Frank Zappa composed The Grand Wazoo - the third in a loose trilogy of jazz-fusion recordings which also included Hot Rats (1969) and Waka/Jawaka (1972) - from a wheelchair, the result of an attack from a fan during a 1971 gig at the Rainbow in London. Unable to tour, Zappa was confined to his studio, where the growing fusion movement occupied his musical thoughts.
Whilst Hot Rats can only be seen as a fusion record in hindsight, and Waka/Jawaka suffers from some rambling instrumental forays, The Grand Wazoo stands as the most coherent and intended jazz record of Zappa's voluminous discography.
Big Swifty
The opening epic, 'The Grand Wazoo', is similar in style to Waka/Jawka's title track and the live favourite 'Big Swifty', with a big band brass and woodwind section (some eleven players) giving way to more experimental middle sections.
In contrast to those earlier tracks, however, 'The Grand Wazoo' feels more cohesive. 'Waka/Jawaka' for example, storms out of the blocks, but falls apart soon after the main theme has been stated. On 'The Grand Wazoo', the band manages to keep itself tight for the duration. Only one small section, shortly before the restatement of the theme, appears confused, as the band run out of ideas.
Beforehand, the track features engaging solos from Sal Marquez on trumpet, Bill Byers on trombone, and Zappa himself on guitar. The epic nature of the track was rarely dealt with again by Zappa, until his classical recordings in the 1980s.
Cleetus Awreetus-Awrightus
As with Hot Rats and Waka/Jawaka, The Grand Wazoo still features a vocal track, in this case 'For Calvin (And His Next Two Hitch-Hikers)'. Zappa's fascination with modern composition comes to the fore during the middle of the track, as horns and various noises ring out with no definite melody holding them together. After the glorious horn lines of 'The Grand Wazoo', the woodwinds are under-utilised, and the track veers towards a slightly jazzier soundtrack for Steptoe And Son.
'Cleetus Awreetus-Awrightus' is a short and engaging example of the humour Zappa could convey simply through his arranging. The band give a jaunty performance, noticeably tighter than anything on Waka/Jawaka. Zappa also provides a wilfully silly 'mouth-horn' performance, a method he used to convey to his horn players what he wanted from them.
George Duke
George Duke is given a chance to shine at the onset of 'Eat That Question', a jazz-rock tune with an obvious emphasis on the 'rock' half of the equation. Duke's keyboard playing throughout the piece is exemplary, and adds a funkiness to the band's sound which is oftentimes absent from Zappa's work.
Zappa proves equally adept with his guitar work on 'Eat That Question', a dynamic performance which is more impressive given doctors initial fears that he would never be able to play again after his attack. Aynsley Dunbar, a Zappa stable in the early 1970s, is on his finest form of the record on the track, his adeptness at rock 'n' roll drumming perfect for the tempo and ideas in the piece.
Despite Frank Zappa being mainly associated in the mainstream with offensive humour and challenging music, The Grand Wazoo closes with a piece of undeniable beauty and subtleness. 'Blessed Relief' sees Mike Altschul, Joel Peskin, and Sal Marquez provide emotional and heartfelt melodies, with a solo akin to some of Miles Davis' most beautiful and haunting performances.
George Duke again proves his skills with a delicate and knowing electric piano solo, steering clear of pretension and dropping out expertly to let Zappa showcase a more relaxed yet frantic guitar style. The band comes together again for a final statement of 'Blessed Relief's theme, its charm an example of the breadth of Zappa's talents as a composer and arranger.
 |
