Good catch! Definitely will cover those, especially because it's Ruth, and that she's behind a kit on those albums intrigues me.
I listened one of those albums a couple of years ago. I remember it as generic 60's music, but my memory might be betraying me.
I can see that. But hey, not like Frank's or George's primitive stuff was mindblowing either. (It's good, but still).
If "primitive" Frank means the Cucamonga years, I think that in some cases it could be mindblowing and ahead of its time.
Oh, of course, we all have to start somewhere, sure. And, if the Hamilton Face Band finally happens to be an uneventful band it won't be because of Ruth, she was not the band leader.
TBH, I'd be more surprised if it isn't. I'm sure Ruth will be good, but like any player, she needs good writing to work with.
Thanks, but that's not the one. I can't find if this September '69 live recording was really made at Donte's too, but the other one I'm talking about was made in March, and Duke on it plays not the electric piano but strictly an acoustic one, probably a grand. They do the old Barbra S. hit "People", but the rest contains a couple of cool Ponty originals (different than the ones played in Sept.). (Some of those originals appear on "Electric Connection", but these are some other recordings, with brass instruments.) EDIT: I now see that I was wrong in "remembering" that Duke played strictly electric on the later recording. He seems to play lots of acoustic too! Sorry for the confusion folks... But my recommendation for the album below still holds!! :O)
Hamilton Face Band, Hamilton Face Band: Now we cover the band Hamilton Face Band and their self titled debut album. Released in 1969 on Philips Records, the band consisted of our very own Ruth Underwood (credited her under her maiden name of Komanoff) on drums, Lenny Laks on vocals/bass/trumpet/baritone saxophone, Ronnie Seldin on guitar and bass, Steve Margoshes on piano and trombone, and Alan Cooper on bass/vocals/trumpet. I will say I dig Ruth's playing on this album, has a cool orchestral flair to it. True, I can't see her in the Stones or CCR, but this isn't that kind of band (and needless to say, she has forgotten more than Charlie Watts or Doug Clifford will ever know). I do love, love Ruth's percussion work, brilliant player, in my opinion the heart of 70s Zappa. I understand musical taste/opinion and all of that, but I really can''t grasp how one can call themselves a Zappa fan and not love Ruth. And she always comes off like a really awesome person. Back to this album, it's not anything special, but I dig what the band is going for, trying to stretch out rock beyond your standard three chord, 4/4 shuffle and the luck. And it's actually kind of Gentle Giant like at times, and GG hadn't even put out an album yet. Granted, GG did it better, but it's pretty neat. It's probably not something I'll revisit, but I don't regret hearing it either.
Hamilton Face Band, Ain’t Got No Time: And now the Hamilton Face Band’s second and final album, released in 1970 on Bell. Overall, another solid if inessential effort by this group, who once again show themselves to be talented musicians (well duh, one of them became a key part of Zappa’s career). Overall, these albums aren’t earth shattering, but it’s a pleasant surprise, particularly for those curious to hear Ruth behind a kit
Believe it or not, there is such a thing. But really, they’re posers. I don’t need some lecture on opinions, but really, that’s like saying “I’m an Iron Maiden fan, but they’d be so much better if Steve Harris wasn’t so busy on the bass.”
Ruth merely played what Frank wrote for her instrument. And luckily she was in one of the greatest bands of the day when FZ was writing some great material. My favorite thing she ever played is the solo melody section of RDNZL right after the furious band intro on the Helsinki Concert CD. In fact it's my favorite track on the entire set because it also features an ecstatic and very exciting guitar solo by Frank.
While he did write those parts, he also wrote each part with that particular player in mind, so the players still had a role, however big or small, in shaping the sound.
Of course! That's what a great composer can do. Ed Mann played some phenomenal stuff too like Sinister Footwear, but Ruth was a part of the creation of many classic FZ compositions that will be loved and listened to for decades to come.
Indeed, and I love Ed on Sheik and Joe’s Garage. He would be a standout in most bands, but in FZ’s band, he’s the guy after Ruth.
Yeah, but Frank sure knew how to pick 'em! The way he could just hear some musician in a club or wherever and have the intuition to know they will be great musicians under his tutelage. And the way they moved on and became legendary themselves. I mean some of these people became the greatest musicians of their generation. Belew, Vai, George Duke, Vinnie, Mike Keneally, etc.
Luis Gasca featuring Joe Henderson, Got to Love You: We now come to jazz trumpeter/flugelhorn player Luis Gasca and his album with saxophonist Joe Henderson entitled Got to Love You. Released in 1974 on Fantasy, the album is produced by Orrin Keepnews and features contributions by our very own George Duke, bassists John Heard and Dave Holland, drummer Jack DeJohnnette on all but the first track, which features our very own Terry Bozzio (though DeJohnette still plays electric piano on that track), percussionists Victor Pantoja (congas) and Carmelo Garcia (timbales), pianist/valve trombonist Mark Levene, soprano and tenor saxophonist/alto flutist/bassoonist Ray Pizzi, tenor saxophonist/flutist Hadley Caliman, trumpeter Oscar Brashear, trumpeter/flugelhorn player Eddie Henderson, and trombonists Joe Gallardo and Julián Priester. Going into this, we get a nice slice of 70s fusion with healthy foes of Latin and funk/soul. The material ranges from strong covers to originals that are at least above average. Gasca shows himself a rather skilled and tasty player, helped by the impressive roster of musicians. George and Bozzio give respectable performances on here, if not necessarily what we’ve come to expect of them. Overall, it’s not necessarily an essential listen, but a good addition to the collection of any fusion fan.
Indeed, many of them have done great things since their time with Frank. And yet, they have always expressed great gratitude to Frank, the man who took a chance on them and allowed them to get to where they are today.
Of all the Zappa shows I wish I'd been there to see, Helsinki's the top of the list. Knockout from beginning to end, and yes Ruth's playing is a big reason.
