done at a concert, and then recorded, like on an album.

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Music

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Well, if you look at it at the time, it was just the performance of these pieces, because or those parts of these

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pieces because Frank thought they were important music and he liked them and just wanted to include them

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them in the show. Part of our job in the band was to make Frank laugh.

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And things like that always made him laugh. You know, it's a combination

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Stravici against the song about the Duke of Prunes. You can do research and find quotes from

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Classical composers such as Frank Zappa. But these, like, pedantic ones, cling to the quote.

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What people point to. I think Mr. Point because when you first hear a record you don't know

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This is the result of subsequent research, and I think it would be a little stupid to justify Frank Zappa.

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because of these quotes. But he did not try to lead people in a classical direction. He had

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No claims to Mazzorgsky's acquaintance with people like Emerson Lake and Palmer. Frank's attitude

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it was very, very different, and these embedded quotes have no meaning. I'm wondering how

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Frank makes you think of classical music rather than showing that Frank was influenced by classical music.

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Music. I think he's throwing an answer at you. He asks, “Why do you like these sounds?” What's so exciting about

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Why are these sounds suppressed in most areas of musical culture? He asks questions that

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And then you go back to them and ask: “Well, why do I need all this boring music in my collection?” He does

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You are critical. But it's not the place where the classic quote, "Aren't you smart?" It works

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to something more interesting and beyond that. It's about the real impact of music.

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at you. Although this influence was often present in any musical projects he worked on,

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Towards the end of his career, Zappa became much more active in the classical field and was partly

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Accepted by the entire community. In 1981, he was named master of ceremonies at Edgar.

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Concert in memory of Verres, and during this decade he embarked on a series of musical experiments

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using the Ciclavier, producing albums such as Francesco Zappa's, his own unique performance

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the works of the 18th century composer of the same name and at the same time his own compositions were

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performed in classical arrangements by various orchestras and ensembles. Towards the end

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his career he basically gave up performing on stage, and I think when he kind of gave up performing live,

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solo concerts, he felt that he could afford to do something like music.

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what he really wanted to do, and he certainly reinvented himself as a modern classical composer

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of course, from people like Verres, Stravinsky and other idols of his childhood.

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I think his main motivation was that he wanted to hear it and didn't care what others

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People didn't know. Towards the end of his life, he recorded an entire album of works by Edgar Verres.

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It's called "Rage and Fury." It was never released and, according to a close source,

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It was enough for his relative that Frank could hear it. There were people in the classical theater

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or the avant-garde music world, which saw in Zappa a serious composer who realized that the obvious

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The rock or pop surface of much of his music actually hid something much deeper in intent

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what was happening beneath the surface. These are the kind of people who could encourage

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him in his work with Verres and Weber, and in later life they also included

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Pierre Boulez, who became famous for recording some of Zappa's music and so on.

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To be fair, such people were in the minority. To this day, the vast majority of those involved in

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classical music will especially appeal to those who are more attached to the past than to the present

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I see Zappa more as a joke, as a man from the world of rock who is somehow trying

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to gain some sort of recognition for its reference to the classical world of the avant-garde. As a result Zappa

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not taken seriously, but deep down I suspect that he wanted to be taken very seriously, as a real

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a composer, not a rock musician who, let's say, had ambitions. I think by then

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The modern ensemble played the music of Y'all of shark, I think he was satisfied with it

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All this. This made him look like the composer he always wanted to be.

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He wasn't interested in being a member of the classical community, he was in the rock world and he

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felt that this was the basis, this was what he liked musically, energetically, and he really

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enjoyed playing on stage, as in front of an audience, and he really felt that I was quite sure that I would not

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to say this is wrong, what he wanted to convey to the audience, especially to children,

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people in particular, and this was obviously the way to do it, whereas if you were a member

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classical music community, you might ask who you hang out with, do you know what you write

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these wonderful works, but who hears it? Frank was just frank and he was

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He's great at what he does, so why should he do anything else? You know he

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wrote that he wrote classical works, but they were always, as it were, integrated into all kinds of

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rhythmic, especially because he liked unusual rhythms, but he liked energetic rhythms

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So, as you well know, many figures are made up of sevens, fives, elevens and everything in between.

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whatever, but all parts are played very energetically, not played in a complex rhythm

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which you can now point to and say, “Well, I mathematically calculated that there should be 11 beats.”

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there and then we can trust and so on and so forth so it was really rock and roll this this this

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that it was even in classical works.

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And as with all rock 'n' roll culture, the core of Zapper's approach to popular music is

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there was rhythm and blues. Just like this crazy list of influences, little-known composers are mentioned.

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known to many of its audience, it also includes both popular and lesser-known names from

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the world of RandB, whose work inspired the young musician, and although by the time he became

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taking their first steps into the popular music industry, many of these artists who were

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glorified British Invasion groups in the 1950s, even those figures who went further

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to their greatest success have been a marginalized element of American popular culture.

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What you have to remember is that in the late 40s and early 50s RandB was kind of

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A illicit pleasure for white teenagers that could be picked up through radio static.

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some kind of black station that would play things like too many drivers

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"Smiley Lewis" or "Work Me Annie" by Hank Ballard and The Midnighters are all about sex and

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almost all of them were suspended from white radio or at least, you know, received very limited

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to play in a way that you knew you were kind of targeting something that was a little underground.

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I think as a result of this, you know, Frank, his nature as a scientist is really

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prompted him to explore what was beyond this, and he did find some completely unknown artists

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and as a teenager he shared this passion for blues and RandB with his school friend Don Van Vliet

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who became Captain Beefheart thanks to his early blues compositions.

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and as Zapper developed as a musician, he performed in bands that promoted

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the respectable boundaries of race and music in suburban America.

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Lancaster, where they grew up, I mean the distance from Los Angeles was terrible for years.

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as it was very far away in desert areas, there was a lot of resistance, especially when

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Frank had the soots, I think it was one of the other groups, it was actually racial

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integrated, and so the local authorities strongly objected to this, so I mean, you know, it was

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hard struggle all the way.

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And despite his interest in classical composition and his work on film scores in the early 1960s,

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Zapper has always had his finger on the pulse of the RandB world, having been a member of various bands before his discovery

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of the giants of soul, the cover bands who became the mothers of invention.

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He was musically sophisticated, but also had great respect for the integrity of the blues.

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musically there's dirt under his fingernails, so when he found a band called Soul Giants with Jimmy Carl

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Black on drums and Roy Estrada on bass, who played soul music and listened to him,

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really interested, finally he could have this uneducated weight in his music, so I think the whole

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Frank Zapper depends on the opening of this group, which depends on Jimmy Carl Black.

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solid work by the drummers.

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And with this group at his side, Zapper was able to begin to form his own take on the RandB tradition.

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while British bands such as the Rolling Stones praised the work of artists such as Howling

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Wolf Jimmy Reed and Bo Diddley Zapper would name both famous names along with individual tracks

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like "Riot" and "Cell Block Number Nine" by Robins, and all these influences are reflected

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to the music of the mother.

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Richard Berry sang there, whom Frank mentioned as a very strong influence not only on him, but also on

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Overall, pop music. Berry's most famous composition, Louis Lui, is played as often as

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rocks in streams throughout Frank's career.

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Find him again, wait for me, I will board this ship, we will cross the sea. I'm talking this year.

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Of course, the chord structures and even some of the lyrics appear on the plastic people.

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absolutely free, and there is a real live version in the album hall

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on Uncle Me and I were actually present when someone rose from the audience who

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asked to play the trumpet, which he did not know how to play, but they still created music, receiving

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Don Preston to go up on the album, you know, the Royal Albert Hall pipe organ and something like

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play the three chords of Louis Louis over and over again.

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Louis Chem.

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They love noise too, you know.

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Even in his last album, when he was still alive, there is a yellow shark

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excerpt from a Louis Lui song called Welcome to the US, so I mean, it was, you know, it was

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Always there, below the surface. It carries some of these references and inspirations that were more...

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His work was dark. Less noticeable was the influence of certain RandB styles.

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In interviews, he constantly mentioned the distinctive features of his approach to playing lead guitar.

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players such as guitarist Clarence Gatemouth Brown and Matt Murphy, whose unique styles all

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influenced his own technique. However, there was one more marginal RandB figure whose

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Zappa's influence on his playing was very significant. In terms of influence, I think

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Frank Zappa's greatest influence was Johnny Guitar Watson.

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Johnny Guitar Watson was a blues guitarist from Texas, although he actually started out as a pianist.

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and his uncle, who was also a preacher, gave him a guitar. It was on

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realizing that Johnny shouldn't play the blues on it, and of course you know it was obvious

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initial pistol to actually play just the blues and Johnny was actually I believe you're describing

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as an urban blues artist in the sense that he soon abandoned the acoustic guitar and took up

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on electric And in the interview, Zappa talked about Watson's 1956 classic, "Three Hours After Midnight."

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I would especially single out the record as the one that most influenced his own work.

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It was this song that prompted Frank to pick up a guitar and learn to play.

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I mean he really started learning when he was about 18 years old when he bought a guitar.

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from auction, and apparently it was so bad that you know the strings were about an inch from

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fretboard or something like that, and he could play rhythm guitar, especially on the bar.

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chords, but he could play solo right away, and he had a kind of concise, resonant

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The style that Johnny Watson preferred, and of course, you know, he started playing, you know,

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Lead guitar, about three o'clock in the morning. If you listen to early Frank Zappa,

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guitar on a track like The World's Greatest Cinner and you hear him playing it, he

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copying Johnny Watson's guitar, which is a unique RandB style approach.

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Music

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It's funny and plays against the rhythm, creating a kind of crisis in the solo where

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it sort of hiccups and then it wobbles so that the solo doesn't match the tempo of the music, and then

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takes it to the limit where it kind of explodes and then you come back to it and it's unique

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way of building solos, and Frank based his guitar playing on this.

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Music

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However, Watson was not a figure who could simply be consigned to the past. By the 1970s he had transformed

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himself as a funk artist and after appearing as a guest on Zappa's 1975 album One Size Fits All

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returned to the charts with the release of seminal albums Ain't That a Bitch and a Real

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"Mother for You" Over the next 15 years, Watson not only influenced Zappa's work,

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an active participant in the popular music scene, but with whom he became friends.

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One day on his 15th birthday, Frank asked permission to try calling Edgard

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in New York, and I think that's what made him a very close friend

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with Johnny Watson's guitar and Johnny actually appeared in Cameo on many later albums

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and you know, when Frank was too sick to go on tour, he used to do these kinds of musical

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evenings and there was one such musical evening, I think the leaders were there, as well as Johnny Guitar

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Watson, who Frank actually hugged rather than shook his hand, and I think

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It must have been really wonderful for him to become such a close acquaintance

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about someone he only knew from some old beat-up '78 car when he was a teenager.

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While Zappa borrowed heavily from the RandB tradition, he also had a fondness for one particular strand of it.

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vocal group, harmonious rhythm and blues, which is popularly remembered as doo-wop.

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In contrast to the more rough and ready sounds of RandB music in the style of howling wolf and Johnny Watson's guitar

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doo-wop's romantic, flowing harmonies gave it enormous commercial appeal

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even though it was a sound born in the streets, it became one of the dominant musical genres

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late fifties and stripes such as moonlight, coasters, penguins and cattle

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artists came into the limelight thanks to worldwide hits.

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Doo-wop or rhythm blues, vocal harmony was an urban phenomenon, happening in all major cities.

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the three key cities were New York, Chicago and Los Angeles. A lot of people don't understand that doo-wop

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was one of the groups that transitioned into rock and roll. They often talk about rock music.

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like Elvis Presley, Jerry Lee Lewis, but it was also an urban form of music from African Americans

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A community that also contributed greatly to the development of rock and roll. One of the features of doo-wop is

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you need to think in terms of a vocal group without an orchestra.

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It was about changing instruments, and also about trying to do it with high rhythm and

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heavy song and I think that's what created what we call doo-wop.

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Earthly angel, earthly angel, will you be mine? My darling, I love you always.

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It was music born of circumstances, and one of these circumstances was the absence

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Tools. It was also part of the social network. It was a nonviolent alternative

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street gangs, in which some of them were also members. It was just part of the social network of life

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in postwar America in urban settings for young African Americans. He took inspiration from

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Previous traditions that weren't necessarily acapella. For example, with Cadillac

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Their most famous ballad is called "Gloria", and it is based on a recording they knew from

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The Mill Brothers, so it was a pop record created by singing on a street corner.

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Doo-wop was incredibly simple music. The musicians who played this piece complained constantly.

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about the three chord changes, the sweet chord changes they always used in doo-wop songs

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and hundreds of doo-wop songs had the same three chord changes, and if you talk to the musicians from

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period you know they said you know it was amazingly simple and stupid.

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On the other hand, if you listen to the way they mixed their voices, there was a lot of musical

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creativity it was not difficult music to perform, but I think it was difficult to sing.

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Doo-doo-doo, Apple or Angel. Despite the enormous success of doo-wop groups and young stars such as

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like Frankie Lyman and the genre's early '60s revival, marked by many Italian-American

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and all white vocal groups were unable to maintain their positions at the forefront of the mainstream for long.

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February 1964, the Beatles came to America, the British Invasion and it really happened

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End of the first part of rhythm and blues. Motown bands still used harmony, but it was no longer the case.

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No longer focuses on sound. In the end, you realize that the vocalists of these bands really

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what are you listening to, Diana Ross and The Supremes, and even with those temptations where you had

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A couple of different vocalists, they were the center of everything you heard. The legacy is

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and even the English groups, you know the Beatles, they were big fans of roller coasters

403
00:52:58,000 --> 00:53:04,000
and a lot of these bands and that's why you hear these harmonies, but just as important were the guitars

404
00:53:05,000 --> 00:53:14,000
it became a thing of the past, and so by the end of that decade, doo-op had become synonymous with nostalgia

405
00:53:14,000 --> 00:53:15,000
for the 50s.

406
00:53:23,000 --> 00:53:27,000
Doo-op.

407
00:53:33,000 --> 00:53:35,000
Doo-op.

408
00:53:37,000 --> 00:53:39,000
Doo-op.

409
00:53:41,000 --> 00:53:43,000
Doo-op.

410
00:53:43,000 --> 00:53:45,000
Doo-op.

411
00:53:45,000 --> 00:53:47,000
Doo-op.

412
00:53:47,000 --> 00:53:49,000
Doo-op.

413
00:53:49,000 --> 00:53:51,000
Doo-op.

414
00:53:51,000 --> 00:53:53,000
Doo-op.

415
00:53:53,000 --> 00:53:55,000
Doo-op.

416
00:53:55,000 --> 00:53:57,000
Doo-op.

417
00:53:57,000 --> 00:53:59,000
Doo-op.

418
00:53:59,000 --> 00:54:01,000
Doo-op.

419
00:54:01,000 --> 00:54:03,000
Doo-op.

420
00:54:03,000 --> 00:54:05,000
Doo-op.

421
00:54:05,000 --> 00:54:13,000
This music was so pure and real, and it was nothing more than just good old American music.

422
00:54:13,000 --> 00:54:19,000
This is music you could fall in love with. This is music you could dance to.

423
00:54:19,000 --> 00:54:27,000
You can relate the lyrics to your situation and those were good and happy times, you know.

424
00:54:27,000 --> 00:54:29,000
Doo-op.

425
00:54:29,000 --> 00:54:31,000
Doo-op.

426
00:54:31,000 --> 00:54:33,000
Doo-op.

427
00:54:33,000 --> 00:54:35,000
Doo-op.

428
00:54:35,000 --> 00:54:37,000
Doo-op.

429
00:54:37,000 --> 00:54:39,000
Doo-op.

430
00:54:39,000 --> 00:54:41,000
Doo-op.

431
00:54:41,000 --> 00:54:43,000
Slope.

432
00:54:43,000 --> 00:54:45,000
Doo-op.

433
00:54:45,000 --> 00:54:47,000
Doo-op.

434
00:54:47,000 --> 00:54:49,000
Doo-op.

435
00:54:49,000 --> 00:54:51,000
Doo-op.

436
00:54:51,000 --> 00:54:53,000
Doo-op.

437
00:54:53,000 --> 00:54:57,000
There was something that everyone could understand.

438
00:54:57,000 --> 00:54:59,000
You know, as for the lyrics...

439
00:54:59,000 --> 00:55:01,000
Most songs

440
00:55:01,000 --> 00:55:03,000
and love things

441
00:55:03,000 --> 00:55:05,000
I mean, everyone was in love at the time.

442
00:55:05,000 --> 00:55:07,000
I thought it was them.

443
00:55:07,000 --> 00:55:09,000
That's it.

444
00:55:09,000 --> 00:55:11,000
I don't know the girl I used to go out with.

445
00:55:11,000 --> 00:55:13,000
I thought, yeah, right?

446
00:55:13,000 --> 00:55:14,000
Yeah, I was like, “Yeah.”

447
00:55:14,000 --> 00:55:17,000
Oh, I was so in love when this song came out.

448
00:55:17,000 --> 00:55:24,000
And this really applies to the part of your life that you were doing at the time.

449
00:55:24,000 --> 00:55:27,000
And everything seems to fall into place.

450
00:55:28,000 --> 00:55:32,000
And it was this special sound that Zappa often turned to,

451
00:55:32,000 --> 00:55:35,000
added another string to his musical bow.

452
00:55:35,000 --> 00:55:40,000
Although from the very beginning, Zappa often used the Dewap genre in his mixes.

453
00:55:40,000 --> 00:55:47,000
In 1968, he even released an entire album of vocal-harmonic material for Cruising with Ruben and the Jets.

454
00:55:47,000 --> 00:55:51,000
Some considered his experiments with Dewap to be pure satire.

455
00:55:51,000 --> 00:55:55,000
But it was actually a musical form for which he had a real affection.

456
00:55:55,000 --> 00:55:58,000
True adoration is not afraid to appear stupid.

457
00:55:58,000 --> 00:56:04,000
And people confuse this with being sarcastic or negative about the material.

458
00:56:04,000 --> 00:56:08,000
And I don't think Frank feels that way about Dewap.

459
00:56:08,000 --> 00:56:17,000
I think he adored the piece and fully embraced the fun aspects of it, believing that he loved it and wanted other people to love it too.

460
00:56:17,000 --> 00:56:20,000
This was the music of his youth.

461
00:56:20,000 --> 00:56:29,000
I think, like many Dewap fans, there is something special about this music, it really speaks to youth.

462
00:56:29,000 --> 00:56:36,000
Something like the desire and longing to be a young man.

463
00:56:36,000 --> 00:56:39,000
And I think he understood that.

464
00:56:39,000 --> 00:56:46,000
I mean, he was a man who was into really sophisticated music, but I think he probably had a bit of a sentimental side.

465
00:56:46,000 --> 00:56:49,000
And he heard this music, and it really touched something inside him.

466
00:56:49,000 --> 00:56:57,000
And he also used it for comedic purposes, like in one of my favorite albums, Rolina for the Money.

467
00:56:57,000 --> 00:57:00,000
And he wrote a song called "What's the Ugliest Part of Your Body?"

468
00:57:00,000 --> 00:57:03,000
I don't know if you know this song, but it's kind of like a Dewap song.

469
00:57:28,000 --> 00:57:40,000
I guess that's what I thought. You know, that’s what was most wonderful about him.

470
00:57:40,000 --> 00:57:46,000
That's what's great, the fact that he liked Devap, because I think that was another side of him.

471
00:57:46,000 --> 00:57:56,000
And for the classically trained musicians brought into the Mothers of Invention, Dewap was both uncharted territory and, for some, a challenge to their notions of taste.

472
00:57:56,000 --> 00:58:07,000
This is not my school at all, I don't have any information about where it came from, what it is, but it's really a lot of fun to play and do.

473
00:58:26,000 --> 00:58:30,000
Oh, it was all the same Ž

474
00:58:34,000 --> 00:58:38,000
He left

475
00:58:41,000 --> 00:58:43,000
Yes Ž

476
00:58:44,000 --> 00:58:47,000
Oh this dad...

477
00:58:47,000 --> 00:58:52,000
This was his past.

478
00:58:52,000 --> 00:58:57,000
this music surrounded him, at least in Los Angeles, and he liked it.

479
00:58:57,000 --> 00:58:59,000
But we didn't talk about it.

480
00:58:59,000 --> 00:59:02,000
And before I joined the group, I didn't know anything about it.

481
00:59:02,000 --> 00:59:04,000
I had no contact with him at all.

482
00:59:04,000 --> 00:59:07,000
So it was a real pleasure for me.

483
00:59:07,000 --> 00:59:11,000
I didn't like Dewap at all.

484
00:59:11,000 --> 00:59:18,000
I thought it was stupid, pointless, idiotic, whatever you call it.

485
00:59:18,000 --> 00:59:25,000
How can someone who likes Varese, Stockhouse and Schoenberg like Dewap?

486
00:59:25,000 --> 00:59:26,000
But he did it.

487
00:59:26,000 --> 00:59:34,000
And in some of these Dewaps there were a lot of really colorful moments that were made

488
00:59:34,000 --> 00:59:40,000
you think it was really strange, like Schoenberg and Stockhouse and all these

489
00:59:40,000 --> 00:59:41,000
people.

490
00:59:41,000 --> 00:59:45,000
Thanks to Zappa, I like it now.

491
00:59:45,000 --> 00:59:49,000
And I understand why he did this.

492
00:59:49,000 --> 00:59:54,000
However, Zappa's dedication to this musical style did not end with the Reuben and the Jets album.

493
00:59:54,000 --> 01:00:01,000
In 1972, he released the debut album of Ruben Guevara's Real Reuben and the Jets Band.

494
01:00:01,000 --> 01:00:05,000
And even when jazz musicians were part of later versions of the Mothers of Invention,

495
01:00:05,000 --> 01:00:08,000
Devap remained a major component of his music.

496
01:00:08,000 --> 01:00:13,000
That's what he made me do the first time I rehearsed with the band.

497
01:00:13,000 --> 01:00:19,000
And you have to remember that I made this otherworldly orchestral music

498
01:00:19,000 --> 01:00:20,000
with him.

499
01:00:20,000 --> 01:00:24,000
And then I come to the first rehearsal, and he makes me play triplets.

500
01:00:24,000 --> 01:00:28,000
Ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding, ding,

501
01:00:28,000 --> 01:00:29,000
ding.

502
01:00:29,000 --> 01:00:32,000
I said it was very strange and I didn’t find it funny at the time.

503
01:00:32,000 --> 01:00:34,000
I was a conservative jazz musician.

504
01:00:34,000 --> 01:00:36,000
And I didn't like it.

505
01:00:36,000 --> 01:00:38,000
I think he saw Devap.

506
01:00:38,000 --> 01:00:39,000
He just thought it was funny.

507
01:00:39,000 --> 01:00:44,000
That whole, you know, “doo,” that sound that comes from your voice.

508
01:00:44,000 --> 01:00:50,000
And he, I mean, I can't speak for him in this regard, but yeah, I think he saw it as

509
01:00:50,000 --> 01:00:51,000
comedy.

510
01:00:51,000 --> 01:00:52,000
He just loved it.

511
01:00:52,000 --> 01:00:53,000
He just loved music.

512
01:00:53,000 --> 01:00:54,000
Period.

513
01:00:54,000 --> 01:00:57,000
And he finds the comic in anything.

514
01:00:57,000 --> 01:01:01,000
And after the original Mothers broke up, Zappa also revealed that he had a certain love

515
01:01:01,000 --> 01:01:06,000
and could find humor in the form of music he had never previously been involved with.

516
01:01:06,000 --> 01:01:07,000
Jazz.

517
01:01:08,000 --> 01:01:12,000
The distinctive characteristics of this highly respected and often musically elitist genre began to emerge

518
01:01:12,000 --> 01:01:18,000
penetrate his work in the late 1960s, a period when jazz musicians themselves

519
01:01:18,000 --> 01:01:22,000
began to expand and explore new directions.

520
01:01:22,000 --> 01:01:26,000
After years of being considered incompatible languages, some artists on both sides

521
01:01:26,000 --> 01:01:31,000
the break began to blur the line between jazz and rock, and these experiments forced

522
01:01:31,000 --> 01:01:34,000
hand of more experienced players.

523
01:01:34,000 --> 01:01:38,000
Just as few expected that Zappa was going to go in that jazz-influenced direction,

524
01:01:38,000 --> 01:01:44,000
do, even fewer could have predicted that Miles Davis, the godfather of cool jazz, would

525
01:01:44,000 --> 01:01:49,000
start using power tools and become a leading figure in the new fusion movement

526
01:01:49,000 --> 01:01:51,000
music that was to come.

527
01:01:51,000 --> 01:01:58,000
However, his watershed 1969 album In A Silent Way established him as a model for further experimentation.

528
01:01:58,000 --> 01:02:02,000
His albums did not sell very well in the 60s.

529
01:02:02,000 --> 01:02:07,000
In terms of artistic achievement, this was probably one of the highest levels of jazz.

530
01:02:07,000 --> 01:02:11,000
levels in the modern sense.

531
01:02:11,000 --> 01:02:13,000
But from a sales perspective, it didn't really work.

532
01:02:13,000 --> 01:02:19,000
And Columbia put pressure on him to take cues from bands like

533
01:02:19,000 --> 01:02:25,000
like Blood, Sweat and Tears, Chicago, who were both on the Columbia label, and try

534
01:02:25,000 --> 01:02:30,000
and update his music, try to modernize his music in some way.

535
01:02:30,000 --> 01:02:37,000
In A Silent Way was part of an ongoing series of experiments in Columbia recording studios.

536
01:02:37,000 --> 01:02:42,000
And Miles Davis brought musicians, recorded something, and then Tia Massero,

537
01:02:42,000 --> 01:02:46,000
a producer would cut and edit it and come up with something usable.

538
01:02:46,000 --> 01:02:49,000
And at that time, jazz and rock were certainly in the air.

539
01:02:49,000 --> 01:02:54,000
But Miles Davis really wasn't sure how he wanted to position his music in response to this.

540
01:03:30,000 --> 01:03:43,000
In A Silent Way doesn't really sound like a step into jazz or rock.

541
01:03:43,000 --> 01:03:45,000
The rhythms are definitely square.

542
01:03:45,000 --> 01:03:50,000
And then - more textures, moods, a very modal feeling throughout.

543
01:03:50,000 --> 01:03:54,000
This is now seen as Miles Davis' first timid step.

544
01:03:54,000 --> 01:03:57,000
He truly codified the style with the release of Bitches Brew in 1970.

545
01:03:57,000 --> 01:04:17,000
This is a completely unambiguous statement about the combination of jazz and rock.

546
01:04:17,000 --> 01:04:20,000
Bitches Brew was special in one sense.

547
01:04:20,000 --> 01:04:26,000
And this feeling showed the commercial viability of combining jazz and rock.

548
01:04:26,000 --> 01:04:33,000
In comparison, In A Silent Way didn't sell many records.

549
01:04:33,000 --> 01:04:35,000
Bitches Brew did just that.

550
01:04:35,000 --> 01:04:40,000
And it awakened musicians not only to potential, musical potential, but also to

551
01:04:40,000 --> 01:04:47,000
commercial potential of adapting or rearranging one's music to suit current trends

552
01:04:47,000 --> 01:04:50,000
through popular culture on our toes.

553
01:05:20,000 --> 01:05:42,000
The acceptance of the idea of combining jazz and rock was indeed driven by agnostic curiosity among

554
01:05:42,000 --> 01:05:46,000
viewers who really liked this idea.

555
01:05:46,000 --> 01:05:51,000
But, of course, there were also the purest jazz writers who believed that jazz was too sacred.

556
01:05:51,000 --> 01:05:54,000
to have a common touch and to be truly equal.

557
01:05:54,000 --> 01:06:00,000
Jazz and rock as a movement towards the lowest common denominator and the lowest common denominator

558
01:06:00,000 --> 01:06:04,000
the marriage was rocky, which they did not like at all.

559
01:06:16,000 --> 01:06:26,000
The idea of their favorite jazz musicians moving to a rock format or incorporating it into their music is

560
01:06:26,000 --> 01:06:30,000
they had something in their arsenal that perverted music.

561
01:06:30,000 --> 01:06:31,000
We took a lot of hits.

562
01:06:31,000 --> 01:06:33,000
Of course Miles approved of the music.

563
01:06:33,000 --> 01:06:36,000
He didn't really care what others thought.

564
01:06:36,000 --> 01:06:42,000
And this is what was typical for many musicians of that era: we did not

565
01:06:42,000 --> 01:06:43,000
really care.

566
01:06:43,000 --> 01:06:45,000
We created music.

567
01:06:45,000 --> 01:06:49,000
Facts that may not please fans or critics don't matter.

568
01:06:49,000 --> 01:06:50,000
matter.

569
01:06:50,000 --> 01:06:51,000
We were passionate about music.

570
01:06:51,000 --> 01:06:54,000
This is contrary to what actually happens often today.

571
01:06:54,000 --> 01:07:00,000
But the fact that Miles did it solidified it all and gave everyone the right

572
01:07:00,000 --> 01:07:06,000
In other words, if they even had the thought of doing this kind of music, let them do it.

573
01:07:06,000 --> 01:07:11,000
And musicians on both sides of the divide have begun to embrace these new opportunities.

574
01:07:11,000 --> 01:07:16,000
Famous rock artists such as Joni Mitchell and Van Morrison have teamed up

575
01:07:16,000 --> 01:07:18,000
jazz elements into its sound.

576
01:07:18,000 --> 01:07:23,000
And new groups appeared whose members could organically combine both styles.

577
01:07:23,000 --> 01:07:28,000
And many of the key players in the scene had previously worked with Davis himself.

578
01:07:28,000 --> 01:07:33,000
The Miles Davis Band of this period spawned many other bands.

579
01:07:33,000 --> 01:07:38,000
Musicians who contributed to the Bitches Brew album, such as John Glochlin, went on to form the band Marjevishney.

580
01:07:38,000 --> 01:07:44,000
orchestra, Joe Sarvanor and became shorter again on the album Bitches Brew, continued

581
01:07:44,000 --> 01:07:46,000
to generate weather reports.

582
01:07:46,000 --> 01:07:53,000
And these were the big bands that really came to dominate the jazz-rock market in such a way that

583
01:07:53,000 --> 01:07:55,000
maybe Miles Davis didn't do it.

584
01:08:08,000 --> 01:08:35,000
This period in music was probably one of the most creative because

585
01:08:35,000 --> 01:08:42,000
There's so much going on right now in terms of experimenting, using ideas, mixing ideas and creating

586
01:08:42,000 --> 01:08:44,000
something completely different.

587
01:08:44,000 --> 01:08:46,000
And music developed in all directions.

588
01:08:46,000 --> 01:08:53,000
In fact, everything developed in the direction that the musicians wanted to see.

589
01:08:53,000 --> 01:09:02,000
The Mardzhevishney Orchestra used jazz-rock and Indian music.

590
01:09:02,000 --> 01:09:06,000
It was another version of jazz rock.

591
01:09:32,000 --> 01:09:44,000
It was a crossover of sorts that wasn't looked down upon in the spirit of

592
01:09:44,000 --> 01:09:45,000
times.

593
01:09:45,000 --> 01:09:49,000
He was perceived as part of the developing music scene.

594
01:09:49,000 --> 01:09:54,000
And as another part of this evolving music scene, Zappa's work with the original Mothers

595
01:09:54,000 --> 01:09:58,000
Invention didn't sound much like jazz.

596
01:09:58,000 --> 01:10:03,000
Although Zappa was often skeptical or even dismissive of the genre in his interviews, names such as

597
01:10:03,000 --> 01:10:07,000
how Charles Mingus, Cecil Taylor and Roland Kirk did appear on the list of influences on

598
01:10:07,000 --> 01:10:09,000
Free counting.

599
01:10:09,000 --> 01:10:13,000
He may have hidden this inspiration more secretly than the obvious and easily discussed influence

600
01:10:13,000 --> 01:10:18,000
modern classical or RandB-persons, but nevertheless he was there.

601
01:10:18,000 --> 01:10:24,000
Speaking about the genre and Frank, I focused on jazz and the work of Frank Zappa.

602
01:10:24,000 --> 01:10:26,000
from Weasel's Rip My Flesh.

603
01:10:26,000 --> 01:10:29,000
It depicts a barbecue in memory of Eric Dolphy.

604
01:10:29,000 --> 01:10:31,000
Well, who is Eric Dolphy?

605
01:10:31,000 --> 01:10:33,000
What's going on here?

606
01:10:33,000 --> 01:10:37,000
And in the song "Oh No, I Don't Believe It" there is a line: "I think you're probably out of the game."

607
01:10:37,000 --> 01:10:39,000
for lunch.

608
01:10:39,000 --> 01:10:43,000
Imagine my amazement as a young Frank Zappa fan when I watch the second one

609
01:10:43,000 --> 01:10:44,000
hand records in Norwich.

610
01:10:44,000 --> 01:10:49,000
I see an Eric Dolphy record called "Out to Lunch" and discovered that this was the plan for

611
01:10:49,000 --> 01:10:52,000
all sorts of musical events taking place in Frank Zappa's house.

612
01:10:52,000 --> 01:10:56,000
And if you explore Out to Lunch, you'll find Eric Dolphy listening to Avogorre

613
01:10:56,000 --> 01:11:01,000
classical music, he thinks abstractly, the whole point of Blue Note was to have

614
01:11:01,000 --> 01:11:04,000
rehearsal time to explore contemporary ideas.

615
01:11:04,000 --> 01:11:06,000
We are in the same sphere of modern music.

616
01:11:22,000 --> 01:11:40,000
He had heroes in jazz.

617
01:11:40,000 --> 01:11:49,000
He loved bingo, he loved Dolphy, he loved these people and he learned from them.

618
01:11:49,000 --> 01:11:54,000
However, with the release of the Hot Rats album in 1969, jazz influences became more obvious.

619
01:11:54,000 --> 01:11:59,000
Originating at the very beginning of jazz rock, before Miles Davis himself had released

620
01:11:59,000 --> 01:12:04,000
seed knots are boiled, Zappa therefore stood not as a follower of fashion, but as

621
01:12:04,000 --> 01:12:08,000
one of the new pioneers of fusion energy.

622
01:12:08,000 --> 01:12:12,000
The development of fusion energy extends beyond Miles Davis himself.

623
01:12:12,000 --> 01:12:17,000
His recordings and the fact that such a major jazz figure turned to electric instruments

624
01:12:17,000 --> 01:12:25,000
was very significant commercially, but you couldn't help but have some

625
01:12:25,000 --> 01:12:27,000
dealing with rock and jazz.

626
01:12:27,000 --> 01:12:30,000
Jazz was the pop music of a previous era.

627
01:12:30,000 --> 01:12:37,000
This is where rock and roll came into being, and then rock music became the new language of popular music.

628
01:12:37,000 --> 01:12:42,000
There was bound to be some kind of negotiation between the two forms, regardless of whether Miles was there.

629
01:12:42,000 --> 01:12:43,000
or not.

630
01:12:43,000 --> 01:12:49,000
In fact, I see Hot Rats as an amazing solution to the problems we've been struggling with

631
01:12:49,000 --> 01:12:51,000
at least with bi-session musicians.

632
01:12:51,000 --> 01:12:57,000
You can listen to Tom Scott's Spontaneous Combustion or Roger Kellyway's Spiritfield.

633
01:12:57,000 --> 01:13:01,000
The liner notes for both albums mention Zappa as part of the scene.

634
01:13:01,000 --> 01:13:09,000
They're both into how to take that heavy rock beat and use it to make something interesting.

635
01:13:09,000 --> 01:13:10,000
music?

636
01:13:10,000 --> 01:13:12,000
How can you play solo with such a heavy beat?

637
01:13:12,000 --> 01:13:14,000
They are struggling with the same problem.

638
01:13:14,000 --> 01:13:18,000
It's like they struggle with it and then the Hot Rats come and just tear them down.

639
01:13:18,000 --> 01:13:19,000
from the water.

640
01:13:19,000 --> 01:13:20,000
This is simply brilliant.

641
01:13:50,000 --> 01:14:19,000
I think it's important to be clear about the time frame here.

642
01:14:19,000 --> 01:14:24,000
The album Hot Rats was recorded in 1969.

643
01:14:24,000 --> 01:14:31,000
In Silence was recorded in 1969, and none of them are even remotely similar to

644
01:14:31,000 --> 01:14:32,000
each other.

645
01:14:32,000 --> 01:14:37,000
Still, Hot Rats is an unambiguously strong jazz-rock statement.

646
01:14:37,000 --> 01:14:40,000
His musical purpose is completely clear.

647
01:14:40,000 --> 01:14:44,000
Only from the outside do people say: “Yes, the Hot Rats combine jazz and rock.”

648
01:14:44,000 --> 01:14:45,000
very effective.

649
01:14:45,000 --> 01:14:50,000
For me, this is perhaps the most effective combination of jazz and rock at that time.

650
01:14:50,000 --> 01:14:52,000
for 1969.

651
01:14:52,000 --> 01:14:54,000
Other groups played more esoteric music.

652
01:14:54,000 --> 01:15:01,000
Other bands may have emphasized rock at the expense of jazz, or jazz at the expense of

653
01:15:01,000 --> 01:15:02,000
rock.

654
01:15:02,000 --> 01:15:10,000
But I think overall, as a compelling thought, a mature musical statement for Hot Rats, it's

655
01:15:10,000 --> 01:15:13,000
a very significant album.

656
01:15:13,000 --> 01:15:18,000
And I think it only became clear now, looking back.

657
01:15:18,000 --> 01:15:22,000
Although most of the Hot Rats' contemporaries might have considered it simply instrumental rock,

658
01:15:22,000 --> 01:15:27,000
Zappa became more recognizable as a jazz-rock artist with the album

659
01:15:27,000 --> 01:15:30,000
he recorded it soon after.

660
01:15:30,000 --> 01:15:34,000
King Kong was a collaboration with Jean-Luc Ponty, a classically trained violinist whose

661
01:15:34,000 --> 01:15:38,000
His work in jazz made him a pioneer of instrumental music.

662
01:15:38,000 --> 01:15:43,000
Combining the talents of both musicians, this work made jazz audiences stand up and...

663
01:15:43,000 --> 01:15:44,000
take note.

664
01:15:44,000 --> 01:15:52,000
You had Frank with his weird mixture of egg and RandB, and Ponty was similar to him.

665
01:15:52,000 --> 01:15:56,000
He was a classical violin superstar.

666
01:15:56,000 --> 01:16:01,000
He learned to play the saxophone to learn how to improvise, and then carried over what he had.

667
01:16:01,000 --> 01:16:02,000
learned to play the violin.

668
01:16:02,000 --> 01:16:07,000
And if you listen to how his violin comes in, what sharp attacks he has, he often...

669
01:16:07,000 --> 01:16:09,000
sounds like a saxophone.

670
01:16:09,000 --> 01:16:13,000
So his work with Frank just seems perfect.

671
01:16:13,000 --> 01:16:19,000
I think his solo album called King Kong is fantastic.

672
01:16:39,000 --> 01:17:05,000
I would say that King Kong is the album that awakened the jazz community to Frank Zappa, who

673
01:17:05,000 --> 01:17:10,000
hit both for sometimes the most satirical or confrontational aspect of it

674
01:17:10,000 --> 01:17:14,000
In the jazz camp, music was not taken seriously.

675
01:17:14,000 --> 01:17:21,000
But when this became known, people realized that Zappa was actually much more

676
01:17:21,000 --> 01:17:24,000
the musician hit the two with something like that.

677
01:17:24,000 --> 01:17:29,000
And as Zappa developed his early 1970s sound, he brought in musicians from

678
01:17:29,000 --> 01:17:33,000
a jazz world that could help him bring his unique compositions to life.

679
01:17:33,000 --> 01:17:37,000
One of the most notable additions to the new version of Mothers of Invention was

680
01:17:37,000 --> 01:17:42,000
George Duke is a rising talent who has emerged from his work with Jean-Luc Pontin.

681
01:17:42,000 --> 01:17:49,000
I got a lot of negativity from joining Frank, you know, but not as much as the guys would have liked.

682
01:17:49,000 --> 01:17:53,000
Herbie Hancock, when they started doing stuff like that, things got a little worse.

683
01:17:53,000 --> 01:17:57,000
Yes, we were criticized a little, but, you know, that's normal.

684
01:17:57,000 --> 01:18:03,000
Growing up in the Bay Area, I went to the Fillmore and saw Santana,

685
01:18:03,000 --> 01:18:07,000
Country Joe and the Fish and Cannonball, Adelaide in one show.

686
01:18:07,000 --> 01:18:12,000
You know, the musicians started talking backstage about what was going to happen?

687
01:18:12,000 --> 01:18:16,000
We just started wondering what would happen if we started putting this music together, you know?

688
01:18:16,000 --> 01:18:22,000
And it happened on the East Coast, it happened on the West Coast, and it's really that simple.

689
01:18:22,000 --> 01:18:23,000
how it was.

690
01:18:23,000 --> 01:18:24,000
We were explorers.

691
01:18:24,000 --> 01:18:25,000
We wondered what was going on.

692
01:18:25,000 --> 01:18:27,000
And Frank was really a part of it.

693
01:18:28,000 --> 01:18:32,000
And he became even more recognizable as part of that scene with the 1972 albums

694
01:18:32,000 --> 01:18:36,000
Waka Joaka and Grand Vazu.

695
01:18:36,000 --> 01:18:40,000
For these two recordings, recorded during Zappa's recovery from the infamous

696
01:18:40,000 --> 01:18:47,000
After the attack in London, he hired a team of famous jazz musicians to create a unique fusion sound.

697
01:18:47,000 --> 01:18:52,000
On Waka Joaka, the first of two albums recorded, Zappa assembled a select group

698
01:18:52,000 --> 01:18:58,000
musicians, and, unusually for such a famously controlled composer, gave them complete freedom of action

699
01:18:58,000 --> 01:19:01,000
make your own, distinctive contribution to the tracks.

700
01:19:01,000 --> 01:19:06,000
There was a free record, we just went and played, and that's all Frank was interested in.

701
01:19:06,000 --> 01:19:07,000
we were just playing.

702
01:19:07,000 --> 01:19:12,000
I mean, it was basically like jazz.

703
01:19:12,000 --> 01:19:14,000
We were like jazz musicians.

704
01:19:14,000 --> 01:19:16,000
Whether he called it jazz or not, it was still jazz.

705
01:19:22,000 --> 01:19:52,000
This was an album that felt like Hot Rat again.

706
01:19:52,000 --> 01:19:55,000
It's definitely jazz and rock.

707
01:19:55,000 --> 01:20:02,000
Big Swiftie is a meaningful track, again an improvised form of composition, the use of a trumpet

708
01:20:02,000 --> 01:20:03,000
player.

709
01:20:03,000 --> 01:20:12,000
But it also allowed comparisons to the music of Miles Davis, simply because Trump

710
01:20:12,000 --> 01:20:15,000
easy connection.

711
01:20:15,000 --> 01:20:23,000
But in fact, the orchestration shows the influence of musicians such as Gil Evans, who

712
01:20:23,000 --> 01:20:28,000
there was a wonderful period of collaboration with Miles Davis in the late 50s and 60s.

713
01:20:28,000 --> 01:20:32,000
It has a muted trumpet on it.

714
01:20:32,000 --> 01:20:37,000
As played by Sal Marquez, he can be compared to Miles Davis because he is also a trumpet player,

715
01:20:37,000 --> 01:20:43,000
But the style that Sal Marquez plays, that chirping, nervous style, is so different.

716
01:20:43,000 --> 01:20:47,000
from Miles's calm, even, long notes.

717
01:20:47,000 --> 01:20:49,000
We are in a completely different atmosphere.

718
01:20:49,000 --> 01:20:50,000
I just don't see these comparisons.

719
01:20:50,000 --> 01:20:55,000
That is, there is a moment where individual sounds of guitar and drums are heard.

720
01:20:55,000 --> 01:21:01,000
I remember my friends saying: “Oh, he’s parroting John MacLachlan here.”

721
01:21:01,000 --> 01:21:08,000
And it's possible that this was one of the elements of what Frank did, but he always does

722
01:21:08,000 --> 01:21:13,000
so many different things that if you boil it down to a hint of this or that.

723
01:21:13,000 --> 01:21:16,000
It's kind of a way to make people refuse to listen to the record.

724
01:21:16,000 --> 01:21:18,000
Now I have it all worked out.

725
01:21:18,000 --> 01:21:21,000
It's a parody, so it doesn't matter.

726
01:21:21,000 --> 01:21:26,000
Although in reality there is a ton of music that is worth paying attention to.

727
01:21:26,000 --> 01:21:31,000
Grand Wazoo came out a few months later and also had a lot of the same players.

728
01:21:31,000 --> 01:21:34,000
Blurred jazz and rock in a slightly different interpretation.

729
01:21:34,000 --> 01:21:39,000
People felt that, yes, he was starting to play some kind of complex, good jazz-rock.

730
01:21:39,000 --> 01:21:46,000
Jazz critic Joe Kimbarent, you know, when he was excited, you know, it was fantastic.

731
01:21:46,000 --> 01:21:49,000
But if you listen to these two records, they are actually very, very different.

732
01:21:49,000 --> 01:21:51,000
Wacka Joacka is first and foremost a studio.

733
01:21:51,000 --> 01:21:54,000
The Grand Wazoo makes you feel like you're hearing a record from a large orchestra.

734
01:21:54,000 --> 01:21:57,000
It feels like the room is full of musicians playing.

735
01:21:57,000 --> 01:21:59,000
Very pleasant summer acoustics.

736
01:22:09,000 --> 01:22:34,000
I always get the feeling when I listen to Grand Wazoo that Zappa has moved on now.

737
01:22:34,000 --> 01:22:35,000
to other things.

738
01:22:35,000 --> 01:22:38,000
And this, in essence, is the story of his career.

739
01:22:38,000 --> 01:22:41,000
He never stayed in one place.

740
01:22:41,000 --> 01:22:46,000
And that's, I think, one of the reasons why it sounds a little different, a little

741
01:22:46,000 --> 01:22:55,000
a little looser, perhaps going back to rock-jazz rather than jazz-rock.

742
01:22:55,000 --> 01:22:57,000
But there’s nothing wrong with that either.

743
01:22:57,000 --> 01:23:00,000
I think both statements are important at this point.

744
01:23:00,000 --> 01:23:06,000
And of course it reflected a lot of what was happening in rock and jazz.

745
01:23:06,000 --> 01:23:13,000
Because a lot of jazz-rock bands were actually marketed as rock bands.

746
01:23:13,000 --> 01:23:16,000
So, in a sense, there was no real distinction.

747
01:23:16,000 --> 01:23:33,000
And while other key players in the movement continued to create new sounds and explore

748
01:23:33,000 --> 01:23:38,000
possibilities and limitations of musical crossover after Grand Wazoo,

749
01:23:38,000 --> 01:23:42,000
Zappa abandoned his more overt jazz-rock tendencies.

750
01:23:42,000 --> 01:23:46,000
Although there was an element of jazz in his later albums, both in terms of

751
01:23:46,000 --> 01:23:51,000
the musicians also used the compositions themselves, it was a sound to which he would never fully return

752
01:23:51,000 --> 01:23:52,000
k.

753
01:23:52,000 --> 01:23:58,000
One of Frank's responses to critics who accused him of leaving politics when

754
01:23:58,000 --> 01:24:03,000
he created Uncle Meat, one of his phrases was, well, I already said it.

755
01:24:03,000 --> 01:24:04,000
This has been said.

756
01:24:04,000 --> 01:24:06,000
I don't need to repeat this over and over again.

757
01:24:06,000 --> 01:24:10,000
And I feel the same way about his nods to jazz.

758
01:24:10,000 --> 01:24:12,000
Everything is there.

759
01:24:12,000 --> 01:24:18,000
Eric Dolphy is part of the essence of how Frank thinks about music, as well as

760
01:24:18,000 --> 01:24:20,000
Drums - Jimmy Carblax.

761
01:24:20,000 --> 01:24:27,000
So, when I listened to Jazz from Hell, in which we sort of pluck the strings of Frank's brain,

762
01:24:27,000 --> 01:24:32,000
Throughout the recording I find Dolphy intervals on the bass clarinet.

763
01:24:32,000 --> 01:24:39,000
Maybe they didn't pay attention to jazz, but at the same time I hear Mingus and

764
01:24:39,000 --> 01:24:43,000
Dolphy in the sense that Frank thinks in chords.

765
01:24:43,000 --> 01:24:54,000
He's there all the time.

766
01:24:54,000 --> 01:24:59,000
Looking back on Zappa's remarkable career, he is now a completely unique artist.

767
01:24:59,000 --> 01:25:01,000
in the history of popular music.

768
01:25:01,000 --> 01:25:06,000
Inimitable strangeness, his democratic ear and his insistence on bringing together vast diversity

769
01:25:06,000 --> 01:25:12,000
musical styles in his work not only brings his many fans back to these artists

770
01:25:12,000 --> 01:25:17,000
who influenced him, but may also shed new light on how Zappa's music, work

771
01:25:17,000 --> 01:25:22,000
An outstanding contemporary composer refused to die.

772
01:25:22,000 --> 01:25:28,000
I think he was able to actually synthesize all the music he had ever heard into one instrument.

773
01:25:28,000 --> 01:25:34,000
album, although, actually, by saying this, I mean, I think you can consider everything

774
01:25:34,000 --> 01:25:42,000
he made as one continuous piece of music, I think that everything that has ever influenced

775
01:25:42,000 --> 01:25:47,000
somehow, even things he didn't like tended to come up.

776
01:25:47,000 --> 01:25:52,000
And I think that will be his lasting legacy.

777
01:25:52,000 --> 01:25:56,000
His musical personality was so diverse that it is impossible to attribute him to any specific movement.

778
01:25:56,000 --> 01:25:57,000
region.

779
01:25:57,000 --> 01:26:04,000
Sometimes it's nice to be able to capture positive influences and say, "Well, X has arrived."

780
01:26:04,000 --> 01:26:06,000
from this and Y came from that.

781
01:26:06,000 --> 01:26:13,000
The power of Zappa's music is a kind of musical idealism, in that it is music.

782
01:26:13,000 --> 01:26:14,000
So what's there?

783
01:26:14,000 --> 01:26:19,000
I will use whatever I want to try to express how I feel at that moment in time.

784
01:26:19,000 --> 01:26:24,000
It transcends genres and convenient templates.

785
01:26:24,000 --> 01:26:28,000
And I think that's why his music continues to captivate and remain so enduring.

786
01:27:34,000 --> 01:27:35,000
I'm sorry.

787
01:27:35,000 --> 01:27:36,000
I'm sorry.

788
01:27:36,000 --> 01:27:37,000
I'm sorry.

789
01:27:37,000 --> 01:27:38,000
I'm sorry.

790
01:27:38,000 --> 01:27:39,000
I'm sorry.

791
01:27:39,000 --> 01:27:40,000
I'm sorry.

792
01:27:40,000 --> 01:27:41,000
I'm sorry.

793
01:27:41,000 --> 01:27:42,000
I'm sorry.

794
01:27:42,000 --> 01:27:43,000
I'm sorry.

795
01:27:43,000 --> 01:27:44,000
I'm sorry.

796
01:27:44,000 --> 01:27:45,000
I'm sorry.

797
01:27:45,000 --> 01:27:46,000
I'm sorry.

798
01:27:46,000 --> 01:27:47,000
I'm sorry.

799
01:27:47,000 --> 01:27:48,000
I'm sorry.

800
01:27:48,000 --> 01:27:49,000
I'm sorry.

801
01:27:49,000 --> 01:27:50,000
I'm sorry.

802
01:27:50,000 --> 01:27:51,000
I'm sorry.

803
01:27:51,000 --> 01:27:52,000
I'm sorry.

804
01:27:52,000 --> 01:27:53,000
I'm sorry.

805
01:27:53,000 --> 01:27:54,000
I'm sorry.

806
01:27:54,000 --> 01:27:55,000
I'm sorry.

807
01:27:55,000 --> 01:27:56,000
I'm sorry.

808
01:27:56,000 --> 01:27:57,000
I'm sorry.

809
01:27:57,000 --> 01:27:58,000
I'm sorry.

810
01:27:58,000 --> 01:27:59,000
I'm sorry.

811
01:27:59,000 --> 01:28:00,000
I'm sorry.

812
01:28:00,000 --> 01:28:01,000
I'm sorry.

813
01:28:01,000 --> 01:28:02,000
I'm sorry.

814
01:28:02,000 --> 01:28:03,000
I'm sorry.