The Basement Rug

Check out this new jam band from Collingwood, Ontario - visit The Blobject MySpace page. You can check out their upcoming tour dates here.

This is from the great funkified period of Eddie Fisher on the Cadet label from 1969.

Track List:
1) Scorched Earth
2) A Dude Called Zeke
3) Shut Up
4) The Third Cup
5) Two By Two
6) Shoo-Be-Doo-Be-Doo-Be-Do-Da-Day
7) The Shadow Of Your Smile

JohnButlerTrio.com | MySpace | Downloads

If you love Soft Machine (I’ve been going back through the crates and listening to them a fair bit lately), you are gonna love this. It’s a lot chunkier, funkier, and spicier than the Softies, but every bit as interesting.

Review by Dave Lynch:

Although Nucleus made an acclaimed performance at the Newport Jazz Festival in 1970, the U.K. proto-fusionists never became particularly popular in the States, with much of their recorded output only available as import releases. In fact, in certain quarters Nucleus is known primarily as a source of musicians who joined the latter-day Soft Machine, itself a group that never moved too far beyond cult status. Composer/keyboardist/reedman Karl Jenkins, drummer John Marshall, bassist Roy Babbington, and guitarist Allan Holdsworth all played with Nucleus at one time or another, and all had moved over to the Soft Machine lineup by the time the Softs (with Mike Ratledge the only original remaining member of the band) issued Bundles in 1975. Nucleus’ second album, 1970’s We’ll Talk About It Later, might be of particular interest to fans of Bundles-era Soft Machine given the presence of “Song for the Bearded Lady,” a Jenkins composition that later appeared in altered form on Bundles as “Hazard Profile,” a vehicle for one of Holdsworth’s most stunningly fleet-fingered solos on record. “Song for the Bearded Lady” kicks off We’ll Talk About It Later with a fanfare and funky unison and counterpoint riffing that segue into a spacious groove and Ian Carr trumpet solo echoing the influence of electric Miles from the same time period. Chris Spedding was the band’s guitarist here, and one shouldn’t expect Holdsworth-style pyrotechnics from him; Spedding was a blues-rocker more than a jazzer and generally took a back seat to the soloing skills of Carr, Jenkins, and New Zealand saxophonist Brian Smith (whose duet with drummer Marshall at the conclusion of “Easter 1916″ — inspired by the Yeats poem about the Irish nationalist uprising in Dublin — approaches the wildness of some of the era’s most incendiary free jazz).

The band is at its best when firing on all cylinders (the title track, for example), but the album’s mood changes are for the most part effective; “Lullaby for a Lonely Child” is a lovely down-tempo ballad (who would’ve guessed from that title?) with an understated horn/sax line from Carr and Smith and atmospheric bouzouki from Spedding imparting a Mediterranean flavor. New millennial listeners might wish for a time machine to go back and tell this band to lose the occasional vocals, however. The uncredited singing in “Ballad of Joe Pimp” might seem laughably polite during the age of gangsta rap; this Joe Pimp sounds about as streetwise as Gilbert O’Sullivan of “Alone Again (Naturally)” fame. Still, the song seems prescient — its tempo and instrumentation are akin to Pink Floyd’s “Money,” which appeared on the scene several years later. Given Carr’s long trumpet and flügelhorn lines, Jenkins’ probing oboe and funk-filled electric keyboards, Spedding’s rockish wah-wah guitar, Smith’s freewheeling sax work, and the powerful rhythmic foundation of drummer Marshall and bassist Jeff Clyne, this version of Nucleus should appeal to any fan of late-’60s/early-’70s fusion — either the Soft Machine-esque Brit variety or the stateside explorations of the Miles Davis school. But We’ll Talk About It Later shouldn’t be viewed merely through the prism of other artists; Nucleus was an original band that deserves considerably more attention than it got for pioneering a form of jazz-rock that has, for the most part, aged quite well, and We’ll Talk About It Later is a noteworthy release from a strong Nucleus incarnation. [In 1995, BGO Records re-released We'll Talk About It Later in a two-CD package that also included Nucleus' first album, Elastic Rock.]

Out of the handful of Frank Zappa cover bands out there, Project Object is the only one I have managed to catch live in concert - a couple of times at Stella Blue in Asheville, North Carolina. What an incredible experience. These guys really know how to have a good time on stage and they make sure everyone at the show comes along for the ride.

The first time I saw them at Stella Blue was 17 November 2003. The show was scheduled to start at around 9:00 pm, but at 11:00 pm I was still in a very empty club and nothing was set-up on stage. I began to wonder if this show was even going to happen. I did a few more elbow lifts and was thinking about leaving when suddenly the bar started to fill up with people - just as the band showed up.

It turned out that the band was delayed due to an unexpected interaction with a state trooper. Mmmmm…. bummer man, bummer!

Napi (aka Napoleon Murphy Brock) looked around the room and decided to make use of all the bodies waiting for their fix of Zappa tunes. He stepped up to the mic, made a little speech (I wish I could remember what he said, as it was pretty clever), and before long several audience members were making trips back and fourth from the street to the stage, unloading equipment and getting everything set up in a hurry. I guess you could say it was the opening number.

Before I could say “Great googley moogley!” the show was underway (around midnight) and it wasn’t long before the whole house was rocking and laughin’ it up. Arnold Schwarzenegger had just become the governator and the band milked that for all it was worth - with face masks, gestures, and props galore. A very memorable show indeed.

I went back to Stella Blue the following year and caught Project Object with Don Preston and Denny Walley. Let me tell you, when Denny plays slide guitar every hair folicle on your body becomes erect - even in places where the sun don’t shine.

It was at this show that I picked up The Dream of the Dog CD. It appears that it is currently sold out, but if you contact André Cholmondeley you might still be able to snag a copy of this great live improv CD.

Album Notes:

Project Object is well known as one of the more thorough Frank Zappa tribute bands. They perform throughout the USA, also in Canada and Europe, often with ex-members of Zappa’s legendary bands. This CD takes the listener to the improvisational regions the band visits every night onstage. It’s a quick-shifting blend of killer rhythm-section grooves, skittering samples, synth lines, and inspired soloing. Think Grateful Dead’s “Drums & Space” , but on steroids.

On this CD - the band features ROBBIE “SEAHAG” MANGANO & ANDRE CHOLMONDELEY on guitars and vocals, JORDAN SHAPIRO on Moog and other synths, DAVE JOHNSEN on bass & tortured bass, GLENN LEONARD on drums.

Every night on tour Project Object launches into untested waters, jamming on ESP. This risk-taking by actual musicians is sadly fading away, except for the growing jamband community & jazzers. Mothers of Invention sax player BUNK GARDNER appears on one track, and master of ceremonies IKE WILLIS, Zappa’s sidekick for 14 years, is sprinkled throughout the CD with his witty asides. LA composers Kahlil Sabbagh and Chris Opperman also guest, Greg Ridlington contributes sax. The CD i s sequenced from many live performances in winter/spring 2002 into one psychedelic listening experience.

This CD is recommended if you are a fan of improvised and experimental music in general - but especially if you enjoy live ‘musique concrete’ and sample driven insanity a la Zappa’s “Porn Wars”. The members of Project Object are equally influenced by 20th-21st c. musical rebels like Edgar Varese, Karlheinz Stockhausen, King Crimson, David Torn, Gong, Can, Eugene Chadbourne, John Zorn, Ruins, and so many others…

Project/Object - The Mother of Live Zappa Reinvention

The members of PROJECT/OBJECT feel that Frank Zappa is one of the 20th Century’s greatest and most important composers, and they are on a mission to bring his music to the masses by faithfully recreating the live Zappa experience.

PROJECT/OBJECT formed in the early ’90s as an offshoot from an annual Frank Zappa birthday celebration that took place in guitarist Andre Cholmondeley’s basement in New Jersey. As the event grew in size and popularity, PROJECT/OBJECT decided to take their show on the road, performing Zappa’s music in more cities and larger venues, with a growing set list from every era of Zappa’s 30-year recording career. The band strives to stay true to Frank’s vision of constantly challenging the musicians and the audiences.

During Zappa’s 1984 and 1988 tours, members of PROJECT/OBJECT became friendly with Ike Willis, the legendary 10-plus year Zappa vocalist and guitarist whose career with Frank began in the role of “Joe” on the quintessential Zappa album, Joe’s Garage. In 1995, the members of PROJECT/OBJECT sent a tape of a live show to Ike and he was impressed enough that he agreed to come out to the East Coast to join the band onstage for a few gigs in the New York area. After that tremendous first outing, Ike agreed to repeat this experience in the future. Ike felt the members of PROJECT/OBJECT were able to recreate the fun and excitement that he felt with Frank Zappa on stage. Many other Zappa alumni feel the same way, which has also inspired them to perform with the band, some for entire tours.

Since 1998, when the band first took their act on the road, the following alumni have performed with the band: Willis, Napoleon Murphy Brock, Jimmy Carl Black, Ray White, Don Preston, Bunk Gardner, Denny Walley, Mike Keneally, Arthur Barrow, Ed Mann, Roy Estrada, Billy Mundi and even Al Malkin. Other notable artists they’ve collaborated with include Phish’s Jon Fishman, Capt. Beefheart/Jeff Buckley guitarist Gary Lucas, Chuck Garvey, Al Schnier and Jim Loughlin of moe., New York City big band leader and “Zappologist” Ed Palermo, and Dweezil Zappa drummer Jerry Cucurullo.

Frank Zappa was extremely influential to many musicians and bands, especially many jambands, including Phish, MOE, and Deep Banana Blackout. While many jamband fans are aware that Frank Zappa was influential, they are largely unfamiliar with his music. Of those who are familiar, many were too young to have seen him in concert. PROJECT/OBJECT is the closest they will get to the live Zappa experience, and the band has been enjoying increasing support from this growing scene.

2001 was a big year for the band with their first coast-to-coast tour that included huge debuts in Denver, Los Angeles, and San Francisco, among others. The band also sold out the 1,000-capacity Irving Plaza in New York City on Halloween while raising $10,000 for prostate cancer research.

In every new market they visit, PROJECT/OBJECT converts the curious into dedicated fans. They want to remind old Zappa fans of the way it used to be and let younger fans, who never experienced a Zappa show, see and hear the way it was.

I seem to be in a Zappa mood, so I thought I’d whip out a couple of posts on Zappa cover bands. Bogus Pomp comes recommended from André Cholmondeley of Project Object, who claims they are as “tight as a clam’s ass”. I’d have to agree. Bogus Pomp records their shows and posts free mp3 downloads to their website - like this clam-tight version of Inca Roads.

Details on Bogus Pomp were lifted from their website:

Bogus Pomp is a 10 piece ensemble based in Tampa Bay, Florida. Since 1994, the group has performed the music of Frank Zappa exclusively. Bogus Pomp’s members are an unlikely combination of educators, symphony players, jazzers, and rockers, all with a common interest in Zappa’s repertoire. This diversity is a key factor in the groups ability to recreate Zappa’s compositions in the style of his 70’s and early 80’s rock bands.

Bogus Pomp performs several times a year and has presented several memorable concerts with the Florida Orchestra, The Buffalo Philharmonic, a cappella legends The Persuasions, and six annual halloween shows dubbed ZAPPAWEEN.

The group performed several concerts with Ike Willis in 98 and 99 and since October, 99, Napoleon Murphy Brock has been a permanent member. This has led the band to focus primarily on material from the period of time Brock spent with Frank Zappa and The Mothers.

Napoleon’s unmistakable voice and stage presence takes the audience back to the period of Zappa’s career where many of the great compositions were being written, refined, and recorded. Napoleon, however, has not been silent in the 20 years since his last work with Zappa. Living in San Jose (not Reseda), California, he has recorded with George Duke, gigs regularly with his Bay Area group, the Nighthawks, and has performed with the San Francisco Opera. The vocal prowess of Napi, teamed up Bogus Pomp’s powerful instrumentalism, has been a tremendous success with BP’s growing audiences.

A Brief History - Bogus Pomp began in August, 1994, when guitarist Jerry Outlaw and keyboardist Rick Olson got together for some informal jamming. Both were ardent Zappaphiles and, inevitably, they jammed on various progressions from Zappa’s catalog. This went on for a few weeks until Jerry mentioned the sessions to Bill Templeton, then managing editor of Jam Magazine, a popular music industry trade rag. The next issue of Jam had a square inch of text simply stating that Jerry and Rick were jamming on Zappa’s material and within days, bassist Alex Pasut had contacted the two and, after hearing “Keep It Greasy”, played for him over the phone, joined them. Soon, drummer Tom McCowan was recruited and a Halloween set, opening for local trio Deloris Telescope, was scheduled.

In the weeks leading up to that first set, the quartet was aware of the risk they were taking. Zappa fans are among the most demanding afficionados and Bogus Pomp wondered how their presentation would be received. Being Zappa hard-cores themselves, the group knew what the expectations would be. Simply knowing that led to a sense of trepidation until the evening of the show.

In a full page review of the set printed in Jam Magazine, music critic Eric Snider wrote “That four Bay Area musicians would attempt to do justice to Zappa, whose compositions are among the most complex and sacred in the annals of popular music,had raised a few eyebrows among the local Frank fanatics.” Snider went on to call the set “a triumph”. With the enthusiastic response of the ample crowd, and good words from a known unforgiving critic, Bogus Pomp decided to take it on and continue.

Within days, in response to a tiny ad placed on the bulletin board in the music department of St Petersburg Junior College, Trombonist and Brass Studies instructor David Manson signed on as organizer of, and arranger for what would become, and remains, Bogus Pomp’s 3 piece brass section.

The group began to develop its repertoire and its audience. Working locally, BP began to earn a reputation as a substantial draw and received steady offers from local clubs and venues.

The next addition to the band’s line-up was mallet percussion, the sound that makes Zappa’s music almost instantly recognizable and dominated his compositions throughout his career. The band has worked with several talented percussionists including George Bernardo and Florida Orchestra percussionist David Coash, who currently occupies the chair. Then came the first ZAPPAWEEN concert.

Exactly one year after its debut performance, Bogus Pomp presented the first ZAPPAWEEN concert at Jannus Landing, a large courtyard venue in St Petersburg. The concert was nearly four hours long before a capacity crowd who stayed to very last note. This began a tradition of ZAPPAWEEN concerts, held each Halloween weekend.

At the first ZAPPAWEEN, Steve Evans, a Boston businessman who had flown down for the show, introduced himself to the band, beginning a relationship that would result in a trip to Boston to perform at Ryles jazz club in Cambridge, in celebration of Evans’ 40th birthday. (Lots of fun)

In early 1998, former Zappa frontman, Ike Willis joined Bogus Pomp for several shows including ZAPPAWEEN 4 and the first of two concerts with the Florida Orchestra. Ike’s engaging personality was a real crowd pleaser and his guitar playing was a good fit with Outlaw’s but enough of a contrast to make back-to-back solos interesting. Pat Buffo (missing link in a tophat) added primal screams and other feral noises during those performances. Ike Willis currently tours with his own band and appears with Band From Utopia whenever they play.

The Orchestra Shows - In early 98, Bogus Pomp, through percussionist David Coash, along with bank executive Fred Hemmer, presented a proposal to the Florida Orchestra. The idea was to present an unprecedented concert format. The Florida Orchestra, a full symphony, would peform a program of Zappa’s orchestral works. After an intermission, Bogus Pomp would juxtapose 90 minutes of Zappa’s rock repertoire.

The orchestra was immediately receptive to the idea and after a few months of meetings and discovery, added the concert to their 1999 season and began what would become a 9 month process to obtain the scores and negotiate with the Zappa Family Trust, particularly Gail Zappa. Republic Bank, through the efforts of Fred Hemmer, sponsored a portion of the event and the support they provided was instrumental in making the concert a success.

Bogus Pomp enlisted the talents of Ike Wills, New York Big Band leader Ed Palermo, and vocalists Dave Martin and Pat Buffo, to augment the 9 piece band. The weekend of the concert also included a Composer’s Symposium, held at the Salvadore Dali Museum in St. Petersburg which featured lectures by Andy Holinden, who teaches courses in Zappa’s music at the University of Indiana, and Dr. James Borders, a musicologist who provided fascinating insight into Zappa’s creative process.

Held at the beautiful Mahaffey Theater is St Petersburg, the concert sold out at nearly 2000 seats on January 16, 1999. Resident Conductor, Thomas Wilkins, lead the orchestra through a powerful and moving program and were joined by Bogus Pomp on the two closing orchestral numbers, Strictly Genteel and Uncle Meat. Bogus Pomp selected pieces from a wide slice of Zappa’s repertoire.

The concert was a success. It received a wonderful review in the St Petersburg Times and earned the distinction of “Best music event of 1999″ by the Weekly Planet magazine and it’s annual “Best of the Bay” awards.

Bogus Pomp and the Florida Orchestra repeated the event again in January of 2000. On May 23rd, 2000, Bogus Pomp, along with Thomas Wilkins, performed the program again with the Buffalo Philharmonic in Buffalo, New York. The 2000 concerts featured Napoleon Murphy Brock as a regular member of Bogus Pomp by then.

Bogus Pomp continues to perform the music of Frank Zappa and is constantly striving for a larger repertoire from Zappa’s vast catalog. The band plans more orchestral collaborations and the ongoing ZAPPAWEEN concerts. Frank Zappa’s music is timeless and will have a lasting place in 20th Century music history. Bogus Pomp is grateful for the opportunity to perform this music for anyone willing to listen.

I discovered The Insidious Rays via their connection to Project Object - the Frank Zappa cover band. Their live cover of Zappa’s Magic Fingers is a hoot!

AMG Biography by David Jeffries:

Hailing from Bethlehem, PA, the Insidious Rays play a wild combination of surf, country, reggae, and punk rock with a tinge of psychedelia over it all. Before gathering the rest of the band, singer/guitarist Matt Love had written the bulk of the tunes on his own. When he was ready, Love was able to bring aboard musicians who shared his eclectic tastes and had a wide range of experiences. Lead guitarist Mike Davidson had toured with various independent bands, bassist Dave Johnsen played with the Zappa-inspired Project/Object, drummer Jon Braun had played with Chris Harford, and Nick Levinos was a jazz-schooled keyboardist. In 2003 the band released More Songs About Sex, Love, Death and Sex.