Make a Jazz Noise Here

Personnel: Frank Zappa (vocals, guitar, synthesizers); Ike Willis, Mike Keneally (guitar, synthesizers); Kurt McGettrick (contrabass clarinet, baritone saxophone); Paul Carman (soprano, alto & baritone saxophones); Albert Wing (tenor saxophone); Walt Fowler (trumpet, flugelhorn); Bruce Fowler (trombone); Bobby Martin (keyboards); Scott Thunes (Mini-Moog synthesizer, bass); Ed Mann (vibraphone, marimba, percussion); Chad Wackerman (drums, percussion).
Personnel: Frank Zappa (vocals, guitar, synthesizer); Bobby Martin (vocals, keyboards); Ike Willis, Mike Keneally (vocals, synthesizer); Kurt McGettrick (contrabass clarinet, baritone saxophone); Paul Carman (soprano saxophone, alto saxophone, baritone saxophone); Albert Wing (tenor saxophone); Walt Fowler (trumpet, flugelhorn, synthesizer); Bruce Fowler (trombone); Scott Thunes (mini-Moog synthesizer, electric bass); Ed Mann (vibraphone, marimba, electronic percussion); Chad Wackerman (drums, electronic percussion).
Recording information: Allentown, PA; Boston, MA; Brighton, England; Burlington, VT; Cleveland, OH; Firenze, Italy; Linz, Austria; London, England; Lund, Sweden; Mannheim, Germany; Modena, Italy; Munich, Germany; Philadelphia, PA; Pittsburgh, PA; Poughkeepsie, NY; Rome, Italy; Rotterdam, The Netherlands; Seville, Spain; Springfield; Stuttgart, Germany; Vienna, Austria; Washington, D.C.
Editor: Frank Zappa.
Arranger: Frank Zappa.
The third collection from the infamous 1988 final world tour, MAKE A JAZZ NOISE HERE is easily one of Zappa's most challenging live recordings in his massive catalog. Comprised mostly of instrumental masterpieces ("King Kong," "T'Mershi Duween"), bizarre group improvisations ("When Yuppies Go To Hell") and a few comedic novelty songs ("Stevie's Spanking"), this two-disc set is a revealing look at one of Zappa's most accomplished (and largest) bands of his career. Also included are some unique (although short) quotes from Stravinsky's "L'Histoire Du Soldat" and Bartok's "Piano Concerto #3." What's more, this is a great illustration of how Zappa actually "played" the band. His use of sampled sound bites ("Fire And Chains") and electronically manipulated sound effects ("Star Wars Won't Work") along with his command of instant stylistic changes in mid-song ("The Black Page") gives us a picture of his immense tonal palette from which he created each performance. It is sad, however, that this was the last time the world would hear this brilliant artist in a live setting.