African pygmies and a European explorer.

Baka dancers in the East Province of Cameroon

Pygmy is a term used for various ethnic groups worldwide whose average height is unusually short; anthropologists define pygmy as any group whose adult men grow to less than 150 cm (59 inches) in average height.^[1] A member of a slightly taller group is termed "pygmoid."^[2] The best known pygmies are the Aka, Efé and Mbuti of central Africa. There are also pygmies in Australia, Thailand, Malaysia,^[3] Indonesia, the Philippines, Papua New Guinea, and Brazil.^[4] The term also includes the Negritos of Southeast Asia.

The term "pygmy" is sometimes considered pejorative. However, there is no single term to replace it.^[5] Many so-called pygmies prefer instead to be referred to by the name of their various ethnic groups, or names for various interrelated groups such as the Aka (Mbenga), Baka, Mbuti, and Twa.^[6] The term Bayaka, the plural form of the Aka/Yaka, is sometimes used in the Central African Republic to refer to all local Pygmies. Likewise, the Kongo word Bambenga is used in Congo.

Etymology[link]

The term pygmy, as used to refer to diminutive people, derives from Greek πυγμαίος Pygmaios via Latin Pygmaei (sing. Pygmaeus), derived from πυγμή – a fist, or a measure of length corresponding to the distance between the elbow and knuckles. (See also Greek pechus). In Greek mythology the word describes a tribe of dwarfs, first described by Homer, and reputed to live in India and south of modern day Ethiopia.^[7]

Origins[link]

Various theories have been proposed to explain the short stature of pygmies. Evidence of heritability has been established^[8] which may have evolved as an adaptation to low ultraviolet light levels in rainforests.^[9] This might mean that relatively little vitamin D can be made in human skin, thereby limiting calcium uptake from the diet for bone growth and maintenance, and leading to the evolution of the small skeletal size characteristic of pygmies.^[10]

Other explanations include lack of food in the rainforest environment, low calcium levels in the soil, the need to move through dense jungle, adaptation to heat and humidity, and most recently, as an association with rapid reproductive maturation under conditions of early mortality.^[11] Other evidence points towards unusually low levels of expression of the genes encoding the growth hormone receptor and growth hormone relative to the related tribal groups, associated with low serum levels of insulin-like growth factor-1 and short stature.^[12]

Africa[link]

See main article: Congo Pygmies

Distribution of Pygmies and their languages according to Bahuchet (2006). The southern Twa are not shown.

Pygmies live in several ethnic groups in Rwanda, Burundi, Uganda, the Democratic Republic of the Congo, the Central African Republic, Cameroon, Equatorial Guinea, Gabon, the Republic of Congo, Angola, Botswana, Namibia, and Zambia.^[6] Most Pygmy communities are partially hunter-gatherers, living partially but not exclusively on the wild products of their environment. They trade with neighbouring farmers to acquire cultivated foods and other material items; no group lives deep in the forest without access to agricultural products.^[6] It is estimated that there are between 250,000 and 600,000 Pygmies living in the Congo rainforest.^[13] However, although Pygmies are thought of as forest people, the groups called Twa may live in open swamp or desert.

Groups[link]

There are at least a dozen Pygmy groups, sometimes unrelated to each other, the best known being the Mbenga (Aka and Baka) of the western Congo basin, which speak Bantu and Ubangian languages; the Mbuti (Efe etc.) of the Ituri Rainforest, which speak Bantu and Central Sudanic languages, and the Twa of the African Great Lakes, which speak Bantu Rundi and Kiga.

Relationship with other Africans[link]

Ancestral relationship[link]

A commonly held belief is that African Pygmies are the direct descendants of the Late Stone Age hunter-gatherer peoples of the central African rainforest, who were partially absorbed or displaced by later immigration of agricultural peoples, and adopted their Central Sudanic, Ubangian, and Bantu languages. This view has no archaeological support, and ambiguous support from genetics and linguistics.^[14][15][16]

Some 30% of the Aka language is not Bantu, and a similar percentage of the Baka language is not Ubangian. Much of this vocabulary is botanical, deals with honey collecting, or is otherwise specialized for the forest and is shared between the two western Pygmy groups. It has been proposed that this is the remnant of an independent western Pygmy (Mbenga or "Baaka") language. However, this type of vocabulary is subject to widespread borrowing among the Pygmies and neighboring peoples, and the "Baaka" language is only reconstructed to the 15th century.^[17]

Genetic evidence for origins[link]

Genetically, the pygmies are extremely divergent from all other human populations, suggesting they have an ancient indigenous lineage. Their uniparental markers^{[further explanation needed]} represent the most ancient divergent ones right after those typically found in Khoisan peoples. African pygmy populations possess high levels of genetic diversity;^[18] recent advances in genetics shed some light on the origins of the various pygmy groups.

The transition from hunting and gathering to farming involved a major cultural innovation that has spread rapidly over most of the globe in the last ten millennia. In sub-Saharan Africa, hunter–gatherers have begun to shift toward an agriculture-based lifestyle over the last 5,000 years. Only a few populations still base their mode of subsistence on hunting and gathering. The Pygmies are considered to be the largest group of mobile hunter–gatherers of Africa. They dwell in equatorial rainforests and are characterized by their short mean stature. However, little is known about the chronology of the demographic events — size changes, population splits, and gene flow — ultimately giving rise to contemporary Pygmy (Western and Eastern) groups and neighboring agricultural populations. We studied the branching history of Pygmy hunter–gatherers and agricultural populations from Africa and estimated separation times and gene flow between these populations. The model identified included the early divergence of the ancestors of Pygmy hunter–gatherers and farming populations ~60,000 years ago, followed by a split of the Pygmies' ancestors into the Western and Eastern Pygmy groups ~20,000 years ago. Our findings increase knowledge of the history of the peopling of the African continent in a region lacking archaeological data. An appreciation of the demographic and adaptive history of African populations with different modes of subsistence should improve our understanding of the influence of human lifestyles on genome diversity.^[19]

Another study provided some insight into the role genetics plays in the short stature of the pygmies.

The short stature of Pygmy groups around the world has long intrigued anthropologists. It is generally accepted that their small body size is a result of genetic adaptation; however, which genes were selected, and the nature of the underlying selective force(s), remain unknown. The various hypotheses proposed include adaptations to food limitation, thermoregulation, mobility in the forest, and/or short lifespan. A recent study of the HGDP-CEPH populations identified a signal of selection in the insulin growth factor signalling pathway in Biaka Pygmies, which might be associated with short stature, but this signal was not shared with Mbuti Pygmies. By contrast, we found strong signals for selection in both African Pygmy groups at two genes involved in the iodide-dependent thyroid hormone pathway: TRIP4 in Mbuti Pygmies; and IYD in Biaka Pygmies (Fig. 7). Intriguingly, a previous study found a significantly lower frequency of goiter in Efe Pygmies (9.4%) than in Lese Bantu farmers (42.9%). The Efe and Lese live in close proximity to one another in the iodine-deficient Ituri Forest and share similar diets. Moreover, the frequency of goiter in Efe women living in Bantu villages was similar to that of Efe women living in the forest, and the frequency of goiter in offspring with an Efe mother and a Lese father was intermediate between that of Efe and Lese. These observations suggest that the Efe have adapted genetically to an iodine-deficient diet; we suggest that the signals of recent positive selection that we observe at TRIP4 in Mbuti Pygmies and IYD in Biaka Pygmies may reflect such genetic adaptations to an iodine-deficient diet. Furthermore, alterations in the thyroid hormone pathway can cause short stature. We therefore suggest that short stature in these Pygmy groups may have arisen as a consequence of genetic alterations in the thyroid hormone pathway. If this scenario is true, then there are two important implications. First, this would suggest that short stature was not selected for directly in the ancestors of Pygmy groups, but rather arose as an indirect consequence of selection in response to an iodine-deficient diet. Second, since different genes in the thyroid hormone pathway show signals of selection in Mbuti vs. Biaka Pygmies, this would suggest that short stature arose independently in the ancestors of Mbuti and Biaka Pygmies, and not in a common ancestral population. Moreover, most Pygmy-like groups around the world dwell in tropical forests, and hence are likely to have iodine-deficient diets. The possibility that independent adaptations to an iodine-deficient diet might therefore have contributed to the convergent evolution of the short stature phenotype in Pygmy-like groups around the world deserves further investigation.^[20]

Reports of genocide[link]

In 2003, Sinafasi Makelo, a representative of Mbuti pygmies, told the UN's Indigenous People's Forum that during the Congo Civil War, his people were hunted down and eaten as though they were game animals. In neighbouring North Kivu province there has been cannibalism by a group known as Les Effaceurs ("the erasers") who wanted to clear the land of people to open it up for mineral exploitation.^[21] Both sides of the war regarded them as "subhuman" and some say their flesh can confer magical powers.^[22] Makelo asked the UN Security Council to recognise cannibalism as a crime against humanity and an act of genocide.^[23] According to Minority Rights Group International there is extensive evidence of mass killings, cannibalism and rape of Pygmies and they have urged the International Criminal Court to investigate a campaign of extermination against pygmies. Although they have been targeted by virtually all the armed groups, much of the violence against Pygmies is attributed to the rebel group, the Movement for the Liberation of Congo, which is part of the transitional government and still controls much of the north, and their allies.^[24]

Slavery[link]

In the Republic of Congo, where Pygmies make up 2% of the population, many Pygmies live as slaves to Bantu masters. The nation is deeply stratified between these two major ethnic groups. The Pygmy slaves belong from birth to their Bantu masters in a relationship that the Bantus call a time-honored tradition. Even though the Pygmies are responsible for much of the hunting, fishing and manual labor in jungle villages, Pygmies and Bantus alike say Pygmies are often paid at the master's whim; in cigarettes, used clothing, or even nothing at all. As a result of pressure from UNICEF and human-rights activists, a law that would grant special protections to the Pygmy people is awaiting a vote by the Congo parliament.^[25][26]

Music[link]

The African Pygmies are particularly known for their usually vocal music, usually characterised by dense contrapuntal communal improvisation. Simha Arom says that the level of polyphonic complexity of Pygmy music was reached in Europe in the 14th century, yet Pygmy culture is unwritten and ancient; some Pygmy groups being the first known cultures in some areas of Africa.^[27] Music permeates daily life and there are songs for entertainment as well as specific events and activities.

Polyphonic music is found among the Aka–Baka and the Mbuti, but not among the Gyele (Kola) or the various groups of Twa.

Systematic discrimination[link]

Raja James Sheshardi of the American University conducted a case study on the Pygmies of Africa and concluded that deforestation has greatly affected their everyday lives. Pygmy culture is threatened today by the forces of political and economic change. In recent times, this has manifested itself into an open conflict over the resources of the tropical rain-forest, it is a conflict that the Pygmy are losing.

Historically, the Pygmy have always been viewed as inferior by both colonial authorities and the village dwelling Bantu tribes.^[28] This has translated into systematic discrimination. One early example was the capture of Pygmy children under the auspices of the Belgian colonial authorities, who exported Pygmy children to zoos throughout Europe, including the world's fair in the United States in 1907.^[28] Pygmies are often evicted from their land and given the lowest paying jobs. At a state level, Pygmies are not considered citizens by most African states and are refused identity cards, deeds to land, health care and proper schooling. Government policies and multinational corporations involved in massive deforestation have exacerbated this problem by forcing more Pygmies out of their traditional homelands and into villages and cities where they often are marginalized, impoverished and abused by the dominant culture.

Today there are roughly 500,000 Pygmies left in the rain-forest of Central Africa.^[28] This population is rapidly decreasing as poverty, intermarriage with Bantu peoples, Westernization, and deforestation all gradually destroy their way of life and culture along with their genetic uniqueness.

The greatest environmental problem the Pygmies seem to be facing is the loss of their traditional homeland, the tropical forests of Central Africa. In several countries such as Cameroon, Gabon, Central African Republic and the Republic of Congo this is due to deforestation and the desire of several governments in Central Africa to evict the Pygmies from their forest habitat in order to cash in on quick profits from the sale of hardwood and the resettlement of farmers onto the cleared land. In some cases, as in Rwanda and the Democratic Republic of the Congo, this conflict is violent. Certain groups, such as the Hutus of the Interahamwe, wish to eliminate the Pygmy and take the resources of the forest as a military conquest, using the resources of the forest for military as well as economic advancement.^[28] Since the Pygmies rely on the forest for their physical as well as cultural survival, as these forests disappear, so do the Pygmy.

A family from a Ba Aka pygmy village

Along with Raja Sheshardi, the fPcN-Global.org website had conducted research on the pygmies. The human rights organization states that as the forest has receded under logging activities, its original inhabitants have been pushed into populated areas to join the formal economy, working as casual laborers or on commercial farms and being exposed to new diseases.^[29] This shift has brought them into closer contact with neighboring ethnic communities whose HIV levels are generally higher. This has led to the spread of HIV/AIDS into the pygmy group.

Since poverty has become very prevalent in the Pygmy communities, sexual exploitation of indigenous women has become a common practice. Commercial sex has been bolstered by logging, which often places large groups of male laborers in camps which are set up in close contact with the Pygmy communities.

Human rights groups have also reported widespread sexual abuse of indigenous women in the conflict-ridden eastern Democratic Republic of the Congo. Despite these risks, Pygmy populations generally have poor access to health services and information about HIV. The British medical journal, The Lancet, published a review showing that Pygmy populations often had worse access to health care than neighboring communities.^[30] According to the report, even where health care facilities exist, many people do not use them because they cannot pay for consultations and medicines, they do not have the documents and identity cards needed to travel or obtain hospital treatment, and they are subjected to humiliating and discriminatory treatment.^[29]

Studies in Cameroon and ROC in the 1980s and 1990s showed a lower prevalence of HIV in pygmy populations than among neighboring ones, but recent increases have been recorded. One study found that the HIV prevalence among the Baka pygmies in eastern Cameroon went from 0.7 percent in 1993 to 4 percent in 2003.^[29]

Asia[link]

Negritos[link]

Ati woman of the Philippines

Negritos in Southeast Asia (including the Batak and Aeta of the Philippines, the Andamanese of the Andaman Islands, and the Semang of the Malay Peninsula) are sometimes called pygmies (especially in older literature).

Negritos share some common physical features with African pygmy populations, including short stature and dark skin. The name "Negrito", from the Spanish adjective meaning "small black person", was given by early explorers.

The explorers who named the Negritos assumed the Andamanese they encountered were from Africa. This belief was, however, discarded by anthropologists who noted that apart from dark skin and curly hair, the Andamanese had little in common with any African population, including the African pygmies.^[31] Their resemblance to some Africans, it is generally believed, is due to adaptation to a similar environment, rather than shared origins.^[32]

The remains of at least 25 miniature humans, who lived between 1,000 and 3,000 years ago, were recently (as of 2011) found on the islands of Palau in Micronesia.^[33]

Their origin and the route of their migration to Asia is still a matter of great speculation. They are genetically distant from Africans,^[32] and have been shown to have separated early from Asians, suggesting that they are either surviving descendants of settlers from the early out-of-Africa migration of the Great Coastal Migration of the Proto-Australoids, or that they are descendants of one of the founder populations of modern humans.^[34]

Rampasasa[link]

The people from Rampasasa village of Flores, Indonesia are short-statured without being dark-skinned. The presence of pygmy people on Flores has been seen by some researchers as supportive of the thesis that "Flores Man" (Homo floresiensis) is not actually an independent species, but rather a small-bodied population of Homo sapiens.^[35]

T'rung[link]

Frank Kingdon-Ward in the early 20th century, Alan Rabinowitz in the 1990s, P. Christiaan Klieger in 2003, and others have reported a tribe of pygmy Tibeto-Burman speakers known as the T'rung inhabiting the remote region of Mt. Hkakabo Razi in Southeast Asia on the border of China (Yunnan and Tibet), Burma, and India. A Burmese survey done in the 1960s reported a mean height of an adult male T'rung at 1.43 m (4'6") and that of females at 1.40 m (4'5"). These are the only "pygmies" noted of clearly East Asian origin. The cause of their diminutive size is unknown, but diet and endogamous marriage practices have been cited. The population of T'rung pygmies has been steadily shrinking, and is now down to only a few individuals.^{[36][37][38][39]}

Oceania[link]

Australia[link]

There is mention of tribes of Pygmy aborigines near Cairns, Queensland, in Peter McAllister's book Pygmonia: In search of the secret land of the Pygmies.

Short statured aboriginal tribes inhabited the rainforests of North Queensland, Australia, of which the best known group is probably the Tjapukai or Djabugay people of the Cairns area.^[40] These rainforest people, collectively referred to as Barrineans, were once considered to be a relict of the earliest wave of migration to the Australian continent, but this theory no longer finds much favour.^[41] These Rainforest People tended to live in the first variety of Jykabita, a wood and mud structure renowned for incubation of plants.^[42]

Elsewhere[link]

Tribes of very short people are also found in the mountains of New Guinea. 1000 years ago, Palau island in Micronesia was still inhabited by pygmy people.^[43]

See also[link]

• Vazimba
• Negrito
• Hunter gatherers
• Indigenous peoples
• Pygmy music
• Homo floresiensis
• Ota Benga
• Koro-pok-guru
• Congo Pygmies

References[link]

External links[link]

Wikimedia Commons has media related to: African Pygmies

• African Pygmies: Hunter-Gatherer Peoples of Central Africa
• The Pygmies' Plight Smithsonian Magazine, December 2008 by Paul Raffaele
• Survival International: Pygmies
• Pygmy Survival Alliance
• Undated footage of Pygmy tribe constructing a vine bridge

Parry Gripp (born September 22, 1967)^[1] is a singer-songwriter as well as lead vocalist and guitarist for the pop punk band Nerf Herder.

As a songwriter, Gripp is best known for fake jingles, as in his 2005 solo album For Those About to Shop, We Salute You - a 51-track concept album mimicking various musical styles as product commercials. While it does not have one single concept, it goes through many various concept suites, such as trucks, beer, and insomnia. He also maintains a song-of-the-week website and a YouTube channel on which he creates soundtracks to internet memes^[2] as well as music videos for his own novelty songs, with titles including "Do You Like Waffles?", "Nom Nom Nom Nom Nom Nom Nom", "Last Train to Awesometown", "Spaghetti Cat (I weep for you)", "Hamster on a Piano (Eating Popcorn)", "I Am A Banana" and "Baby Monkey (Going Backwards On A Pig)". Gripp also performs the Super Hero Squad Show theme song.

Gripp also joined forces with MC Lars to perform some of the vocals, including the chorus, to 'Guitar Hero Hero (Beating Guitar Hero Doesn't Make You Slash)' a song commenting on the notion that video games like Guitar Hero take kids away from playing in bands and actually learning their instruments.

Along with faux jingles, Gripp also creates some real advertising music, such as Beatles-inspired tunes promoting the Wawa Food Markets' Breakfast Hoagiefest,^[3] and songs for the Hallmark Cards e-characters hoops&yoyo.

On July 9, 2009 Parry Gripp debuted a new song called "The Girl at the Video Game Store" for the 1000th episode of the G4 TV program Attack of the Show! The video features the show's hosts Olivia Munn as the titular character and Kevin Pereira on drums.^[4]

Aside from his music, Gripp is the co-owner (with his sister) of the Santa Barbara Orchid Estate, which was founded by his father.^[5][6]

Discography[link]

Albums[link]

• "For Those About to Shop, We Salute You" (2005)
• "One Donut a Day" (2007)
• "Do You Like Waffles" (2008)
• "Fuzzy Fuzzy Cute Cute: Volume 1" (2010)
• "This is My Ringtone" (2011)
• "Chip Rok Volume 1" (2011)
• "Fugly Volume 2" (forthcoming, expected release date 2012)

Artwork[link]

Nathan Mazur, a Pittsburgh, Pennsylvania based cartoonist, provided the animation for some of Gripp's music videos: "Do You Like Waffles?", "Up Butt Coconut", and "Nom Nom Nom Nom Nom Nom Nom". He also creates the "album art" that accompanies Parry Gripp's song-of-the-week.

See also[link]

• Nerf Herder

References[link]

External links[link]

• Official website
• Gripp YouTube channel

Jan Garbarek
Jan Garbarek live in Athens, 2007
Background information
Born	(1947-03-04) March 4, 1947 (age 65) Mysen, Norway
Origin	Oslo, Norway
Occupations	saxophonist, composer, producer
Instruments	soprano saxophone, tenor saxophone
Years active	1966–present
Labels	ECM, Flying Dutchman
Associated acts	George Russell, Terje Rypdal, Bobo Stenson, Keith Jarrett, Ralph Towner, Eberhard Weber, Bill Frisell, David Torn, Gary Peacock, Hilliard Ensemble
Website	www.garbarek.com
Notable instruments
bass saxophone, clarinet, flute

Jan Garbarek (born 4 March 1947)^[1] is a Norwegian tenor and soprano saxophonist, active in the jazz, classical, and world music genres. Garbarek was born in Mysen, Norway, the only child of a former Polish prisoner of war Czesław Garbarek and a Norwegian farmer's daughter. Effectively stateless until the age of seven (there was no automatic grant of citizenship in Norway at that time) Garbarek grew up in Oslo. At 21, he married Vigdis. His daughter Anja Garbarek is also a musician.^[2]

Biography[link]

Garbarek's sound is one of the hallmarks of the ECM Records label, which has released virtually all of his recordings. His style incorporates a sharp-edged tone, long, keening, sustained notes, and generous use of silence. He began his recording career in the late 1960s, notably featuring on recordings by the American jazz composer George Russell (such as Othello Ballet Suite and Electronic Sonata for Souls Loved by Nature). If he had initially appeared as a devotee of Albert Ayler and Peter Brötzmann, by 1973 he had turned his back on the harsh dissonances of avant-garde jazz, retaining only his tone from his previous approach. Garbarek gained wider recognition through his work with pianist Keith Jarrett's European Quartet which released the albums Belonging (1974), My Song (1977) and the live recordings Personal Mountains (1979), and Nude Ants (1979).^[3] He was also a featured soloist on Jarrett's orchestral works Luminessence (1974) and Arbour Zena (1975)^[4]

As a composer, Garbarek tends to draw heavily from Scandinavian folk melodies, a legacy of his Ayler influence. He is also a pioneer of ambient jazz composition, most notably on his 1976 album Dis a collaboration with guitarist Ralph Towner that featured the distinctive sound of a wind harp on several tracks. This textural approach, which rejects traditional notions of thematic improvisation (best exemplified by Sonny Rollins) in favour of a style described by critics Richard Cook and Brian Morton as "sculptural in its impact", has been critically divisive. Garbarek's more meandering recordings are often labeled as New Age music, a style generally scorned by more orthodox jazz musicians and listeners, or spiritual ancestors thereof. Other experiments have included setting a collection of poems of Olav H. Hauge to music, with a single saxophone complementing a full mixed choir; this has led to notable performances with Grex Vocalis, but not yet to recordings. In the 1980s, Garbarek's music began to incorporate synthesizers and elements of world music. He has collaborated with Indian and Pakistani musicians such as Trilok Gurtu, Zakir Hussain, Hariprasad Chaurasia, and Ustad Fateh Ali Khan. Garbarek is credited for composing original music for the 2000 film Kippur.

In 1994, during heightened popularity of Gregorian chant, his album Officium, a collaboration with early music vocal performers the Hilliard Ensemble, became one of ECM's biggest-selling albums of all time, reaching the pop charts in several European countries and was followed by a sequel, Mnemosyne, in 1999. In 2005, his album In Praise of Dreams was nominated for a Grammy. Garbarek's first live album Dresden was released in 2009.

Awards & honors[link]

In 1999, Garbarek was appointed a Knight 1st Class of the Order of St. Olav and in 2004 he was awarded the Norwegian Arts Council award.

Discography[link]

Jan Garbarek live

As leader[link]

• Esoteric Circle (Flying Dutchman, 1969)
• Afric Pepperbird (ECM, 1970)
• Sart (ECM, 1971) with Terje Rypdal
• Triptykon (ECM, 1972)
• Witchi-Tai-To (ECM, 1973) with Bobo Stenson
• Dansere (ECM, 1975) with Bobo Stenson
• Dis (ECM, 1976) with Ralph Towner
• Places (ECM, 1977)
• Photo with Blue Sky, White Cloud, Wires, Windows and a Red Roof (ECM, 1978) with Bill Connors
• Aftenland (ECM, 1979) with Kjell Johnsen
• Eventyr (ECM, 1980) with John Abercrombie and Naná Vasconcelos
• Paths, Prints (ECM, 1981) with Bill Frisell
• Wayfarer (ECM, 1983) with Bill Frisell and Eberhard Weber
• It's OK to Listen to the Gray Voice (ECM, 1985) with David Torn
• All Those Born With Wings (ECM, 1987)
• Legend of the Seven Dreams (ECM, 1988) with Rainer Brüninghaus
• Rosensfole (1989) with Agnes Buen Garnås
• I Took Up the Runes (ECM, 1990)
• Ragas and Sagas (ECM, 1990 [1992]) with Fateh Ali Khan
• StAR (ECM, 1991) with Miroslav Vitous
• Atmos (ECM, 1992) with Miroslav Vitous
• Madar (ECM, 1992) with Anouar Brahem and Shaukat Hussain
• Twelve Moons (ECM, 1992)
• Officium (ECM, 1994) with the Hilliard Ensemble
• Visible World (ECM, 1995)
• Rites (ECM, 1998)
• Mnemosyne (ECM, 1999) with the Hilliard Ensemble
• In Praise of Dreams (ECM, 2003)
• Dresden (ECM, 2009) live album
• Officium Novum (ECM, 2010) with the Hilliard Ensemble

As sideman[link]

With Bill Connors

• Of Mist and Melting (ECM, 1977)

With David Darling

• Cycles (ECM, 1981)

With Paul Giger

• Alpstein (ECM, 1991)

With Egberto Gismonti

• Sol Do Meio Dia (ECM, 1977)
• Magico (ECM, 1979) with Charlie Haden
• Folk Songs (ECM, 1979) with Charlie Haden

With Trilok Gurtu

• Living Magic (1990)

With Zakir Hussain

• Making Music (ECM, 1986) with John McLaughlin and Hariprasad Chaurasia

With Keith Jarrett

• Belonging (ECM, 1974)
• Luminessence (ECM, 1974)
• Arbour Zena (ECM, 1975)
• My Song (ECM, 1977)
• Personal Mountains (ECM, 1979)
• Nude Ants (ECM, 1979)

With Manu Katché

• Neighbourhood (ECM, 2006)

With Eleni Karaindrou

• Music For Films (1991)

With Kim Kashkashian

• Monodia (2002)

With Karin Krog

• Jazz Moments (1966)
• Til Vigdis (1967)
• Joy (1968)

With Art Lande

• Red Lanta (ECM, 1973)

With Marilyn Mazur

• Elixir (2007)

With Gary Peacock

• December Poems (ECM, 1977)
• Voice from the Past - Paradigm (ECM, 1981)
• Guamba (ECM, 1987)

With George Russell

• Electronic Sonata for Souls Loved by Nature (Flying Dutchman, 1969)
• Trip to Prillarguri (Soul Note, 1970)
• Listen to the Silence (Soul Note, 1971)

With Terje Rypdal

• Terje Rypdal (ECM, 1971)
• Hav (1971) with Jan Erik Vold

With L. Shankar

• Vision (1983)
• Song for Everyone (1985)

With the Stuttgart Chamber Orchestra

• Caris Mere (1995)

With Ralph Towner

• Solstice (ECM, 1975)
• Solstice/Sound and Shadows (ECM, 1977)

With Miroslav Vitous

• Universal Syncopations (ECM, 2003)

With Eberhard Weber

• Chorus (ECM, 1984)
• Stages of a Long Journey (2007)

With Kenny Wheeler

• Deer Wan (ECM, 1977)

References[link]

External links[link]

• Jan Garbarek on ECM Records
• Jan Garbarek at the Internet Movie Database
• Jan Garbarek Group
• Jan Garbarek's daughter, singer Anja Garbarek
• Jan Garbarek Group @ Theatre Lycabettus concert review, Greece

Frank Zappa
Zappa performing in Ekeberghallen, Oslo, on January 16, 1977
Background information
Birth name	Frank Vincent Zappa
Born	(1940-12-21)December 21, 1940 Baltimore, Maryland, U.S.
Died	December 4, 1993(1993-12-04) (aged 52) Los Angeles, California, U.S. due to prostate cancer
Genres	Rock, experimental, jazz, classical
Occupations	Composer, musician, conductor, producer
Instruments	Vocals, guitar, bass, keyboards, synclavier, bicycle, drums
Years active	1955–1993
Labels	Verve, Bizarre, Straight, DiscReet, Zappa, Barking Pumpkin
Associated acts	The Mothers of Invention Captain Beefheart Steve Vai
Website	zappa.com
Notable instruments
Hagström Viking Gibson ES-5 Switchmaster Gibson SG Gibson Les Paul Fender Stratocaster Synclavier

Frank Vincent Zappa^[1] (December 21, 1940 – December 4, 1993) was an American composer, singer-songwriter, electric guitarist, recording engineer, record producer and film director. In a career spanning more than 30 years, Zappa wrote rock, jazz, orchestral and musique concrète works. He also directed feature-length films and music videos, and designed album covers. Zappa produced almost all of the more than 60 albums he released with the band The Mothers of Invention and as a solo artist. While in his teens, he acquired a taste for percussion-based avant-garde composers such as Edgard Varèse and 1950s rhythm and blues music. He began writing classical music in high school, while at the same time playing drums in rhythm and blues bands; he later switched to electric guitar.

He was a self-taught composer and performer, and his diverse musical influences led him to create music that was often impossible to categorize. His 1966 debut album with The Mothers of Invention, Freak Out!, combined songs in conventional rock and roll format with collective improvisations and studio-generated sound collages. His later albums shared this eclectic and experimental approach, irrespective of whether the fundamental format was one of rock, jazz or classical. His lyrics—often humorously—reflected his iconoclastic view of established social and political processes, structures and movements. He was a strident critic of mainstream education and organized religion, and a forthright and passionate advocate for freedom of speech, self-education, political participation and the abolition of censorship.

Zappa was a highly productive and prolific artist and gained widespread critical acclaim. He had some commercial success, particularly in Europe, and for most of his career was able to work as an independent artist. He also remains a major influence on musicians and composers. Zappa was posthumously inducted into the Rock and Roll Hall of Fame in 1995 and received the Grammy Lifetime Achievement Award in 1997. Zappa was married to Kathryn J. "Kay" Sherman from 1960 to 1964. In 1967, he married Adelaide Gail Sloatman, with whom he remained until his death from prostate cancer in 1993. They had four children: Moon Unit, Dweezil, Ahmet Emuukha Rodan and Diva Thin Muffin Pigeen. Gail Zappa manages the businesses of her late husband under the name the Zappa Family Trust.

Early life[link]

Frank Zappa was born in Baltimore, Maryland, on December 21, 1940. His mother, Rose Marie Colimore, was of Italian and French ancestry; his father, Francesco Vincente Zappa, was an immigrant from Partinico, Sicily, and was of Greek and Arab ancestry.^[2] Zappa was the eldest of four children.^[3] The family moved often because his father, a chemist and mathematician, worked in the defense industry. After a time in Florida in the 1940s, the family returned to Maryland, where Zappa's father worked at the Edgewood Arsenal chemical warfare facility of the Aberdeen Proving Ground. Due to their home's proximity to the arsenal, which stored mustard gas, gas masks were kept in the home.^[4] This had a profound effect on Zappa, and references to germs, germ warfare and the defense industry occur throughout his work.^[5]

Zappa was often sick as a child, suffering from asthma, earaches and sinus problems. A doctor treated his sinusitis by inserting a pellet of radium into each of Zappa's nostrils; little was known about the potential dangers of even small amounts of therapeutic radiation.^[6] Nasal imagery and references appear in his music and lyrics, as well as in the collage album covers created by his long-time collaborator Cal Schenkel.

Many of Zappa's childhood diseases may have been due to exposure to mustard gas. His health worsened when he lived in Baltimore.^[4][6] In 1952, his family relocated for reasons of health.^[7] They moved, next, to Monterey, California, where his father taught metallurgy at the Naval Postgraduate School. They soon moved to Claremont, then to El Cajon, before finally settling in San Diego.^[8]

Musical influences[link]

Zappa joined his first band at Mission Bay High School in San Diego. He was the band's drummer.^[10] About the same time his parents bought a phonograph, which allowed him to develop his interest in music, and to begin building his record collection.^[11] R&B singles were early purchases, starting a large collection he kept for the rest of his life.^[12] He was interested in sounds for their own sake, particularly the sounds of drums and other percussion instruments. By age 12, he had obtained a snare drum and began learning the basics of orchestral percussion.^[10] Zappa's deep interest in modern classical music began^[13] when he read a LOOK magazine article about the Sam Goody record store chain that lauded its ability to sell an LP as obscure as The Complete Works of Edgard Varèse, Volume One.^[14] The article described Varèse's percussion composition Ionisation, produced by EMS Recordings, as "a weird jumble of drums and other unpleasant sounds". Zappa decided to seek out Varèse's music. After searching for over a year, Zappa found a copy (he noticed the LP because of the "mad scientist" looking photo of Varèse on the cover). Not having enough money with him, he persuaded the salesman to sell him the record at a discount.^[14] Thus began his lifelong passion for Varèse's music and that of other modern classical composers.

Zappa grew up influenced by avant-garde composers such as Varèse, Halim El-Dabh,^[16] Igor Stravinsky, and Anton Webern, R&B and doo-wop groups (including the Medallions^[15] and local pachuco groups), and modern jazz. His own heterogeneous ethnic background, and the diverse social and cultural mix in and around greater Los Angeles, were crucial in the formation of Zappa as a practitioner of underground music and of his later distrustful and openly critical attitude towards "mainstream" social, political and musical movements. He frequently lampooned musical fads like psychedelia, rock opera and disco.^[17][18] Television also exerted a strong influence, as demonstrated by quotations from show themes and advertising jingles found in his later works.^[19]

Youth and beginning of career (1955–1960)[link]

Zappa's senior yearbook photo, 1958.

By 1956, the Zappa family had moved to Lancaster, a small aerospace and farming town in the Antelope Valley of the Mojave Desert close to Edwards Air Force Base, in northern Los Angeles County. Zappa's mother encouraged him in his musical interests. Although she disliked Varèse's music, she was indulgent enough to give her son a long distance call to the composer as a 15th birthday present.^[14] Unfortunately, Varèse was in Europe at the time, so Zappa spoke to the composer's wife. He later received a letter from Varèse thanking him for his interest, and telling him about a composition he was working on called "Déserts". Living in the desert town of Lancaster, Zappa found this very exciting. Varèse invited him to visit if he ever came to New York. The meeting never took place (Varèse died in 1965), but Zappa framed the letter and kept it on display for the rest of his life.^[13][20]

At Antelope Valley High School, Zappa met Don Vliet (who later expanded his name to Don Van Vliet and adopted the stage name Captain Beefheart). Zappa and Vliet became close friends, sharing an interest in R&B records and influencing each other musically throughout their careers.^[21] Around the same time, Zappa started playing drums in a local band, The Blackouts.^[17] The band was racially diverse, and included Euclid James "Motorhead" Sherwood who later became a member of The Mothers of Invention. Zappa's interest in the guitar grew, and in 1957 he was given his first guitar. Among his early influences were Johnny "Guitar" Watson, Howlin' Wolf and Clarence "Gatemouth" Brown.^[22] (In the 1970s and '80s, he invited Watson to perform on several albums.) Zappa considered soloing as the equivalent of forming "air sculptures",^[23] and developed an eclectic, innovative and highly personal style.

Zappa's interest in composing and arranging proliferated in his last high-school years. By his final year, he was writing, arranging and conducting avant-garde performance pieces for the school orchestra.^[24] He graduated from Antelope Valley High School in 1958, and later acknowledged two of his music teachers on the sleeve of the 1966 album Freak Out!^[25] Due to his family's frequent moves, Zappa attended at least six different high schools, and as a student he was often bored and given to distracting the rest of the class with juvenile antics.^[26] He left community college after one semester, and maintained thereafter a disdain for formal education, taking his children out of school at age 15 and refusing to pay for their college.^[27]

Zappa left home in 1959, and moved into a small apartment in Echo Park, Los Angeles. After meeting Kathryn J. "Kay" Sherman during his short stay at Pomona College, they moved in together in Ontario, and were married December 28, 1960.^[28] Zappa worked for a short period in advertising. His sojourn in the commercial world was brief, but gave him valuable insights into how it works.^[29] Throughout his career, he took a keen interest in the visual presentation of his work, designing some of his album covers and directing his own films and videos.

Early 1960s: Studio Z[link]

Zappa attempted to earn a living as a musician and composer, and played different nightclub gigs, some with a new version of The Blackouts.^[30] Financially more rewarding were Zappa's earliest professional recordings, two soundtracks for the low-budget films The World's Greatest Sinner (1962) and Run Home Slow (1965). The former score was commissioned by actor-producer Timothy Carey and recorded in 1961. It contains many themes that appeared on later Zappa records.^[31] The latter soundtrack was recorded in 1963 after the film was completed, but it was commissioned by one of Zappa's former high school teachers in 1959 and Zappa may have worked on it before the film was shot.^[32] Excerpts from the soundtrack can be heard on the posthumous album The Lost Episodes (1996).

During the early 1960s, Zappa wrote and produced songs for other local artists, often working with singer-songwriter Ray Collins and producer Paul Buff. Their "Memories of El Monte" was recorded by The Penguins, although only Cleve Duncan of the original group was featured.^[33] Buff owned the small Pal Recording Studio in Cucamonga, which included a unique five-track tape recorder he had built. At that time, only a handful of the most sophisticated commercial studios had multi-track facilities; the industry standard for smaller studios was still mono or two-track.^[34] Although none of the recordings from the period achieved major commercial success, Zappa earned enough money to allow him to stage a concert of his orchestral music in 1963 and to broadcast and record it.^[35] He appeared on Steve Allen's syndicated late night show the same year, in which he played a bicycle as a musical instrument.^[36] With Captain Beefheart, Zappa recorded some songs under the name of The Soots. They were rejected by Dot Records for having "no commercial potential", a verdict Zappa subsequently quoted on the sleeve of Freak Out!^[37]

In 1964, after his marriage started to break up, he moved into the Pal studio and began routinely working 12 hours or more per day recording and experimenting with overdubbing and audio tape manipulation. This set a work pattern that endured for most of his life.^[38] Aided by his income from film composing, Zappa took over the studio from Paul Buff, who was now working with Art Laboe at Original Sound. It was renamed Studio Z.^[39] Studio Z was rarely booked for recordings by other musicians. Instead, friends moved in, notably James "Motorhead" Sherwood.^[40] Zappa started performing as guitarist with a power trio, The Muthers, in local bars in order to support himself.^[41]

An article in the local press describing Zappa as "the Movie King of Cucamonga" prompted the local police to suspect that he was making pornographic films.^[42] In March 1965, Zappa was approached by a vice squad undercover officer, and accepted an offer of $100 to produce a suggestive audio tape for an alleged stag party. Zappa and a female friend recorded a faked erotic episode. When Zappa was about to hand over the tape, he was arrested, and the police stripped the studio of all recorded material.^[42] The press was tipped off beforehand, and next day's The Daily Report wrote that "Vice Squad investigators stilled the tape recorders of a free-swinging, a-go-go film and recording studio here Friday and arrested a self-styled movie producer".^[43] Zappa was charged with "conspiracy to commit pornography".^[44] This felony charge was reduced and he was sentenced to six months in jail on a misdemeanor, with all but ten days suspended.^[45] His brief imprisonment left a permanent mark, and was key in the formation of his anti-authoritarian stance.^[46] Zappa lost several recordings made at Studio Z in the process, as the police only returned 30 out of 80 hours of tape seized.^[47] Eventually, he could no longer afford to pay the rent on the studio and was evicted.^[48] Zappa managed to recover some of his possessions before the studio was torn down in 1966.^[49]

Late 1960s: The Mothers of Invention[link]

In 1965, Zappa was approached by Ray Collins who asked him to take over as the guitarist in local R&B band The Soul Giants, following a fight between Collins and the group's original guitarist.^[3] Zappa accepted, and soon he assumed leadership and the role as co-lead singer (even though he never considered himself a singer^[50]). He convinced the other members that they should play his music to increase the chances of getting a record contract.^[51] The band was renamed The Mothers, coincidentally on Mother's Day.^[52] The group increased their bookings after beginning an association with manager Herb Cohen, while they gradually gained attention on the burgeoning Los Angeles underground music scene.^[53] In early 1966, they were spotted by leading record producer Tom Wilson when playing "Trouble Every Day", a song about the Watts Riots.^[54] Wilson had earned acclaim as the producer for singer-songwriter Bob Dylan and the folk-rock act Simon & Garfunkel, and was notable as one of the few African Americans working as a major label pop music producer at this time.

Wilson signed The Mothers to the Verve Records division of MGM Records, which had built up a strong reputation in the music industry for its releases of modern jazz recordings in the 1940s and 1950s, but was attempting to diversify into pop and rock audiences. Verve insisted that the band officially rename themselves because "Mother", in slang terminology, was short for "motherfucker" — a term that apart from its profane meanings can denote a skilled musician.^[55] The label suggested the name "The Mothers Auxiliary", which prompted Zappa to come up with the name "The Mothers of Invention."

[edit] Debut album: Freak Out! (1966)

With Wilson credited as producer, The Mothers of Invention, augmented by a studio orchestra, recorded the groundbreaking Freak Out! (1966) which, preceded by Bob Dylan's Blonde on Blonde, was the second rock double album ever released. It mixed R&B, doo-wop, musique concrète,^[56] and experimental sound collages that captured the "freak" subculture of Los Angeles at that time.^[57] Although he was dissatisfied with the final product—in a late '60s radio interview (included in the posthumous MOFO Project/Object compilation) Zappa recounted that the side-long closing track "Return of the Son of Monster Magnet" was intended to be the basic track for a much more complex work which Verve did not allow him to complete—Freak Out immediately established Zappa as a radical new voice in rock music, providing an antidote to the "relentless consumer culture of America".^[58] The sound was raw, but the arrangements were sophisticated. While recording in the studio, some of the additional session musicians were shocked that they were expected to read the notes on sheet music from charts with Zappa conducting them, since it was not standard when recording rock music.^[59] The lyrics praised non-conformity, disparaged authorities, and had dadaist elements. Yet, there was a place for seemingly conventional love songs.^[60] Most compositions are Zappa's, which set a precedent for the rest of his recording career. He had full control over the arrangements and musical decisions and did most overdubs. Wilson provided the industry clout and connections to get the group the financial resources needed.^[61]

	"Hungry Freaks Daddy" noicon The opening track on Freak Out!. The album has "consistently been voted as one of top 100 greatest albums ever made".[58]
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During the recording of Freak Out!, Zappa moved into a house in Laurel Canyon with friend Pamela Zarubica, who appeared on the album.^[59] The house became a meeting (and living) place for many LA musicians and groupies of the time, despite Zappa's disapproval of their illicit drug use.^[62] He labeled people on drugs "assholes in action", and he tried cannabis only a few times, but without any pleasure.^[63] He was a regular tobacco smoker for most of his life, and strongly critical of anti-tobacco campaigns.^[64] After a short promotional tour following the release of Freak Out!, Zappa met Adelaide Gail Sloatman. He fell in love within "a couple of minutes", and she moved into the house over the summer.^[51] They married in 1967, had four children and remained together until Zappa's death.

Wilson nominally produced The Mothers' second album Absolutely Free (1967), which was recorded in November 1966, and later mixed in New York, although by this time Zappa was in de facto control of most facets of the production. It featured extended playing by The Mothers of Invention and focused on songs that defined Zappa's compositional style of introducing abrupt, rhythmical changes into songs that were built from diverse elements.^[65] Examples are "Plastic People" and "Brown Shoes Don't Make It", which contained lyrics critical of the hypocrisy and conformity of American society, but also of the counterculture of the 1960s.^[66] As Zappa put it, "[W]e're satirists, and we are out to satirize everything."^[67] At the same time, Zappa had recorded material for a album of orchestral works to be released under his own name, Lumpy Gravy, released by Capitol Records in 1967. Due to contractual problems, the album was pulled. Zappa took the opportunity to radically restructure the contents, adding newly recorded, improvised dialogue. After the contractual problems were resolved, the album was reissued by Verve in 1968.^[68] It is an "incredible ambitious musical project",^[69] a "monument to John Cage",^[70] which intertwines orchestral themes, spoken words and electronic noises through radical audio editing techniques.^[71][72]

New York period (1966–1968)[link]

The Mothers of Invention played in New York in late 1966 and were offered a contract at the Garrick Theater during Easter 1967. This proved successful and Herb Cohen extended the booking, which eventually lasted half a year.^[73] As a result, Zappa and his wife, along with The Mothers of Invention, moved to New York.^[68] Their shows became a combination of improvised acts showcasing individual talents of the band as well as tight performances of Zappa's music. Everything was directed by Zappa's famous hand signals.^[74] Guest performers and audience participation became a regular part of the Garrick Theater shows. One evening, Zappa managed to entice some U.S. Marines from the audience onto the stage, where they proceeded to dismember a big baby doll, having been told by Zappa to pretend that it was a "gook baby".^[75]

Situated in New York, and only interrupted by the band's first European tour, The Mothers of Invention recorded the album widely regarded as the peak of the group's late 1960s work, We're Only in It for the Money (released 1968).^[76] It was produced by Zappa, with Wilson credited as executive producer. From then on, Zappa produced all albums released by The Mothers of Invention and as a solo artist. We're Only in It for the Money featured some of the most creative audio editing and production yet heard in pop music, and the songs ruthlessly satirized the hippie and flower power phenomena.^[77] The cover photo parodied that of The Beatles' Sgt Pepper's Lonely Hearts Club Band.^[78] The cover art was provided by Cal Schenkel whom Zappa met in New York. This initiated a life-long collaboration in which Schenkel designed covers for numerous Zappa and Mothers albums.^[79]

Reflecting Zappa's eclectic approach to music, the next album, Cruising with Ruben & the Jets (1968), was very different. It represented a collection of doo-wop songs; listeners and critics were not sure whether the album was a satire or a tribute.^[80] Zappa has noted that the album was conceived in the way Stravinsky's compositions were in his neo-classical period: "If he could take the forms and clichés of the classical era and pervert them, why not do the same ... to doo-wop in the fifties?"^[81] A theme from Stravinsky's The Rite of Spring is heard during one song.

In New York, Zappa increasingly used tape editing as a compositional tool.^[82] A prime example is found on the double album Uncle Meat (1969),^[83] where the track "King Kong" is edited from various studio and live performances. Zappa had begun regularly recording concerts,^[84] and because of his insistence on precise tuning and timing, he was able to augment his studio productions with excerpts from live shows, and vice versa.^[85] Later, he combined recordings of different compositions into new pieces, irrespective of the tempo or meter of the sources. He dubbed this process "xenochrony" (strange synchronizations^[86]) — reflecting the Greek "xeno" (alien or strange) and "chrono" (time).^[85] Zappa also evolved a compositional approach which he called "conceptual continuity," meaning that any project or album was part of a larger project. Everything was connected, and musical themes and lyrics reappeared in different form on later albums. Conceptual continuity clues are found throughout Zappa's entire œuvre.^[19][82]

During the late 1960s, Zappa continued to develop the business sides of his career. He and Herb Cohen formed the Bizarre Records and Straight Records labels, distributed by Warner Bros. Records, as ventures to aid the funding of projects and to increase creative control. Zappa produced the double album Trout Mask Replica for Captain Beefheart, and releases by Alice Cooper, Wild Man Fischer, and The GTOs, as well as Lenny Bruce's last live performance.^[87]

Disbanding the original Mothers of Invention (1969)[link]

	"Peaches En Regalia" noicon The opening track on Hot Rats is considered to be one of Zappa's most enduring compositions,[88][89] and has been covered by many artists.[90]
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Zappa and The Mothers of Invention returned to Los Angeles in the summer of 1968, and the Zappas moved into a house on Laurel Canyon Boulevard, only to move again to one on Woodrow Wilson Drive in the autumn.^[91] This was to be Zappa's home for the rest of his life. Despite being a success with fans in Europe, The Mothers of Invention were not faring well financially.^[92] Their first records were vocally oriented, but Zappa wrote more instrumental jazz and classical oriented music for the band's concerts, which confused audiences. Zappa felt that audiences failed to appreciate his "electrical chamber music".^[93][94]

Zappa with The Mothers of Invention, Theatre de Clichy, Paris, 1971

In 1969 there were nine band members and Zappa was supporting the group himself from his publishing royalties whether they played or not.^[92] 1969 was also the year Zappa, fed up with MGM's interference, left MGM Records for Warner Bros. Records' Reprise Records subsidiary where Zappa/Mothers recordings would bear the Bizarre Records imprint. In late 1969, Zappa broke up the band. He often cited the financial strain as the main reason,^[95] but also commented on the band members' lack of sufficient effort.^[96] Many band members were bitter about Zappa's decision, and some took it as a sign of Zappa's concern for perfection at the expense of human feeling.^[94] Others were irritated by 'his autocratic ways',^[61] exemplified by Zappa's never staying at the same hotel as the band members.^[97] Several members would, however, play for Zappa in years to come. Remaining recordings with the band from this period were collected on Weasels Ripped My Flesh and Burnt Weeny Sandwich (both released in 1970).

After he disbanded The Mothers of Invention, Zappa released the acclaimed solo album Hot Rats (1969).^[98][99] It features, for the first time on record, Zappa playing extended guitar solos and contains one of his most enduring compositions, "Peaches en Regalia", which reappeared several times on future recordings.^[88] It was backed by jazz, blues and R&B session players including violinist Don "Sugarcane" Harris, drummers John Guerin and Paul Humphrey, multi-instrumentalist and previous member of Mothers of Invention Ian Underwood, and multi-instrumentalist Shuggie Otis on bass, along with a guest appearance by Captain Beefheart (providing vocals to the only non-instrumental track, "Willie the Pimp"). It became a popular album in England,^[100] and had a major influence on the development of the jazz-rock fusion genre.^[88][99]

1970s: From The Mothers to Zappa[link]

In 1970 Zappa met conductor Zubin Mehta. They arranged a May 1970 concert where Mehta conducted the Los Angeles Philharmonic augmented by a rock band. According to Zappa, the music was mostly written in motel rooms while on tour with The Mothers of Invention. Some of it was later featured in the movie 200 Motels.^[100] Although the concert was a success, Zappa's experience working with a symphony orchestra was not a happy one.^[81] His dissatisfaction became a recurring theme throughout his career; he often felt that the quality of performance of his material delivered by orchestras was not commensurate with the money he spent on orchestral concerts and recordings.^[101]

Rebirth of The Mothers and filmmaking (1970)[link]

Frank Zappa in Paris, early 1970s

Later in 1970, Zappa formed a new version of The Mothers (from then on, he mostly dropped the "of Invention"). It included British drummer Aynsley Dunbar, jazz keyboardist George Duke, Ian Underwood, Jeff Simmons (bass, rhythm guitar), and three members of The Turtles: bass player Jim Pons, and singers Mark Volman and Howard Kaylan, who, due to persistent legal and contractual problems, adopted the stage name "The Phlorescent Leech and Eddie", or "Flo & Eddie".^[102]