BOOKLET
Frank Zappa – Wazoo
(Zappa, 2CD, Vaulternative VR 2007-2, October 31, 2007)
Disc 1
01 – Intro Intros 3:19
02 – The Grand Wazoo (Think It Over) 17:21
03 – Approximate 13:35
04 – Big Swifty 11:49
Disc 2
01 – “Ulterior Motive” 3:19
02 – The Adventures Of Greggery Peccary: Movement I 4:50
03 – The Adventures Of Greggery Peccary: Movement II 9:07
04 – The Adventures Of Greggery Peccary: Movement III 12:33
05 – The Adventures Of Greggery Peccary: Movement IV — The New Brown Clouds 6:07
06 – Penis Dimension 3:35
07 – Variant I Processional March 3:28
Boston Music Hall, Boston, MA
September 24, 1972
Produced by Gail Zappa & Joe Travers
Vaultmeisterment by Joe Travers
Mastered by Doug Sax and Robert Hadley at The Mastering Lab
Future History by FZ, 1972
Insider Bried by Malcolm McNab, 2007
Cover Art “Mundo Invisible” (oil on canvas, 60″ x 72″) by Christopher Mark Brennan, 2003
Art Direction/Concept & Text by Gail Zappa
Renderment & Layout Design by Michael Mesker
FZ–guitar and white stick with cork handle
Tony Duran–slide guitar
Ian Underwood–piano and synthesizer
Dave Parlato–bass
Jerry Kessler–electric cello
Jim Gordon–electric drums
Mike Altschul–piccolo, bass clarinet and other winds
Jay Migliori–flute, tenor sax and other winds
Earle Dumler–oboe, contrabass sarrusophone and other winds
Ray Reed–clarinet, tenor sax and other winds
Charles Owens–soprano sax, alto sax and other winds
Joann McNab–bassoon
Malcolm McNab–trumpet in D
Sal Marquez–trumpet in Bb
Tom Malone–trumpet in Bb, also tuba
Glenn Ferris–trombone and euphonium
Kenny Shroyer–trombone and baritone horn
Bruce Fowler–trombone of the upper atmosphere
Tom Raney–vibes and electric percussion
Ruth Underwood–marimba and electric percussion
Wazoo!} (2007) — the third Vaulternative Records package — is a double-CD set from the Boston Music Hall on September 24, 1972 — the last performance of the eight-show Grand Wazoo (1972) tour. Although Zappa had worked with large groups of musicians for quite some time, he had rarely (if ever) had the opportunity to tour as part of an orchestrated lineup that featured a dozen-piece horn section with six brass and six woodwinds. Zappa’s &”Intro Intros” allow the artist to acknowledge the other 19 members of his rockin’ teenage combo by name and mention to the assembled audience the “certain disadvantage” that Jay Migliori (flute/tenor sax/woodwinds) finds himself in. Part of his stage gear and setup were destroyed by a speaker tower that collapsed prior to show time. No sooner does Zappa conclude his announcements than the assembled ensemble begin a rapid ascent into a sublime and powerful reading of the title track to the &”Grand Wazoo” long player. Keen-eyed Zappaphiles will notice the parenthetical “Think It Over” as part of the composition’s name. The reference is a nod to the still-unrealized sci-fi musical that Zappa called “Hunchentoot.” Had that project come to fruition, the same piece would have been incorporated as “Think It Over” — complete with lyrics. The seminal rendition of the rhythmically complex &”Approximate” is fascinating for enthusiasts familiar with the path that the song would take over the course of the next few Mothers lineups. Especially the inherent possibility for utter tonal abstractness that Zappa literally wrote as part of the non-melodic structure. Earl Dumler (oboe/contrabass/sarrusophone/woodwinds) and Joanne Caldwell McNabb (bassoon) are noteworthy for their particularly potent input, while the always inventive Ian Underwood (piano/synthesizers) layers on highly charged synth textures that give way to some spirited interplay between Jim Gordon (drums), Tom Raney (vibes/percussion), and Ruth Underwood (marimba/percussion). All the elements converge on the larger-than-life &”Big Swifty,” revealing the enormous sonic potential that is merely hinted at on the Waka/Jawaka (1972) version. The second disc consists primarily of the half-hour-plus &”Adventures of Greggery Peccary.” After Zappa’s &”Ulterior Motive” spoken rap — in which he gives the band directions and divulges to the audience that he doesn’t want the piece to “sleaze off before [their emerges during the final minutes to underscore Zappa’s unfailing capabilities as the most visceral and challenging composers/arrangers of the latter 20th century. Undoubtedly the only one of the rock & roll era. The show wraps up with the sole “oldie” — an arresting and note-perfect &”Penis Dimension” from 200 Motels (1971). Always looking ahead, the closer &”Variant I Processional March” would resurface several years down the road as &”Regyptian Strut” on Sleep Dirt (1979) and then as the ever-so-slightly hyphenated &”Re-Gyptian Strut” on Läther (1996).