The Grand Wazoo
| The Grand Wazoo | |||||
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| Studio album by The Mothers | |||||
| Released | 27 November 1972 | ||||
| Recorded | Paramount Studios, Hollywood, April – May, 1972 | ||||
| Genre | Big band, jazz fusion, progressive rock | ||||
| Length | 37:00 | ||||
| Label | Bizarre/Reprise | ||||
| Producer | Frank Zappa | ||||
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| Singles from The Grand Wazoo | |||||
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| Allmusic |   |
The Grand Wazoo is a 1972 jazz fusion album by Frank Zappa and The Mothers. Composed and recorded during Zappa's period of convalescence following his assault in London, the album, along with its predecessor album, Waka/Jawaka (July 1972), represent Zappa's foray into big band fusion, the logical progression from Hot Rats (1969), which used a much smaller lineup. The album was the last release on Zappa's Bizarre Records label.
The instrumental makeup of The Grand Wazoo is big band. It was the third album released in a period where Zappa used a wheelchair and was unable to tour after being assaulted and pushed offstage into an orchestra pit during a London concert.The Grand Wazoo consisted largely of instrumental pieces, similar to three of Zappa's previous albums: Hot Rats (1969), Burnt Weeny Sandwich (1970), and Waka/Jawaka (July 1972).
In this same period in analog recording the number of tracks available was expanding. Hot Rats (1969) had been released a few years prior to The Grand Wazoo (1972) and was recorded on one of the first 16 track tape machines. It featured multiple tracks of clarinets, flutes, saxophones, piano and organ parts played by a single musician, Ian Underwood. At the time of the Grand Wazoo, the compositions were arranged for large ensembles which were conceived as studio recording vehicles, rather than live touring bands.
Zappa was also producer and principal composer for Jean-Luc Ponty's album King Kong (1970) during this period.
"Eat That Question" features George Duke's piano playing and the recording of the Fender Rhodes electric piano in a novel way. Most recordings of the instrument prior to "Eat That Question" were not of comparable sonic quality or production value as Duke's performance on the piece.
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