I also thought FZ played nothing on this track, but thanks to Charles' book The Big Note I learned that FZ played vibraphone on this track. Excellent track. I love both released mixes but prefer the original mix.
Honestly, it's always sounded like a celesta (played by Ian, I suppose) to my ears, but Ulrich knows far more than me, so he must be right.
The Gumbo Variations: The Gumbo Variations, with Sugarcane on violin and Paul Humphrey on drums. We kick it off with a killer guitar riff backed by Ian’s sax, which rises in power before taking over and Ian plays his damn ass off. The band back there is cooking up a mean groove in support. As we near the four minute mark, the band Crescendos and then Mr. Sugarcane takes over at 4:03 and he’s tearing the roof off the mothasucka. Frank is also cooking up some killer rhythm guitarto compliment Sugarcane. I will say this and I’m probably not going to be popular saying this but I prefer Sugarcane to Jean-Luc Ponty. Obviously Ponty is a great talent, but Sugarcane’s playing speaks to me more. We approach the seven minute mark as the band builds up, Humphrey goes apes—t on the drums, and then Sugarcane plays like his life depends on it. At 8:52 Frank gradually takes over and plays some damn good stuff on that six string. Afterward Humphrey gets to play that funky stuff and then Max walks on top, playing such a great funky sort of bass line. Max had to awareness of Frank Zappa when he was called up by Guerin, but I gaurantee this was a gig he enjoyed doing. What can I say, this is right up there with Peaches and Willie The Pimp, a highlight of this record and that is no small feat.
Here's a good cover that features Napoleon Murphy Brock, been of youtube a while, only has 21 views as of today.
Although I like end enjoy everything up to this point it's on hot rats where I get excited. One of my all time favorite albums. The 2012 cd is amazing sounding. Also why is that Ulrich book so expensive... $39 for a paperback from amazon...
dont think its expensive considering the size and page count...lots and lots of research done on that one, its unlike any other zappa book really...worth every $ and i had overseas order!
I doubt many here will take exception to your opinion. I think Ponty's the more technically proficient player, and his King Kong is outstanding. But I agree that on tunes like this (and "Directly From My Heart to You") Sugarcane's playing fits the material better.
To my ears Ponty is more refined and technically proficient. Harris is (for lack of better words) dirtier and more soulful. More important than their differences is how FZ composed material that let each of those guys shine in their own way. My favorite Harris solo is on the version of Sharleena found on the Lost Episodes release. I thought at first it would be ok to mention that as I assumed it was a left-over from the Hot Rats sessions. But according to Ulrich in The Big Note, it was recorded in March 1970. I'm still mentioning it though as it's a damn fine solo (..and The Big Note is a damn fine book.)
I first bought and listened to Hot Rats 20 years ago, so that means the remix was the version I fell in love with. Many years later, I got to listen to the original mix, and I found it even better, but when it comes down to "The Gumbo Variations", it's another thing. Having the 1987 version tattooed in my brain, I can't help noticing all the edits of the original, which feels like a (very long) single edit of the remix. Blistering alto sax solo by Ian (one of his best, which is saying plenty), great violin playing by Sugarcane (like @Fastnbulbous and @PsychoBabble posted above, Ponty might be technically superior, but Harris had that bluesy soulful edge), and Frank shines again on guitar. The rhythm section is awesome, particularly Paul Humphrey, who keeps the soloist inspired and react to what they play. A quite simple composition which works as a wonderful vehicle for improvising, something these fellows knew how to do. Yes, it's 1970. Aynsley is the drummer. Great performance.
A real workout of a track, that cooks from the get go. The sax really does go off, and the backing track moves through a couple of variations underneath it. While the horn is still belting we get a stripped down backing with a nice bit if drum and bass that in and of itself could keep us listening. Then Sugarcane comes rolling in with his beautiful violin tone and screaming lead work. I reckon he works really well within the Zappa context. I can't say I know any of his personal work, but in the Zappa framework he really fires. Zappa obviously has his run at the gate and typically mixes it up, but only for a short time. He has always liked rhythm factors in his playing. Dunbar is seriously pumping this thing along and we get another breakdown that semi throws the spotlight on him. As We play out to the end we get some insane Sugarcane with Zappa punctuation's. ... This track is like a monster jam that you wish you had been there for.
This is one I could never find my way into. Some of this starts to sound like noise to me. Anytime Sugarcane gets his bow going, I will listen. But I lose interest in this, it's just too long. I think Ian runs out of ideas. I think Franks does better on the album.
ahhh thank you Humphrey is great too ... remarkable how many great drummers Zappa had. It really shows his focus on rhythmic structure
Of course, this is Paul Humphrey, an excellent drummer, but not be confused with the majestic Ralph Humphrey, whose talent we will begin to discuss when we reach 1973.
It Must Be A Camel: We close out the record with It Must Be A Camel with John Guerin back behind the kit and speaking of Ponty, he is playing violin on this tune. We start with a jazzy piano melody, with an elaborate percussion layout on top. It starts to die down before the melody is resumed at :53 on woodwinds, with Guerin responding to and keeping up with Ian at every point. Let me say, they fact that you rarely realize that it’s only three or four people just listening is a testament to not Frank but Ian as well, both incredible talents who were fantastic at what they did. And then you get Frank at 2:26, delivering a very subdued solo to contrast with the rapid rhythm and it has such a coolness to it. Guerin and Bennett are beastly back there, I just need to say that. And Ponty of course Caps it off What a track man, and what an album. Hot Rats. Frank sure came out swinging with this one. He delivered some of his best guitar playing up to this point, and of course he rounded up a stellar crew to help deliver this record; the late great Max Bennett, legendary member of The Wrecking Crew who plays beautifully throughout this album. And then there’s Paul Humphrey and John Guerin, both stellar drummers . Sugarcane, Ponty, and the good Captain, they just rule. And of course, the Straight Member Of The Group, Ian’s multi faceted talents making the record that much fuller, and you rarely realize that it’s only four guys on average. An alltime classic and one of Frank’s best efforts regardless of era, I can’t recommend it enough.
A great way to close the record. I read somewhere that Guerin was unhappy with Frank's composition (not 'really jazz') but he Does nail things here. My favorite song on side 2. and yes, I think Frank is laying back here, but it's still great.
BTW, on an early Cheech and Chong record, Cheech is doing a routine as a sleazy car salesman and raving about a car on the lot that has 'fuzzy dice and a pair of bongos in the back'. I think I was the only guy in HS who caught it.
another magic piece of work here. Those rolling drums are fantastic and the bass and piano couldn't be much more jazz if Stanley Clarke and Duke Ellington were playing them. Then we move into the wind section and it is dark harmonies abounding and enthralling. There one of FZ's little percussion interludes and back to those horns. Zappa plays a very understated opening line and then moves into some more trademark playing with a nice clean tone. Then the wind section comes in again with a wider series of parts. This all intermingles with little stabs of guitar and keys and the winds start playing more counterpoint .... almost fugue-like. Zappa to me on this extraordinary album moves to the next level with the help of some great writing and some great players. Good stuff
The original, highly edited solo - this is the one you guys are discussing, right? - always gave me this impression too, plus that Ian rather quickly looses his breath or tone command. But when you play instead the undedited (or less edited?) solo from the Zappa-remix CD of the 80s, this impression vanishes completely because the "blanks" are filled in with fantastic playing, and he tears it up and down so much, you go "Ah... That's the reason he finished on his knees!"
To get back again to Gumbo for a minute, did you guys ever notice that the bass during the bass & drums duo sounds kinda out of tune (sharp) with the rest of the piece? This has always bugged me! It's not normal since Max Bennett (passed away just a couple of months ago at the venerable age of 90) was such a consumate studio player. Perhaps this bit had been spliced in, and something happened with the tape speed...
