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| King Kong - Jean-Luc Ponty Plays the Music of Frank Zappa |
| Jean-Luc Ponty |
amerikai
első megjelenés éve: 1964
44 perc |
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| (1993)
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CD |
| 6.537 Ft
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| 1. | King Kong
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| 2. | Idiot Bastard Son
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| 3. | Twenty Small Cigars
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| 4. | How Would You Like to Have a Head Like That
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| 5. | Music for Electric Violin and Low Budget Orchestra
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| 6. | America Drinks and Goes Home
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Jazz / Crossover Jazz; Fusion; Post-Bop
Recorded: Mar 14-15, 1969
Jean-Luc Ponty - violin
Ian Underwood - conductor, alto & tenor saxophones
Ernie Watts - alto & tenor saxophones
Vincent DeRosa - French horn, descant
Arthur Maebe - French horn, tuben
Johnathan Meyer - flute
Gene Cipriano - oboe, English horn
Donald Christlieb - bassoon
Milton Thomas - viola
Harold Bemko - cello
Gene Estes - vibraphone, percussion
George Duke - piano
Frank Zappa - guitar
Buell Neidlinger - bass
Wilton Felder - bass
Arthur Tripp III - drums
John Guerin - drums
Composed and arranged by Frank Zappa
King Kong: Jean-Luc Ponty Plays the Music of Frank Zappa was an active collaboration; Frank Zappa arranged all of the selections, played guitar on one, and contributed a new, nearly 20-minute orchestral composition for the occasion. Made in the wake of Ponty's appearance on Zappa's jazz-rock masterpiece Hot Rats, these 1969 recordings were significant developments in both musicians' careers. In terms of jazz-rock fusion, Zappa was one of the few musicians from the rock side of the equation who captured the complexity - not just the feel - of jazz, and this project was an indicator of his growing credibility as a composer. For Ponty's part, King Kong marked the first time he had recorded as a leader in a fusion-oriented milieu. The Mothers of Invention had previously recorded three of the six pieces and "Twenty Small Cigars" soon would be. Ponty writes a Zappa-esque theme on his lone original "How Would You Like to Have a Head Like That," where Zappa contributes a nasty guitar solo. The centerpiece, though, is obviously "Music for Electric Violin and Low Budget Orchestra," a new multi-sectioned composition that draws as much from modern classical music as jazz or rock. It's a showcase for Zappa's love of blurring genres and Ponty's versatility in handling everything from lovely, simple melodies to creepy dissonance. In the end, Zappa's personality comes through a little more clearly (his compositional style pretty much ensures it), but King Kong firmly established Ponty as a risk-taker and a strikingly original new voice for jazz violin. |
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