ON THIS DAY IN MUSIC-FEBRUARY 2014

FEBRUARY 1: "Off The Ground" by Paul McCartney was released on this date in 1993. Happy 21st Anniversary!!!

Happy Birthday to the following artists:

Andrew Van Wyngarden, singer/songwriter/multi-instrumentalist of MGMT, age 31

Big Boi, songwriter/rapper/producer/actor of OutKast and solo artist, age 39

Patrick Wilson, songwriter/drummer/guitarist/singer of Weezer, age 45

Joshua Redman, composer/saxophonist, age 45

Exene Cervenka, singer/songwriter/guitarist/poet/visual artists of X, age 58

Mike Campbell, guitarist/producer of Tom Petty and the Heartbreakers, age 64

Don Everly, singer/songwriter/guitarist of The Everly Brothers, age 77

Rick James (deceased) was born on this date in 1948.

FEBRUARY 2: "A Trick Of The Tail" by Genesis was released on this date in 1976. Happy 38th Anniversary!!!

Happy Birthday to the following artists:

Alphonso Johnson, bassist of Weather Report, age 63

Graham Nash, singer/songwriter/guitarist of The Hollies, CSN(&Y) and solo artist/author/photographer, age 72

 FEBRUARY 3: "Earthling" by David Bowie was released on this date in 1997. Happy 17th Anniversary!!!

Happy 67th Birthday to songwriter/singer/guitarist of The Kinks, Dave Davies!

Johnny "Guitar" Watson (deceased) was born on this date in 1935.

FEBRUARY 4: "Rumours" by Fleetwood Mac was released on this date in 1977. Happy 37th Anniversary!!!

"Ra" by Utopia was released on this date in 1977. Happy 37th Anniversary!!!

Happy Birthday to the following artists:

Jeff Schoreder, guitarist of The Smashing Pumpkins, age 35

Natalie Imbruglia, singer/songwriter/model/actress, age 39

Tim Booth, singer/songwriter of James, age 54

Alice Cooper, singer/songwriter, age 66

FEBRUARY 5: Happy Birthday to the following artists:

Duff McKagen, bassist/guitarist/songwriter of 

Guns N' Roses, Velvet Revolver, and solo artist, age 50

Al Kooper, songwriter/organist/multi-instrumentalist of Blood, Sweat And Tears/producer/session musician/film and television composer, age 70

Rick Laird, bassist of Mahavishnu Orchestra, age 73

FEBRUARY 6: Happy Birthday to the following artists:

Axl Rose, singer/songwriter/pianist of Guns N' Roses, age 52

Natalie Cole, singer/songwriter, age 64

Bob Marley (deceased) was born on this date in 1945.

FEBRUARY 7: "A Different Kind Of Truth" by Van Halen was released on this date in 2012. Happy 2nd Anniversary!!!

 "Donuts" by J Dilla was released on this date in 2006. Happy 8th Anniversary!!!

J Dilla (deceased) was born on this date in 1974.

FEBRUARY 8: Happy Birthday to the following artists:

Manuel de Homem-Christo, composer/producer/musician of Daft Punk, age 40

John Williams, film composer/conductor, age 82

FEBRUARY 9: "Face Value" by Phil Collins was released on this date in 1981. Happy 33rd Anniversary!!!

"Spilt Milk" by Jellyfish was released on this date in 1993. Happy 21st Anniversary!!!

Carole King, singer/songwriter/pianist is 72 years old today!

The Beatles performed on "The Ed Sullivan Show" 50 years ago today. 

And the world was changed forever...

FEBRUARY 10: The debut album by Van Halen was released on this date in 1978. Happy 36th Anniversary!!!

"The College Dropout" by Kanye West was released on this date in 2004. Happy 10th Anniversary!!!

Happy Birthday to the following artists:

Nigel Olsson, drummer for Elton John, age 65

Roberta Flack, singer/songwriter/pianist, age 77

Jerry Goldsmith (deceased) was born on this date in 1929.

FEBRUARY 11: Happy Birthday to the following artists:

D'Angelo, singer/songwriter/keyboardist/guitarist/multi-instrumentalist/producer, age 40

Sheryl Crow, singer/songwriter/bassist/multi-instrumentalist, age 52

H.R., singer/songwriter/guitarist of Bad Brains, age 58

Sergio Mendez, composer/songwriter/pianist/band leader, age 73

FEBRUARY 12: "Moving Pictures" by Rush was released on this date in 1981. Happy 33rd Anniversary!!!

"English Settlement" by XTC was released on this date in 1982. Happy 32nd Anniversary!!!

"Sleepwalker" by The Kinks was released on this date in 1977. Happy 37th Anniversary!!!

Happy Birthday to the following artists:

Lisa Hannigan, singer/songwriter/guitarist, age 33

Michael McDonald, singer/songwriter/keyboardist of The Doobie Brothers and solo artist, age 62

Steve Hackett, songwriter/guitarist/singer of Genesis, GTR, and solo artist, age 64

Grant McLennan (deceased was born on this date in 1958.

Ray Manzarek (deceased) was born on this date in 1939.

FEBRUARY 13: Happy Birthday to the following artists:

Feist, singer/songwriter/guitarist, age 38

Henry Rollins, singer/songwriter of Black Flag and Rollins Band/

author/poet/actor/photographer, age 53

Peter Hook, bassist/singer of Joy Division, New Order and Peter Hook and the Light/

DJ/author, age 58

Peter Gabriel, singer/songwriter of Genesis and solo artist/film composer, age 64

Peter Tork, songwriter/singer/actor of The Monkees and solo artist, age 72

FEBRUARY 14: "Harvest" by Neil Young was released on this date in 1972. Happy 42nd Anniversary!!!

Happy Birthday to the LEGENDARY Maceo Parker, saxophonist, age 71

Tim Buckley (deceased) was born on this date in 1947.

FEBRUARY 15: "Fly By Night" by Rush was released on this date in 1975. Happy 39th Anniversary!!!

"Bloodflowers" by The Cure was released on this date in 2000. Happy 14th Anniversary!!!

Happy Birthday to the following artists:

Mick Avory, drummer of The Kinks, age 70

Glyn  Johns, producer/engineer, age 72

FEBRUARY 16: "Starfish" by The Church was released on this date in 1988. Happy 26th Anniversary!!!

Happy Birthday to the following artists: 

Andy Taylor, singer/songwriter/guitarist of Duran Duran and solo artist, age 53

Ice-T, rapper/songwriter/actor, age 56

FEBRUARY 17: "Rock And Roll" by John Lennon was released on this date in 1975. Happy 39th Anniversary!!!

Happy Birthday to the following artists:

Billie Joe Armstrong, singer/songwriter/guitarist of Green Day, age 42

Taylor Hawkins, drummer/singer/songwriter of Foo Fighters, age 42

FEBRUARY 18: "No Jacket Required" by Phil Collins was released on this date in 1985. Happy 29th Anniversary!!!

Happy Birthday to the following artists:

Dr. Dre, rapper/producer of N.W.A. and solo artist, age 49

Dennis DeYoung, singer/songwriter/keyboardist of Styx and solo artist, age 67

Yoko Ono, age 81

IN MEMORIUM: Bob Casale, guitarist of Devo, passed away today in 2014 at the age of 61.

FEBRUARY 19: "The Yes Album" by Yes was released on this date in 1971. Happy 43rd Anniversary!!!

Happy Birthday to the following artists:

Seal, singer/songwriter, age 51

Dave Wakeling, singer/songwriter/guitarist of 

The English Beat, General Public and solo artist, age 58

Tony Iommi, songwriter/guitarist of Black Sabbath, age 66

 Smokey Robinson, singer/songwriter, age 74

FEBRUARY 20: "The Language Of Life" by Everything But The Girl was released on this date in 1990. Happy 24th Anniversary!!!

"The Beekeeper" by Tori Amos was released on this date in 2005. Happy 9th Anniversary!!!

Happy Birthday to the following artists: 

Walter Becker, songwriter/guitarist/producer/singer of Steely Dan and solo artist, age 64

J. Geils of The J. Geils Band, age 68

Kurt Cobain (deceased) was born on this date in 1967.

FEBRUARY 21: Happy Birthday to the following artists:

Ranking Roger, singer/songwriter of The English Beat, General Public and solo artist, age 53

 Jerry Harrison, guitarist/keyboardist/songwriter/singer of 

The Modern Lovers, Talking Heads and solo artist, age 65

Nina Simone (deceased) was born on this date in 1933.

FEBRUARY 23: "Things Fall Apart" by The Roots was released on this date in 1999. Happy 15th Anniversary!!!

"The Virgin Suicides" by Air was released on this date in 2000. Happy 14th Anniversary!!!

Happy Birthday to the following artists:

Lars Olof-Johansson, keyboardist/guitarist of The Cardigans, age 41

Chris Vrenna, drummer/keyboardist/songwriter/programmer/producer/touring member of Ine Inch Nails and Marilyn Manson, age 47

Howard Jones, singer/songwriter/pianist/keyboardist/multi-instrumentalist, age 59

Brad Whitford, guitarist of Aerosmith, age 62

Johnny Winter, singer/songwriter/guitarist, age 70

FEBRUARY 24: "Physical Graffiti" by Led Zeppelin was released on this date in 1975. Happy 39th Anniversary!!!

"Jack Johnson" by Miles Davis was released on this date in 1971. Happy 43rd Anniversary!!!

"Swing To The Right" by Utopia was released on this date in 1982. Happy 32nd Anniversary!!!

Happy Birthday to the following artists:

George Thorogood, singer/songwriter/guitarist of George Thorogood and the Destroyers, age 64

Nicky Hopkins (deceased) was born on this date in 1944.

FEBRUARY 25: The recording sessions for Eric Dolphy's "Out To Lunch" began on this date 50 years ago.

Happy Birthday to the following artists:

John Doe, singer/songwriter/guitarist/bassist of X, poet/actor, age 60

Doug Yule, singer/songwriter/multi-instrumentalist of The Velvet Underground, age 67

GEORGE HARRISON (deceased) was born on this date in 1943!

FEBRUARY 26: "New Amerykah Part One (4th World War)" by Erykah Badu was released on this date in 2008. Happy 6th Anniversary!!!

"Live At Budokan" by Cheap Trick was released on this date in 1979. Happy 35th Anniversary!!!

Happy Birthday to the following artists:

Erykah Badu, singer/songwriter/producer, age 43

Tim Commerford, bassist of Rage Against The Machine and Audioslave, age 46

Mitch Ryder, singer/guitarist, age 69

Fats Domino, singer/songwriter/pianist, age 86

Johnny Cash (deceased) was born on this date in 1932.

FEBRUARY 27: "Oranges And Lemons" by XTC was released on this date in 1989. Happy 25th Anniversary!!!

Dexter Gordon (deceased) was born on this date in 1923.

FEBRUARY 28: Happy Birthday to the following artists:

Nigel Godrich, producer/film composer/songwriter/member of Atoms For Peace, age 43

Cindy Wilson, singer/songwriter of The B-52's, age 57

Brian Jones (deceased) was born on this date in 1942.

Stay tuned to this station for the musical milestones of March!!!

ZAPPA PLAYS ZAPPA: LIVE AT THE BARRYMORE THEATER IN MADISON, WI FEBRUARY 17, 2014-A SYNESTHESIA EXCLUSIVE

ZAPPA PLAYS ZAPPA
BARRYMORE THEATER
MADISON, WI
FEBRUARY 17, 2014

ZAPPA PLAYS ZAPPA band:
Dweezil Zappa: Lead Guitar, Vocals
Schelia Gonzalez: Saxophone, Keyboards, Percussion, Lead Vocals
Ben Thomas: Lead vocals, Trombone, Trumpet, Percussion, Rhythm Guitar
Chris Norton: Keyboards, Vocals
Kurt Morgan: Bass Guitar, Vocals
Ryan Brown: Drums, Percussion, Vocals 

All Music and Lyrics Composed by FRANK ZAPPA

Dear readers, nearly two days later I am still caught in the afterglow and with the goofiest grin plastered upon my face, unsure of exactly how to begin but allow me to try it this way...

I really believe that regarding the status of music at this point in the 21st century, we are all living within one of the strangest, and certainly most precarious times in live music performance. While visual spectacle, from costumes, make up and special effects have always been elements of live performances and often existed as a symbiotic "hand in hand" experience, the visual spectacle, especially since the music video era, has since overtaken the levels of musical and vocal proficiency and overall talent to levels I have long felt to be unprecedented and dangerously so. To think, we are now living in a time when it seems that no one bats a disapproving eye anymore to know that their most favorite commercial artist is lip syncing through their stage shows, completely unable to sing and dance at the same time, and allowing the visual extravaganza to fully carry the day. To that end, it also seems to me this new reality has given the concept of musical and vocal proficiency a heightened sense of purpose and therefore, responsibility, to show real musicians performing in real time, and at times with minimal, or entirely without, visual enhancements.

I do not typically attend live concerts frequently at all but within the past year and half , I have been so very fortunate to witness the triumphant victory lap and hometown return of Garbage last Spring, as well as the terrific psychedelia of Tame Impala, a band which did utilize a strong yet more atmospheric visual component but did not distract from the high level of musicianship on stage. Most strikingly, was the one man performance by the legendary Lindsey Buckingham, during which everyone in attendance witnessed a MASTER CLASS is how to fully sculpt a live performance, the builds with peaks and respites, and scales euphoric heights, solely with a soaring voice, at times minimal metronome drum beats, and absolutely spine-tingling and gorgeous guitar playing.

And now, I know without question I have experienced the pinnacle and then some as on the frigid evening of Monday, February 17th, I was no less than blessed to have had the opportunity to witness Zappa Plays Zappa, Guitarist and Bandleader Dweezil Zappa's justly celebrated touring band which faithfully re-creates the mammoth musical compositions of his Father, the late Frank Zappa.

 

As a child and later as a pre-teen, I was aware of Frank Zappa as that strange looking, baritone voiced man with the iconic mustache who made those funny songs that you would hear on the "Dr. Demento" syndicated radio program like "Dancin' Fool," "I Don't Wanna Get Drafted" and "Don't Eat The Yellow Snow," and of course, the surprise mega hit "Valley Girl." I originally thought of him to be quite the sinister figure, akin to the shadowy man behind the bushes wearing nothing but a raincoat, forever waiting and more than ready to corrupt children by speaking all of those dirty words that we were never supposed to hear. But then, during my high school years, Zappa's highly publicized and televised battles against the P.M.R.C., in particular and censorship in general, made him a figure I slowly began to admire. Even so, I truly never had a clue as to what his music sounded like. 

While I was introduced to his music during my college years, I never began to really listen to him in earnest until my post college years during the early 1990's. For that very reason, I have never had the good fortune to have experienced the majesty and mania of Frank Zappa live in concert as he had long ceased touring by that time. And then, there was the sadness of Frank Zappa's most premature passing in 1993, at the age of 53, after a battle with lung cancer. For whatever unknown reasons his death signified to me and my musical spirit, my musical education expanded exponentially from that point until this very day. 

The "Big Bang" in regards to exploring the music of Frank Zappa for me was listening to the "Shut Up 'N Play Yer Guitar" triple album collection (released 1982). It was here that I instantly learned that Frank Zappa possessed two of the greatest hands to ever hold a guitar plus the massive musical spirit which carried his playing to heights that I never could have conceived of. Zappa played with such an unfiltered, glistening ferocity, speed, skill and atmosphere that he played notes and patterns that simply no one else on the planet could have ever thought of. And to that end, like James Brown, Miles Davis and Prince, Zappa somehow, someway always found a collective of musicians formidable enough to be able to play alongside him. And then, that was when I began to notice Zappa's greatest gifts as a composer as he again conceived of music that I could not believe that I was hearing and that one man had somehow not only thought of all of this impossible sounding material, but he had the audacity and ability to write it! 

Yes, he wrote tons of those "funny songs," but they were of such uncompromising brutality and abrasiveness that I do realize that the music of Frank Zappa is a supremely acquired taste. And while I love how he consistently kept throwing those bricks through society's most judgmental windows and interpersonal behaviors, with his political lyrics being especially incendiary, I do admit that there are some selections that are just too much for me and decidedly more scatological than I am really willing to deal with and by the later 1980's, some of his selections are terribly mean spirited and sometimes even joyless, as if he just wasn't having much fun anymore. Perhaps that is why he eventually turned his composition skills towards being realized on the Synclavier a la the excellent instrumental album "Jazz From Hell" (released November 15, 1986). 

That said, my favorite albums and overall favorite musical period for Frank Zappa occurred during the entirety of the 1970's with works that include and are not nearly limited to, "Waka/Jawaka" (released July 5, 1972), "Apostrophe (')" (released March 22, 1974), "Zoot Allures" (released October 20, 1976),"Sheik Yerbouti" (released March 3, 1979), the darkly dystopian and unrepentantly filthy rock opera "Joe's Garage" (released September 17, 1979/November 19, 1979) and my personal joint number one favorite releases "One Size Fits All" (released June 25, 1975) and the posthumously released triple album magnum opus "Lather" (released September 24, 1996). All of those releases and more are albums upon albums of dizzying, head spinning, outrageous, unbelievable, jaw dropping and flat out ridiculous material that was stunningly composed and arranged, lushly produced and brilliantly performed. 

In regards to Zappa Plays Zappa, I had been more than a little curious to see how Dweezil Zappa would handle the unbelievable damands of interpreting his Father's music and for this particular tour, in which he and the full band would be celebrating the 40th Anniversary of the release of "Roxy And Elsewhere" (released September 10, 1974), truly one of my absolute FAVORITE Frank Zappa albums.

But there was the matter of a snowstorm to deal with first...

For a midwestern Winter that has already seen two nosedives deep into the "Polar Vortex" plus seemingly continuous bouts of snow, augmented by periods of freezing rain and ice storms, the day of February 17th found us again confronted with yet another significant snowfall which blasted trough the area for most of the day and into the late afternoon. While the Barrymore Theater assured that the Zappa Plays Zappa performance was still on for later that evening, there was the unforeseen obstacle of the band's tour bus breaking down, thus forcing the evening's events to be re-adjusted.

So, I and my fellow anxious concert patrons waited...and waited...and waited. While standing outside in the frigid weather, waiting for the theater doors to be opened, we all saw the Zappa Plays Zappa tour bus driving right past us towards the back of the Barrymore, fully understanding the arduous time the musicians themselves had throughout this blustery, snowy, sloppy day. We waited for perhaps another full hour within the theater lobby, as Dweezil Zappa fully honored his VIP Master Class commitment to the group of guitar wielding fans. And once the auditorium doors finally opened, we waited even more making for a showtime that actually began around (or even a tad after) 9 P.M.

Now, in my daily life with daily responsibilities, I knew that I had a very early morning ahead of me and after waiting for essentially two and a half hours, I have to admit that the thought crossed my mind to possibly leave the venue just to head home and just chalk the night up as being "one of those things." But, better thoughts prevailed and once the concert actually began, and the band played a 10 minutes plus version of the slow, sleazy and spectacular "The Torture Never Stops," I mentally kicked myself for even entertaining such a foolish thought.

Echoing the visual component of Frank Zappa's original "Roxy And Elsewhere" performances, Dweezil Zappa and his bandmates appeared on stage all wearing simple black T-shirts and blue jeans and bathed mostly in red lighting. Dweezil then informed the audience that the people for whom the following "Roxy And Elsewhere" music was unfamiliar, do not worry as the original performances were presented to audiences who, at that time, had not heard even one note of this particular selection of music. And then, so rightfully and directly expressed, this music, while being 40 years old, is actually "music from the future."

As with the original album, Dweezil Zappa led the band through letter perfect renditions of "Penguin In Bondage," "Pygmy Twylyte" and "Dummy Up," complete with full, extended vamping and goofy stage dialogue and banter between an unsuspecting happy-go-lucky individual confronted by an "evil dope dealer" who is pressuring him to smoke a high school diploma with a tube sock wrapped inside of it (don't ask...just go with it--it's funny).

My first impressions by this point was how brilliantly the Zappa Plays Zappa band actually were and how they truly elevated themselves from what could have been nothing more than a most heartfelt tribute or even a cover band. In a radio interview Dweezil Zappa conducted with Madison's community radio station WORT-FM, he explained the process in which Zappa Plays Zappa prepares itself for each tour. After Dweezil picks all of the material himself, Frank Zappa's original scores are located as well as the master tapes, whose individual tracks are then dissected by each instrument so that every band member can completely learn their roles. This process makes Zappa Plays Zappa function more truthfully as a travelling orchestra, faithfully and rigorously learning and performing the works of the composer as they are all designed to be heard and experienced. And yes, they truly conveyed the wide vistas and breadth of sound just as an orchestra accomplishes so successfully that I was often counting the amount of band members upon the stage and feeling stunned that only six people were producing a sound this dynamic and even cinematic.

This aspect of their performance truly came to light during the next section of songs from "Roxy And Elsewhere," a section that features the nostalgic pop selection "Village Of The Sun" and two almost indescribable instrumentals, "Echidna's Arf (Of You)" and "Don't You Ever Wash That Thing?" All three of those selections segue seamlessly into each other and they make up what is my absolute favorite sequence of the original album, 17 full minutes of soaring melodicism, combined with an ever accelerating whirlwind of whiplash inducing time signature shifts, abrupt starts and stops, swirling progressions, and jump out of your seat instrumental solos featuring trombone, keyboards, guitar and drums. Frankly (ha ha), I almost didn't care what other songs Zappa Plays Zappa would perform during this evening as I knew that I just had to hear this sequence live more than anything. After hearing something like that, everything else would just be a bonus and Zappa Plays Zappa did not disappoint in the least. In fact, there were times during this section, plus other sections later in the performance, where I literally laughed out loud as I just could not believe what I was seeing and hearing right in front of my eyes and ears. I was just stupidly happy to be in their presence.

After the band paid tribute to bargain basement monster movies with "Cheepnis," they slowed it down but continued to keep the musical intensity at an extremely high peak with "Son Of Orange County" and "More Trouble Every Day," which featured Dweezil Zappa's roof raising guitar heroics during extended solos that were serious lessons for how to actually sculpt the very type of virtuosity that completely ascends.

As with the album, the "Roxy And Elsewhere" performance concluded with the epic and ludicrous "Be-Bop Tango (Of The Old Jazzmen's Church)," a nearly 20 minute piece of sublime complexity that is augmented by required on-stage audience participation (thankfully, I was not selected) to dance along to the impossible rhythms in an increasing frenzy.

By this point, especially as the hour was quite late, I felt as if the performance had reached its zenith and the Zappa Plays Zappa crew would be shuffling off for the night. But then, Dweezil Zappa announced that after a short intermission, the band would return to the stage to lay even more material. My jaw hit the ground!

Yes, dear readers and listeners, after already playing for nearly 90 minutes, the band did indeed perform for quite possibly another full 90 minutes, making for a full concert experience that lasted three hours (including encore) and by the final bow of the curtain call, I strolled out of the Barrymore Theater into the cold winter night with a smile plastered upon my face from ear to ear. Zappa Plays Zappa was a concert that not only celebrated the legacy of Frank Zappa, it was an experience that celebrated the art of music, musicianship and the inexplicable joy that arrives when witnessing the gift of sheer talent at work and play.

With Zappa Plays Zappa, not one sound was ever out of place and their superb tightness as a musical unit was breathtakingly formidable to witness, to say the least. As rigid as it may seem to faithfully reproduce the music of Frank Zappa on stage, it should be noted for those unfamiliar that Frank Zappa's music leaves copious amounts of room and space for improvisation, allowing all of the musicians ample opportunities to stretch out and inject their own personalities within the framework Frank Zappa has set.

For this performance, I saw without question that Dweezil Zappa, in addition to being a rock solid stage presence and spectacular guitarist of what appeared to be a Zen-like calmness (even as his solos were flying off into the night), he is also a most generous bandleader as he gives every member of the band their chances to truly shine and take the spotlight. Lead vocalist Ben Thomas, along with Dweezil, sang valiantly as he eerily conjured the intonation, diction phrasing of Frank himself so often and seemingly effortlessly, that I had to question exactly who I was hearing at times. Drummer Ryan Brown not only accomplished music that was originally performed with two drummers, he also took on Frank Zappa's notoriously difficult "The Black Page #1" and survived without injury.

But it was Schelia Gonzalez in particular who was easily the band's highest focal point. This woman was just a dynamo as she shouldered vocal gymnastics (her appropriately and hilariously atonal "I Come From Nowhere") plus instrumental proficiency (her saxophone solo during "The Black Page #1" was especially vigorous) with excellence, beguiling energy, and a soulful sassiness that was infectious to view. While the band members of Zappa Plays Zappa have consistently shifted and changed over the years, Schelia Gonzalez has remained an essential piece f this trope since its inception and here's hoping she remains for more incarnations in the future.

But the true star of the show was the music of Frank Zappa which encompasses the symphonic as well as balls out rock and roll fury and everything else in between and even beyond. Containing elements of blues, jazz, fusion, doo wop vocal harmonies, chamber pieces, cartoon music and more than a few elements of the avant garde, the music of Frank Zappa is and remains music unlike anything you have ever heard in your lifetime. No, it is not for everyone but I do believe that it is something everyone should attempt to try and listen to at least once in their lives as it is so unparalleled and unequaled. Just Frank Zappa's guitar playing alone is required and essential listening as he is one of those few players where the guitar ceased to be a mere instrument and actually became an extension of his entire being as his greatest solos stretched far beyond music and voyaged into something that was...cosmic.

For this Zappa Plays Zappa performance, Dweezil Zappa's guitar work was truly impressive as trying to attempt to scale the guitar mountain as carved by Frank Zappa would be beyond intimidating for even the very best guitarist on the planet, as far as I am concerned. And somehow, Dweezil Zappa just made everything look so damn easy as he played with a liquid fluidity that often belied the sheer audacious and astonishing complexity and dexterity on display.

When it comes to the legacy of Frank Zappa, I am often overwhelmed and gobsmacked as to how this man was able to even conceive of he music he composed and furthermore, how he actually found human beings that were able to perform it at all. With Zappa Plays Zappa, again I am astonished that these six musicians had the ability to perform music this unfathomable so flawlessly and with a sense of fun that was visible and palpable from the stage.

This is precisely what live music performances should be and precisely what we all need to behold in this extremely prefabricated 21st century music scene. Dweezil Zappa is "keeper of the flame" for much more than his Father's musical history and legacy, as far as I am concerned. He is yet another figure in modern music who treats the medium as the most precious gift, his talent as something too terribly important to squander on something meaningless or without any sense of personal purpose and his audience as being worthy of receiving the best he has to offer and not as soulless commodities.

2 sets. 3 hours. Mind BLOWN!!! I'm ready to take this trip again!!!!

WSPC SESSION NOTES FOR FEBRUARY 2014: HEALING

FROM THE DJs STUDIO DESK:

From its inception, Synesthesia has been conceived and designed to be a space that is solely celebratory about music--no "criticism" and definitely no bashing or self-congratulatory snark allowed whatsoever. While I have ensured that this site remain wholly positive, I have noticed a certain sense of melancholy that has pervaded itself into the proceedings to a degree.

Over the last three months, my opening "Session Notes" features have, by coincidence or intention, all featured some sort of eulogy, from commemorating the life and music of Lou Reed, to remembering the respective assassination and passing of both John Lennon and George Harrison and just last month, I paid tribute to Chicago's Larry Lujack, the very first DJ to open up the universe and mystery of radio to me and my soul. And now, with 2014 reaching its second month, I have felt that the year has begun, and seems to be continuing upon, a series of sad notes.

Just within the last two weeks, we have lost folk music icon Pete Seeger, and the surprise death of Philip Seymour Hoffman, a death which truly has me reeling as he was one of my most favorite actors. Much closer to home, I have been reading notices, through e-mails and from friends upon Facebook, about beloved family members, including pets, that have either been enduring serious health issues or, even more sadly, have passed away since the beginning of this year. And then, even for myself, there was the passing of my Grandmother near the end of last month and I have since returned to the "WSPC studios" from her funeral, at which I was a pallbearer just one week ago.

Mere moments after being informed of my Grandmother's passing, I wrote the following tribute to her on my Facebook page, words which my Mother requested that I read at her funeral, a request I most certainly honored:

"I was just informed by my Mom and my cousin Susan, that this morning at 10:42 a.m., my Grandmother Exzine Ryan, who had a massive stroke near the beginning of this month, passed away peacefully in Chicago. She was 93.

My Grandmother was as formidable as they come. With her husband and my Grandfather, Mr. Elihu Ryan, she fully raised not only their five children but also two of their grandchildren (Susan and her brother Adam), and played a powerfully guiding hand in the raising of other grandchildren and family members, including myself. My Grandmother was short in stature but she was tough and tireless...I swear that I do not think that I EVER saw her go to bed for the evening for she was ALWAYS working.

My Grandmother, above all else, was love itself. I have never known a person who just exuded the power and grace of love like she did. She was warmth. She was the greatest blessing made into a human being. In her later years, whenever I had the opportunity to visit her, she would always exclaim, "How sweet it is to be loved by you!!!!!"

No Grandmother...even now, I must offer a correction. How sweet it is to have been loved...SO COMPLETELY LOVED...by YOU!

I can't say goodbye to her for I have never known life without her...and as far as I am concerned, she is a part of EVERYTHING now, so there's no need to say goodbye. She will always be with me."

Immediately after writing this tribute, I played The Beatles' "Across The Universe," "Within You, Without You" and "The Long And Winding Road" and John Lennon's "Love" as musical tributes representing the sense of endless love my Grandmother was throughout the entirety of her life.

The lyric "limitless, undying love surrounds me like a million suns," from "Across The Universe" is particularly meaningful as I think those words describe what she was, is and will forever mean to me.

In addition to habitually announcing those classic Marvin Gaye lyrics to everyone who arrived at her doorstep in her final years, my Grandmother would also, always find herself announcing with equal exuberance, "What's love got to do with it?" Yet unlike the bitterness of the Tina Turner song, my Grandmother would shift the meaning to always invoke just how magnanimous and beautiful the power of love truly is.

During her funeral service, it did not surprise me to hear about her vast knowledge of church hymns (so much so that she habitually made requests of the choir to sing beloved selections, even in the period after she was physically unable to attend--incidentally, all requests were satisfied). Sitting in that pew, I laughed quietly to myself as I was transported back to some memories during my adolescence when I would listen to the syndicated radio program "The B.B. King Blues Hour" as I would get myself prepared for Sunday church services, a ritual that my Mother disapproved of as the juxtaposition of the songs and sounds of Saturday night troubles and Sunday morning spirituals clashed in her mind.

My Mother once told me of how much my Grandmother disapproved of blues music when my Mom was younger ("Turn that alley cat music OFF!" my Grandmother would apparently shout to my Mom and her brothers and sister). I never knew of any sense of musical disapproval as my frequent visits to my Grandparents' home was typically filled with all manner of music, which flowed so freely and without judgement.

One such visit sticks in my memory quite powerfully as it really illustrated to me the elusive and connective power of music to the soul. There was a time when I noticed that my Grandmother had fallen in love with a song that was a massive hit on AM radio. It was during the early Summer of 1979 when I was 10 years old and was still listening to WLS-AM with Larry Lujack daily. The song in question was "She Believes In Me" performed by Kenny Rogers (released April 16, 1979).

It was a song with a pretty melody that never, ever made much of an impressions upon me. It was the kind of song that would not ever make me turn the radio dial but it was also one to just sit through to get to something better. But, my impression towards the song was definitely altered when I saw the effect it had upon my Grandmother. I really didn't think that she paid much mind to whatever music was playing in her home but I was profoundly mistaken when I surprisingly heard her singing along with it one day. And of course, this being AM radio, with hit songs played over and again, Kenny Rogers' selection was no exception. For each day I spent at my Grandmother's home listening to WLS, whenever that song would play, my Grandmother would sing along, eventually arriving at the point where she would command me to raise the volume. And one time, after experiencing the full four minutes and eleven seconds all over again, my Grandmother looked at me, her face and possibly her spirit sated with pure content, and exhaled to me, "That is a beautiful song."

Despite those memories and emotions, I am certain by this point, you are all wondering exactly where I am headed with all of this. All I ask is that you remain patient because I do have a fixed point in mind. I wanted to turn your attention to a song written and performed by Tracey Thorn and Ben Watt, the duo otherwise and best known as Everything But The Girl.

The song is entitled "The Night I Heard Caruso Sing" and it can be found upon their album "Idlewild" (released April 1988). It is a mournful piano driven song, a quietly pensive selection sung by Watt and at this time, I wanted to focus upon a certain set of the lyrics.

"I've thought of having children, but I've gone and changed my mind
It's hard enough to watch the news, let alone explain it to a child
To cast your eye cross nature, over fields of rape and corn
And tell him without flinching not to fear where he's been born

Then someone sat me down last night and I heard Caruso sing
He's almost as good as Presley and if I only do one thing
I'll sing songs to my father, I'll sing songs to my child
It's time to hold your loved ones while the chains are loose"

I brought up this song and the lyrics in which the narrator references this crucial night as a point where perhaps a piece of music brought a sense of emotional balance in a precariously unbalanced world. I believe that music will always find us when we need it. We may not seek it. We may not even be looking for it. But somehow, it always seems to find us. In times of strife and emotional turbulence, I do often turn to music but yes, like you, I may not be looking for it but it finds me. It can be used as a momentary distraction from whatever confusion or pain we may be experiencing and it of course can also be used as a source of solace. But sometimes, music is able to provide us with an extreme precise source of counsel and healing in ways that may not be initially understandable but if our ears our open, perhaps we can receive whatever message music may be attempting to deliver.

When I listen to that song by Everything But The Girl, especially now as I have reached middle age, the words and messages contained therein carry a deeper significance than it did when I was 20 years old and first heard the song. For in a world with so much trauma and tragedy, it is also a world where the human voice in song can soothe the soul and remind us again of the importance of holding our closest even closer and maybe even find some way to return some beauty into the same world that gave us music itself.  At this time, with this pervading sadness that is feeling to be especially prevalent, I turn to this song, and really, any song that can possibly help to heal.

Today, I received more sad news from an acquaintance about an elderly family friend of hers who, just this week, is dealing with the death of her husband and is now hospitalized herself. Something sorrowful feels as if it is in the air, dear readers and listeners. Whether that is reality or perception, this DJ is urging all of you to try and keep your eyes, ears, and hearts open to those around you. To offer a kind word if possible. To treasure your families and friends even more than you already do. And if you have some music to share, then that is all the better, for that person just may be in a place where they really need to hear it.