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PostPosted: Sun Aug 18, 2013 8:34 pm 
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Moshkito wrote:
these people can not learn, EVER, that Frank even put the guitar down one time and conducted the whole time, because of the guitar hero bullpucky!

What a derogatory way to describe Zappa's without-a-net improvisations.

Moshkito wrote:
JL Ponty is a well educated musician, and something like rock and most of the jazz stuff he is involved in is fairly simple

Just because you can easily copy something doesn't mean you could have easily conceived it. Level of difficulty means nothing compared to genuine inspiration. Besides, you can always do something technically challenging within the simplest of frame works. But who wants to be around people who are always trying to complicate things?

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PostPosted: Mon Aug 26, 2013 12:41 pm 
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downer mydnyte wrote:
...
Level of difficulty means nothing compared to genuine inspiration.
...


Except you are not placing this in the proper context!

Music history has been about the writing of the music, and sometimes its diffculty!

It has only been the 20th century with its ability to "record" and save some "events" in music, that created the "genuine inspiration" (your words) from which rock and jazz have gained its greatest achievements in history ... NOT ... from the music writing, but from its "inspired moments".

Now we have a problem with definition!

The 20th century has put a dent in the history of music with its eclectic and different attitudes and ideas ... and it's why you are here!

Thx


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PostPosted: Mon Aug 26, 2013 3:33 pm 
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You're welcome......!

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PostPosted: Mon Aug 26, 2013 6:42 pm 
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calvin2hikers wrote:
You're welcome......!

+1

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PostPosted: Mon Aug 26, 2013 10:01 pm 
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Moshkito wrote:
Music history has been about the writing of the music


Sound existed before notation. Music existed before it was written down. What came first, music or music theory?

The 20th century was not the beginning of improvised music. The very first music ever played had to have been improvised.

Perhaps you just prefer the European rules.



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PostPosted: Sat Dec 28, 2013 2:09 pm 
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"But later on you toured with the regular Zappa band�

That was in 1973. He hired me along with George Duke in his Mothers of Invention because he wanted high-level musicians to play his instrumental music. But things didn�t go as well as I expected: in fact we never played any themes from King Kong live. Zappa played to huge audiences and I think he was prisoner of his own image. His fans wanted songs, not instrumentals, and I wound up accompanying songs and playing only one solo per night. So I quit.
" http://www.jazz.com/features-and-interv ... -luc-ponty

Hmm… Road Tapes Venue 2 sounds pretty instrumental to me, Jean Luc.

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PostPosted: Sat Dec 28, 2013 2:36 pm 
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evildick wrote:
Hmm… Road Tapes Venue 2 sounds pretty instrumental to me, Jean Luc.


I was thinkin' the same thing, Jean Luc...well? :?

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PostPosted: Sat Dec 28, 2013 6:28 pm 
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The music doesn't lie.


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PostPosted: Mon Dec 30, 2013 2:59 pm 
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evildick wrote:
Hmm… Road Tapes Venue 2 sounds pretty instrumental to me, Jean Luc.


I remember only two "songs" being performed during the show I saw with the Ponty-era Mothers: "Montana" and "Cosmik Debris." (There was also a spoken word rap about "Imaginary Diseases," but no "Stinkfoot.")


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PostPosted: Thu Jan 23, 2014 9:16 am 
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i do love ponty but imo his solos always sound the same so idk what hes complaining about. and yeah, sugarcane is far more boss, but i can't imagine ponty playing like him, he's more into "classical" sounds than tearing it up.

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PostPosted: Sat Feb 15, 2014 11:49 am 
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A Zappateers user just posted this on that forum:

Some words by Ponty in the last Jazz Magazine concerning Road Tapes 2, I hope the translation is correct.

Quote:
"Cet album est une bonne surprise car il contient des compositions de Zappa qui pour moi sont parmi les plus intéressantes, les plus créatives. Certaines étaient complètement sorties de ma mémoire et me replongent dans cette période de ma vie. Et puis ces enregistrements témoignent de la complicité musicale que j'avais avec George Duke, et dont je parlais au moment de sa disparition en août dernier (Jazz Magazine Jazzman n° 653, septembre 2013). Pour ne citer qu'un exemple, la façon dont il me suit pendant mon improvisation dans Dupree's Paradise me sidère encore aujourd'hui. Il joue très rythmique quand je le suis, ou soulignant en écho quelques notes d'un passage où je suis plus mélodique, ou me suivant dans quelques escapades carrément "free".
Frank était un perfectionniste, il nous avait fait répéter pendant un mois avant la première tournée aux Etats-Unis, et nous faisait encore souvent répéter pendant cette tournée en Europe quelques mois plus tard. Il avait raison quand on entend la précision avec laquelle on jouait ces arrangements sur scène."

"This album is a pleasant surprise because it contains Zappa compositions which for me are the most interesting , the most creative . Some were completely out of my memory and submerge myself in this period of my life. And these recordings reflect the musical complicity that I had with George Duke, and I mentioned at the time of his death last August (Jazz Magazine Jazzman No. 653 , September 2013 ) . To cite just one example , how he follows me during my improvisation in Dupree's Paradise amazes me today. He plays very rhythmic when I'm in, or echoing some notes of a moment where I am more melodic , or following me in some escapades very "free".

Frank was a perfectionist , we had rehearsed for a month before the first tour in United States, and we was still rehearsing during this tour in Europe a few months later . He was right when we hear the precision with which we played these arrangements on stage."


So basically JLP had forgotten how "interesting" and "creative" the Mothers were during the Euro tour? Perhaps he'd only remembered that FZ wanted to do the more Over-Nite Sensation'y songs and was looking for a vocalist for that purpose? I do think the Euro tour was a bit of a de-tour from the direction hinted at the OZ tour and pursued more fully for the last North American tour of '73 and beyond. So I can see why JLP may have thought that FZ became a prisoner of his image and was expecting him to generally accept playing just one solo per night. Or I dunno?

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PostPosted: Tue Feb 18, 2014 8:06 am 
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suterb wrote:
I'm guessing that he got kicked out of Zappa's band for being an ass


that is probably correct my dear friend

Yes, that's probably correct

However, I adore J-LP and he was undoubtedly the best electric violinist ever.

He knocks Sugarcane, La Flamme, Goodman et al into a cocked hat!







NP

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....and here it is if you have lived in a cave for the last 40 years!

http://www.youtube.com/watch?v=m371evR0Wck

Robust stuff? Not 'arf!







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PostPosted: Tue Feb 18, 2014 2:57 pm 
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Incidentally downer m- nice avatar - from the fourth greatest band that ever walked the planet

Their second finest LP

Yes, their second finest LP








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