b o b

This is the second jazz album that Zappa put together while he was laid up with his London injuries (see Waka/Jawaka review for details). This one features a huge band - there are 20 musicians (not counting Zappa himself) and two vocalists pictured in the liner notes. Oddly, the Ryko CD spine credits the album to "Zappa/The Mothers"; while there are a few previous Mothers in the band (Don Preston, Aynsley Dunbar and George Duke), this was pretty much a Zappa solo album with a bunch of new musicians. The album cover artwork just says The Grand Wazoo, with no band name. The disc opens with the title track. It's a wonderful thirteen minute instrumental similar in style to the title track of Waka/Jawaka. "For Calvin (and His Next Two Hitch-hikers)" is an odd jazz/rock song, with lyrics that tell the true story of two hitchhikers who were picked up by Cal Shenkel (Zappa's long-time cover artist). Apparently the two got into Cal's car while he was stopped at a red light, then refused to get out, and wouldn't even talk to him. They just sat in the back of the car until Cal got home, and even then refused to move. Eventually they went out, got some food, and resumed their occupancy of the car. Finally they must have gotten bored (or the drugs wore off) and they left. The rest of the album is instrumental. "Cletus Awreetus-Awrightus" is one of the funniest lyric-less songs that I've ever heard. Comedy jazz. You've got to hear it — I can't describe it other than to say that Zappa's wordless singing of the melody toward the end never fails to crack me up. "Eat That Question" is a great tune, but what really makes it is George Duke's memorable electric piano introduction. "Blessed Relief" is one of the most mellow and conventionally beautiful tracks that Zappa ever composed. Sort of in the same vein as Strictly Genteel. While driving home from ProgDay one year, this track was the perfect music for the drowsy prog fan in the back seat who was trying to take a nap. A nice way to ease out of the album. If you like Zappa's fusionish albums (particularly Waka/Jawaka), you should definitely pick this disc up. And if you just can't get enough of this era of FZ, in 2004 the Zappa Family Trust released a disc called Joe's Domage which can only be ordered via their website. It documents a rehearsal of the Wazoo band — but be forewarned that the sound quality is pretty miserable, and there's as much talking and "downtime" as there is music. Definitely a "hardcore fans only" type of release. review by Bob Eichler — 5-14-05 —

m a t t

Zappa's second consecutive album of larger-ensemble jazz fusion experiments is, in my opinion, one of the finest records he ever made - and he made quite a few excellent ones. The band is even bigger than the one that played the previous year's Waka/Jawaka, as no less than seventeen musicians are utilized on the magnificent title track and "For Calvin." Whereas Waka/Jawaka was as much about Zappa's guitar as anything else (the title reportedly was intended to be onomatopoeic of his guitar tone) he takes a back seat on The Grand Wazoo, which is really a showcase for Frank Zappa the composer and arranger. The result is an impressively integrated fusion. The title track welds the big-band jazz concept with rock guitar in such a way that I would have thought possible without making large compromises. But "Grand Wazoo" — which is mostly jazz, then rock and also moderately subject to Zappa's modern classical influences — doesn't sound the least bit compromised. It also bears that indelible stamp of being a Frank Zappa piece; a good thing, as far as I'm concerned. I've read commentary about this piece lamenting the presence of horn solos, but hey - that's jazz. "For Calvin," functions similarly as "Your Mouth" on Waka/Jawaka in that it slows things down from the rush of the opening track. It is the only song on the album with lyrics — which concern dead hitchhikers, I believe. Unlike "Your Mouth," though, "Calvin" isn't a blues and thus Frank Zappa is given freer rein to arrange the chaotic middle section. "Cletus Awreetus Awrightus" — a catchy little ditty roughly in the vein of "Peaches en Regalia" — follows and lightens the mood considerably. The tune does threaten to turn cheesy when it rattles off a succession of jazz clichés, but Zappa's goofy "bum-bum-bum" vocals keeps it all in good fun. "Eat That Question" and "Blessed Relief" have a more traditional fusion sound in that they are largely built around keyboard and guitar solos. "Eat That Question" begins with George Duke tentatively stating the song's theme with a synthesizer. He and Zappa then turn in some excellent energetic solos, after which Zappa defiantly reprises the theme on his guitar. The song fades out with the theme being arranged for woodwinds and brass in a march-like cadence and I swear it's a dead ringer for the sort of thing that Jethro Tull might have contemporaneously done; an unexpected crossing of paths, to say the least. "Blessed Relief" is a lush exhale of electric piano, trumpet, and guitar soloing and is probably the prettiest piece that Zappa would write — without tongue in cheek — for several years. It should be noted that The Grand Wazoo is supposed to be a concept album (except for the track "For Calvin"). The libretto, titled "The Legend of Cletus Awreetus Awrightus and the Grand Wazoo" is printed on the CD insert and makes for some humorous reading. The story concerns a mythical ancient Rome-like realm that is attacked by barbarian invaders and is an allegory for the relationship between musicians and what Zappa saw as a creatively stagnant music industry. Like all instrumental concept albums that I've heard, it isn't necessary to be familiar with the story to enjoy or understand the music. review by Matt P. — 5-10-05 —