| Album notes by Dweezil Zappa - August 1996
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| Greetings music lovers, Dweezil here.
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| The Zappa family would like to thank you for choosing this particular audio experience. We’ve tried to create an album that celebrates some of Frank’s greatest musical achievements not only as a composer but as a guitarist. When Frank was asked whether or not he felt he had written or recorded anything that was unique or special to him he replied: “Yes”. He then mentioned the names of 3 guitar instrumentals: “Black napkins”, “Zoot allures” and “Watermelon in easter hay”. He considered these his “signature pieces”. We would like to share Frank’s signature guitar compositions with you. We felt the title “Frank Zappa Plays the Music of Frank Zappa - A Memorial Tribute” was appropriate because only Frank can play his signature guitar pieces. His tone, his phrasing and his personality are what defines them. The best way to honor him is to listen with what Frank would refer to as “big ears”.
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| Without the conscious use of reason or technical command of music language you will immediately find yourself understanding the complex musical conversations that inhabit this record. Frank’s most fearless improvisational guitar solos or “air sculptures” as he liked to refer to them ▲, often revolved around deceptively simple themes. A few of those simple themes transformed themselves into Frank’s signature guitar compositions. Rare combinations of beautiful melodies and raw creativity blended with unusual guitar tones, constructed on top of perspicaciously astute drumming make these compositions instantly recognizable to those already familiar with his music. “Black napkins”, “Zoot allures” and “Watermelon in easter hay” are collected here for the first time.
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| For those of you experiencing Frank’s music for your first time as well as his longtime aficionados, here’s the part that makes this record unique: the UMRK Vault, which is full of modern day archaeological treasures, was meticulously scoured for several weeks in search of early recordings of the above-mentioned tunes. To our delight and hopefully yours, we were able to locate versions of these compositions in forms that predate the originals. We have combined these never-before-released performances with the well-known album performances to allow your ears to hear the intriguing developmental process.
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| Without words Frank was able to communicate his ideas, emotions and his personality to international audiences. All he needed was his guitar. “Black napkins”, “Zoot allures” and especially “Watermelon in easter hay” speak volumes about Frank and his vast imagination. And they certainly speak to me like no other guitar compositions I’ve ever heard.
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| Frank’s guitar playing, however enigmatic or idiosyncratically phrased, was also firmly rooted in the blues. I’m extremely thrilled for you to be able to hear what we were surprised to find, a bonus track. “Merely a blues in A” is the most wicked, obstreperous, bad ass blues jam I’ve heard Frank play. Never known to stick to the rules, what makes this performance so unique is Frank’s adherence to standard blues form and his wonderful homage to his friend and guitar hero, Johnny “Guitar” Watson. You even hear a moment of “Big Swifty” if you listen carefully. When you run out of songs to play in Paris and all else fails, play the blues.
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| I hope you enjoy this record. Here’s to Frank and his guitar!
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| Notes by Gail Zappa - November 15, 2012
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| “Frank Zappa Plays the Music of Frank Zappa - A Memorial Tribute” is a title that remains wildly amusing to all of us Other Zappas. So far no one else has taken up the challenge and who could do it better than FZ anyway? Right. And yes, this is also the origin and inspiration for the name of what is now Dweezil’s band, “Zappa Plays Zappa”. And who could do that better?
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| Exactly.
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| Round about 20 years or so ago it occurred to me to ask Frank if he wanted to restrict any works in any way. I realize this is an odd question but in 1992 he had done so with a couple of the pieces from the “Yellow Shark” performances - because he himself IS the main instrument necessary to the performance of the Work. This was the context and his answer was immediate. He named “Zoot Allures”, “Black Napkins” and “Watermelon in Easter Hay”. He said he did not want anyone to play them because they are his “Signature Guitar Compositions.” Simple. Direct. Like the Wave that rises in the One Great Deep - the Weighty Ocean Blanket - when tectonic havoc murks about and messes up her bed. I was at once unmade and undone. And salty.
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| No one can own Frank Zappa’s signature - by pen, baton, or guitar. It is of his hand to his last note - and his last rest. Many people have asked why FZ’s gravesite is unmarked. Still.
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| I have my answer albeit in the form of a question: How is it possible that a mere stone, a stele, a tablet, a monolithic memorial marker could possibly serve proper notice of the existence of this man? This Human who is no longer Being. He is exactly Still. Infinitely Silent. So I decided differently. Frank told me I would know what to do. He was correct. This is what I came to understand.
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| This is his mark. These 3 Guitar Songs. They are forever fixed in the now of the anytime you want to hear them. HERE. Go on. Dance on his Humor (which is very much the opposite of Grave).
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| [Notes by Dweezil Zappa] I was hoping to find the very first recorded performance of “Black napkins” to include on this record. So far we have not been able to locate it. It may not have ever been formally debuted as such. We found a very early version nonetheless.
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| During the Fall 1975 American tour a bizarre routing assignment took place. FZ and the band traveled from Ann Arbor, Michigan to Zagreb, Yugoslavia and then on to Ljubljana where we’ve excerpted “Black napkins”. The band played one show in each Yugoslavian city and then returned to Michigan to continue the American tour.
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| The Yugoslavian concerts were performed quite well. Frank sounded very enthusiastic on stage. He was playing with a lot of energy. Perhaps one day a whole concert may be released. In any case it’s interesting to hear Frank’s spoken word intro explaining the meaning behind the title “Black napkins”. It’s also interesting and sad that Yugoslavia no longer exists. “The last imaginary guitar solo…” ▶
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| [FZ] Thank you!
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| Now this is a… this is an instrumental song, it’s a tender, slow-moving ballad sort of a song, that carries with it the implied message that the complete woman must also have an asshole.
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| [Instrumental]
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| [Notes by Dweezil Zappa] The tonal texture between the Yugoslavian “Black napkins” and the Japanese “Black napkins” is about as extreme as the difference between the sound of both languages. As you listen and compare both performances you’ll notice Frank’s improvement of the phrasing of the theme lick that begins the solo. You will also notice how his change from clean tone to dirty tone affects his ideas.
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| I’m always baffled by the fact that Frank was able to create so many rhythmic and melodic variations without repeating himself during the course of any given solo. To me this performance is a classic.
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| [Notes by Dweezil Zappa] This performance is full of amazing moments. Sadly the PA system in Tokyo was experiencing technical difficulties at the time of this recording. There is some intermittent distortion that is audible throughout the solo. It’s not your audio equipment screwing up.
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| There was no scientific way to remove the distorted blemishes from the master tape. The performance shines through regardless. The sample and hold “Ship ahoy” tone towards the end of the solo is awesome. This performance needed to be heard even with technical difficulties.
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| [Notes by Dweezil Zappa] Like I said, “When in doubt, play the blues”, Frank certainly does play some mean blues on this track. It’s hard to believe that the band ran out of material to play for an encore in Paris but that’s apparently what happened. Lucky for us…
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| [FZ] Alright, look here, folks. We’re gonna play another song for ya, but… uh…
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| [Napoleon Murphy Brock] Well
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| [FZ] Sharp! A blues in G
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| [Napoleon Murphy Brock] Blues in G?
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| [FZ] No, in A. Hah? Merely a blues in A, folks.
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| [Instrumental]
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| [FZ] Good night
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| [Napoleon Murphy Brock] ✄ Baby, it’s cold outside
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| It’s up to your knees outside
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| Baby, you’re gonna freeze outside
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| Cold, yeah. Can y’all feel it?
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| Take your clothes off and you’ll freeze your balls off outside
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| Oh Lord, oh
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| Oh Lord, Lord, Lord, Lord
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| Wow!
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| [Notes by Dweezil Zappa] This is an excellent example of Frank’s inventiveness on the guitar. The lush chords and the beautiful feedback that accompanies them transcend traditional guitar composition. By utilizing the feedback as an integral part of the song and its phrasing, it cemented “Zoot allures” status as a signature piece.
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| Frank was a master at controlling feedback. He knew which frequencies were helpful and which were harmful. Me, I don’t know 2k from Special K.
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| [Notes by Dweezil Zappa] “Watermelon in Easter hay” is a unique instrumental. The melancholy pedaling phrase in the background is beautiful on its own but coupled with the lead melody it becomes a devastating piece of music. In this early rendition it is clear that Frank is still working on the placement of the melody. He has not yet arrived at the ‘Joe’s Garage’ “Watermelon” phrasing. He’s also using a distorted and slightly Dynaflanged tone.
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| It’s amazing how the slightest change in phrasing affects your emotional response. When Frank played the “Joe’s Garage” version suddenly there was no other way for that melody to be played. It’s still interesting to hear the difference between the two versions.
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| Also, this early version was recorded at the end of the ‘78 tour. This was Terry Bozzio’s last tour with Frank. I wonder how much the melody phrasing change had to do with the change in drummers. Vinnie Colaiuta performs on the “Joe”’s version. Hmmm, something to ponder.
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| [Instrumental]
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| [Central Scrutinizer] This is the CENTRAL SCRUTINIZER… Joe has just worked himself into an imaginary frenzy during the fade-out of his imaginary song… He begins to feel depressed now. He knows the end is near.
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| [Notes by Dweezil Zappa] This song has always brought a tear to my eye. Envisioning it according to the “Central scrutinizer” as the “the last imaginary guitar solo” is a powerful image. Even more powerful is the melody itself.
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| Frank’s beyond beautiful, sparkling clean tone played through a Space Station Reverberator is one of the all time greatest guitar tones ever recorded. He had such an ear for tone. The combination of tone and melody on this song just kills me.
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| Since Frank is no longer with us “Watermelon in Easter hay” is even more difficult for me to listen to than ever. I know my Mom feels the same way. It is in my opinion the very best solo he ever played. It’s because of his imagination that it exists and that’s pretty damn cool.
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| [Central Scrutinizer] He has realized at last that imaginary guitar notes and imaginary vocals exist only in the imagination of the IMAGINER… and… ultimately, who gives a fuck anyway? So… So… excuse me… ha ha ha! Mm-mh. So… ha ha ha, ha ha ha, who gives a fuck anyway? So he goes back to his ugly little room and quietly dreams his last imaginary guitar solo…
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| [Instrumental]
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| [FZ] Good night!
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 Art by Matt Groening.jpg "(Front) Art by Matt Groening")
Songs list
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Title origin
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