Stu News and Photos

My name is Stu and I am here to share what I can.

Here is a story about Frank Zappa that I'd like to tell, as a way of giving you, the few folks who are actually going to click on the vid and listen to the entire album, a sense of what it was like for Frank while he recorded these songs. It's the summer of 1969 and Frank is in Los Angeles, recording the material that would become Hot Rats. Now, I'm not sure exactly which studio it was, whether it was Sunset Sound or TTG or Whitney studios (all three played host to the Hot Rats sessions), but one of these studios was where Frank recorded the tune "Willie The Pimp." Now the first interesting thing about the guitar solo was how it was recorded. Normally, a studio is separated into two parts, the big area where the musicians perform and get recorded (the studio, or the live room), and a smaller area, attached to the bigger area, where the tape machines and computers and engineers sit, making sure the recording is happening properly (the control room). However, for the song, "Willie The Pimp," Frank decided he wanted the guitar solo for that tune to stand out, to be different. So he set up his amp and his microphones in the recording area, like normal, but then instead of playing in that space, he brought his guitar into the control room and plugged his guitar into the mixing board. Then he ran that sound out of the board and into the studio, to his amp. He would play his guitar and the amp would broadcast that sound, which would get picked up by the microphones, which would transport that sound back into the control room, back into the mixing board, and finally, onto the magnetic recording tape. Pretty different, right? But that's not the half of it. It turns out that while Frank was laying down the solo for "Willie The Pimp," he was not undisturbed. Back in 1969, unions were a big thing (as they had been for years), and a union guy showed up in the studio, to make sure Frank was paying the musicians properly, and to make sure all the paperwork was filled out properly. So there's Frank, trying to lay down this solo, and there's this union guy, holding a clipboard, just a few feet from Frank, waiting for Frank to finish playing so that he can show this union guy all the proper forms. And Frank knows the guy's there and that he's impatient and tapping his pencil on his clipboard, urging Frank to wrap it up, and Frank's trying his best to ignore him and concentrate on his solo, but he's getting angrier and angrier at this impatient union guy with his clipboard and his senseless bureaucracy and his self-importance and… Well, now go listen to "Willie The Pimp" and listen to that solo and imagine what must have been going through Frank's head as he played those notes.


  • Frank Zappa – guitarpercussion, vocals
  • Mike Altschul – woodwind
  • Bill Byers – trombone
  • Chunky (Lauren Wood)– vocals
  • Lee Clement – percussion
  • George Duke – keyboards, vocals
  • Earl Dumler – woodwind
  • Aynsley Dunbar – drums
  • Tony Duran – guitar, bottleneck guitar
  • Erroneous (Alex Dmochowski) – bass
  • Alan Estes – percussion
  • Janet Neville-Ferguson – vocals
  • Fred Jackson, Jr. – woodwind
  • Sal Marquez – bass, trumpet, vocals, brass
  • Joanne Caldwell McNabb – vocals, brass, woodwind
  • Malcolm McNabb – trombone, horn, trumpet in D
  • Tony Ortega – woodwind
  • Joel Peskin – saxophone, woodwind
  • Don Preston – Mini Moog
  • Johnny Rotella – woodwind
  • Ken Shroyer – trombone, brass, contractor and spiritual guidance
  • Ernie Tack – brass
  • Ernie Watts – tenor saxophone, C Melody Saxophone (the "Mystery Horn") solo on "Cletus Awreetus Awrightus", woodwinds
  • Robert Zimmitti – percussion
  • Gerry Sack – phantom tambourine


From Wikipedia: The Best Band You Never Heard in Your Life is a double disc live album by Frank Zappa, released in 1991 (see 1991 in music). The album was one of three to be recorded during the 1988 world tour, along with Broadway the Hard Way and Make a Jazz Noise Here. Each of these three accounts of the legendary '88 tour has a different focus: Broadway the Hard Way mostly showcases new compositions, Make a Jazz Noise Here features a sampler of classic instrumental Zappa tunes, and this album devotes itself to covers, some unlikely such as "Stairway to Heaven" by Led Zeppelin, as well as Zappa's extensive back catalogue, focusing mainly on Zappa's mid-1970s output but with some material from the Mothers of Invention's late 1960s recordings and one song ("Lonesome Cowboy Burt") from 200 Motels. It was re-issued in 1995 and 2012 along with his entire catalogue.


I'm gonna start posting Zappa albums, focusing on those that are easiest for the neophyte to swallow. Indeed, I'll be posting the least bitter Zappa records. That's funny to think about, that he's so acerbic one has to pick the least acidic as an appetizer. Oy.


All Music Guide - Review by   [-]

Given the urban title of alto saxophonist Arthur Blythe's debut Columbia album, it's quite a shock when he and his red-hot band of collaborators that include James Blood Ulmer on guitar, Bob Stewart on tuba, flutist James Newton, bassist Cecil McBee, and Jack DeJohnette open with the decidedly funky Latin breaks on "Down San Diego Way." It's not a vamp and it's not a misleading intro, the first of four tracks showcases not only the deep versatility of the rhythm section, but Blythe's own gift as both a composer and as a soloist. He states the melody, handing off the harmonics toUlmer and Newton and then flies high into the face of its chosen changes, allowing the beat to change under him several times before bringing back a theme and letting Ulmer solo. Blythe's grounding in the blues and in modal composition guide him on the title track; he and Newton move through intervallic shifts of chromatic intensity and spatial columnar structures, while Ulmer builds a middle bridge to both ground and fly from. But Blythe is not content here to showcase the extremes. On both "Slidin' Through," his exercise in harmolodic composition, and "Odessa," Blythe provides ample proof of his wisdom as a bandleader, encouraging solo and rhythmic interplay between different groups of musicians such as McBee and Blythe on the former and between himself, Newton and Ulmer on the latter as the rhythm section winds it out in both cases, stretching the narrow envelope into something far more textured and thematically unified -- note the Ornette-meets-noir ambience of "Odessa." This group lays like a band that had been together for years, not the weeklong period it took them to rehearse and create one of Blythe's masterpieces. Over 20 years later, Lenox Avenue Breakdown still sounds new and different and ranks among the three finest albums in his catalog.

Various answering machine messages from Frank Zappa's home recording studio, the Utility Muffin Research Kitchen:

1:06 PM

The Lottery [1969]


As suspenseful now as it was in the 70s when this short film was shown to our grade school. And yeah, that's a young Ed Begley Jr., so enjoy that. Still, wow, terrifying.

Part 1

Part 2

The critic Ekkehard Jost wrote that "Ayler's negation of fixed pitches finds a counterpart in Peacock's and Murray's negation of the beat. In no group of this time is so little heard of a steady beat [...] The absolute rhythmic freedom frequently leads to action on three independent rhythmic planes."[5] Maintaining these qualities required deep group interaction. Ayler himself said of the record, "We weren't playing, we were listening to each other".[1] The Penguin Guide to Jazz selected this album as part of its suggested "Core Collection" and awarded it a "crown".[6]

This is an original film I produced. I was thinking of it as an art installation. So, there's that. Oh, and the music is a tune, in full, by Charlie Haden and John McLaughlin. So there's that as well.

From Wikipedia:
To The East, Blackwards is the debut studio album by American hip hop group X Clan, released on April 19, 1990,[1] by 4th & B'way Records and Island Records.[2] It was produced entirely by the group and recorded at I.N.S. Recording Studios in New York City.[1]
To the East, Blackwards charted at number 97 on the Billboard Top Pop Albums. "Raise the Flag", the album's lead single,[2] peaked at number 12 on the Hot Rap Singles.[3]