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I have not liked the concert because all this what Frank Zappa puts out only in attempts was to be seen or to be heard. Dweezil and his band worked like a group of schoolchildren which had rehearsed everything well, but did not touch the real core. The spontaneous (at the example of the counterfeit finger signs of Dweezil) looked wooden. The virtuosity limited itself to nice guitar sounds, dull Saxofonsolos (as moderately as Napoleon Murphy Brock-Solos from which on FZ records appeared while still alive none finds itself for the future generations the archived) as well as pointless bass inserts which prove only one form, but (still) no contents. The humor was easy and copied so obviously that he tasted bad, like a joke which one gets over and over again anew told.
The musicians were elated of course about every doubt. Indeed, the drummer (the very weighty FZ archive leader Joe Travers) is just no Vinnie Colaiuta or Chad Wackerman. The same can be said for the bassist, for the second guitarist and for the keyboards and saxplayer Sheila Gonzalez whom just no Bianca (the second singer beside Ray White is for a few weeks in 1976). Only the new Leadsinger, Ben Thomas, was impressive. Indeed, his abilities were not really used. With this voice which sounds good powerfully and even almost loud still songs from very short Ricky Lancelotti-Area (1973) first-class would have fitted. As well the songs from Joe's Garage Act 2 and 3 would have come.
Frank Zappa just play time is not possible actually because the original owns a quality which is to be reached extremely hard and worries us as Zappa fans also so or arouses enthusiasm over and over again. One can try to adapt Zappa in other arrangements new clothes (for example, Gangster Fun a ska version of "Dirty Love"). One can parry this quality by his unique virtuosity (for example, Adrian Belew on his last tour "City of Tiny Lights") One can produce about textual changes (for example, Ostbahn Kurti „Bertel Braun“) an actuality. Or one simply asks Ali N. Askin (Zappa arranger for Yellow Shark) who arranged some Zappa pieces for the blow quartet Cologne. Here a lot fitted and the abovementioned defects were circumnavigated capably (12.03.09 live in the Musikaus Dortmund; on the german radio -Deutschlandfunk- 14.05.09).
Maybe some answer that I am to mad, but if it is about Frank Zappa, the best just feels well enough, and Dweezil is level only Dweezil, the son of the master.
PS: As already on top mentioned, the Batschkapp for the crowd was too small. The sound felt well - like almost always there-.
The best record of Dweezil is in my opinion his first one: „Havin' A Dad Day“, because there join in also Scott Thunes and Chad Wackermann, and dad Zappa has produced them.
And still what. Dweezil is able to do all that much better if he makes this what he is able to do also. I have seen him with "Z" (Ahmet Zappa, Mike Keneally, Scott Thunes and a drummer) about 1993 in just this Batschkapp. It was a cool concert, even if only before about 50 people. They played among other things the legendary 60-90th medleys and there was there exactly that what I had missed on Sunday. The music and the show were witty, spontaneous and virtuoso, and it was played even within the 70s years medleys for a few seconds Frank Zappa: "I'm the Slime".
Karsten Germany, Frankfurt am Main
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