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 The Great Un-American Songbook
Volumes I & II
(Double CD-tracks & purchase links listed below)



Available 2/24/17 on Cuneiform Records

PURCHASE LINKS //
 ITUNES - AMAZON - BANDCAMP - WAYSIDE MUSIC
 or
 DIRECT FROM ED:
 
$20 with $3.00 for postage. $23 for a DOUBLE DISC CD!
 
 Just write a check made out to Ed Palermo and mail to
 
Ed Palermo
 27 Westwood Drive North
 West Orange, NJ 07052
 
 OR if you do VENMO or PAY PAL, that’s cool, too. Just use my email address.


Crazy times call for outrageous music, and few jazz ensembles are better prepared to meet the surreality of this reality-TV-era than the antic and epically creative Ed Palermo Big Band. The New Jersey saxophonist, composer and arranger is best known for his celebrated performances interpreting the ingenious compositions of Frank Zappa, an extensive body of work documented on previous Cuneiform albums.
But his fifth project for the label, The Great Un-American Songbook Volumes I & II , is a love letter to the rockers who ruled the AM and FM airwaves in the 1960s via successive waves of the British Invasion. Featuring largely the same stellar cast of players as last year’s gloriously eclectic One Child Left Behind, the 18-piece EPBB lovingly reinvents songs famous and obscure, leaving them readily recognizable and utterly transformed. The first installments in what he hopes to be an ongoing project, these two volumes give a whole new meaning to 'swinging London'.
More than any other EPBB release, The Great Un-American Songbook is like rummaging around Palermo’s record collection and playing tracks at random after imbibing an espresso-laced bottle of absinth. He’s the first to admit that the album is a highly personal and nostalgia-induced undertaking. “Almost everything I do lately is reliving my past,” Palermo says. “With the craft and skill I’ve developed being an arranger for all these years, I can now take those songs that I grew up with and loved, and reinterpret them. I picked my favorite songs, songs that I’m going to want to hear and play a lot. There’s really no other way to explain my selection process.
By the end of the long and winding road through Palermo’s musical backpages there’s no doubt that his nostalgia is our delight, as vintage rock songs make for state-of-the-art jazz. “Anything can be grist for the mill,” Palermo says. “Once I start an arrangement I get so into it. I’m going to put my spin on it.”
Nothing demonstrates the ensemble’s ongoing vitality better than the stellar   cast of players, with many longtime collaborators. Many of these top-shelf musicians have been in the band for more than a decade, and they bring wide ranging experience, expert musicianship and emotional intensity to Palermo’s music. From the first note, well, after the goat, the band manifests greatness in a truly un-American cause.
From the Beatles, Rolling Stones and Jeff Beck to King Crimson, Traffic, and Jethro Tull, The EPBB storms the British invasion and plants the American flag (upside down)!

Volume I (disc 1)
1. Good Morning, Good Morning (The Beatles)
2. Open Up Said the World at the Door (The Move)
3. We Love You (The Rolling Stones)
4. Eleanor Rigby (The Beatles)
5. Definitely Maybe (Jeff Beck)
6. As You Said (Cream)
7. Larks' Tongues in Aspic, Part Two (King Crimson)
8. 21st Century Schizoid Man (King Crimson)
9. Send Your Son to Die (Blodwyn Pig)
10. Edward, The Mad Shirt Grinder (Nicky Hopkins with Quicksilver Messenger Service)

Volume II (disc 2)
1. America/American Idiot (The Nice, Green Day)
2. Beggar's Farm (Jethro Tull)
3. Bitches Crystal (Emerson, Lake and Palmer)
4. Wreck of the Hesperus (Procol Harum)
5. Diamond Dust (Jeff Beck)
6. The Low Spark of High Heeled Boys (Traffic)
7. Fire (Arthur Brown)
8. The Tourist (Radiohead)
9. Don't Bother Me (The Beatles) / Nardis (Miles Davis) /Don't Bother Me (reprise) (The Beatles)
10. I Wanna Be Your Man (The Beatles)
11. Good Night (The Beatles)
 

Producer: Bruce McDaniel

Executive Producer:
Edvard Loog Wanker III

Recorded at Peaceful Waters Studio, April 18–October 10, 2016.
Wayne Warnecke: Engineer

Mixing and mastering by Bruce McDaniel at Rock Ridge Recording, New Orleans, LA.

Additional recording by Ralph Kessler at Pinguin, Hamburg, Germany.

Artwork: Hugh Brennan

Photos: Hugh Brennan*
*except for Mike Boschen's by Mark Kornbluth, and Bruce McDaniel's by Jasmine Taylor Shadab, also credit to David Ortega (photo asst. on Ed's shoot)

Endorsements:
Ray Marchica uses Zildjian cymbals, Pearl drums, Remo drum heads, and Vic Firth sticks exclusively.
Paul Adamy uses DR strings and Wayne Jones Audio exclusively.
Ronnie Buttacavoli plays a Cannonball "Stone Series” 725 black nickel-plated trumpet and a custom mouthpiece by Greg Black Mouthpieces exclusively.
Barbara Cifelli uses Rico saxophone reeds exclusively.
Ed Palermo uses his band members unapologetically.

----

The Soloists

Volume I (Tracks #1-10)

GOOD MORNING, GOOD MORNING vocals: Bruce McDaniel; solo: Bruce McDaniel (guitar)
OPEN UP SAID THE WORLD AT THE DOOR solos: John Bailey (trumpet), Ted Kooshian (organ)
WE LOVE YOU vocals: Bruce McDaniel; solo: Katie Jacoby (violin)
ELEANOR RIGBY solos: Ted Kooshian (organ), Katie Jacoby (violin)
DEFINITELY MAYBE solo: Phil Chester (soprano sax)
AS YOU SAID solo: Katie Jacoby (violin)
LARKS' TONGUES IN ASPIC, PART TWO solos: Katie Jacoby (violin), Ben Kono (tenor sax)
21st CENTURY SCHIZOID MAN solo: Ed Palermo (alto sax)
SEND YOUR SON TO DIE vocals: Bruce McDaniel, Ed Palermo, Katie Jacoby; solo: Ed Palermo (guitar)
EDWARD, THE MAD SHIRT GRINDER solos: Ben Kono (tenor sax), John Bailey (trumpet), Bob Quaranta (piano),Ted Kooshian (organ), Katie Jacoby (violin)

Volume II (Tracks #11-21)

AMERICA/AMERICAN IDIOT vocals: Bruce McDaniel; solo: Katie Jacoby (violin)
BEGGAR'S FARM vocals: Bruce McDaniel; solos: Ben Kono (flute), John Bailey (trumpet), Bill Straub (tenor sax)
BITCHES CRYSTAL solos: Cliff Lyons (alto sax), Charley Gordon (trombone), Barb Cifelli (baritone sax), Bill Straub (tenor sax)
THE WRECK OF THE HESPERUS vocals: Bruce McDaniel
DIAMOND DUST solo: Bob Quaranta (piano)
THE LOW SPARK OF HIGH HEELED BOYS vocals: Bruce McDaniel; solos: Cliff Lyons (alto sax), Michael Boschen (trombone)
FIRE vocals: Napoleon Murphy Brock
THE TOURIST vocals: Bruce McDaniel
DON'T BOTHER ME solo: Katie Jacoby (violin)
NARDIS solo: John Bailey (trumpet)
DON'T BOTHER ME (reprise) vocals: Bruce McDaniel
I WANNA BE YOUR MAN vocals: Mick Starkey; solo: Katie Jacoby (violin)
GOOD NIGHT vocals: Mick Starkey

All arrangements by Lord Edward with the exception of
“Larks' Tongues in Aspic” which was expertly arranged by Bruce of Earl.
 

 


Now available from Cuneiform Records!

Downbeat Magazine's BEST ALBUMS OF 2016!!

STREAM/SHARE: "Dirty White Bucks"
stream: @SoundCloud / @Bandcamp

PURCHASE LINKS //
ITUNES - AMAZON - BANDCAMP - WAYSIDE MUSIC

PRESS RELEASE [DOWNLOAD as a PDF]

Track Listing
1. Cleetus Awreetus Awrightus (Zappa) (3:48)
2. Dirty White Bucks (Palermo) (4:40)
3. Spider of Destiny (Zappa) (2:38)
4. Scarface (Moroder) (2:30)
5. Grand Wazoo (Zappa) (2:22)
6. Fifty-Fifty (Zappa) (5:55)
7. Harvest Moon (Young) (4:44)
8. Pygmy Twylyte (Zappa) (2:53)
9. Po-Jama People (Zappa) (5:26)
10. Kiko and the Lavender Moon (Hidalgo/Perez) (4:08)
11. Vengeance (Palermo) (5:27)
12. Evelyn, a Modified Dog (Zappa) (1:23)
13. Village of the Sun (Zappa) (3:25)
14. The Goat Patrol (Palermo) (5:51)
15. Is That All There Is? (Lieber/Stoller) (2:35)
16. Andy (Zappa) (7:59)
17. [secret bonus track] (1:45)

The Ed Palermo Big Band: One Child Left Behind
Review from Sea of Tranquility

One can always count on Ed Palermo and his Big Band to pop up every couple of years with another sizzling set of Frank Zappa inspired jazz, and he's done that yet again here in early 2016 with his latest Cuneiform Records release One Child Left Behind. Featuring 17 tracks, 9 of which are Zappa recreations, along with some Palermo originals and other covers, One Child Left Behind is a dazzling display of musical artistry from this large outfit, which for the album consists of seventeen musicians.

With Palermo taking up the helm of conductor/arranger and lead alto sax, the rest of the band is made up of folks contributing trombone, sax, flute, clarinet, piccolo, keyboards, guitar, bass, drums, oboe, trumpet, and violin. Katie Jacoby delivers some stunning lead violin on the original track "Scarface", and another Palermo penned cut, "Dirty White Bucks", soars with melodic might, the horn & reed section in full force, delivering a majestic display of powerful jazz. Of course, the Zappa renditions are killer as always, the horns saddled up alongside guitarist Bruce McDaniel for a scorching "Grand Wazoo", leading their own charge on "Fifty Fifty", and digging deep alongside a powerful rhythm team on a raging "Pygmy Twylyte", which also features Zappa alumni Napoleon Murphy Brock on lead vocals. Brock also pops up on a playful "Po-Jama People", with the Palermo Big Band giving this Zappa classic their own spin. The great thing about One Child Left Behind is that the non-Zappa material is just as strong, especially the big band sounds of "Vengeance", the gentle "Harvest Moon", the mysterious "The Goat Patrol" (featuring some stellar trumpet & trombone), and the acrobatic "Kiko and the Lavender Moon". The highlight however has to be the legendary Zappa cut "Andy", again featuring Brock on vocals as well as some incredible ensemble playing from the full band. At just under 8-minutes it's a real treat for any longtime Frank Zappa fan.

It's not very hard to gush about this band time and time again when they just keep delivering such amazing music on a consistent basis. If you are a Frank Zappa fan, and have not yet checked out the incredible Ed Palermo Big Band, I urge you to do so as quickly as possible. Not only do they tackle so many of Frank's classic compositions (giving those songs their own stamp at the same time), but their original material is just as enjoyable. Big band jazz is alive and kicking folks!!

 

 


Electric Butter
Rob Paparozzi & The Ed Palermo Big Band
Play the Music of Paul Butterfield & The Electric Flag

with special guests:
Steve Cropper, Harvey Brooks,
Mark Naftalin + Jimmy Vivino

Listen to Ed & Rob's interview on WFDU here

In the ever-vibrant history of American Music, there are seismic shifts in those proceedings that really do turn the world around. And one of those joyous occasions was when two young men in Chicago collided in their love for electric urban blues. Paul Butterfield and Michael Bloomfield were born to spark off each other, and when they did in the mid-’60s, both blues and rock & roll have never been the same. Butterfield, a singer and harp player of absolutely devastating power, showed the world what was possible for that music. On his side guitarist Bloomfield lit much of the fire to their early collaborations, and became a guitar hero who will never be equaled. Each went on to write and record songs of such force and feeling that even today those accomplishments are still a shining beacon. Today, in his own way, singer-harp player Rob Paparozzi along with The Ed Palermo Big Band take up right where Paul Butterfield and Michael Bloomfield left off in their much too early exits from the planet. With a voice straight from the celestial gutter and a harp style that takes no prisoners, Paparozzi looks the soul of Butterfield and Bloomfield in the eye and doesn’t flinch an inch. “Electric Butter” is the kind of album that hits the monkey nerve from note one and keeps climbing higher and higher from there. While Rob and Ed may have gone to school on the work of the two earlier pioneers, they walk in their light and not in their shadow. Their burning band take some of the most moving songs from the Butterfield and Bloomfield treasure chest and explode them in a way not soon forgotten.

--Bill Bentley- Senior Director/A&R, Vanguard Records and Co-Producer of The Paul Butterfield Blues Band, The Elektra Years

Order your copy now by sending a check
 for $22.50 (includes postage) to:

Ed Palermo
27 Westwood Drive North
West Orange, NJ 07052-1820

(please include your address)


Make Check Payable to: Ed Palermo
Memo: Electric Butter CD


or

pay with PAYPAL

Same price $22.50 and please include your address
Send payment to:
edwardpalermo@gmail.com
Memo: Electric Butter CD

 

or

Download/Purchase now on
CD Baby! & iTunes

 


 


Oh No! Not Jazz!!
Available now on Cuneiform Records

On the Double-Album, Oh No! Not Jazz!!,
Ed Palermo and His 18-Piece Big Band Dare to Pair
Frank Zappa’s Compositions with the First Collection of
Palermo Originals in over 25 Years



PURCHASE LINKS:
AMAZON - BANDCAMP - WAYSIDE MUSIC - ITUNES (Palermo album only)

PROMOTIONAL TRACK //
If you'd like to share music from this release with your friends, please feel free to use the following track:
"Why Is the Doctor Barking?" (mp3 download) - STREAM: @SoundCloud / @Bandcamp / @YouTube


READ THE REVIEWS

Long revered and celebrated for his insistently inventive jazz arrangements of Frank Zappa compositions, New Jersey saxophonist/composer/arranger Ed Palermo returns with his fourth album featuring his big band playing his jaw-dropping, brain-busting, and wildly antic charts. Oh No! Not Jazz!!, is the band’s third project for Cuneiform, but this time Palermo is offering his own jazz vision along side Zappa’s music. It’s a fascinating juxtaposition, with Palermo’s talent-laden 18-piece orchestra digging into his originals, which stand up effectively next to Zappa’s ingenious songbook.

With titles like “Let’s Reproduce,” “Nostalgia Revisited,” and “Prelude To An Insult,” Palermo’s compositions seem to be muscling in on Zappa’s wry, absurdist sensibility. But it’s more that Zappa shaped his sense of humor (i.e. bent his young mind) than his compositional vision, as Palermo’s charts swing fiercely and owe far more to Thad Jones and Mel Lewis than the Mothers of Invention.

“There is a lot of humor, and I probably got a lot of that from Zappa,” Palermo notes, while also claiming his deep jazz roots. “When you hear me play saxophone my heroes are Phil Woods and Cannonball Adderley.”

Palermo’s big band has been dedicated to Zappa’s music for more than two decades, and no ensemble has done more to focus attention on his tremendous body of work as a composer. Stocked with top-shelf New York players, the orchestra features incisive improvisers such as trombonist Joe Fielder, violinist Katie Jacoby, baritone saxophonist Barbara Cifelli, and the supremely versatile drummer Ray Marchica. Palermo’s latest contribution to Zappaology opens with the epic “Inca Roads,” featuring Bruce McDaniel’s searing guitar work and special guest Napoleon Murphy Brock on callisthenic vocals. Navigating the quickly shifting time signatures with its usual aplomb, the band sounds as sharp as ever.

Palermo gleaned “The Uncle Meat Variations” and “The Dog Breath Variations” from The Mothers of Invention’s 1969 experimental masterwork Uncle Meat, gracefully rendering the cinematic breadth, vivid tonal palette, and unapologetic beauty of Zappa’s vision. He’s equally masterly when it comes to capturing Zappa’s sheer swaggering joie de vivre, as on the rampaging arrangement of “Lumpy Gravy,” which fades up in the midst of the action just as trumpeter Ronnie Buttacavoli launches into a growling, smearing, plunger mute solo. The first disc closes, appropriately enough, with “America Drinks And Goes Home,” a tune that features the impressive vocals and hilarious commentary by Mike James, who sounds uncannily like Frank Sinatra crossed with Mark Murphy.

James briefly reappears on the opening track of the second disc to advise listeners “Hold on to your skirt there sweetheart, this ought to be one swinging affair.” However you’re attired, he speaks the truth, as Palermo’s original compositions and arrangements swing with authority. The opener, “Moosh,” moves through several distinct phases, culminating in an insouciant alto solo by Palermo and a sizzling violin statement by Katie Jacoby. Despite its pugnacious title, “Prelude to An Insult” sounds more jaunty than peeved, with the dark rumbling tone of Barbara Cifelli’s bari providing a lovely contrast to Palermo’s liquid alto.

John Palermo’s elegant, folky mandolin sounds decidedly unthreatening on the brief “Prelude to a Catastrophe,” which ushers in the jittery, anxiously swelling “A Catastrophe (Is Just Around the Corner),” and Ben Kono’s superbly inquisitive tenor solo. Palermo is at his most inventive on “Let’s Reproduce,” a wily tune that oozes suggestively rather than bumping and grinding. He shows off his sensitive side with the lithe melody “Nostalgia Revisited,” a lovely piece that avoids sentimentality. The longest Palermo original, “The Insult,” feels like a forgotten page from the Mingus songbook, with all the roiling emotion, lush romanticism and surfeit of musical ideas one would expect.

While Zappa doesn’t cast much of a shadow over Palermo’s writing, his influence is unmistakable on the antic “Why Is the Doctor Barking?” a tune that begs for a Warner Bros. cartoon, and that features some space age keyboard work by Ted Kooshian. The album closes with an extended goodbye “Good Night, Everybody! God Loves Ya!,” starting with another hilarious turn by the put-upon vocalist Mike James, who tries to get a word in edgewise amidst the horn solos. A brief Ellingtonian take on the Beatles’ “She’s So Heavy” closes out the session (or does it?).

Palermo’s passion for Frank Zappa music predates his interest in jazz. Indeed, he credits Zappa with opening his mind up to the harmonic vistas of John Coltrane. Born in Ocean City, New Jersey on June 14, 1954, Palermo grew up in the cultural orbit of Philadelphia, which was about an hour drive away. He started playing clarinet in elementary school, and soon turned to the alto saxophone. He also took up the guitar, and followed his growing interest in Zappa straight to modern jazz.

“I was particularly interested in Zappa on a compositional level,” Palermo says. “‘King Kong’ was one of my favorite songs from the 9th grade on and that helped me get into John Coltrane's modal period.”

Not exactly obsessed with practicing, he caught the jazz bug while attending DePaul University, and took to the alto sax with renewed diligence inspired by Edgar Winter, Woods and Adderley. Before he graduated he was leading his own band and making a good living as a studio player recording commercial jingles. But like so many jazz musicians he answered New York’s siren call, moving to Manhattan in 1977. After a year of playing jam sessions and scuffling Palermo landed a coveted gig with Tito Puente, a four-year stint that immersed him in Afro-Cuban music.

An encounter with trumpeter Woody Shaw’s septet at the Village Vanguard in the late 1970s stoked his interest in writing and arranging for multiple horns, and by the end of the decade he had launched a nine-piece rehearsal band with five horns. Between Don Sebesky’s well-regarded book The Contemporary Arranger and advice from Dave Lalama and Tim Ouimette. “I got a lot of my questions answered,” Palermo says, and I’ll love them forever. Then the real education was trial and error. I lived in a little apartment with no TV or furniture. All I had was a card table, and once a week I’d rehearse my nonet, then listen to the cassette of the rehearsal and make all the changes.”

Palermo made his recording debut in 1982, an impressive session featuring heavyweights such as David Sanborn, Edgar Winter and Randy Brecker. As a consummate studio cat and sideman, he toured and recorded with an array of stars, including Aretha Franklin, Eddie Palmieri, Celia Cruz, Lena Horne, Tony Bennett, Mel Tormé, Lou Rawls, Melba Moore, The Spinners and many others. As an arranger, he’s written charts for the Tonight Show Band, Maurice Hines, Eddy Fischer, Melissa Walker, and a concert by James Brown at the Hollywood Bowl.

Palermo had been leading his big band for more than a decade before the Zappa concept started coming together. Inspired by electric guitar master Mike Keneally, who performed with Zappa on some of his final concerts before his death in 1993, Palermo decided to arrange a program of 12 Zappa tunes. When the time came to debut the material at one of the band’s regular gigs at the Bitter End in early 1994, a sold-out crowd greeted the band.

“The Internet was just becoming powerful, and word really got around,” Palermo says. “We were used to paying small audiences, and the place was packed. There were people who had driven down from Canada, and up from West Virginia who didn’t have a clue who I was, but they wanted to hear Zappa’s music. It was an amazing night.”

The Ed Palermo Big Band earned international attention with its 1997 debut The Ed Palermo Big Band Plays Frank Zappa on Astor Place Records. With Palermo’s brilliant arrangements and soloists such as Bob Mintzer, Chris PotterDave Samuels, Mike Stern, and Mike Keneally, the album made an undisputable case for Zappa jazz concept.

He followed up in 2006 with Take Your Clothes Off When You Dance, the band’s Cuneiform debut. Once again, the band received enviable reviews, with Paradoxone.uk declaring the album “Wonderful, breathtaking, fantastic, exhilarating, great sound, great production, great musicianship...I run out of superlatives.”

With 2009’s Eddy Love Frank, the project continued to bear luscious fruit. Exploring Palermo’s ever evolving and expanding book of Zappa compositions, the band continues to play with verve and consummate musicianship, a testament to the music’s stimulating allure. As JazzTimes noted, “Palermo’s arrangements and these performances are precise, dedicated, raucous and incisive�just like Zappa himself.” 

At this point, the Palermo Big Band has honed some 300 Zappa arrangements, including six separate and distinct charts for “King Kong.” With a steady cast of dedicated players, many of whom have been in the band for more than a decade, Palermo has created a singular institution that seems to effortlessly bridge the worlds of jazz, art rock and classical music. As Oh No! Not Jazz!! makes perfectly clear, there’s no danger that the deep well of Zappa’s music is going to run out of creative juice any time soon.

 

 


"Eddy Loves Frank"
Available now on Cuneiform Records

Ed and his amazing 16 piece band (+ guests) return with his third album of his distinctive, big-band interpretations of the great 20th century composer, Frank Zappa. This body of work has won them huge acclaim from both new and old fans of the music and they even appeared on NPR's Weekend Edition for a short feature which was heard by millions of listeners in 2006. For those not already familiar with Ed's colorful, jazz-based arrangements of Zappa's compositions, Ed has led a big band for 30 years (!) and has had his band performing the music of Frank Zappa for 15 years. Many years of playing these pieces in front of hugely enthusiastic crowds have honed the band’s skills interpreting Zappa's beautiful but notoriously difficult material to where they are able to perform these challenging charts with apparent ease. All of these musicians are high caliber, hugely talented NYC professional players, and most of them have been playing this music for a decade and a half with this group, not because it is a good paying gig (it isn't) but because they all admire and appreciate the genius of Zappa's work and they love having the opportunity to be able to perform these terrifically exciting charts.

Review from Yahoo Music:

Ed Palermo Big Band: Eddy Loves Frank (Cuneiform)  The third Palermo album of big band interpretations of Frank Zappa material, this disc is marvelous--and precisely what you'd want to play for someone who enjoyed Zappa's Grand Wazoo and Waka Jawaka albums but was put off by the "funny stuff" that followed thereafter. Bandleader Palermo--who fronts this 16-piece band in New York--has created something unique here, and something that accords Zappa all the respect he has long deserved. Seek it out!


Order yours today:
Amazon
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Cuneiform Records

 


 


"Take Your Clothes Off When You Dance"
Available now on Cuneiform Records




"Wonderful, breathtaking, fantastic, exhilarating, great sound,
great production, great musicianship, great sleeve, great concept.
I run out of superlatives to describe ‘Take Your Clothes Off When You Dance’.
It’s an album that’s not just for Frank Zappa fans, it’s an album for everyone!"--
Review from Paradoxone
JAZZ (Mostly instrumental/ jazz/ jazz rock) ALBUM OF THE MONTH - OCTOBER



Order yours today:
Amazon
Cuneiform Records

 


 


The Ed Palermo Big Band
"Plays The Music of Frank Zappa" 
(TCD 4005) 

was released on Astor Place Records in 1997, but it is unfortunately out of print!
Click here to find copies and listen to samples on amazon.com

palermo.gif (75035 bytes)

Featuring
Bob Mintzer, Chris Potter (tenor saxophone)
Dave Samuels (vibraphone)
Mike Stern, Mike Keneally (electric guitar)

Track Listing
01. Peaches En Regalia
02. Toads Of The Short Forest
03. Who Are The Brain Police?
04. Holiday In Berlin - (excerpt)
05. Twenty Small Cigars
06. King Kong
07. Aybe Sea
08. Waka/Jawaka
09. Sofa #1
10. Little House I Used To Live In
11. We Are Not Alone
12. Wai,fn?
 

Personnel
Ed Palermo (alto saxophone, guitar); Cliff Lyons (flute, clarinet, alto saxophone);
Chuck Fisher (flute, clarinet, tenor saxophone); Jeff Lederer (flute, tenor saxophone);
Al Hunt (piccolo, flute, oboe, soprano & baritone saxophones, bass clarinet);
Phil Chester (piccolo, flute, soprano & alto saxophones);
Jeff Holmes (piccolo trumpet, trumpet); Liesl Whitaker, Jami Dauber, Ronnie Buttacavoli (trumpet);
Dan Levine, Dale Kirkland (trombone); Jack Schatz (bass trombone);
Bob Quaranta (piano); Ted Kooshian (harpsichord, organ, synthesizer);
Paul Adamy (electric bass); Ray Marchica (drums).

Recorded at Right Track Recording Studio, New York, New York on July 10 & 11, 1996 by Jim Anderson.
Produced by Bob Beldon & Ed Palermo.

Includes liner notes by Ed Palermo.

"This album stays true to the sounds and concepts of Frank Zappa," says guitarist and alto saxophonist Ed Palermo of his labor of love. "We played the same melodies and harmonies that are heard on Frank’s albums. We changed the grooves at times opening up the compositions which allows for solo space. This makes for a larger, brighter sound. Doing this highlights the beauty of the melodies and harmonies. Frank was a unique writer who would tell you he wrote in an ugly and strident manner. However, the arrangements and additional sections I composed accent the wonderful and awe-inspiring melodic lines and harmonic structures that he created."

"There was no formula for interpreting these songs," Palermo admits. "I heard more voicings in Frank's music and let my band stretch out which creates more of an impact. I wanted to create a bigger sound. "The Little House I Used To Live In", "King Kong" and "Waka/Jawaka" are songs that we tried to stay true to the original album versions. But, "Twenty Small Cigars" and "Toads Of The Short Forest" have been rearranged for a bigger sound. Originally, both of these tunes were less than two minutes in length. Adding a harpsichord part or an oboe solo, for example, definitely opened up things, making the tunes longer."

"A decision was made in the production to not use the song's lyrics even though my live shows feature vocalists at times. Without thc vocals, the songs are more spacious and have more of a jazz feel. I do not think this detracts from the song's original intent. I think the humor of Frank’s lyrics remain with the different instrumentations and presentations that are made."

 

REVIEWS
Option 4 stars (out of 5) - "...Palermo's arrangements do justice to FZ's compositions,

accentuating their musical sophistication as well as amplifying their humor,
grace, whimsy and passion....Palermo and crew sail through without sinking..."

Down Beat  (11/97) "...He's wisely chosen to emphasize Zappa's early and mid-career work,
as that's the music which is more fluid and graceful--and more apt to swing....
reveals the lighthearted playfulness and rhythmic intelligence at the core of Zappa's best work..."

 

 


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