Jean-Luc Ponty – King Kong - Jean-Luc Ponty Plays The Music Of Frank Zappa
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Jean-Luc Ponty – electric violin (all tracks), baritone violectra (A1-3, B2) [click here to see more vinyl featuring Jean-Luc Ponty]
Frank Zappa – electric guitar (A4)
Ernie Watts – alto saxophone (A2-3, B2); tenor saxophone (A2-4, B2)
Ian Underwood – tenor saxophone (A1), orchestra conductor (B1)
George Duke – electric piano (all tracks), acoustic piano (B1)
Gene Estes – vibraphone, percussion (A1, B2)
Buell Neidlinger – double bass (A1, B1)
Wilton Felder – Fender Precision electric bass
John Guerin – drums (A2-3, A4, B2)
Arthur Dyer Tripp III – drums (A1, B1)
Gene Cipriano – oboe, English horn (B1)
Donald Christlieb – bassoon (B1)
Vincent DeRosa – descant recorder, French horn, descant (B1)
Arthur Maebe – French horn, tuba (B1)
Jonathan Meyer – flute (B1)
Milton Thomas – viola (B1)
Harold Bemko – cello (B1)
Gerald Wilson – conductor (A1-4, B2)
Ian Underwood - conductor (B1)
Composed by Frank Zappa (A1-2, A3, B1-2), Jean-Luc Ponty (A4)
Arranged by Frank Zappa
1LP, standard sleeve
Original analog Master tape : YES
Heavy Press : 180g
Record color : Black
Speed : 33 RPM
Size : 12'’
Stereo
Studio
Record Press : unspecified
Label : Friday Music
Original Label : World Pacific Jazz
Recorded October 6–7, 1969 at Whitney Studios, Glendale, California
Engineered by Dick Kunc
Produced by Richard Bock
Originally released in 1970
Reissued in 2011
Tracks:
Side A:
- King Kong
- Idiot Bastard Son
- Twenty Small Cigars
- How Would You Like To Have A Head Like That
Side B:
- Music For Electric Violin And Low Budget Orchestra
- America Drinks And Goes Home
Reviews:
“Not just an album of interpretations, King Kong: Jean-Luc Ponty Plays the Music of Frank Zappa was an active collaboration; Frank Zappa arranged all of the selections, played guitar on one, and contributed a new, nearly 20-minute orchestral composition for the occasion. Made in the wake of Ponty's appearance on Zappa's jazz-rock masterpiece Hot Rats, these 1969 recordings were significant developments in both musicians' careers. In terms of jazz-rock fusion, Zappa was one of the few musicians from the rock side of the equation who captured the complexity -- not just the feel -- of jazz, and this project was an indicator of his growing credibility as a composer. For Ponty's part, King Kong marked the first time he had recorded as a leader in a fusion-oriented milieu (though Zappa's brand of experimentalism didn't really foreshadow Ponty's own subsequent work). Of the repertoire, three of the six pieces had previously been recorded by the Mothers of Invention, and "Twenty Small Cigars" soon would be. Ponty writes a Zappa-esque theme on his lone original "How Would You Like to Have a Head Like That," where Zappa contributes a nasty guitar solo. The centerpiece, though, is obviously "Music for Electric Violin and Low Budget Orchestra," a new multi-sectioned composition that draws as much from modern classical music as jazz or rock. It's a showcase for Zappa's love of blurring genres and Ponty's versatility in handling everything from lovely, simple melodies to creepy dissonance, standard jazz improvisation to avant-garde, nearly free group passages. In the end, Zappa's personality comes through a little more clearly (his compositional style pretty much ensures it), but King Kong firmly established Ponty as a risk-taker and a strikingly original new voice for jazz violin.” AllMusic Review by Steve Huey
Ratings :
AllMusic : 4 / 5 ; Discogs : 4.33 / 5