☂️ Jean Luc Ponty Frank Zappa

Jean-Luc Ponty, into his 60s, is still as able today as he was in the ’70’s playing fusion with Frank Zappa. A legend in both jazz and on violin, it is exhilarating to find that his music is The Flood Capital of NJ. A tremendous amount of good music released by Ponty. I have his entire catalog (and love most of it). My favorites: Imaginary Voyage (1976) Engmatic Ocean (1977) (one of my all-time top 5 albums by any artist) Cosmic Messenger (1978) Allan Holdsworth's playing on Enigmatic Ocean is stellar. Frank Vincent Zappa ( Baltimore, Maryland, 21. prosinca 1940. – Laurel Canyon, 4. prosinca 1993. [1] ), bio je američki skladatelj, glazbenik i filmski redatelj. Njegova glazbena karijera trajala je 30 godina, a započeo ju je u 1956. godine u tinejdžerskom sastavu The Blackouts. [2] Tijekom tog razdoblja Zappa se pokazao kao vrstan King Kong: Jean Luc Ponty Plays The Music Of Frank Zappa. by Jean-Luc Ponty | Jul 13, 1993. 4.5 out of 5 stars 123. Audio CD. MP3 Music. Listen with Music Unlimited. The version of The Mothers that toured Australia in 1973 was the ninth incarnation of the group and although all Zappa's backing bands were never less than superb (as his many live recordings attest) many fans consider this lineup of The Mothers -- which featured George Duke, Ruth and Ian Underwood and Jean-Luc Ponty -- to be his best-ever touring band. Detroit techno stalwart DJ Rolando gave Ponty his dues when selecting the French artist’s 1985 ‘Fables’ album as his favourite record for a 2014 Fact Mag segment. “I first discovered Jean-Luc Ponty on [the] radio by chance, circa ’85/’86, a time when techno was new and there was every variety of new music to be heard on the radio Find helpful customer reviews and review ratings for King Kong (Jean-luc Ponty Plays the Music of Frank Zappa) at Amazon.com. Read honest and unbiased product reviews from our users. Necessity was the mother of Jean-Luc Ponty. Nothing truly new had happened in jazz violin—well, nothing that made any impact—since Ray Nance joined Duke, almost 30 years ago. Dick Bock was the mother of collaboration. "I'd heard more and more about Frank Zappa in jazz circles. COSMIC MESSENGER. Cosmic Messenger. Produced by Jean-Luc Ponty. Released on 1978. US CHART POSITION #36 . . . US JAZZ ALBUMS CHART POSITION #2. Find it at GEMM. SD 19189 cover. J ean-Luc Ponty continues to plumb his pleasant brand of fusion on Cosmic Messenger, keeping at its core the tight, circular patterns found in most of his work from this OsODGC. This album is probably the most important cornerstone in Ponty’s career, in that it’s both the turning point that gave him a visibility his previous work in mainstream Jazz would have never made possible, and the opportunity to escape the growing pressures that wanted to push him into commercial music. The source of Ponty’s breakthrough was the mutual admiration he developed with Zappa; the former saw Zappa’s sophisticated music as a serious alternative to the mainstream simplicity he was being coerced to experiment with, whereas the first thing the latter did after hearing a Ponty record was to invite him to play in “Hot Rats”; Zappa was so interested in Ponty’s mix of classical background and ability to improvise, and impressed by his work with the then unknown George Duke, that when the violinist’s producer asked him if he’d like to arrange some of his music for Ponty’s next album, he had the charts ready in 2 or 3 weeks time. The result was this mind-blowing and unique album in Ponty’s career, deeply Zappa-esque in its esthetics, fed by the unconditional support of a batch of musicians experienced in diversified areas, but whose guiding lights are Ponty’s virtuoso playing and a progressive vision of music no one had ever tried to adapt to the violin. The opening title track features George Duke fluid playing and some wild electric piano bashing and Ponty definitely galvanized by the group’s fervor – Gene Estes vibes & percussion, Buell Neidlinger bass, Arthur D. Tripp III drums and Ian Underwood tenor sax . Then the group goes through some changes and, except for “Music for Electric Violin and Low Budget Orchestra”, stabilizes from “Idiot Bastard Son” onwards with Wilton Felder on bass, John Guerin drums and Ernie Watts alto & tenor saxes, and Ponty soars in the splendid mix of drama and joy conveyed by the piece; on “20 Small Cigars” Ponty’s baritone violectra and Watts tenor blend arrestingly, waving in and out of each other, dramatic laments pursued in the solo atop a soothing arrangement of atmospheric e-piano chords and swishing cymbals; The violinist does a great job on his sole original “How Would You Like to Have a Head Like That” (a Jazz inflected piece that would have fitted in perfectly on Zappa’s debut), with intense and wild flights and runs all over the violin, whereas Watts tenor alternates between Funk and Coltrane-esque and Zappa leaves his sole and glorious instrumental contribution in a typically ruminative Hot Rats styled solo. With Ian Underwood conducting a ten-men ensemble, and clocking at almost 20 minutes “Music for Electric Violin and Low Budget Orchestra” is the album’s tour-de-force; a complex and intricate piece, flirting with chamber and avant-garde stylistics, opening delicately with a bassoon motif, soon filled with contrapunctual work by the oboe and the French horns, than cello, viola, violin and percussions , where Ponty offers some of his most brilliant and detached, melancholic and vicious work , and where there’s space for a great acoustic piano solo, a piece that alternates between pastoral and creepy, meanders through free-tempo parts, enharmonic battles, dissonant sketches, multiple meter and tempo changes, goes from lyrical to tenebrous with devilish intervals, free instincts and controlled cacophony, ringing e-piano, violent sax and percussive outbursts, rhapsodic or martial sequences, all in all an intense and inspired cinematic activity that never tires. The brief “America Drinks and Goes Home” closes in a festive mix of cabaret and barrel-house like vibes, interspersed with intricate portions of brilliant polyrhythmic craze, and joyfully leaving the doors wide open for the French phenomenon to enrapture the World. (No, that’s not such a big overstatement, I believe…) Released in the double BGO CD Electric Connection / King Kong along with the previous Electric Connection. "The Radial PZ-Pre is the absolute top with my violins for the road as well as in the studio." Radial Gear PZ-Pre Acoustic Instrument Preamp The PZ-Pre is a power-packed preamp that lets you switch between two acoustic instruments and feed the PA with a built-in Radial direct box. Piezo optimized for orchestral instruments. {{ }} {{ }} Part no: {{ }} Part no: View Product {{ }} View Product Photos Applications

jean luc ponty frank zappa