A friend of mine has asked me several times to write about what I felt was the most disappointing concert I’d ever been to. I’ve already mentioned a couple, Poco at the Shakespearean Theatre in Stratford, CT, mostly because of the horrendous acoustics, and the fourth Cream concert I went to in 1967-68 at the New Haven Arena, not a terrible show but it paled in comparison with the other three.
The most disappointing? I have to pair it with an outstanding one by the same artist, but there’s little doubt that Frank Zappa at the Waterbury Palace on Oct. 29, 1975 is the one. I know the exact date because of meticulous archiving of many of Zappa’s concert dates on the Internet.
Almost one year before on Nov. 28, 1974, I had seen Zappa at the same venue with a large band, which included Ruth Underwood, vibes, xylophone and marimba, George Duke, keyboards, Tom Fowler, bass, Bruce Fowler, trombone, Walt Fowler, trumpet, Ralph Humphrey, drums, Napoleon Murphy Brock, vocals and sax, and Frank on lead guitar and vocals, essentially the Roxy & Elsewhere band. There were a few other band members. I don’t recall who they were, but it was a large ensemble. Obviously expensive to travel with.
I had always been aware of Zappa and really liked some of his material from the ’60s. But when I was living and playing with the Aiardo brothers, Tony and Peter, in New Haven, from about 1973-75, they along with an outstanding drummer from Virginia, Peter Nowlin, whom we were working with, turned me on to Overnight Sensation. That album really turned my head around about Zappa. It was brilliant.
There are still a couple of tracks I might skip over at times when I give it a listen, but on the whole, this was Zappa hitting one of his many peaks. And his guitar playing was stunning. I didn’t realize he was that proficient.
Peter Nowlin and his girlfriend took me to that ’74 Palace show. We sat in the balcony, which weren’t bad seats at all. The perspective was very high and we were looking almost straight down on to the band, so we could see the depth of the stage and the band members really well. Continue reading Concerts Vol. 10: Zappa and Zappa
The setting was perfect for it. The Palace is a proscenium theater, with its newly reupholstered red velvet seats, in all its original ornate glory, particularly the design and decor of the ceiling,walls and balcony of the hall. The light show, projected from the back of the stage, provided stunning yet subtle atmospherics, and the band played a bluesy roots style of music with world and jazz shadings that put the emphasis on inprovisational playing, everything that turned the music and show business in general on its ear from about 1966 to 1969. Probably most important the audience sat and listened to the music for about 90 percent of the show, with the exception of several standing ovations and the encore, unlike the mindless standing throughout an entire concert you find at venues such as The Meadows and even the Oakdale Theater.