the big nOte files - november 2007

previous newsletters
updated November 05, 06, 07, 08, 09, 11, 16, 17, 18, 20 & 21, 2007
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2007 12 03

Italian Zappa book
Zappa on dutch radio 6

2007 12 02

New Beefheart album

2007 11 26

Outrage At Valdez
Faerie Tale Theatre
Animalism on CD
Zappa on German Radio Sampler
The Genkin Philharmonic
Joe Deninzon

2007 11 21

Eric Slick
The Soul Cryptographers
Porcupine Tree
Les Polissons
Zappa's Zoot Allures in Germany
Chris Opperman 2007 11 19
The Residents Video Retrospective
Frogg Café
WM Recordings
Where's My Waitress
The Sandman Waits
Think Of One
Ugly Radio Rebellion - November update
Terry Bozzio: Solo Drums

2007 11 20

Big Electric Chat 2007 11 18
Trank Zappa Grappa In Varese?
Harry Payuta
ZpZ - Austin show got filmed
The Animals

2007 11 18

Sun Ra
Joe Satriani
Bazbo's picture diaries
New Bogus Pomp Show announced
Rainer Tankred Pappon Trio in concert
Diego Conti & Stefano Taglietti
Diego Conti & Monica de Matteis

2007 11 17

Zappa Plays Zappa goes to Japan
Sgt. Leonard's Loopy Arts Dub Band

2007 11 16

The Keneallist 2007 11 14
Eddie Meduza
Archive 7"s
Donald Woods
Mr.Undertaker & The 4 Deuces
The Electronic Hole
Jon Nelson
Two new Steve Vai bootlegs
Archive stuff
Grande Mothers Re-Invented on tour
The Tehran Symphony Orchestra

2007 11 11

Pictures of vinyl bootlegs
Bozzio, Preinfalk, Machacek
Frank Zappa - Antologia Poética
Chad Wackerman
Art Jarvinen interviewed by John Trubee
Magazine covers from around the world
Dog Breath

2007 11 09

Strictly Genteel

2007 11 08

the Art Metal album
The New Trier West Recording Jazz Ensemble

2007 11 07

Zoot Allures 7 track release

2007 11 06

Zappa bootleg DVD
Bob Harris News
New Zappa bootleg DVD
Soul Cryptographers
TWO in Rijkevorsel
The Residents
Steve Vai in South America
The Wrong Object 2007 11 05
Jos Steen on Ultra Eczema

2007 11 05

Marty Friedman

leftovers from the last couple of months
Idiot Bastard Dot Com
Zappa Wazoo
You can't do that on bootz anymore
New Zappa bootleg CD
New Zappa vinyl bootleg
Napoleon Murphy Brock
Alan Holdsworth / Chad Wackerman
Zappateers festival, march 2008
The Residents' The Voice Of Midnight
Slev Uunofski
Zappa on Estonian Radio
  L'ensemble de Basse Normandie
The Ensemble Modern
20 Idiot Bastards
the September 2007 newsletter can be found at
thebignotefiles - 2007/09

the concert calendar


short bits: 

* * * Octafish has a new album ready: "Party Alarm" * * *

2007 12 03
With an actual newsflash: tomorrow on dutch radio 6, a Frank Zappa special !!
Co de Kloet does it again...

and there's a picture of a new book on Zappa. Well, not really a new book as it's a translation of a book from 2004, but still, it's new...


frank zappa

by barry miles
    (2007, book, italy, feltrinelli)

- Barry Miles' book from 2004, entitled "Frank Zappa" has been published in Italy.




December 4, 2007, on Dutch Radio 6, Co de Kloet and Wim Brands will take a closer look at some of Zappa's stories:

The Chrome Plated Megaphone of Destiny (based on Kafka's "The Penal Colonly)

Billy The Mountain

The Adventures of Greggery Peccary

A special version of Zappa’s “broadway-musical” THING-FISH.

Co de Kloet will be talking to some of the musicians that participated to these projects: George Duke, Napoleon Murphy Brock and Howard Kaylan.

Tuesday, december 4, 22.00 - 24.00 h on dutch radio 6

-- infol Gerard Wissink

2007 12 02
quite a busy weekend over here at the UM headquarters.
i bought a new pc table, which means that i had to get the old desk out, puzzle the new one into one piece, and move the whole lot.
anyway, i did treat myself to a new screen as well, so things are looking rather new and flashy...
in the meantime, it looks like the show that ZpZ played in Antwerp a couple of months ago is finally up on Dime. Grab it, but make sure that you buy their DVD first  :-)
(support the artists)


2007 11 26
for starters, here's a couple of nice pictures for your optical enjoyment...


In 1989, Frank Zappa wrote the music for a Cousteau documentary entitled "Alaska - Outrage At Valdez".

-- info & pictures: Hans-Peter Schmidt

the vhs-video cover the laserdisc cover


in 1982, frank zappa participated in an episode of the "faerie tale theatre" series entitled "the boy who left home to find out about the shivers".

the episode got first aired on tv in 1984;
it got released on vhs video in 1984;
on dvd in 2004;
and on laserdisc in ????

-- info & pictures: Hans-Peter Schmidt

the vhs video cover the DVD cover


  • animals: animalism (5)
    (1966, lp, us, mgm se 4414)
    • Last year, "Animalism" came out on CD.
      A sloppy job, as one song is credited to Zappa, whereas he didn't write any of the tracks, but did arrange two of them...


info from Hans-Peter Schmidt:

German radio wdr2 asked their listeners for the best 200 longplayalbums of all time.
zappa ranked on 187
and as i saw today one track is on the official sampler


  • genkin philharmonic: s/t
        (2007, cd, usa, 8bells)
    • Trumpet player and producer Jon Nelson has recorded various Frank Zappa compositions as a member of the Meridian Arts Ensemble.
      Jon Nelson also is the man behind the Genkin Philharmonic, a performing music class at the University of Buffalo. The ensemble started out in 1999, and recently released their first album. This self-titled album may not be of the hightes audio quality (for some of the pieces an audience recording was used), but it sure is an impressive album.
      Pieces by Jon Nelson, Doctor Nerve's Nick Didkovsky, King Crimson, Emil Harnas (!!) and even two pieces by Frank Zappa: 'Echidna's Arf", and 'Marqueson's Chicken'.

    • Fabulous !


  • joe deninzon: electric / blue
        (1998, cd, usa, wilberts blues records)
    • Adding data to the U.M. files, here's Joe Deninzon's first album.
      "Electric / Blue" is from 1998 and it still sounds great.
      If you want to hear some top electric violin playing (and Zappa fans are pretty spoiled when it comes to that), check this one out!

2007 11 21


I created an entry for Eric Slick, so if you have any info that I can add, let me know.

Napoleon Murphy Brock and Eric Slick at the Zappanale festival


The Soul Cryptographers is a funk band, featuring 

  • Nate Trier: keys

  • Pete Brunelli: bass

  • Mike Paolucci: drums

  • Tim Kane: trumpet

  • Kenny Mack: sax  

The band has performed a fine version of Frank Zappa's 'Son Of Mr.Green Genes' on a couple of occasions.

Examples can be found & listened to over at:

Pete Brunelli adds: 
Soul Cryptographers is what grew out of the funk/soul/jazz outfit that played in lieu of DOOT! on the Kehler Liddel gallery gig that Steve Chillemi couldn't make it to. We liked the material and the way the band works together and formed a little side project.




-- info & picture: Nikolai Zaharov


  • les polissons: les polissons jouent zappa
        (2006, cd, france, pjz 001/1)
    • July 2006, at Zappanale 17, I was completely blown away by Les Polissons. A very fine and tight band, but with exceptional vocal talent by Sarah Piet.
      For one reason or another (blame it on my sloppiness) their excellent mini-album didn't get pasted into their United Mutations entry.
      Correction has been made.

More news: 2007/03/16, Les Polissons did a concert with Ike Willis at the Festival Cordes Sensibles in St Médard-en-Jalles, France.

Video fragments of this concerts can be seen at the bands4 MySpace:

And Les Polissons are looking for concerts. So if you know a club or venue that might book a band from France to play some Zappa, give them a call.


Hans-Peter Schmidt continues his "Zoot Allures" story:

The German cassette release on Discreet: 7 tracks listed, 9 tracks on the tape.


Darn, I'm a day too late with this. Hope you didn't miss it...

2007 11 19

[Chris Opperman] Birthday Bash Tomorrow Night @ Room 5!

It's tomorrow night!  All the cool kids are going to be there...and don't you want to be a cool kid?

Chris Opperman Birthday Bash
SPECIAL OPPS w/Special Guest Mara
Tuesday, November 20th
Music starts @ 8, we go on @ 9:30
143 N. La Brea, 2nd Floor - Los Angeles, CA 90036
$8 cover
featuring the debut performance of The Kentucky Years as well as performances by Kelda, Chris Cargill from Riddle the Sphinx,
Shannon Hurley, and more!



The Residents @ Yuerba Buena Center for the Arts! Coming next month! If you are in California, be sure to make it to San Francisco for the Dec. 6, 7 and 8 screenings of the Residents video retrospective. Each night is different, click on the banner to get more info. Ralph will be there selling various goodies each night, so stop by and say hi!

Go here for all the details:


The Ralph Gang



Frogg Café says:

Hey there!

Hope everyone's well!  If any of you Beltway proggers are in town, come check us out.  Orion is always a hazy crazy time.

Happy Turkey Day!




Saturday, December 1
The Baltimore Progressive Rock Showcase
Orion Sound Studios
2903 Whittington Ave
Suite C
Baltimore, MD 21230
(410) 646-7334
8 pm - Might Could
9 pm - Frogg Café
Tickets $15 at door

  • 2007/12/01 Frogg Café - concert "The Baltimore Progressive Rock Showcase', Orion Sound Studios, Baltimore, MD, usa

Info from Mike Potter, the Baltimore Prog Pimp:
All shows start at 8:00pm unless otherwise stated.  You are welcome to bring whatever liquid refreshments you care to drink, and  coolers are welcome.  Our shows are all-ages shows, but we do not tolerate underage drinking.  We do have a few couches, stools, and chairs, but you are welcome to bring your own SMALL folding chair if you'd like.  The bands typically have some merchandise to sell such as T-shirts, CDs, etc., so bring your wallet and help support the music you love!  Chris Lamka, owner of Of Sound Mind, is at almost all Orion shows and offers a wide variety of hard-to-find progressive rock titles at his table near the showcase room entryway. 

Take I-95 to exit 50A, which is Caton Ave., south.  If you are coming from the south beware of the merge onto Caton Ave as there is no merge area.  Take Caton to the third traffic signal, which is Washington Blvd., and turn left.  Follow Washington for about a quarter mile until you approach a "U-Haul" sign on your right.  Turn right, just before the sign, onto Inverness.  Take Inverness to its end and turn left onto Whittington Ave.  Take Whittington to its end and turn right, into our parking lot.  The showcase entry is door E, on your right as you enter the lot.


Fattore Zeta, the jazz tribute to frank zappa band from Italy is still alive and kicking. I added data for their discography & concerts.

Their next concert is at:

  • 2007/12/05 Fattore Zeta - concert 'Centro Sociale Askatasuma', Torino, TO, Italy



New on WM Recordings:

RioJafari & the Delicious Allstars

Weird, funky hiphop from Germany, now available from iTunes and other major download stores.



In 1994, American underground artist, musician and home taper, Russ Stedman compiled "Where's My Waitress", a Frank Zappa tribute.

Russ informed me that the recordings have been remasterd and will be out on CD. With extra tracks !!

More info soon.



  • the residents: the voice of midnight
        (2007, cd, uk, mute)
  • the residents: the sandman waits
        (2007, cd, uk, ralpho)
    • "The Voice Of Midnight" is another masterpiece from The Residents. It's a little horror-story, to say the least.

      "The Sandman Waits" is the bonus disc that comes along with "The Voice Of Midnight". It's a mini-album (a bit over 20 minutes long), and it's great. It's a perfect match.
      Can't tell you too much without spoiling the story, but this is great.
      "The Sandman Waits" is the perfect soundtrack to go with the story of "The Voice Of Midnight".
    • Highly recommended !! 


Think Of One is selected to give a showcase at Eurosonic 2008 in Groningen, The Netherlands. The band will be presenting their new album Camping Shaâbi which will be released in February 2008 by Crammed Discs (Belgian release: 29 oct 2007).

The European showcase festival Eurosonic is part of the Noorderslag Weekend in Groningen. As 'Europe's Prime New Talent Event', Eurosonic takes place in more than 25 venues spread over the city centre of Groningen. The festival is supported by the European Broadcasting Union, a network of 26 European radio stations and a lot of European agents, record companies, booking offices, etc.

Come check out Think Of One and their Moroccan guest musicians @ Eurosonic 2008

place Plaza Danza
date 11th of January 2008
time 22:15 - 23:00



2007 11 21

November Update

The show on December 6 at Tonys Sports Bar in Sandy Springs, GA has been cancelled and waiting on a date to reschedule...

We would like to welcome our newest team-mate;
Jim Kirkland - stunt violinist - Atlanta, GA

Layla Hall... 11/24/07 =  2 years with URR...
HAPPY ANNIVERSARY!!! Good job and thank you!!!

FZ Birthday Tour with Ike Willis

  • 2007/12/20 Ugly Radio Rebellion, feat.Ike Willis
     - concert 'Jackie O's', Athens, OH, usa
  • 2007/12/21 Ugly Radio Rebellion, feat.Ike Willis
     - concert "FZ Birthday Party 'The Winchester', Cleveland, OH, usa
  • 2007/12/22 Ugly Radio Rebellion, feat.Ike Willis
     - concert 'Macs Bar', Lansing, MI
  • 2007/12/23 / 12:30pm  Ugly Radio Rebellion, feat.Ike Willis
     - concert "St Alphonzos Pancake Brunch", 'King Brewing Co', Pontiac, MI, usa
  • 2007/12/23 / 9:30pm  Ugly Radio Rebellion, feat.Ike Willis
     - concert 'The Buzz Bar', Detroit, MI, usa

Happy Thanksgiving!!!!



  • terry bozzio: solo drums
        (1988, vhs, usa, ??)
    • In 1988, Terry Bozzio released "Solo Drums", a tutorial video.
      The video got re-released in 2006 on DVD.
      On the right, the picture of the DVD release.

2007 11 20


highlights from the Zappanale newsletter:

Zappanale #19
15.08.- 17.08. 2008
Bad Doberan/Ostsee

The date for Zappanale 19 has been set.

Confirmed artists:

  • Denny Walley
  • The BOGUS POMP Low Budget Semi-Acoustic Orchestra

As usual, the event will kick off with a special event on 2008/08/14 in downtown Bad Doberan, AND,
a special concert is being prepared on 2008/08/13 in Hamburg.


Tickets are 84 euro for the three-day festival.
Buy your ticket before January 01 and get a 10 euro discount !
Buy 10 tickets and get one for free.



Big Electric Chat 
The Adrian Belew Newsletter 
  November 18, 2007

In this edition:







Adrian Belew, Julie Slick, & Eric Slick will be hitting the road once again in early 2008.

For links to venues, please visit and click on the NewsBelew link.


You can now order your copy of the long awaited SIDE FOUR LIVE.  Side Four Live consists of live performances by Adrian, Julie, and Eric from 2007's amazing performances by the Power Trio and is Adrian's 1st LIVE solo release EVER.  Side Four Live is the perfect gift for that special Belew fan on your gift list.

Available SIGNED by Adrian, Julie, and Eric for $22.00 or UNSIGNED for $18.00. 
To purchase Side Four, visit and click the NewsBelew link.


Get the latest happenings from StudioBelew at Adrian's blog.  News, anecdotes, and other interesting bits of information straight from Adrian.  (


Every week since February 2007, a new Dust particle has been released into the air at StoreBelew.  If you missed the 2 Bowie particles, (Pretty Pink Rose, and Gunman), you owe it to yourself to get caught up and have a listen.

vol/no. track                                                  

  • v01n02  peas

  • v01n03  the phlegm / charlelle / don't leave my leg out there

  • v01n04  522

  • v01n09  staged fright

  • v01n10  what do you know? (complete version)

  • v01n12  men in helicopters (strings)

  • v01n19  spies

  • v02n01  sand

  • v02n03  pygmies

  • v02n04  manhattan/neurotica - king crimson

  • v02n05  dust

  • v02n06  yoli yoli

  • v02n07  lone rhinoceros (live)

  • v02n08  swingline/buy that face (live 1983)

  • v02n11  antarctica

  • v02n13  japanese fan dance

  • v03n04  kiss it goodbye - the bears

  • v03n05  a nut for a jar of tuna

  • v03n07  she left me - the bears

  • v03n08  collage for girl with clouds

  • v03n11  shoe salesman 1 & 2

  • v03n12  phone call from the moon

  • v03n14  p type (remix)

  • v03n17  i am what i am (instrumental remix)

  • v03n18  small world (instrumental)

  • v03n19  happy guy

  • v03n20  gun man (instrumental remix)

  • v03n21  neptune pool

  • v03n22  hawaiian cowboys

  • v03n23  pretty pink rose (instrumental remix)

  • v04n01  birds

  • v04n03  happy birthmark

  • v04n04  this is what i believe in / standing in the shadows

  • v04n05  heaven's bed / member of the tribe

  • v04n06  big blue sun (remix)

  • v04n08  postcard from holland (demo)

  • v04n11  on the beach goes the crimson king

  • v04n13  one time (demo)

  • v04n14  the ruin after the rain (piano demo)

  • v04n15  fly (demo)

  • v04n16  duck funk symphony

For more on Adrian's Dust particles including links to blog entries, StoreBelew, and sample clips for each particle, please visit the NewsBelew link at  Each Dust particle is $1.49, payable through Paypal.


In a recent blog from Adrian, he announced he will soon be recording with Trent Reznor again.  They're scheduled to record the first week of December and if previous collaborations are any indication, we're in for another great record from Trent and Adrian.  (See Downward Spiral and The Fragile for past recordings)

That's it for now, folks.  As always, please visit for the newest news and latest from Adrian's blog.  (
On behalf of Adrian, thank you for your continued support and we look forward to seeing you on the tour in February.

Adrian Belew Webhamster




November 17, Markus Stauss' Trank Zappa Grappa In Varese? took the stage in Baarle Nassau.

  • 2007/11/17 Markus Stauss - concert 'De Plusetage', Baarle Nassau, NL (9pm)
  • Michel Delville: guitar and electronics
  • Markus Stauss: tenor & and soprano saxophone
  • Damien Champion: electric and double bass
  • Laurent Delchambre: drums and percussion

Going to the 'Plusetage' in Baarle Nassau always is nice experience. It's a small venue, though never crowded, and the atmosphere is great. Nothing but like-minded music-lovers.
The band played two 50-minute sets and the music ranged from progrock to jazz.
I liked it a lot.
The show got recorded, so maybe we'll see it on Fazzul records one day.

Trank Zappa Grappa in Varese?
live at the Plusetage in Baarle Nassau 2007/11/17


  • payuta & friends: departure
        (2007, cd, ger, jaro 4287-2)
    • Harry Payuta plays the sitar. On "Departure", his 8th solo album, he plays a very fine version of Zappa's 'Watermelon In Easter Hay'. Seven minutes plus.
      I was quite surprised to find out how good it sounds. It's almost like Zappa wrote it with a sitar in mind.
      Even the ten lines of added vocals near the end of the track sound as if they were always meant to be there.

-- info & more: Zjakki Willems



The Zappa Plays Zappa show in Austin got filmed for a possible future DVD release !!

  • 2007/11/13 - concert ‘Hogg Auditorium’,Austin, TX, usa

And rumour has it that several shows were recorded with an audio release in mind as wel.


  • animals: animalism & bonus hits
        (1995, cd, ger, oxford records)
    • German Oxford Records reissued the Animals' 1966 "Animalism" album in 1995. With some bonus tracks.
      As you might recall, Frank Zappa arranged two tracks on this album.


-- info & picture: Nikolai Zaharov

2007 11 18


Thanks to Danny Mathys, the Sun Ra discography has been adjusted & completed.

Take a look here.


  • joe satriani: one big rush
        (2005, cd, usa, bmg cmg a 96083)
    • So what's a Satriani sampler doing in the United Mutations Latest News section?
      Well, I've been listening to it a lot, the last couple of days, so why not. I might have added a Santana album just as easily. I guess I was in some sort of guitar mood the last couple of day.


Check out Bazbo's picture diaries of the Dutch & Belgian ZpZ shows, and of the 2007/10/19 Foolz concert.

Bazbo? The guy with the Rubber Chicken? The Rubber Chicken that played a synthesizer solo during the ZpZ Antwerp gig?

YES !! so check it out:






2007 11 16

Fred Hemmer says:

New Bogus Pomp show announced

OK gang, time for a road trip! This ain't no redneck bar. This venue is a nice mini-theater that only seats about 300. New and classy!

Muffin Man Productions Presents: "Bogus Pomp in concert"

Saturday December 15th 2007
At the Marion Theatre
50 South Magnolia Ave
Ocala Florida 

Doors open 8:00 PM
Show time 9:00 PM

$20 per person

Marion Theatre Box Office (352) 622-1247

Ticket sale and info starting Monday 11/19/2007



Two of the finest discoveries that I've made the last year, were Rainer Tankred Pappon's solo albums. Not easy to get hold of, but very worth your while. (try the Central Scrutinizer Band website !)

Anyway, the Rainer Tankred Pappon band will be doing a concert next week, so if you happen to be in the area, check them out!


  • diego conti & stefano taglietti: wordless dialogues
        (2001, cd, i, sculture d'aria cd 51018)
    • Diego Conti and Stefano Taglietti did a recording session at the Ecamlab Studios in Pescara, Italy, in 2001.
      Most of these sessions were done as a duo, where they played Sibelius, Hendrix, Tom Waits, Ligeti, and more. A couple of recordings sessions, however, were done by Diego Conti, solo on violin. These sessions included three Zappa compositions: 'Peaches En Regalia', 'Little Umbrellas', and 'Son Of Mr.Green Genes'.
      Another highlight is the piece where Conti performs 'So What' (M.Davis), Pharaoa's Dance (J.Zawinul) and 'India (J.Coltrane).
      Fabulous !!
    • OK, so you've got the same session on two discs (see below), so check what you already have to see what you still need.


  • diego conti & monica de matteis: four rooms
        (2007, cd, i, olga 009)
    • In 1994, Diego Conti (violin) and Monica de Matteis (grand piano) released an album "Zappa, Lutoslawski, Lupone, Pärt" on which they performed compositions that could be found in "The Zappa Songbook": 'Uncle Meat', 'Oh No', 'Igor's Boogie', 'The Idiot Bastard Son', Little House...', 'Music For Electric Violin...' and 'Let's Make The Water Turn Black'.
      The new "Four Rooms" album, of which the picture is displayed on the right, is a re-issue this album, but with a couple of very interesting extra tracks: Zappa's Hot Rats Suite: 'Peaches En Regalia', 'Little Umbrellas', and 'Son Of Mr.Green Genes', re-arranged for solo violin by Diego Conti. (from the 2001 sessions at the Ecamlab Studios)
      It's very interesting to hear the classical approach and adaptation of a couple of Zappa's most jazzy tunes. Solo violin !!
    • I love it.
      Essential listening!!

2007 11 17


In its latest newsletter, The Zappa Family Trusts says that the Zappa Plays Zappa DVD is now available both on tour and through Barko-Swill.

The Australia dates:

The big news, however, is that the Zappa Plays Zappa tour is going to Japan!!



2007 11 17

Sgt. Leonard's Loopy Arts Dub Band

Hello, Glenn Leonard here. Recently I've been leading the Zappa repertoire band Pojama People up and down the west coast. I am also performing as a solo act under the name "Sgt. Leonard's Loopy Arts Dub Band." The presentation features digital loops being set up before your very eyes 'n' ears on various hand drums, percussion and marimbas. It serves equally well as ambience to any enviorment or a concert situation, depending on how any given audience member may chose to perceive it.

A demo can be viewed here:

SLLADB is a one-man multi-dimensional musical presentation which transcends boundaries. Percussion loops are set up before your very eyeears to form a virtual drum circle. Melodic lines are set up as well on marimbas....and the journey begins. Seatbelts are optional but not provided.

Sgt. Leonard's Loopy Arts Dub Band
Appearing at
Cozmic Pizza
Nov 25 Sun 7pm free

  • 2007/11/25 Sgt. Leonard's Loopy Arts Dub Band - concert 'Cozmic Pizza', Eugene, OR, usa


2007 11 16


The Keneallist 2007 11 14 - part one

A message from Mike:

Europe recap, Dëthkløk tour, Tar Tapes downloads, discounts and more!

I'm leading with this: puhleeze don't see Bee Movie. By which I mean, you have to f***ing promise me right now that you won't see it. I'm giving you four seconds to say it out loud.

Brendon and I saw Bee Movie tonight based on a tragic and soon to be betrayed feeling that Jerry Seinfeld's involvement was likely to ensure some sort of reasonably quality entertainment offering. We were the only two people in the theater, which allowed us the blessed freedom to comment out loud to one another (the phrase "piece of sh*t" was used a lot) as the mounting, brain-melting absurdity of the film's pacing, plotting and characterizations turned into an unending, insulting, surreally poor and awful and...oh, you know what, I shouldn't dwell on this, it's not good for any of us. Please simply believe me when I say that this movie doesn't love you, doesn't care about you, doesn't deserve your patronage and precious money and just, please, my God, don't see it. Apart from all that though, "it's a rollicking good time at the theater!! Buzz, don't walk, to this movie right now -- bee there or bee square!" -- Mike Keneally

This is me, typing on Beller's laptop, on tour with Dethklok on a day off in Kansas City; we don't have a gig here, we're just stopped here on the way to Carbondale, Illinois. Sitting in the back lounge of the bus a little after 3:00 in the morning of Nov. 13, an hour before the bus leaves for Carbondale. I thought I was going to go to sleep when I got to the bus at 1:45 but I ended up watching rock videos on TV with the rest of the band -- just saw an amazing version of "Eighteen" where Alice Cooper can't remember the words, drinking from a nearly empty bottle of whiskey. (Although just now I watched 30 seconds of a Lita Ford video and I could feel my soul being sucked out of my ears.) I've been on the road forever, was home one day in the last month, and the city was on fire that day so, weird day, and I'm feeling a bit homesick and road-tired, but having an amazingly great time on the road with Dethklok (we played our best show of the tour last night in Boulder, Colorado) and I'm feeling grateful for how well the projects which have kept me away from home all this time have gone and are continuing to go, and here's what I mean, man...

It all started with the Zappa music project in Budapest, which I guess was a month ago but feels like a year and a half to me right now (tonight I was trying to remember what the hotel I stayed at in Budapest looked like, and I can't remember at all, and I was in that room for a week), and which was a righteous blast for fifteen different reasons. Reason one being the opportunity to once again make music with Ed Mann, after 19 years of not having done so. We used themes from "Revised Music," "Marqueson's Chicken," "We Are Not Alone," "What's New In Baltimore" and "Moggio" and constructed an hour-long free-form duet fantasia around them, which was exhilarating as hell. Ed hasn't done all that much live playing lately and this set certainly whetted our appetite for doing more things together. Later in the day we collaborated with the 25-piece Hungarian ensemble the Modern Art Orchestra -- FANTASTIC group -- on some new arrangements of Frank tunes which were constructed and conducted by the shockingly capable (and quick!) Tom Trapp. I guess I was sort of possessed by something at this gig because my pal and European booking agent Pieter van Hoogdalem said he was almost frightened (in a good way I think) by me during the performance. I was definitely having a good time. Anyway, big friggin' thumbs up to everyone who made the Budapest thing possible, including Janina Szomolányi, Kornel Fekete-Kovacs, Scott Chatfield, Pieter van Hoogdalem, Tom Trapp, Ed Mann and Gail Zappa.

(And speaking of Tom, many thanks to him for transcribing and scoring my string quartet piece Gita Minor, of which I've just today heard a rough mix of a beautiful performance, soon to be released by the Zapp String Quartet from Holland. Absolutely wonderful recording and I'm thrilled that the first recording of my first string quartet makes me so happy. Thanks Tom and ZSQ and Co de Kloet!)

Then I hopped over to Sweden for the IB Expo, the third annual experimental music festival hosted by venerable progressive outfit Isildurs Bane. I participated in some pieces by them, thereminist Pamelia Kurstin and flutist Bjorn J:son Lindh, along with classical guitarist Christian Saggese and trumpeter Luca Calabrese, and in turn they collaborated with me on a 25-minute rearrangement of pieces from The Universe Will Provide. Strange and fascinating to reduce pieces which were written for 50 players down to eight pieces, and it actually worked really well, although it took some sort of toll on me I think -- on the second day of rehearsal I practically passed out in the studio from exhaustion, a pattern which would be weirdly echoed a week or so later on the second day of Dethklok rehearsals. I couldn't find much vegetarian food which agreed with me in Halmstad, Sweden (I've been vegetarian for about two months now) -- someone, and it might have been popular songster Tom Jones, had told me that Budapest was likely to be the locale which would pose the most daunting challenge in the hunt for fresh, quality non-meat-based meals and foods. But Hungarian citizens literally stood on street corners and threw hummus and vegetables and protein capsules at me. In Sweden, the only vegetarian item available to me at the hotel buffet, and I'm completely serious about this, was rope. A thick, weighty rope normally used for anchoring sailboats to docks. The wait staff would laugh as they served the rope to me (and usually pull it back out of my throat before I'd had a chance to choke the whole thing down). So I was a little weak from malnutrition but it was still delightful to hear the Universe pieces (we played "All of Them Were Quiet," "Archaic Peace Strategies," "Not Just Flutes" and "Blue 68" -- a really cool selection of pieces, I have to admit) reborn with this smaller ensemble with really interesting textures. A guy in the audience told me he "understood" the Universe music for the first time after this performance. I proffer major thanks to everyone who played so beautifully and welcomed me so warmly, to the extraordinarily capable and helpful Thomas Olsson, and to everyone was so freaking nice to me the whole time.

Then I flew home to San Diego, descending over miles of fire lines slicing through the darkness as we approached the airport. Too weird. Scrambled around, did some laundry, hung out with Sarah and Jesse, tried to stave off dread and choked on the air a lot. We all lucked out fire-wise (although it was touch and go up at Scott's place for a while) but we all know people who weren't so lucky. Strange awfulness, driving through black sky to get to LA for the Dethklok rehearsals, shook up and jet-lagged and exhausted.

Brendon Small, co-creator of Metalocalypse, composer and performer of all the music on the show and leader of our live band version of Dethklok, is a genius (this is true -- if you don't believe me I'm going to send Al Pacino to your house to do his impression of Jack Nicholson saying "you can't handle the truth!!").

(Now it's 4:44 pm Nov. 13 and we're in the parking lot of the venue in Carbondale. We're playing only universities on this tour. Just had soundcheck and it sounds pretty damn good on stage. And today is my mom's birthday! Happy birthday Mom!)

So yeah, Brendon is a genius, drummer Gene Hoglan is an unthinkable force of nature and the arbiter of all which is truly metal, Bryan Beller is of course amazing as always. The three of them were already a week into rehearsal by the time I showed up in LA, jet-lagged, smoke-logged etc. and they had all the songs pretty much nailed down while I was still fumbling my way through. On the second day I was there Brendon sent me back to the hotel early because I was so clearly unwell, but by the last day of rehearsal I was nailing that sh*t pretty good, feeling strong and healthy and happy. So, yay, let's go out to dinner, Sarah and Matt Resnicoff! Yay, great dinner! Here, I'll drive you back to your hotel, Matt! I'll just drive completely normally through this green light at this intersection here and BAMMM! A thoroughly oblivious 18-year old girl will run a red light and pile into the right side of our car, causing all of us pain, shock and dismay!

I was completely out of it for at least three hours, absolutely in shock, nominally better the next day but still way out of it by the time I had to go to the airport to leave for the Dethklok tour. I'll spare you the details of how we dealt with the mashed car and everything because I don't want to relive it all, but Sarah managed to get safely back to San Diego, and then I was on the road. Thank God this tour has an absurd amount of days off and down time because I was really about to lose it there for a while. And after a few early shows trying to get all the technical stuff nailed down (staying in synch with the projected animated video, getting a good solid metal-sounding mix) we've trained ourselves to be a fully reliable machine of massive metal muscle. Get yourself ready, Carbondale.

This is sort of a try-out tour, and most of the shows have been students-only, but next year we're going to do this up for real where everyone can see it.

So that's what. Please read elsewhere in this Keneallist for exciting details about the now-downloadable Tar Tapes Vol. 1 and Vol. 2! And the holiday deals which Moosemart offers to make you and your loved ones' holiday season just a little more undeniably superb!

When I get home I'm plunging back into School of Rock duties (our Best of the 90s shows are going to be at The Epicentre on Mira Mesa Blvd. on Dec. 15 and 16, and for a change I'm going to play a few songs at these shows -- plus you'll get to hear my daughter sing "Paranoid Android" and you KNOW you need to witness that) and co-producing the debut album by The Assumptions (about which more later), and working on curriculum/textbooks for the SoR, and continuing work on a very patient Scambot, and projects by Marco Minnemann and Raul Huelves and Phi Yaan-Zek and other stuff which I know I'm forgetting.

Happy birthday Mom!



The Keneallist 2007 11 14 - part two

Happy Holidays from Mike-- MK's Holiday Sale and Tar Tapes dowloads now at MooseMart!

Now through the end of the year is a great time to pick up any Keneally music or shirts for yourself or as gifts, because you can save 10% on all orders over $40 by entering the promotional code "MKHOLIDAY" at check out!

Plus, the much-clamored-after Tar Tapes, Vol. 1 and Tar Tapes, Vol. 2 have just been made available for download only. These are downloadable versions of the long-sold-out limited edition CDs that highlight Mike's music from the '80s and very early '90s. Each CD comes with an eight-page digital reproduction of the original CD cover, liner notes and lyrics. They can be downloaded as zip files containing high-quality (minimum 256k variable bit rate) mp3 audio files, compatible with all mp3 players. The files are DRM-free, meaning that there is no anti-copying code buried in them (we trust you). And they're only $10 each.

In addition, all three out-of-print Exowax bonus CDs that helped make the sold-out Special Editions so special are still available for downloading at MooseMart, including the interview/music disc Nonkertalk, the live acoustic Dancing With Myself and the exquisite re-imagined Wooden Smoke Asleep.

Ten years after on  Sluggo! is loose!

Saturday November 22 1997  !!!!

Chatfield Manor San Diego CA

No specific reason for me not to have typed this at home and emailed it to Mr. Chatfield since I am in fact ONLINE AT HOME once again and gleefully receiving and responding to email after a long time away. But here I am in San Diego having just done another two days in the studio with Jip finishing up (mix and all) the three songs we started a few weeks ago. The last two days brought approximately equal measures of giddiness and despair, now it's all evened out and I'm doing just fine, not really leaning toward one extreme or the other. Playing the Neil Young "Young Man's Fancy" bootleg and typing away. Shiny van with a tank full o' premium out in the street. CAN'T COMPLAIN.

Finally "Sluggo!". It is flying around the world as we speak; look there's one in Paris there's one in Cangool. "Sluggo!" zoomin' 'round the world, flying like a zooming fool. What you gonna do when "Sluggo!" gets on you. "I know what I'm-a do", says a girl without a shoe. "I'm gonna play it louder than I ever did befoo". "Sluggo", "Gluggo", what you gone to do. Put it near a box of corn and let it work for YOU. Savor the golden brown taste of "Sluggo!" with a loved one today. OK.

I was remiss and didn't warn the Lost Angelenos amongst you that there were a couple of Robb Vallier performaces with JT and me taking place over the last couple of weeks. One was an acoustic set at Genghis Cohen, then a rockin' electric shindoo at the legendary Luna Park (now ever more legendary thanks to a certain new tune on a certain new album what rhymes with "Kruggo"). We've got another show on December 1 at the Troubador and you should come if you can, we have got a genuinely cool vibe happening. No BFD shows booked, we're taking the rest of '97 off whilst various people take the holidays off and I try to engender as much industry awareness of "Sluggo!" as I can using the mail and the phone and the computer. I'll be interested to know what you folks make of the album. Response from everyone who's heard it thus far is shocking and positive and validating. It feels like a new day dawning and stuff. I love the album with every fiber of my being myself but that's just me. You may find out more of what the album's about by visiting the "Sluggo!" entry in the discography.

There are numerous releases which I need to write about for the discography, in particular the Ed Palermo Big Band album which is finally out, the Mark Craney benefit album, the "Merry Axemas" compilation, the Tar Tapes CD, and I realized not long ago that I've never done proper discography entries for "Half Alive" and the "Music For Pets" box. I'll be vacationing during Thanksgiving week but in early December I'll plug up the textual holes, and get going on some more tour diary stuff.

I've been going to a lot of shows lately, doing the shmooze thing big time. Sadly I had to forego seeing The Loud Family in Santa Monica tonight as circumstances have kept me in San Diego for an extra day working with Jip. The most amazing thing I've seen lately was Michael Landau and Rascal Balls at the Mint in Hollywood, with none other than Toss Panos on drums. Toss is playing the best he's ever played and there may be no finer rock-blues guitarist than Landau; he's absolutely breathtaking. They've got the next few Wednesdays at the Mint so if you're around you absolutely have to see them, you'll collapse with ecstasy.

Of course we didn't win anything at the Rock City News awards, we'll see what if anything transpires at the LA Music Awards on the 16th. I do know that the awards were somehow restructured and my three nominations were somehow reduced to one, Best Guitarist (which makes sense since the other two nominations were for a three-year old album). It's a little annoying but not as rough as Billy Joel's Rock and Roll Hall Of Fame nomination being announced, then rescinded the next day. Ouch.

Been talking with Steve Vai a lot lately, he's very enthused about "Sluggo!" which is cool. I saw the legendary Magee (drum tech on the Vai tour) a couple of weeks ago at a Dream Theatre show, he's working with them now, in charge of Mike Portnoy's absurdly huge kit. Speaking of absurdly huge I saw the Tommy and Pamela Lee video at Rich Pike's house not long ago. Yikes. I still talk to Mangini and Bynoe every once in a while. We're keeping touch during the off time, don't worry. We all love each other like big bears.

MK/BFD or MK/BB or just MK will be doing various things in January connected with the NAMM convention, I'll fill you in on the details when it gets a little closer to the actual date. Baby.

New Zeppelin BBC release is cool, so's the Simon and Garfunkel box, but the very most rockingest thing in the world right now is "The Pet Sounds Sessions". What divine music is contained therein, it makes me want to do nothing so much as to get into a studio with a bunch of grizzled session vets and just invent a shitload of music on the spot and go into quadruple union overtime. I could do two albums a week if someone would provide a budget. Brian Wilson is a total inspiration to me. My standard line lately in reference to "Sluggo!" is that it's the third best album of all time. First is, of course, the Miles Davis Plugged Nickel box. The second, at least this week, is the Pet Sounds box. Go git it! And PLEASE get "OK Computer" if you haven't already - great new music must be supported, oh baby.

Please have the most wonderful Thanksgiving you can, surrounded by people whom you adore to pieces and I'll be in touch in December. Thinking of you.

They killed Kenny,




The cover of Eddie Meduza's "Garagetaper" is a copy of Zappa's "Joe's Garage" album.

  • eddie meduza: garagetaper
        (1980, lp, sweden, cbs)

The album got released in 1980 on CBS Records.


-- info & picture: Hans-Peter Schmidt


Here's some nice label pictures of a couple of 7"s that Zappa knew very well (as he covered all of them)

-- pics: Hans-Peter Schmidt





side a: mr.undertaker: here lies my love - the label side b: the 4 deuces: w.p.l.j. - the label


  • the beat of the earth: the electronic hole
        (1969, lp-demo, usa, radish as 002)
    • In 1969, Phil Pearlman recorded a demo and pressed it on vinyl in a limited edition of 150 copies.
      The project was entitled "The Electronic Hole", but it's still unclear if the band's name at the time should be refered to as "The Beat Of The Earth" (Phil Pearlman's band at the time) or as "The Electronic Hole".

      To make things easier, I've put both names in the alphabetical listing. The Beat Of The Earth has been there for quite a while, but now I've added The Electronic Hole as well.
    • The album / demo did get a CD treatment in 2004, and if you want to know what it sounds like, check out the below link over at the Chris Goes Rocks site:



-- info: Jan van Kemenade


  • jon nelson: gran calavera electrica
        (200?, cd, usa, sunken gong records jn 0102)
    • "Gran Calavera Electrica".
      This is the title of the Stephen Barber piece that is included on this album. It's Barber's tribute to Frank Zappa, performed by Jon Nelson (who you should know from his Meridian Arts Ensemble past) and his guests.

      This is a very fine contemporary music album. Stephen Barber's piece is impressive (and very zappa-esque)  and with its 25 minutes counts for a big part of this album.

      Recommended listening.


  • steve vai: asia tours, live - part 1
        (200?, cd-bootleg, ??, jdl 448-1)
    • There's a new Steve Vai bootleg out. A live concert. No data on the where and when.
      This is part one.

  • steve vai: asia tours, live - part 2
        (200?, cd-bootleg, ??, jdl 448-2)
    • And this is part two. Released on two seperate CDs.
      It's quite a good concert, except for a little part on this second disc where Steve's guitar goes out of tune in the middle of a song. A pity.


Hans-Peter Schmidt supplied me with a better picture of the "Frankie's Greatest Hits" vinyl bootleg album, so here you are:


2007 11 15


the only FZ alumni on the planet consistently performing the music of the maestro
80 plus concerts so far, 

featuring former members of the mothers of invention

  • Don Preston
    (with FZ  1966 - 1974) - piano, keyboard  synthesizers, electronics, vocals

  • Roy Estrada  
    (with FZ  1964 - 1984) - bass, pachuco falsettos and operatic madness, (gas mask)

  • Napoleon Murphy Brock
    (with FZ  1972 - 1984) - lead vocals, tenor saxophone, flute, suavenicity, dancing(!)

  • Miroslav Tadic - electric guitar

  • Christopher Garcia  - drumset, percussion, marimba, vocals


Safari Sam¹s
5214 Sunset Blvd.
Hollywood, CA, 90027

U.K. Tour MARCH 2008


festival tour
days and dates forthcoming


The Grande Mothers Re:Invented live at the club Aquarius in Zagreb, Croatia.





The date below has been corrected to 2006 !!
  • 2006/08/20 The Tehran Symphony Orchestra -  concert "Morgenland Festivals", Osnabrück, Germany

The Tehran Symphony Orchestra, conducted by Nader Mashayekhi performed pieces by Tschaikowsky, Zappa, Beethoven, Riahi and one comissioned piece by Mashayekhi.

-- info: Hans-Peter Schmidt

2007 11 11


While waiting for Dieter Jakob's bootleg bible, here's another coupe of shots from Hans-Peter Schmidt:

Zappa bootlegs.

-- pics: Hans-Peter Schmidt

front cover back cover

front cover back cover

front cover

front cover back cover

front cover back cover

front cover

back cover


DimeADozen recently offered a fine radio broadcast recording (from 2002/05/17) of the 2002/05/09 concert at the 'Porgy & Bess' Jazzclub in Vienna, Austria.

The same evening, German radio did a broadcast of the Diersbach concert.

Recordings of both radio broadcasts circulate.

From the same tour, there's also an audience recording of the Aschaffenburg 2002/05/16 concert being traded.


Here's another addition to the Frank Zappa / Books section, a lyrics book from 1985:


frank zappa - antologia poetica

intro by antonio filipe marques
    (1985, book, portugal, edicao 186)


- a 267 pages, softcover book, including photos, an intro, a discography, and a portugese translation of selected songs from "Freak Out" to "Joe's Garage".


-- info & picture: slime.oofytv.set


Only recently, two excellent recordings of the Allan Holdsworth / Alan Pasqua band (with Jimmy Haslip and Chad Wackerman) surfaced. The Munich one is an audience recording, the Berlin one got broadcast on the radio.
Don't hesitate if you can get them.
  • 2007/05/17 Allan Holdsworth / Alan Pasqua band –  concert Munich, Germany
  • 2007/05/19 Allan Holdsworth / Alan Pasqua band –  concert Berlin, Germany


ART JARVINEN - interview


art jarvinen interviewed by John Trubee

October 2007

John Trubee: When and where were you born? Where did you grow up? Could you describe general impressions of your formative years?

Art Jarvinen: Ilwaco, Washington, 1956. Moved around whenever my dad was called by God to go to yet another shitty town. Kettle River, Minnesota. Eben, Michigan. Port Arthur, Ontario. Warren, Ohio. All shit-drags. My youth was characterized mostly by boredom, and trying as hard as I could to be saved, probably to please my dad. The joke was "Art went up for the altar call again". My dad's idea of a summer vacation was to take us to Bible camp. He fished and hunted, but never showed me how. So I did things like read chemistry books and learn how to make nitroglycerin. Mine didn't actually explode, but it did go off when I threw a rock at it. Huge billowing clouds of orange smoke spewing forth everywhere. I was so excited I immdiately mixed up another batch. I stepped back and it went off spontaneously. My dad should probably have taken me fishing.

John Trubee: When and how did you get hired by Frank Zappa to do music copying for him?

Art Jarvinen: 1981. He had just fired Adam Stern because he wasn't producing enough work to earn his salary. David Ocker suggested that I submit a work sample, and I was hired immediately. He already had three full time salaried copyists, but needed more staff because he was not only in heavy production, but also still re-working things like 200 Motels. I was in Frank's employ for 14 months until his accountant told him he couldn't afford to be pumping that much money into his "classical" work, which wasn't bringing money in.

John Trubee: Did he also hire you to transcribe his music? What tunes of his did you copy and transcribe?

Art Jarvinen: I never transcribed. Steve Vai did almost all of that, and Richard Emmett did some. What I did was what I guess you'd call "arranging". Specifically, I took most of his orchestra scores and worked them out so they could be played on two pianos. That's a common practice in the classical realm. Stravinsky, for example, did his own two piano reduction of The Rite Of Spring.  
I copied those arrangements, plus things in the Frank Zappa Guitar Book. Not sure which ones. Pink Napkins I remember.

John Trubee: Your music copying work is remarkably clean and elegant. When, where, and how did you learn to do it?

Art Jarvinen: The specific technique you're referring to was developed by Donald Martino as far as I know. He taught it to his students at Yale, including Stephen "Lucky" Mosko, who taught it to several of his students at CalArts. All the Zappa copyists who were working for him when I was hired were trained by Lucky in that specific type of copying, so unless you have a real good eye, you can't really tell our work apart. Sometimes we would get reassigned mid-piece, and someone else would pick up where we left off. You'd be hard pressed to tell.

But now you couldn't get me to copy by hand for any amount of money. I only use computer. Score and Sibelius. You couldn't pay me to use Finale either.

John Trubee: What initially inspired your interest in music? How did you get into music and at what age?

Art Jarvinen: My family had a set of 45s with a song about every instrument of the orchestra. When I was just starting out in grade school I listened to them all the time, and always played Peter Percusssion several times in a row. I didn't listen much to Lady Harp. More on that later...

But then I heard the Beatles on the Ed Sullivan show, and said to myself, "That's what I want to do". In second grade there were these cute girls who were Beatles fanatics, and during recess they would put on their records - I Want To Hold Your Hand, I Saw Her Standing There, that era, when the songs had just come out. The girls would pantomime being John, Paul and George, and I pretended to be Ringo. So I got to play Beatles with the girls while the other boys played baseball or whatever it is that boys that age do. Did I miss out on anything fun?

Anyway, when I was in college this composer came to Ohio University as a guest. I had never heard of him, his name was Alec Wilder. Only later did I learn he was the guy who wrote Peter Percussion  and all those other songs I grew up with. I was really disappointed I hadn't known that when I met him.

John Trubee: What instruments do you play? Did you take lessons or were you self-taught or half and half?

Art Jarvinen: My bachelors and masters degrees are in percussion performance, but I was self-taught until I went to college. Drum set to start with, then mallets and most western classical instruments. Except timpani, which I had to learn in college, and quit playing as soon as I could. I play no hand drums or Latin stuff.

Everything else I taught myself, including composition. Flute for six years, but not since college. I could play all the Jethro Tull stuff in high school. I'm the world's worst big band drummer, so I didn't really make it in the college jazz ensemble, but all the wind players sucked on flute and could barely solo, so I was this special sideman who came out to play flute parts and take solos. It was pretty weird, a percussion major being the improvising flute player in the O.U. jazz ensemble, as a freshman.

Electric bass is now my primary instrument, which I started playing seriously in college, on fretless. I would never play a bass with more than four string on it, in fact, I wouldn't let you bring one in my house.

Slide guitar, but no lap style. I have a National Triolian ca. 1930, and model my technique and style mostly after Johnny Winter's acoustic slide playing, except I wear the slide on my ring finger. Chromatic harmonica, which is all I use for blues - most people don't seem to realize how many blues players play chromatic, and seem to think it can't be done. I've also played a lot of composed contemporary music on the chromatic, especially when the piece is not orchestrated, so I can choose what I want to play.

Guitarron. It took me years to find a good one, because even the best ones are shitty. Mine is the best piece of shit I could find. I could tell just by looking at it, so I traded a Fender Precision for it at a pawn shop, without even trying the guitarron first. They're a bitch to amplify. I don't play upright bass, so I use it when I want an acoustic bass. I played it in a Balkan music band for a couple years and it fit in very well in that context.

I'm a good singer for certain styles, including an excellent Brian Wilson falsetto, and overtone singing. This is all stuff I do at a professional level. Now I'm hardly ever performing, and am playing mostly banjo, frailing style, NOT bluegrass. I have no interest in that kind of flash and don't much care for the music. I like the Appalachian clawhammer stuff. Banjo's the first instrument I've ever tackled that I have no plans to use professionally. It's my backyard instrument, just for fun. I'm trying to see how many of my favorite songs I can play on it in open G. I've got Pinball Wizard down, and The Shaw Sleeps In Lee Harvey's Grave, by the Butthole surfers. I do those with Travis picking, which you taught to me via e-mail as you may recall. It's funny to hear those songs rendered in a mountain banjo style.

I've also worked up a nice clawhammer version of Beefheart's "Orange Claw Hammer", which as you know has no instrumental parts. Incidentally, I once sang Orange Claw Hammer in a hotel lounge on an impromptu "cabaret" style performance by the E.A.R. Unit in Helena Montana.

John Trubee: What inspired your obsessive interest in surf music?

Art Jarvinen: When I was a kid living in Port Arthur Ontario my brother got a novelty album by The Silly Surfers. That's when I first started learning terms like hodad and gremmie. I heard the Beach Boys' Surfin' USA, and also got addicted to Good Vibrations. And I always enjoyed those stupid beach movies with Annette and Frankie. Still watch them actually. Eventually, that's probably what led me to find out about real surf music, but I don't remember just how when or where. The Pyramids played in one of the Annette and Frankie movies. I don't think they played Penetration though, which is the only tune they're known for.

It's so weird that I can't really answer that question. I remember my house mates and I had a "beach party" at our place in Newhall about 1982 or 83. I had a Dick Dale album by that time, but I don't think I had much else. I think probably in the mid '90s I started to seriously explore the genre via lots of compilations. Surf music wouldn't even exist without the compilation album, since most of the groups only had one song, and if they had more than one, they still only had one good one. Dick Dale, by the way, is the only real "name" in surf music, and by far my least favorite.

By the way, did you know that the "little bit of surf music" on We're Only In It For the Money is the opening of Heavies, by the Rotations. Only thing is, the Rotations weren't a real group. Lots of surf music was just some guys in a studio making a single. That was Frank playing guitar in exchange for studio time before he bought out the owner of Studio Z in Cucamonga. At least that's what I've read, and it makes perfect sense. The guitar playing is too good for most surf bands.

John Trubee: How does surf music manifest itself in your own music?

Art Jarvinen: Well, in the last five years I've been writing shit-loads of surf music, or things very inspired by it, for my web-based project The Invisible Guy. Given how many surf tunes I've written, I feel confident in proclaiming myself the most prolific surf composer ever. So, it manifiests itself in my music in that I write surf music. When I'm not writing surf music, I am influenced by other things.

John Trubee: What instruments do you own and why? Any interesting stories about how you acquired them?

Art Jarvinen: I'm an instrument junkie. I just love instruments. Some years ago I was invited by a New York composer named Phil Kline to contribute a cover version of any pop tune that was on the radio in my lifetime, for a concert of covers he was putting together for the New Museum. I did Tubular Bells with every instrument or family of instrumnts I owned at the time. There were about 40 tracks.

2 marimbas, tuned bell plates, tuned cowbells, glockenspiel. etc. Lots of pitched percussion. 2 Hammond organs, Hammond SoloVox. Boxes full of harmonicas. Many guitars of various types. Bass, guitarron, flute, a consort of recorders, electric keyboards, didjeridoo, baby grand piano, Chinese musette, jaw harps, etc. I only used pitched instruments on Tubular Bells. I have a nice Gretsch drum set, various gongs, an octave of turtle shells, Tibetan bowls, etc. etc.

I've gotten rid of some things since, and have acquired others. Gave away a Hammond organ, but Jack Vees is giving me his digital Hammond. When I get that you can have my A100 if you want it, but you probably don't have the space. I gave the pedals to Chas Smith recently.  Sold one marimba, and have the other one for sale. Started buying a lot of guitars. I don't play real well, but I use them for learning about the guitar, and for recording, and the guys in my surf band use them so I can have the sound I want.

Just gave away a Fender Rhodes too. I have a Deering Good Time banjo and a hand made Appalachian style fretless banjo.

Got a bunch of amps. Etc. The stuff comes and goes, but there are always a lot of instruments close at hand.  It depends on what I need at the time, and what interests me for whatever reason. Depends too on what you might consider a musical instrument. I have a ton of guitar effects pedals, but I've never plugged a guitar into any of them. I hook them up to each other to create internal feedback, as a kind of crude analog synth when I do live electronic music. I also have 5 shortwave radios, which I use as instruments. Of course you can also just listen to them!

And I recently got a Geiger counter, which I am looking forward to exploring the possibiities of as a sound source.

John Trubee: Please recount the saga of the Hammond Solovox.

Art Jarvinen:  The SoloVox is a thing of great beauty and wonder. Only made briefly in the 40s. It's a three octave mini keyboard sort of like a Casio VL-Tone, hooked up to a box full of 18 tubes that are responsible for the oscillators, frequenciy dividers, timbral controls, everything. All tube circuitry, and really weird, as are all Hammond designs. The SoloVox is the instrument on the "organ" solo on Del Shannon's Runaway. I got two of them on E-Bay. One of them I couldn't get working, so I sent it to Jack Vees, whose dad fixed it, and it's currently living in the electronic studio at Yale. The second one I got works, and I've used it on several recordings. I won't part with that for a while. It's just too cool.

John Trubee: What are the titles of some of the many pieces you composed, for what type of ensemble, and for what purpose? Fun? Commissions? A bit of both?

Art Jarvinen: I caught a wave of good fortune in the '90s and had some very nice commissions, but it's been pretty damn lean for some time now. The L.A. Philharmonic doesn't tend to commission a lot of surf music, and even the more "artsy" crowd, I think, sees me as more "classical", if they see me as anything at all. My work is too diverse to build a good career on. So I compose mostly for free, because it's the thing I enjoy doing most in life.

Some titles? Jeez, Trubee, I have 80 chamber music pieces, 50 surf tunes, songs. Where do I start?

The Fifteen Fingers Of Dr. Wu. That's an oboe solo. I heard a voice in my sleep that said "The name of this dream is The Fifteen Fingers of Dr. Wu". So I named a piece after it.

Philifor Honeycombed With Childishness. That's a chapter in a book by Witold Gombrovicz, Ferdydurke,  that I used for my L.A. Philharmonic New Music Group commission.

I borrow titles sometimes, like The Seven Golden Vampires, for two pianos. That's from a kung fu/vampire movie.

Mostly I get my own titles. I like them to be poetic, not descriptive like String Quartet No 2 or Sonata.

Tribal Songs of the Andromeda, Electric Jesus, Soluble Furniture, Erase the Fake, Clean Your Gun, A Conspiracy Of Crows, White Lights Lead To Red

I keep a file of good titles I think of even before I know what they'll be, if anything. My latest title is Mining Clouds. No idea if I'll ever use it.

Fragments Of God. That's another one I like that I do have plans for, but haven't written yet.

John Trubee: What work or works did you compose of which you feel the proudest?

Art Jarvinen: I am extremely proud of what I accomplished with The Invisible Guy: a real soundtrack for an imaginary spy film. It's 50 tunes, all of which I think are very good, some great, and every piece has a story/scene that goes with it, and I think the writing is as good as the music. Plus it's all on line and works real well as a web site. So it's a very rich artistic/entertainment experience of substantial proportions. Problem is, when you spend four years working on something like that, it's easy to be forgotten by the "new music" community, and surf tunes don't really make it as current work samples for the Guggenheim Fellowship Application. I also think Nighthawks is a very special piece, but it falls in the cracks. Not "new music", not "pop". I don't know what it is, and if I don't, makes it rather hard to tell anyone else what it is.

Recently I've been working on a set of pieces for male chorus a cappella. Never wrote for voice before, but my first time out this incredible group from San Francisco, Chanticleer, premiered the first six songs, including a performance at the Library Of Congress. I feel rather proud that one of the best vocal ensembles in the country would take on my first choral works. I must have a knack for vocal writing.

I also like my Three Tangos, for string quartet. They're good tangos, and good quartets. Can't get anybody to play them though. They're not "classical" enough, and they're not "new music" enough. I just don't compose the right way I guess. Not to have a career anyway. For example, I might very well be the only contemporary composer alive with absolutely no interest in writing for orchestra. Orchestras sound weird to me. Although if you offered me 25 grand I would certainly write you an orchestra piece. I'm sure I have a good one in me, I just don't have any real need to explore that territory, and wouldn't want to go there very often even if the work was available to me, which it isn't.

John Trubee: Which of your works most successfully conveys the musical meaning you were attempting to express, and why?

Art Jarvinen: I can answer that best in the negative.

I don't generally have what I would call "meaning" to express. I have ideas to express, compositional ideas, musical ideas. That's not the same as meaning.

I had a very prestigious commission from the Koussevitsky Music Foundation in the Library Of Congress, in 1990. Composers like me aren't supposed to get those things, and a lot of composers who regularly get those things are jealous of me because I got one and they still haven't. I know this because they tell me so.

I had been working with a particular technique I developed that turned out a number of really cool pieces. But I saw that it could become a habit or a style, something I could do too easily or default to, so I wanted to push the idea to the breaking point such that I could never go back to it and would have to find something new. So I wrote a piece called The Modulus Of Elasticity, which is a materials enginering formula for determining things like how tall you can make a steel pole before it collapses under its own weight. I pushed those ideas to their breaking point. It's the weirdest piece I've ever written, and not one of my best. But I'm proud of it because it did what I needed it to do, which was make me move on instead of kicking back in a creative comfort zone.

Then there's A Conspiracy Of Crows. It's a piece for three oboes in which I didn't consciously choose or compose any of the notes. I just used a series of numbers based on the years of the 20th Century - 190019011902...1999 - translated into fingering diagrams. I had no way of knowing what would come out, but I had a very good idea of what I thought the piece would "probably" sound like. I never heard a note of it until it was recorded here at my house last summer. It's one of the most beautiful things I've produced, and it fully matched my expectations. My wife is almost frightened by things like that, that I can intuit or anticipate these things. That's why I'm a composer, and some people aren't. 

In 2002 I had a City Of Los Angeles Artist Fellowship to compose and present a piece called Nighthawks, a song cycle based on Edward Hopper paintings. It's very autobiographical, something I thought I would never do. Some people have told me it's maybe my best piece, certainly on the short list, and I tend to agree. I think it works because it conveys rather powerfully a meaning that I did not foresee or plan to express. Once the pictures started speaking to me, the piece took over and I trusted it. That's one of the only things I've done that carries both musical meaning and intention, and also has a very real personal "message", my story if you will.

John Trubee: Describe your association with the Grandmothers.

Art Jarvinen:       I wouldn't call it an association, not musically or professionaly anyway. I am close friends with Chris Garcia, the drummer, and Miroslav Tadic, the guitarist. I am also friends with Don Preston, although I wouldn't say I know him real well, but we get along very well and have worked together several times. That's always a treat. Don is a wonderful guy and musician. I like Roy Estrada a lot, but only met him fairly recently. Although I heard him recording No Not Now at Frank's studio, and thought he sounded great. But Frank replaced Roy's parts with his own voice - not nearly as interesting or fun. But then, neither is the song.

Sometimes Chris calls to see if I have music for certain Zappa pieces the Grandmothers would like to do. I transcribed Project X for them, which was a bitch, but I did it because I was always interested in that piece anyway. I have no idea if they'll ever use the transcription. Chris sent it to Art Tripp, who I'm told gave it his seal of approval. Too late to ask Frank how close I got.

John Trubee: Would you be willing to recount your drunken Danny Elfman story for our readers?

Art Jarvinen: That was for your amusement. I don't know Mr. Elfman and have no reason to embarrass him or get him mad at me. He was just falling down drunk at his own party, Who hasn't done that? Okay, you, but you're maybe the only one. I've certainly been plenty blotto on numerous occasions. The main point of that story was the part about the jerk who was feeding a whole platter of those incredible lamb loin chops to the fucking dog! That kind of careless decadence offends me. Not only was it an incredibly stupid waste of very expensive food, it was unhealthful for the dog. That idiot should have been taken out back and caned. And that guy wasn't Elfman, I don't know who he was.

John Trubee: Got any other funny or weird stories that you wish to immortalize here for posterity?

Art Jarvinen:  FZ related? Funny and weird don't leap to mind, since I wasn't around him that much and wasn't in the band. Funny and weird would be road stories I would think. I have some nice stories. After Frank heard the piano reductions for the first time Gail called me and said she thought I'd like to know, since Frank would never tell me himself, that he was blown away by them, and was prancing around the house with glee. She was right, he never said anything to me about them. And a few years ago I met Bob Rice, Frank's engineer, who introduced himself and said that I was the only person he could think of that Frank only had good things to say about. That sort of thing is gratifying to hear once in a while.

Apropos my orchestra comment above, I was at Frank's when he was working on his string quartet for the Kronos. He played me what he had so far on the Synclavier, and it was set up with these huge lush orchestra sounds, nothing like a quartet. He was very frustrated with the piece and said, and I quote, "You can't do anything with a string quartet". I thought, gee Frank, I know some guys named Beethoven, Brahms, Bartok, Ives, etc. who might disagree. Frank had no interest in writing that piece. He wanted to write an orchestra piece. I think he took the Kronos commission for the money, and because he was looking to gain some credibility as a "classical" composer. He tried to get the Kronos to release the piece in two versions on one disk, the acoustic quartet, and the Synclavier version. They wisely refused.
As for the Roy Estrada recording sesssion mentioned previously. Frank had him singing "But I like her sister" in Pachuco falsetto over and over again. Gail came in and said "He sounds real out of tune". Frank said "He always does, but it's such a great sound!". I think he was just digging listening to Roy's voice. As I said, he never even used the track.

John Trubee: Frank Zappa once helped you with some of your inquiries regarding compositional techniques.

Art Jarvinen: Did I ever say that? I don't recall ever asking him about his technique, or about composition. I've been real curious about his "chord bible", which was a sort of automated way he had of harmonizing his melodies. But I heard about that from David Ocker. I'm hoping to reverse engineer some of the logic of the chord bible, but haven't gotten very far, not far enough to determine whether or not I think it's even possible. But now that I know it existed, I can see it all over the place in the score to Sinister Footwear. I just don't know its internal logic. I wish I had known about it when I worked for Frank, because I would have certainly asked him about that, and I'm sure he would have enjoyed telling me about it.
That gets back to the Kronos quartet. Frank was working with the seven note version of the chord bible then, and using very thick harmony. I think he was frustrated with the quartet as a medium because he couldn't write densely enough, which is what he was into at the time. Thick harmony, big fat melody.

John Trubee: You told me he was very generous with his time. Wanna tell our readers about it?

Art Jarvinen: Whenever I went to the house to drop off or pick up some work, he was always willing to spend some time talking to me, let me hang out and watch recording sessions, gave me the sandwiches that Gail sent down for him. Stuff like that. He just made me feel like I was welcome there, and not in the way. When he got the Linn drum machine he insisted that I try it out. When Midget Sloatman was installing some custom electronics in his Les Paul I got to sit there and listen to Frank try it out. He let me hang around when the Simmons electronic drums rep came over to demo the stuff. Frank had me sit down and play the kit for a while and said "Wadda ya think?" I said "Real futuristic. I dig the fins".
 I remember that event because the Simmons guy couldn't get the snare pad working right, and kept fucking around with it, and couldn't get it right, but kept assuring Frank that it really sounded great and was really cool. Then he gave up and admitted he wasn't a technical guy, just a sales rep. I thought Jeezus, what idiot sent a SALES REP to demo ELECTRONIC MUSIC EQUIPMENT to FRANK ZAPPA?

John Trubee: Tell our readers about your long association with the California Ear Unit and describe the work of that ensemble to our readers, please.

Art Jarvinen: They asked me to join about three times before I finally did. I wasn't that interested in the repertoire that they were doing in the beginning. Once I joined I had a lot to do with bringing programming ideas to the table, and I think the most interesting thing about the group is the amazing diversity of repertoire that we did, because we all had different things we were interested in. You can't show me another ensemble on the planet that covers the territory we did over the years. The group is still together, but I left about seven years ago. Eighteen years was enough. There was nothing left for me in the group at that point, and they haven't done anything since that made me wish I was up there playing it. Nothing new has happened in a long time, whereas for most of the years I was in the group we were usually doing things that were either very fresh at the time, or a stretch for us at least.
We played a lot of festivals internationally, premiered tons of stuff, had lots of cool pieces written for us specifically, and worked with many of the most important composers of our era. Especially due to Bang On A Can we were maybe the only - certainly on a very short list of - west coast groups to play any active role in the Downtown New York scene when it was still evolving. But because we could play Carter and Babbitt and all that stuff too, we also worked Uptown.

Usually in L.A. Dorothy would wear things like a mini skirt with six guns on it, Amy would wear rubber skirts and cowboy boots, and I'd have on a white dinner jacket and a Fez. Some reviewers talked more about our clothes than the music. Then we did this gig at Columbia University, and the girls all transformed completely. Nice dresses, tasteful jewelry, no glitter in their hair. But all the pieces on the first half had nocturnal themes and titles, so I wore pajamas and a night cap. The girls took Jim Rohrig, the clarinetist aside in the green room and said "Can you get Art to not wear that? We can't talk to him, but maybe you can". I wore the pajamas anyway. They were embarrassed because they wanted to impress the Uptown people. I thought it was hypocritical to change your style to try to please an audience, especially based on assumptions that might not be valid. What if they had hired us expecting us to be the group they had heard so much about? What if they wanted to see the rubber skirts and glitter? Maybe we disappointed them.
I played bass a lot in the group, and I have a pair of "shiny bimbos" - those ridiculous silver ladies that you see on truckers' mud flaps - on my bass. Still do. They were always embarrased by that too, and sometimes asked me to position myself on stage so they wouldn't be noticed. So I got a long cord so I could wander over to the edge of the stage while playing and face the audience. I got a large pair of shiny bimbos that I planned to put on my marimba resonators, but never got around to it. Nick Didkovsky just wrote to me asking me where you can get them, so I sent him that pair. He said they're kind of a hot item now. Not sure what that means. Maybe I should have sold them on E-Bay, but I'd rather give them to Nick. 
Don't get me wromg, I love the E.A.R. Unit women. But I did sometimes do things just to piss them off or embarrass them, especially if I thought we were selling one image to one audience, and pretending to be something else for a different audience. I thought we should be honest, and just be ourselves.

John Trubee: What was the coolest gig you ever played, and why?

Art Jarvinen: I don't know if I'd say it was the "coolest", but one of the most memorable performing experiences was when the E.A.R. Unit played at SUNY Buffalo. We played a mother-fucker of a hard piece called Notturno, by Donald Martino. Hard core 12 tone stuff, and I had a huge set up, every lick was hard to play, and I had about fifty mallets and sticks and was changing them almost every phrase. Most players split up the part between two percussionists, but I did it myself, as written. I remember that performance because as we were playing I would make my page turn, change my sticks, and get ready for the next hard lick - and wait. All the stuff I had been scrambling for was just right there, like the piece was happening in slow motion and I was way ahead of the game. It was a great feeling to know a piece of music that well, especially since at that time the E.A.R. Unit was learning about 30 or 40 new pieces every season, and playing most of them only once or twice.

As for the "coolest", to actually answer your question, it would have to be the time the EARs played John Cage's "Lecture On the Weather", which starts with a lengthy preamble that Cage requires be read before the piece proper. I called him from the L.A. County Museum at his home in New York and got him to read it himself live over the phone. That was very generous of him, because he was in frail health at the time. The L.A. County Museum wouldn't authorize us to have an outside line for the concert, so I had to tap a back stage phone. That was cool.

John Trubee: Was 'When You Were Art' dedicated to you?

Art Jarvinen: I wouldn't say "dedicated". The title does refer to me. It's actually "While You Were Art". A slight change on "While You Were Out", which is a piece on the Shut Up And Play Your Guitar set, that Frank arranged and reworked for the E.A.R. Unit at my request. No money changed hands.

John Trubee: Please describe the fiasco surrounding the first public performance of the piece by the Ear Unit at LA's Bing Theater.

Art Jarvinen: I am STILL getting asked about that, and it was 1984 I think. Every once in a while I sit down intending to write the definitive account as I know it, once and for all, and post it on-line so I never have to tell the story again. Basically, as far as I can tell, Frank never did intend to give us a piece we could actually play. We could have played it, and intended to eventually, but he delivered it late enough that we could not possibly have learned it well enough in the time left before the scheduled performance. So he asked us if we would be willing to "lip synch" it. And we said yes. Then several people got cold feet, but we did it anyway. It was no big deal for people who could hide behind their  instrument or music stand, but I busted my ass for almost a month to learn that marimba part, and played it with foam rubber mallets. I was actually playing the part, but you couldn't hear me. I had no choice, because if the marimba is near the edge of the stage in plain sight, you can't pantomime playing it.

Anyway, Frank himself leaked the secret to a reporter during a flight, so I'm told, and the shit hit the fan. That would have been such a great opportunity for all kinds of critical dialogue, not to mention great publicity. We could have programmed the piece on lots of concerts so audiences could see for themselves what we had puled off. But the E.A.R. Unit has worked a lot with Morton Subotnick, and several people in the group at that time were particularly close to him. Mort was very upset by what we had done, and some people were made to feel very ashamed. So when a reporter from the L.A. Times called CalArts and wanted to talk to someone in the E.A.R. Unit about While You Were Art, they got the "wrong" person on the phone. Had they talked to me, history would have unfolded differently. Instead one or two people in the group put their tails between their legs and basically apologized for the error of our ways, on behalf of the group. That pissed me off, but Frank was livid. He called me and said we could never play his music again and made me send all the material back.
I assured him that the sentiment expressed in the newspaper article was not a group consensus, so he said I should tell that to Time Magazine, who had just interviewed him about the event. But Time never called, and I don't think they even ran the article.
There's more to the story, but that's the basic plot.

John Trubee: What do you really hate, and why?

Art Jarvinen: Rap and all its derivatives, because to me it is ugly and stupid.

John Trubee: What do you really love, and why?

Art Jarvinen: Thai food, because it's delicious and when I first tasted it I felt I had found my way home.

John Trubee: What's your favorite color?

Art Jarvinen: For clothing, black. For anything else, no favorite.

John Trubee: What's you favorite flavor of ice cream?

Art Jarvinen: Green tea. That and ginger are the only ice cream I will eat, and those infrequently.  


Art Jarvinen promised John Trubee some pictures to go with the interview. As every picture came with a bit of explanation, I'm adding them like this:
Art Jarvinen: Here's a pic of a very nice piece of gear, very dear to my heart. The SURB is a tank reverb, all tube, hand built and given to me by Miroslav Tadic. It's based on the Fender spring reverb unit, but with several significant improvements. Note the little surf board on the front, and all the woodwork was done by Miroslav too. Even without an amp, you go through this and into a direct box and you've got a great surf sound for recording.

Art Jarvinen: Here are the electric guitars I've been using.

None are vintage. The Tele was a Japanese reissue Esquire that I added the neck pickup to. Miroslav added the Bigsby for me. I'll take this one to my grave. If I could only have one guitar, this would be it.

The Jag is an American reissue of the '62. The original Jaguar was a piece of shit, especially the bridge, so of course the reissue is too, in order to keep it authentic. It seems that only perfect things like Coca Cola get "improved", which always ruins them, but things that could use some real work stay the same. Go Figure. The guitar does sound good when it's in tune, which isn't often, but the tremolo simply can't be beat for surf music. I'd miss that a lot, but I would trade this guitar straight across for a Taurus PT92 9mm semi-automatic.

The baritone started life as a no-name "Strat-Type" that I got for $40 at a Sears outlet store. I had Miroslav do the work on a Stew/Mac neck, so it plays real nice. The pickups are for shit, and I have some better ones but haven't put them in yet.

The Ric 12 string is 21st Century, bought new at Guitar Center in L.A. They warned me that they thought it was fucked up because they couldn't get it in tune. It's beautiful. Someone there just can't tune a 12 string. George Harrison once said that the great thing about the Ric 12 is that you can even tune it drunk.

Last but not least the Epiphone Sheraton II, made by Gibson. Got it on E-Bay for a fraction of the cost of a 335, but the guy did great work on it. '59 Seymours, vintage knobs, and wiring to match the 335. So the only reason it's not a 335 is that it wasn't manufactured and sold as one. In every other respect it's a 335. I don't use it for surf music, but I have recorded Invisible Guy songs with it.


Art Jarvinen: Here's me recording my song "Warren", which to be honest is just a reworking of Johhny Winter's "Dallas". It's on my CD Pailface, Blues Singer, with Miroslav Tadic as Midget Waterslavsky.

The album is mostly a loving parody of Muddy Waters, Folk Singer, one of the most beautiful records of all time. We did this record in one take at Miroslav's house a few years ago.

That's my 1930 National Triolian. You always hear those stories about finding a National or a Strad or a Rembrandt or whatever in your grandma's attic. I hadn't seen this friend of mine in about ten years and he asked me what I was up to. I said I was getting into slide guitar and wanted a National. He said what's that and I said it's this metal guitar with a cone in it. He said, oh yeah, my uncle has one, stuck under his bed, never plays it. I went to Ohio and bought it for $450.



And here's another fine batch of magazine covers from slime.oofytv.set.
  • The Island-Ear from the U.S.
  • Hej! from Sweden
  • Keyboard Magazine from Japan
  • 2 different issues of Music Magazine, also from Japan
  • Ung
  • Monster, both from Sweden


-- info & pictures: slime.oofytv.set

  • the island-ear
        (1979/09/24, usa, magazine)
    • The September 1979 issue of The Island-Ear included a 2-page Zappa interview with half-page ad for "Joe's Garage Act.I".


  • hej nr.21 
        (1969/05/25, magazine, sweden)
    • This May issue of Hej presented a 1-page Zappa article with mail-in Zappa poster ad plus a review of Tim Buckley's "Happy Sad" album.
  • keyboard magazine
        (1994/05, magazine, japan)
    • The May 1994 issue of the Japanese Keyboard Magazine included a 7-page excerpt from the 1987/02 interview from the U.S. Keyboard Magazine FZ interview.

  • music magazine, vol.18 / no.10
        (1986/10, magazine, japan)
    • The October 1986 issue of the Japanese Music Magazine included a 27-page Zappa article, discography, and band member chronology.
  • music magazine, vol.12 / no.2
        (1980/02, magazine, japan)
    • The February issue of the Japanese Music Magazine included 22 pages on Zappa & Beefheart, plus a one-page review of joe's garage acts II & III.

  • ung nr.21 
        (1982/05/07, magazine, sweden)
    • The May 1982 issue of UNG included a 2-page Zappa article.
  • monster nr.5
        (2002/05, magazine, sweden)
    • The May 2002 issue of Monster included a 4-page Zappa article.


The interview that Art Jarvinen did with John Trubee, had another nice suprise:

Art Jarvinen says:

Here's something fun. The guy on the right is me. That's my band, Dog Breath playing at the annual talent show at Warren Western Reserve High School. Except for Roland Kirk's "Serenade To A Cuckoo", which we did in the Jethro Tull version and featured me on flute, we played nothing but Zappa material. You gotta remember, this was 1972/73. There were no such things as tribute bands, and we weren't pretending to be the Mothers. All we wanted to play was Zappa, and that's all we did. We had to lift everything off the records, so I can't vouch for the accuracy of the charts, but what we played we played pretty well.

The pieces I remember us doing were:

  • Peaches En Regalia

  • Little House I Used to Live In

  • King Kong

  • Electric Aunt Jemima

  • Call Any Vegetable

  • Willie The Pimp

We probably did It Can't Happen Here. We didn't do any real gigs, only played at our school, but we did get engaged to play a dance in the gym, and I tell you what, the kids were NOT happy. They just stood there staring up at us. Fortunately we were isolated up on a balcony. No one danced. I think they were waiting for I Wanna Make It With You so the jocks could get in a slow dance with a cheerleader. No such luck, Macho Boy! Ha Ha.


2007 11 09


strictly genteel - the recordings of frank zappa - volume two
1970 - 1971

by scott parker
    (2007, book, usa, private release)

The second volume of Scott Parker's series on the recordings of Frank Zappa will be out in about a month...
Really looking forward to this.

2007 11 08


  • hellborg, johansson, selvaganesh, eklund, johansson: art metal
        (2007, cd, usa, bardo records bardo 045)
    • "Art Metal" is Jonas Hellborg's latest project. Bass player Hellborg comes from the jazz & world music scene and has performed with Mahavishnu, John McLaughlin, Billy Cobham, Trilok Gurty, and many others.
      On "Art Metal", Hellborg is joined by Jens and Anders Johansson, who have recorded with various metal bands, Indian percussionist Selvaganesh and guitar virtuoso Mattias IA Eklundh.
      The result is a very nice heavy progressive rock album with a lot of eastern influences. And Mattias Eklundh plays some astonishing guitar.



  • the new trier west recording jazz ensemble: conquest in time
        (1973, lp, usa, br 246)
    • Here's another one of those obscure college albums with a Zappa composition on it.
      The New Trier West Recording Jazz Ensemble recorded Frank Zappa's 'Peaches En Regalia' on their "Conquest In Time" album in 1973.


-- info: Hans-Peter Schmidt

2007 11 07


Did you know that there's a German release of "Zoot Allures" that only lists 7 tracks? The album does contain all 9 tracks, however.
Here's a picture of the track-listing:

And here's one of the German cassette release. The same here: 7 tracks listed, but 9 tracks on the tape.

-- info: Hans-Peter Schmidt
2007 11 06




-- info: Hans-Peter Schmidt


2007 11 05
from: Glass Onyon Productions

Bob Harris News

The Axe Attack Is Back! '80s Rock Legends Axe Return To The Stage

11/1/07 - Texas - Rock and Roll is alive and well and living in Texas with the return of '80s rock legends Axe. Known for such classic rock anthems as "Rock and Roll Party In The Streets" and "Battles", Axe has reformed and are now prepared to take the rock world by storm. The band recently performed several special engagements and the reaction has been none less than fervid! When Axe this Summer opened for Queensryche at Sunken Garden Amphitheater in San Antonio to an attendance of over 5,000, and reportedly the audience literally went wild. Six weeks later, Axe was back in San Antonio headling at Hemisfair Park to a capacity crowd. And again, the band showed its magic and held the audience in their hands.

Andy Laudano of Harder Beat Magazine (Dallas/Ft. Worth) said the following of Axe's performance at The Rockyard on August 15, 2007, "Easily one of the best hard rock acts of the early '80s, Axe had the ability to combine great songwriting with strong melodies, powerful guitars and tasteful keyboards. Recently, Bob Harris (vocals/keyboards) and Brad Banhagel (guitar/vocals) put the band back together with the blessing of founder Bobby Barth. The current line-up also includes Chris Lewis (drums), Dave Landis (guitar), Alex Salinas (keyboards) and newest member, Tommy Luna (bass). Anyone who wasn't there for Axe's recent show in Ft. Worth, really missed out. This band sounds fantastic! Highlights included 'Battles', 'Forever', 'Where There's Smoke There's Fire', 'Sting Of The Rain' and the classic 'Rock and Roll Party In The Streets'.

Pete with Nikita Productions says of the band ..."Having produced and promoted Axe on two explosive concerts this year at Sunken Garden and Hemisfair Park, I can easily say that his is one of the greatest national bands to work with. With their combined vocals and musical talents, the band rocks viciously, throwing in some of their ballads that really touch the soul. Great guys, great sound!"

Axe was formed in 1978 from the ashes of a mid-western band called Babyface and began recording their first album Axe in 1979. The band's debut album garnered rave reviews from the music press, and in support of the release, Axe started a tour that lasted until 1984! Their second album, Living On The Edge, followed in 1980, and once again, the reaction was positive. In 1981, Axe changed labels and recorded Offering for ATCO Atlantic which featured the hit "Rock and Roll Party In the Streets". The song reached #59 on the Billboard charts and was one of the most-played-songs in 1982 - it became a nationwide rock anthem. After 19 months of touring with the likes of Ozzy Osbourne, Judas Priest, the Scorpions, ZZ Top, Kiss, Cheap Trick, Def Leopard, Queensryche and Motley Crue, among others, it was time to record the fourth Axe album - Nemesis. Continued success meant more touring. Unfortunately, around this time, band leader Bobby Barth was seriously injured in a car crash which also tragically took the life of guitar player, Michael Osborne. This accident led to Barth disbanding Axe and later joining Blackfoot. After his stint with Blackfoot, Barth took his talents to Australia to join Angry Anderson (Rose Tattoo), hitting the Top 5 on the Australian charts.

In 1995, Bobby Barth decided to reform the band due to label interests in Europe. It was at that time that Bob Harris joined the band. The band went on to record two original albums and two Greatest Hits albums (MTM Records) and tours of Europe. After the third tour in Europe, Barth and Harris decided to take a break and pursue other projects.

Today, the line up of Axe is Bob Harris (lead vocals/keys), Brad Banhagel (lead vocals/guitar), David Landes (guitar/vocals) who has performed with Simon Wright and Greg T. Walker, Chris "Drumzilla" Lewis (drums) who has performed with Glenn Hughes and Howard Leese of Heart, Tommy Luna (Bass), and Alex Salinas (keys).

To his credit, Bob Harris has performed with some of the greatest artists in the music industry. Covering vocals and keyboards for Frank Zappa , he proved his ability as an outstanding musician and writer. Lending his writing skill and vocal talent to the later recordings, Harris would help define the lasting style and sound that is Axe.

Guitarist/singer Brad Banhagel is an intricate part of the current Axe line-up and conjures visions of classic guitarists as Steve Marriot, Tommy Bolin, Bobby Barth and Jimmy Page. Brad himself has shared the stage and performed with Greg T. Walker (Blackfoot) and Simon Wright (UFO, AC/DC, Dio), and has also worked with Pat Travers, Blackfoot, Thin Lizzy, Quiet Riot, Ratt, Rick Derringer and Warrant. "... Brad is also a very talented singer, guitarist and song writer who deserves to be center stage and I'm sure that that day will come sooner than he thinks." Rock legend Pat Travers

"When Bob Harris and Brad Banhagel approached me about putting Axe back on the road, I had mixed feelings," original band leader Bobby Barth recently commented. "It made me re-examine all the years, all the tragedies and triumphs the band has endured. Most American fans of Axe are not aware that the band stopped the day that Michael Osborne was killed. Soon after, Axe was back in both Europe and Japan, releasing another four CDs and touring several times. A lot of the strength that I needed to continue on came from my friendship with Bob Harris and what I consider to be one of the greatest rock voices in the world. We went on over the years to write and produce several records together, both for Axe and for many others. We wrote and produced, what is without a doubt, songs and CD's that are far superior to anything we recorded in the earlier days of Axe. Those songs, and that later band, were never given a chance here in America, and that is a shame. So it is with that in mind that I give my blessing and lend whatever support to I can to their endeavor, I have their promise to remain true to the music, and you never know when I might show up."

With the added buzz that Bobby Barth may appear at selected shows, this could prove to be the hottest incarnation of Bobby's vision of Axe yet!

For more information on Axe and current tour schedule check out the official band websites:



  • frank zappa: cruising for burgers
        (2007, dvd-bootleg, ??, wow corporations wow-360)
    • A brand-new bootleg DVD has been spotted. It includes:
      • "a pioneer of future music", 2007
        (dutch tv documentary by frank scheffer)
      • zappa - 1980/06/11 concert 'palais des sports', paris, france
      • the mothers of invention - 1970/12/15 concert 'palais gaumont', paris, france


-- info: Hans-Peter Schmidt


2007 11 06

[DOOT] Not DOOT!, but still pretty damn good!

Hey Funk Fathers and Soul Sisters,

Come on down and check out Soul Cryptographers at the Kehler Liddell Gallery, 873 Whalley Avenue in the Westville section of New Haven. It is an all ages show on Thursday, November 8, and starts at 8pm sharp. There are a lot of places to get food and drink right on the same block, so feel free to take advantage of that too!

A funkified and sanctified project initiated by DOOT!s very own Pete Brunelli and Nate Trier, the Cryptos play a mix of jazzy funk, funky jazz, jazzy soul... you get the idea. They played the KL Gallery over the summer as part of the Westville Artwalk festival, and had a great time, and were well received by the Artwalk attendees. The gallery is a nice open space with great art to check out.

The gallery is on the east side of Whalley Avenue, just north of the intersection of Whalley and Fountain. There is parking in the lot behind the gallery, as well as some on-street parking out front. is the website, and they have directions and such for your perusal.

Soul Cryptographers is:

  • Nate Trier: Keys

  • Pete Brunelli: Bass

  • Mike Paolucci: Skins

  • Tim Kane: Trumpet

  • Kenny Mack: Saxamaphone!

As always, the forecast calls for a chance of special guest excitement, toe tappin', butt shakin', and and perhaps a bad case of funky pox!

Hope to see you there,

ChollyHoss Funk Patrol



Thanks to Fred Bleck, here's a bunch of pictures of The Wrong Object in concert, including the Rijkevorsel gig:

2007/10/27 Robin Verheyen, Alex Maguire & The Wrong Object - concert 'De Singer', Rijkevorsel, Belgium



from: The Ideal Copy

We regret to inform you that the vinyl pressing of Voice Of Midnight has been cancelled.  It is unknown whether the album will be released on vinyl in the future,...



2007 11 05

Subject: For Fans in South America...

Hello Fans in South America!

This is just a short note to let you know that we will be starting EVO at 6:30pm (1830h) at each show during our South American Tour.
We ask that you arrive at the venue at this time, with your EVO Confirmation email printed out, as well as a form of photo ID.
Please do not be late!  Please wait by the front doors of the venue where we  will come out and meet you and check your names off our list.
For fans who have expressed interest in buying EVO Premium Experience or EVO UPGRADE tickets but have not yet done so, time is running out!

We have plenty of EVO tickets still available for all shows, but you need to purchase the tickets through's Online Ticketing Store.
We close sales for each show approximately 24 hours before.

If you have not purchased an EVO Premium Experience or EVO UPGRADE ticket, but would like to do please visit out Online Ticket store now:

If you have been unable to purchase an EVO Premium Experience or EVO UPGRADE ticket because you don't have a credit card, but would like to come to an EVO Experience, please email us here at this address (, and we will see how we can help you.  We are considering accepting cash for EVO tickets at each show.

See you at the show!




From: Delville Michel
2007 11 05

THE WRONG OBJECT - November 2007 Newsletter

1. THE WRONG OBJECT ON DUTCH NATIONAL RADIO (VPRO) The Dutch national radio (VPRO) will air a special one-hour broadcast on The Wrong Object. The program, which is part the weekly "De Wissel" series, will feature interviews, live tracks and other goodies, including some previously unreleased excerpts from the band's recent gigs with British pianist Alex Maguire (Elton Dean, Hatfield and the North, Michael Moore, etc.). It will be broadcast for the first time on Thursday November 8 (12pm) and will remain available from the VPRO website for your listening pleasure:

Don't miss it! And, while you're at it, why don't you check out their recent features and web documentaries on Robert Wyatt, David Sylvian, Caravan and Robin Williamson:

"Stories from the Shed", The Wrong Object's new studio album will be released by Moonjune Records in December 2007 (US release date: February 2008). About which more very soon.

3. "TRANK ZAPPA GRAPPA IN VARESE" - NEW DATES (STAUSS, DELCHAMBRE, DELVILLE, CAMPION) Two members of The Wrong Object (Laurent Delchambre and Michel Delville) team up again with Belgian bass player Damien Campion and Swiss sax player extraordinaire Markus Stauss in a new project called "Trank Zappa Grappa in Varèse".

  • 2007/11/16 Markus Stauss - concert 'L'An Vert', Liège, Belgium (8.15pm)

  • 2007/11/17 Markus Stauss - concert 'De Plusetage', Baarle Nassau, NL (9pm)

To listen to some live samples click here:

To order their first mini-CD, "Cryptic Echoes: Live in Belgium", click here:

To read the first reviews (in German), click here:

and here:



  • jos steen: electricity !! music for tape and turntable
        (2007, lp, belgium, ultra eczema 48)
    • Yes, the rumours were true: Belgian underground artist Jos Steen has released a vinyl album. The album is called "Electricity !! Music For Tape And Turntable" and got released on the obscure Ultra Eczema label.

      You might have heard of Jos Steen. Earlier this year he did a recording session with Jimmy Carl Black and with Steven De Bruyn for the Cucamonga Radio show. This resulted in some beautiful bluesy improvisations.

      And now there's the "Electricity!!..." vinyl album. This is something else. Jos goes all the way... with Tape and Turntable... Experimental Music.

2007 11 05


  • marty friedman: loudspeaker
        (2006, cd, japan, avex entertainment)
    • If you want to listen to some real heavy music (and I mean real heavy), you could always give Marty Friedman's "Loudspeaker" a try. Marty Friedman might me known to you as the Megadeath guitar player. I guess this is what they call Trash Metal, or Speed Metal.
      It does feature John Petrucci on one track, Billy Sheehan on another track, and even Steve Vai on 'Viper'.

      Heavy, although it does have some very impressive melodic & progressive moments...

leftovers from the last couple of months


Andrew Greenaway's superb Idiot Bastard website, has a new address (and lots of news as well, so check it out)



released october 31, 2007

grand wazoo / hot rats / m.o.i. 20 piece band

music composed, arranged & conducted by frank zappa

disc one

  1. intro intros
  2. the grand wazoo (think it over)
  3. approximate
  4. big swifty

disc two

  1. "ulterior motive"
  2. the adventures of greggery peccary
  3.   movement I
  4.   movement II
  5.   movement III
  6.   movement IV - the new brown clouds
  7. penis dimension
  8. variant I - processional march


Dieter Jakob's vinyl bootleg bible has been delayed a little bit. The book was originally scheduled for release somewhere in October. It looks like it will be out somewhere in December, or maybe in January.

Remember, the book will be the most comprehensive work about the unofficial records of Frank Zappa. And as I told Dieter: "We Zappa fans are patient. We have to be...."

  • 100 handnumbered copies

  • 500 pages A4 (large format, about 8.2 by 11.7 inches), almost all pages full coloured.

  • Hardcover with thread sewing

  • Digitally printed on special high quality paper (paper used for illustrated books)

  • More than 3600 (!) photos from covers, label, vinyl (LPs and singles), booklets, other details, etc. about more than 300 different titles (vinyl only!)  

  • 100 handnumbered copies


  • frank zappa: live from radio 1968
        (2007, cd-bootleg, usa, howard carter)
    • A new FZ bootleg. Excellent stuff (although nothing new): the Beat Club show and the BBC sessions, both taken from radio broadcasts.


  • zappa & mothers: in europe
        (2007, lp-bootleg, ??, hedgehog records hdg0012)
    • Here's another brand-new vinyl bootleg. This time, it's a reissue of the famous World White label from the early seventies, called "In Europe". A different cover, and beautiful yellow vinyl.


  • napoleon murphy brock featuring gregarious movement: after frank - 1st movement
        (2007, cd, usa, crossfire publications)
    • In 1976, after his time with Zappa, Napoleon Murphy Brock teamed up with some of his old friends. Together with keyboard player Cliffor Coulter and drummer Billy Ingram he formed Gregarious Movement. In 1977 they were joined by Thomas Reed on guitar.
      "After Frank - 1st Movement" catches the band in 1977, live in concert at the 'C'est Bonne" club in Santa Cruz. The album presents five tracks. All of the songs are coverversions: three from the Ohio Players, one from Al Green, and the last one from The Five Stairsteps.

      Now, this will be hard to believe, but Napoleon only sings lead on one track (Al Green's 'Let's Stay Together'). The majority of the songs have Billy Ingram on lead vocals, and he sure has a great voice. Even more suprising is that the three voices sound quite alike and that they blend together perfectly. This does mean that we have a lot of Napoleon's sax during the show, and his playing is fluent as ever. With a voice like that, one might tend to forget that Napoleon Murphy Brock is a superb saxophone player as well. 

      Gregarious Movement knows its classics and puts down a hell of a performance. This is top-shelf soul/funk/jazz or whatever you would like to call it.

      "After Frank - 1st Movement" is a must-have for every Napoleon Murphy Brock fan.
    • Higly recommended !!



Chad Wackerman will be touring with Alan Holdsworth again:


and now, the newsflash from a little while ago, but this time with the extra bonus flyer...

Zappa(teers) festival in Holland!!!

Following on from the success of the Zappateer weekend in England earlier this year,
the Zappateers are following up with the third Zappateer weekend for of the 14th and 15th March 2008, in a tranquil forest location near the historic Dutch city of Nijmegen close to the German border.

Promising to be bigger and even better than last time, Audrey one of the festival organisers said;
Everyone had such a great time at Bradford we just couldn't resist doing another one. This time we're holding it in mainland Europe to make it as accessible as possible for Zappateers and Zappa fans from all over Europe to attend. We've even managed to select a venue which includes accommodation so people don't have the expense or struggle to find accommodation themselves and which also means the partying can continue all weekend”.

Audrey was even more excited when talking about the line-up for the weekend.
We're really excited about this year's acts, we've so far confirmed 5 great bands, have another amazing band in the process of confirming and have possibly 2 or even 3 more bands in the pipeline, I really think people are going to be in for a dynamite show”.

The bands confirmed so far are:

    Wrong Object,
    those accomplished purveyors of psychedelic jazz with modern rock sensibilities and downright great musicians are a real coup for the festival and promise to be a real highlight of the weekend.

    Cuccurullo Brillo Brullo,
    Known as the Dutch masters, veterans of Zappanale, and all round great guys, Cuccurullo Brillo Brullo are doing their best to keep the music of Zappa alive by lovingly recreating his fabulous work live. Do not miss.

    The Foolz,
    veterans of the Zappa scene and great friends of the Zappateers always entertain whenever they're let loose on their instruments and on their native soil will excel themselves.

    Monty and the Butchers,
    those young English dudes fresh from their fabulous début performance at Zappanale and their brilliant show at Bradford on Avon offer a high octane mix of Zappa and their own funky compositions.

    a Dutch band will Freak everyone out with some early Zappa complete with zany and crazy stage antics reminiscent of Zappa's Garrick theatre days.
As for the previous Zappateer Festivals, a small scale intimate weekend is the aim, meaning tickets will be limited to a maximum of 150, which if the success of the Bradford on Avon weekend is repeated are expected to sell quickly.
The tickets are priced at 80 EUR which includes indoor festival accommodation meaning you can leave your tents at home, just bring a sleeping bag, pillow case, sheet and dancing shoes.



  • the residents: the voice of midnight
        (2007, cd, uk, mute)
    • SCHEDULED FOR RELEASE November 6, 2007
    • The Residents have a long history of story-based music projects, starting with 1974's Not Available, continuing with God in 3 Persons in 1988, and more recently The River of Crime in 2006. With The Voice of Midnight, The Residents have now taken a bold step, crossing a line into the world of music theater. They have adapted a short story, Der Sandmann, by Prussian writer E.T.A. Hoffman, first published 190 years ago.

  • On the surface, Der Sandmann is a simple story of madness. However, it has been recognized as addressing the conflict between the age of reason and the romantic era by scholars who have studied the tale.

    The protagonist of the story, Nathaniel, carries a deeply-seated fear that the childhood fable character, the sandman, is stalking him. The character of Nate is superbly performed by Corey Rosen who first worked with The Residents on River of Crime in 2006. Nate's fiance, Clair, a steadfast realist, is performed by Gerri Lawler who also worked on River of Crime as well as Tweedles. Long time Residents collaborator Carla Fabrizio performs the role of the other "woman," Olympia. The Residents embody the other characters, and perform the music, assisted by soloist Nolan Cook, whose guitar work for the band over the last eight years is legendary.


Pulp To Pulp

by Slev Uunofski




I'm glad to tell you that, August 31, I started my weekly Zappa program in classical channel of Estonian Radio - Klassikaraadio.

This half-hour program is called Apostroof (Apostrophe) and is aired every Friday at 19:30 GMT, re-aired on Saturday at 9:05 GMT.

The program is in Estonian and you can listen it live via internet

Every week I'm playing songs from one album. Current plan is:

  • 31.08. Apostrophe

  • 7.09. Broadway The Hard Way

  • 14.09. Civilization Phase III

  • 21.09. Does Humor Belong In Music

  • 28.09. Everything Is Healing Nicely

  • etc.

-- Avo Raup



L'Ensemble de Basse-Normandie is an 18-piece, professional orchestra: 12 string instruments, 5 wind instruments and 1 piano. The orchestra is conducted by Jean Luc Rimey-Meille.

January 2008, the ensemble will do a tour entitled "The Big Note - Frank Zappa Alchimiste". For these concerts, a number of extra instruments will be added: guitar, bass, drums, keyboards, percussion, trumpet and a trombone.

The pieces to be performed include:

  • Watermelon In Easter Hay

  • Regyptian Strut

  • Little Umbrellas

  • Project X

  • Inca Roads

  • Duke Of Prunes


  • Echidna's Arf (off You)

  • Don't You Ever Wash That Thing

  • Peaches En Regalia

  • Sinister Footwear

  • Opus 1 N°4, premier mouvement (minuetto) de Francesco Zappa


  • Music:  Frank Zappa / arr. Jean Luc Rimey-Meille

  • Libretto: Pacôme Thiellement 

  • Actors: Marco Bataille-Testu, Marie Lemoine

  • Costumes: Fanny Mandonnet

the orchestra:

  • ....

the added musicians:

  • Jean Marc Simon: guitar

  • Pascal Berne: bass

  • Attilio Terlizzi: drums

  • Fred Escoffier: keyboards

  • Sébastien Bonniau: percussion

  • ??: trumpet
    ??: trombone



-- info: cosmikd / zappateers



  • 2007/11/17 Ensemble Modern - concert "Nuit Contemporaine", 'l'Arsenal', Metz, France
    • ensemble modern, dir. franck ollu
    • the program
      • john adams: shaker loop (pour 7 cordes)
      • frank zappa: ruth is sleeping (pour 2 pianos)
      • steve reich: triple quartet
      • françois sarhan: testimony




Now here's what I call an impressive project:

Andrew Greenaway, aka The Idiot Bastard, has teamed up with Cordelia Records to bring you what might become a very fine selection of songs.

Read all about it on Andrew's essential site:

Contributing artists include

  • Andre Cholmondeley

  • Die Beistelltische

  • Doot!

  • Ensemble Ambrosius

  • Evil Dick & The Banned Members

  • Frazknapp

  • Freedom In Hats

  • John Tabacco

  • Lex Kemper

  • Monty & The Butchers

  • Nigey Lennon

  • Pojama People

  • Project/Object

  • Roddie Gilliard

  • The Thurston Lava Tube

  • The Vegetarians

  • Todd Grubbs

  • The Whip It Out Ensemble

  • The Wrong Object



the concert calendar * the concert calendar


  • 2007/10/04 Zappa plays Zappa - concert 'Messehalle', Erfurt, Germany

  • 2007/10/04 Steve Vai - concert 'Berklee Performance Center ',Boston, MA, usa  

  • 2007/10/04 Struber Jazztett - concert ‘Babylon’, Berlin, Germany

  • 2007/10/05 Zappa plays Zappa - concert 'Grand Rex', Paris, France

  • 2007/10/05 Steve Vai - concert 'Lupo's Heartbreak Hotel ',Providence, RI, usa

  • 2007/10/06 Zappa plays Zappa - concert 'Elisabeth Hall', Antwerp, Belgium

  • 2007/10/06 Steve Vai - concert 'North Fork Theatre at Westbury ',Westbury, NY, usa

  • 2007/10/08 Zappa plays Zappa - concert 'The Music House', Arhus, Denmark

  • 2007/10/09 Zappa plays Zappa - concert -Venue To Be Announced-, Stavanger, Norway  

  • 2007/10/09 Struber Jazztett - concert ‘Nancy Jazz Pulsations’, Nancy, Lorraine, France

  • 2007/10/10 Zappa plays Zappa - concert 'Peer Gynt', Bergen, Norway  

  • 2007/10/10 Project/Object - concert 'Webster Theatre ', Hartford, CT, usa

  • 2007/10/11 Project/Object - concert 'Revolution Hall ', Albany, NY, usa

  • 2007/10/12 Project/Object - concert 'Lion's Den ', NYC, NY, usa

  • 2007/10/12 Zappa plays Zappa - concert 'Sentrum Scene', Oslo, Norway  

  • 2007/10/13 Project/Object - concert ‘Asbury Lanes’,Asbury Pk NJ, usa

  • 2007/10/13 Zappa plays Zappa - concert 'Olympen', Lund, Sweden  

  • 2007/10/13 Mike Keneally - concert "Budapest Autumn Festival", Budapest, Hungary

  • 2007/10/13 Jack and Jim - concert 'Outpost', Albuquerque, New Mexico, usa

  • 2007/10/14 Project/Object - concert 'World Café Live ', Phila, PA, usa

  • 2007/10/14 Zappa plays Zappa - concert 'Cirkus', Stockholm, Sweden

  • 2007/10/14 Jack and Jim - concert 'Cedar Cultural Center', Minneapolis, usa

  • 2007/10/15 Project/Object - concert ‘Chameleon Club’,Lancaster PA, usa
  • 2007/10/16 Project/Object - concert ‘Jazz Cafe’,Wilkes Barre PA, usa
  • 2007/10/17 Project/Object - concert 'Beachland Ballroom ', Cleveland, OH, usa

  • 2007/10/17 Jack and Jim - concert 'Davey's Uptown', Kansas City, usa

  • 2007/10/18 Project/Object - concert 'Magic Bag ', Detroit, MI, usa

  • 2007/10/18 Jack and Jim - concert 'The Picador', Iowa City, usa

  • 2007/10/19 Project/Object - concert 'Martyr's ', Chicago, IL, usa

  • 2007/10/19 Jack and Jim - concert 'Oleavers', Omaha, usa

  • 2007/10/20 Project/Object - concert 'Martyr's ', Chicago, IL, usa

  • 2007/10/20 Mike Keneally- concert "IB Expo '07", Halmstad, Sweden

  • 2007/10/22 Project/Object - concert 'Shank Hall ', Milwaukee, WI, usa

  • 2007/10/23 Project/Object - concert 'Majestic Theatre ', Madison, WI, usa

  • 2007/10/24 Project/Object - concert 'Poison Room ', Cincinnati, OH, usa

  • 2007/10/25 Robin Verheyen, Alex Maguire & The Wrong Object - concert 'l'An Vert', Liège, Belgium - 20.00 h

  • 2007/10/26 The Wrong Object - concert '??', Mechelen, Belgium (private afternoon gig)

  • 2007/10/27 Bogus Pomp - concert "Zappaween 12", Janus Landing

  • 2007/10/27 The Muffin Men - concert ' franzis', wetzlar, germany

  • 2007/10/27 Robin Verheyen, Alex Maguire & The Wrong Object - concert 'De Singer', Rijkevorsel, Belgium

  • 2007/10/27 Corrie van Binsbergen - concert 'Zaal 100", Amsterdam, NL

  • 2007/10/28 The Muffin Men - concert ' kantine', köln, germany

  • 2007/10/30 The Muffin Men - concert ' objekt5', halle, germany

  • 2007/10/31 The Muffin Men - concert ' quasimodo', berlin, germany

  • 2007/10/31 Sheik Yerbouti – concert ‘Café Hahn', Koblenz, Germany -  “Halloweenparty” with a lot of special guests and a special program !!!

  • 2007/10/31 Zappa plays Zappa - concert ‘Beacon Theatre’,New York, NY, usa


  • 2007/11/01 Zappa plays Zappa - concert ‘Chevy Theatre’,Wallingford, CT, usa

  • 2007/11/01 Ugly Radio Rebellion - concert 'Dark Horse Tavern', Atlanta, GA, usa

  • 2007/11/01 The Muffin Men - concert 'gewerkschaftshaus', erfurt, germany

  • 2007/11/02 Zappa plays Zappa - concert ‘Broadway Theatre @ UPAC’,Kingston, NY, usa

  • 2007/11/02 The Muffin Men - concert ' colos-saal', aschaffenburg, germany

  • 2007/11/03 Zappa plays Zappa - concert ‘House of Blues’,Atlantic City, NJ, usa

  • 2007/11/03 The Muffin Men - concert ' stairway ', wallmenroth, germany (special double concert with sheik yerbouti)

  • 2007/11/03 Ugly Radio Rebellion - concert 'Jackie O's', Athens, OH, usa

  • 2007/11/04 Aigui / Bonnen - concert "Leverkusener Jazztage", Leverkusen, Germany
  • 2007/11/04 Zappa plays Zappa - concert ‘Providence Performing Arts Center’,Providence, RI, usa  

  • 2007/11/05 Steve Vai - concert ‘Freegellsmusic', Belo Horizonte, Brazil  

  • 2007/11/06 Zappa plays Zappa - concert ‘Town Ballroom’,Buffalo, NY, usa  

  • 2007/11/06 Steve Vai - concert ‘Bourbon Street’, Sao Paulo, Brazil  

  • 2007/11/06 Aigui / Bonnen - concert 'Objekt 5', Halle/Saale, Germany

  • 2007/11/07 Zappa plays Zappa - concert ‘Warner Theatre’,Washington, DC, usa  

  • 2007/11/07 Steve Vai - concert ‘Hellooch’, Curitiba, Brazil

  • 2007/11/07 Aigui / Bonnen - concert 'Scala Lichtspieltheater', Leverkusen, Germany

  • 2007/11/08 Zappa plays Zappa - concert ‘Toads Place’,Richmond, VA, usa  

  • 2007/11/08 Soul Cryptographers - concert 'Kehler Liddell Gallery', New Haven, CT, usa

  • 2007/11/09 Steve Vai - concert ‘Polideportivo Sausalito’, Viña del Mar, Chile

  • 2007/11/09 Pojama People - concert 'Sahalie Wine Bar', corvallis, OR, usa

  • 2007/11/10 Zappa plays Zappa - concert ‘Ameristar Casino’,Kansas City, MO, usa  

  • 2007/11/10 Steve Vai - concert ‘Court Central (outdoor)’, Santiago, Chile

  • 2007/11/12 Zappa plays Zappa - concert ‘Verizon Wireless Theatre’,Houston, TX, usa  

  • 2007/11/12 Steve Vai - concert ‘Gran Rex Theatre’, Buenos Aires, Argentina

  • 2007/11/13 Zappa plays Zappa - concert ‘Hogg Auditorium’,Austin, TX, usa  

  • 2007/11/13 Steve Vai - concert ‘Gran Rex Theatre’, Buenos Aires, Argentina

  • 2007/11/14 Zappa plays Zappa - concert ‘Palladium’,Dallas, TX, usa 

  • 2007/11/14 Struber Jazztett - concert ‘le Théâtre’, Auxerre, France  

  • 2007/11/16 Markus Stauss - concert 'L'An Vert', Liège, Belgium (8.15pm)

  • 2007/11/16 Ugly Radio Rebellion – concert ‘The Last Great Watering Hole’, Tucker, GA, usa

  • 2007/11/16 Zappa plays Zappa - concert ‘Fillmore’,Denver, CO, usa

  • 2007/11/17 Markus Stauss - concert 'De Plusetage', Baarle Nassau, NL

  • 2007/11/17 Ensemble Modern - concert "Nuit Contemporaine", 'l'Arsenal', Metz, France
  • 2007/11/18 Zappa plays Zappa - concert ‘Roseland’,Portland, OR, usa

  • 2007/11/19 Zappa plays Zappa - concert ‘Paramount’,Seattle, WA, usa

  • 2007/11/20 Zappa plays Zappa - concert ‘Orpheum’,Vancouver, BC, usa 

  • 2007/11/20 Struber Jazztett - concert ‘Espace Athic’, Obernai, France  

  • 2007/11/22 Zappa plays Zappa - concert ‘Southern Jubilee Auditorium’,Calgary, AB, usa  

  • 2007/11/22 Alan Holdsworth - concert ‘Guitar Festival‘,Wirral,UK  /  feat. Chad Wackerman  

  • 2007/11/22 Rainer Tankred Pappon Trio - concert 'Museu Da Imagem E Do Som', São Paulo, Brazil

  • 2007/11/23 Zappa plays Zappa - concert ‘Northern Jubilee Auditorium’,Edmonton, AB, usa  

  • 2007/11/24 Alan Holdsworth- concert ‘Brewery Arts Center‘,Kendall,UK  /  feat. Chad Wackerman  

  • 2007/11/25 Sgt. Leonard's Loopy Arts Dub Band - concert 'Cozmic Pizza', Eugene, OR, usa

  • 2007/11/25 Alan Holdsworth- concert ‘Arts Centre‘,Swindon,UK  /  feat. Chad Wackerman

  • 2007/11/26 Alan Holdsworth- concert ‘Jazz Caffe‘,London,UK  /  feat. Chad Wackerman

  • 2007/11/27 Zappa plays Zappa - concert ‘Lyric Theatre’,Brisbane, Australia  

  • 2007/11/28 Alan Holdsworth- concert ‘The Stables‘,Milton Keynes,UK  /  feat. Chad Wackerman

  • 2007/11/29 Zappa plays Zappa - concert ‘Hamer Hall’,Melbourne, Australia

  • 2007/11/29 Alan Holdsworth- concert ‘Academy‘,Manchester,UK  /  feat. Chad Wackerman

  • 2007/11/30 Zappa plays Zappa - concert ‘Hamer Hall’,Melbourne, Australia

  • 2007/11/30 Alan Holdsworth- concert ‘The Cluny‘,Newcastle,UK  /  feat. Chad Wackerman


  • 2007/12/01 Het Wisselend Toonkwintet (Corrie van Binsbergen) - concert 'Cultuurcentrum', Hasselt, Belgium

  • 2007/12/01 Alan Holdsworth- concert ‘Rios‘,Leeds,UK  /  feat. Chad Wackerman

  • 2007/12/01 Frogg Café - concert "The Baltimore Progressive Rock Showcase', Orion Sound Studios, Baltimore, MD, usa

  • 2007/12/02 Zappa plays Zappa - concert ‘Thebarton Theatre’,Adelaide, Australia

  • 2007/12/02 Alan Holdsworth- concert ‘The Brook‘,Southampton,UK  /  feat. Chad Wackerman

  • 2007/12/03 Zappa plays Zappa - concert ‘Enmore Theatre’,Sydney, Australia

  • 2007/12/03 Alan Holdsworth- concert ‘Queens Hall‘,Nuneaton,UK  /  feat. Chad Wackerman  

  • 2007/12/04 Zappa plays Zappa - concert ‘Enmore Theatre’,Sydney, Australia

  • 2007/12/04 Alan Holdsworth- concert ‘Metropole‘,Abertillary,UK  /  feat. Chad Wackerman

  • 2007/12/05 Alan Holdsworth- concert ‘Robin 2‘,Wolverhampton,UK  /  feat. Chad Wackerman  

  • 2007/12/05 Fattore Zeta - concert 'Centro Sociale Askatasuma', Torino, TO, Italy

  • 2007/12/06 Alan Holdsworth- concert ‘The Acorn‘,Penzance,UK  /  feat. Chad Wackerman
  • 2007/12/06 Ugly Radio Rebellion – concert ‘Tonys Sports Bar’, Sandy Springs, GA, usa  -cancelled
  • 2007/12/20 Ugly Radio Rebellion, feat.Ike Willis - concert 'Jackie O's', Athens, OH, usa
  • 2007/12/21 Ugly Radio Rebellion, feat.Ike Willis - concert "FZ Birthday Party 'The Winchester', Cleveland, OH, usa
  • 2007/12/22 Ugly Radio Rebellion, feat.Ike Willis - concert 'Macs Bar', Lansing, MI
  • 2007/12/23 / 12:30pm  Ugly Radio Rebellion, feat.Ike Willis - concert "St Alphonzos Pancake Brunch", 'King Brewing Co', Pontiac, MI, usa
  • 2007/12/23 / 9:30pm  Ugly Radio Rebellion, feat.Ike Willis - concert 'The Buzz Bar', Detroit, MI, usa







  • 2008/08/13 concert "Zappanale", Hamburg, Germany

  • 2008/08/14 concert "Zappanale", downtown Bad Doberan, Germany

  • 2008/08/15 - 2008/08/17 concert "Zappanale", Bad Doberan Germany

    • Denny Walley

    • The BOGUS POMP Low Budget Semi-Acoustic Orchestra