Jean-Luc Ponty: King Kong

One oddity that crops up in the Zappa discography is an album credited to jazz violinist Jean-Luc Ponty. King Kong (subtitled “Jean-Luc Ponty Plays The Music Of Frank Zappa”) presents some familiar and not-so-familiar melodies in a modern jazz environment. Ponty had already appeared on Hot Rats, while Frank had been incorporating electric violin into the Mothers as well. The musicians are a cross between jazz cats and such Mothers as Ian Underwood and Art Tripp. The album’s also important to the history, as these were the sessions that introduced Frank to George Duke, who would go on to be a valuable contributor to the ‘70s version of the Mothers. Because of Frank’s involvement in the project, it can almost be seen as a cousin to Lumpy Gravy, without the dialogue, as a way to present himself as a serious composer. (In fact, several session musicians appear in the orchestras for both that album and this.)

The title track sounds much as it did on Uncle Meat, kicking right out of the gate, to the point where one might be surprised it’s not from a textbook Zappa album. George Duke’s electric piano fits right in, as he would for much of the decade. “Idiot Bastard Son” is a surprising choice, considering the original lyrics, but here the construction of the song shows off its musicality. “Twenty Small Cigars” makes its debut here, in a slow down-on-your-luck ramble that helps one find the melody on the Zappa version out soon. Frank himself appears to add some guitar to “How Would You Like To Have A Head Like That”—a Ponty composition despite the Zappa-worthy title.

“Music For Electric Violin And Low Budget Orchestra” runs for over 19 minutes, and would appear another in a line of attempts to combine some of his long-gestating classical works, “Pound For A Brown” and “Duke Of Prunes” being just two of the melodies familiar to fans, with a few trademark honks placed in the score. “America Drinks And Goes Home” presents the chaotic Absolutely Free track in a somewhat clearer frame, but just as nutty.

We don’t know what jazz aficionados feel about this album, but for the Zappa story it’s as notable a footnote as any of his other tangents, if only as a document of his quest for respect as a composer. Its rating below should therefore be taken well inside that context.

Jean-Luc Ponty King Kong (1970)—3