Was Frank ZapÂpa a musiÂcal genius? A modÂernist, avant-garde comÂposÂer who just hapÂpened to work in an idiomatÂic pasÂtiche of jazz, clasÂsiÂcal, proÂgresÂsive rock and juveÂnile shock tacÂtics? The quesÂtion can be a deeply diviÂsive one. ZapÂpa tends to inspire either intense devoÂtion or intense disÂlike. But whatÂevÂer one’s opinÂion of the man or his music, it’s safe to say that when he wasn’t workÂing alone, ZapÂpa worked in the comÂpaÂny of some incredÂiÂbly talÂentÂed musiÂcians. And he attractÂed, as John RockÂwell wrote in 1984 at The New York Times, “a tiny folÂlowÂing among clasÂsiÂcal avant-gardists.”
That year, one of his more genÂteel fans, Pierre Boulez—forÂmer music direcÂtor of the New York PhilÂharÂmonÂic and “wideÂly regardÂed,” notes RockÂwell, “as one of the great comÂposers of the [20th] century”—decided to conÂduct a suite of ZapÂpa songs. ZapÂpa hoped the resultÂing album, The PerÂfect Stranger, would help him realÂize his ambiÂtion of havÂing his music takÂen seriÂousÂly in clasÂsiÂcal cirÂcles. (“A brief colÂlabÂoÂraÂtion in 1970 with Zubin Mehta,” writes April Peavey at PRI, “went nowhere.”)
Boulez conÂducts his own ensemÂble for three tracks on the album, “The PerÂfect Stranger,” “Naval AviÂaÂtion in Art?” and “Dupree’s ParÂadise.” The remainÂing four songs are perÂformed by “The BarkÂing PumpÂkin DigÂiÂtal GratÂiÂfiÂcaÂtion ConÂsort,” a ZapÂpaism for the SynÂclavier, ZapÂpa’s favorite elecÂtronÂic instruÂment. For all the high seriÂousÂness the colÂlabÂoÂraÂtion implies, ZapÂpa couldn’t help insertÂing his surÂreÂalÂly sarÂdonÂic sense of humor; always “a comÂpulÂsive musiÂcal comeÂdiÂan,” wrote RockÂwell, he wears here “the defenÂsive mask of irony, again.”
Each of the songs has an accomÂpaÂnyÂing sceÂnario. “The PerÂfect Stranger” imagÂines that “a door-to-door salesÂman, accomÂpaÂnied by his faithÂful gypÂsy-mutant indusÂtriÂal vacÂuÂum cleanÂer, cavorts licenÂtiousÂly with a slovenÂly houseÂwife.” In “Love StoÂry,” ZapÂpa wants us to picÂture “an elderÂly RepubÂliÂcan couÂple attemptÂing sex while breakÂdancÂing.” Many peoÂple have had trouÂble getÂting past the sophoÂmoric posÂturÂing and seeÂing Zappa’s music as seriÂous art. He often seemed intent on alienÂatÂing exactÂly such peoÂple.
But perÂhaps ZapÂpa did not need the pediÂgree Boulez lent to his work. When lisÂtenÂing, for examÂple, to the MothÂers of InvenÂtion play Zappa’s origÂiÂnal arrangeÂment of “Dupree’s ParÂadise” (top), one has to admit, he creÂatÂed brilÂliantÂly comÂplex, rhythÂmiÂcalÂly excitÂing music and, in the final analyÂsis, repÂreÂsentÂed “a parÂticÂuÂlarÂly appealÂing type of quinÂtesÂsenÂtialÂly AmerÂiÂcan composer—genuinely defiÂant of estabÂlished catÂeÂgories and diviÂsions that othÂers rouÂtineÂly accept.” LisÂten to the Boulez/Zappa colÂlabÂoÂraÂtion The PerÂfect Stranger in the SpoÂtiÂfy playlist above, or access it directÂly on SpoÂtiÂfy here.
RelatÂed ConÂtent:
Hear the MusiÂcal EvoÂluÂtion of Frank ZapÂpa in 401 Songs
Frank Zappa’s AmazÂing Final ConÂcerts: Prague and Budapest, 1991
Josh Jones is a writer and musiÂcian based in Durham, NC. FolÂlow him at @jdmagness
ZapÂpa may be one of the 20th CenÂtuÂry artists played not only in this cenÂtuÂry but the next. He can be lisÂtened to as a periÂod artist, rock and roll meets the ironÂic angst of the atomÂic age, or a clasÂsiÂcal perÂformer who will have stayÂing powÂer far into the future — the way we appreÂciÂate Mozart or Beethoven. I am a fan.
From the outÂset, I’ve ALWAYS been a fan from the first time my big hipÂpy sisÂter played “Freak Out!” for me- mostÂly because I was in high school and realÂly latched onto the silliÂness and juveÂnile humor.
There have been thouÂsands of “conÂtemÂpoÂrary clasÂsiÂcal” comÂposers in the past 50 years with ZapÂpa’s techÂniÂcal capaÂbilÂiÂties. This is said not to disÂparÂage his or their talÂents and capaÂbilÂiÂties, but to decry the oxyÂmoronÂic “WestÂern culÂture” we exist in that enrichÂes stuÂpenÂdousÂly the no-talÂents in every genre while ignorÂing those who do worthÂwhile work- but the only reaÂson ZapÂpa got ANY recogÂniÂtion at all was due to his rock and fusion chops,business savvy, and fame. Some of those preÂviÂousÂly-menÂtioned thouÂsands of comÂposers attained their comÂpeÂtence through self-study to reach or exceed his levÂel of skill as he did (HarÂry Partch dropped out of music school after two years to become the revÂoÂluÂtionÂary giant twenÂty years latÂer nearÂly entireÂly due to his own efforts, but he’s the only othÂer AmerÂiÂcan comÂposÂer that comes to mind like that)- but ALL of their efforts are worth laudÂing; unforÂtuÂnateÂly, there’s no likeÂliÂhood whatÂsoÂevÂer that will hapÂpen, but at least we can be grateÂful ZapÂpa’s work won’t simÂply vanÂish in a decade or two.