Funky Nothingness

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Hosted by Travers, the first episode went behind the scenes and captures the vinyl cutting process with Chris Bellman at Bernie Grundman Mastering, and the second episode includes a new conversation between Travers and Ian Underwood who discusses how he met Zappa and became one of his go-to musicians. Side one (presumably) ends with a lengthy workout of “I’m A Rollin’ Stone,” an old Lightnin’ Slim side. Over a slow, swampy groove, Zappa tears off some searing leads and jokes around: “Come in and make yourself comfortable… right over here by the Silvertone 45RPM imitation stereo record player,” his grin practically audible.

At this point, even the Frank Zappa faithful have reason to be wary of another vault bonbon: There’s been a steady stream of historical and live-performance releases, many of them interesting primarily to collectors. Zappa was restless and impossibly prolific, and the sheer volume of material runs the risk of diluting his legacy. Because, let’s be real, not every posthumous title adds substantially to the understanding of an artist and his work. Setting realistic expectations, it is thus important to go into any Funky listening session not expecting it to sound like Return of the Son of Hot Rats. In fact, Funky Nothingness is its own thing betwixt and between, as Zappa was exploring new sounds for what would ultimately lead to the next incarnation of The Mothers of Invention.

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Funky Nothingness was produced and assembled by Ahmet Zappa (Frank’s son) and Zappa historian Joe Travers. “It’s very rare to find that amount of music from one set of sessions that has gone unheard for such a long period of time,” Travers notedin a press release. And then, in the middle of all this output, Zappa assembled another band and carved out time for something that might seem curiously extra: jamming. Funky Nothingness, as an album, is special in that it features at least three written compositions, three cover versions and multiple instrumental jam-oriented segments, all previously unreleased,” Travers explains. “It’s very rare to find that amount of music from one set of sessions that has gone unheard for such a long period of time.” Another awe-inspiring jam is “ Tommy/Vincent Duo II,” showcasing the magic between Zappa and Dunbar in their earliest days together. An unedited version, which stretches to nearly 22 minutes long, appears on Disc 3. Travers writes, “By 1970, Frank had worked with some great drummers between The Mothers and the L.A. studio scene…[but] Aynsley took things to another level. It’s easy to understand how Frank would be excited to see where their chemistry would take them musically. Here is audio proof.”

Grammy Nominated Latin Pop Singer-Songwriter Pablo Alborán To Bring His ‘Tour La Cu4rta Hoja’ To The U.S. In 2024 Another awe-inspiring jam is Tommy/Vincent Duo II, showcasing the magic between Zappa and Dunbar in their earliest days together. An unedited version, which stretches to nearly 22 minutes long, appears on Disc 3. Travers writes, “By 1970, Frank had worked with some great drummers between The Mothers and the L.A. studio scene… (but) Aynsley took things to another level. It’s easy to understand how Frank would be excited to see where their chemistry would take them musically. Here is audio proof.” Reed, Ryan (June 30, 2023). "Frank Zappa's Funky Nothingness Is Full of Meandering, Revelatory Jams". Spin.An interesting treat is an alternate version of “Work With Me Annie/Annie Had A Baby.” A song Zappa never really finished in the studio, this one is newly compiled from various takes and edited together for a fully-formed take. Is that messing with the gospel? I don’t think so – it’s a more engaging listen than hearing all the incomplete takes in a row. Zappa/Hot Rats ’70: Session Masters & Bonus Nothingness” spans the second and third discs. Among these outtakes, alternate edits, unreleased masters of songs from the period, and improvisational recordings is “Tommy/Vincent Duo III (Unedited Master),” which finds Zappa and Dunbar squaring off on nearly 22 minutes of guitar/drum improvisation. With this welcome offering of three and a half hours of unheard studio Zappa that follows one of his most celebrated albums, one can’t help but wonder what else might eventually escape from the Zappa vault. ( www.zappa.com)