||||Mediocre Music Blog

Ed Palermo has been playing with his own Ed Palermo Big Band for over 30 years, recording original big band jazz music and more recently, three albums of his own arrangements of Frank Zappa’s music.  We caught up with Ed via email prior to his group’s performance at City Winery on August 24th in New York.

MMB: You’ve been a Zappa devotee for a very long time.  Was there a particular Zappa song or album that really got you into Frank’s music when you were younger?  How did you end up choosing to perform primarily Zappa songs instead of big band jazz standards?

EP: The first Zappa album I heard was Absolutely Free. At first, I just got a kick out of the humor aspect, but was VERY soon struck by the beauty of the intro to “Duke of Prunes”. Even now, I’m moved by that. Of course, it quickly devolves into what some might call a “joke song”, but like much of what Frank recorded at that time, the beauty of his music was obscured by funny lyrics and production.

But I would have to say that I REALLY fell in love with his music with the release of “We’re Only In It For The Money”. Songs like “Idiot Bastard Son” ran thru my brain constantly in my high school classes and while surfing.

When I put my big band together much later (in the late ’70′s) I was interested in learning the art of big band writing so I could make some money selling arrangements. The money didn’t come until many years later, but I fell in love with the sound, even though, truth be told, I was never a fan of big band music. I preferred smaller jazz groups. That said, I heard a recording of Charles Tolliver’s big band recording “IMPACT!” and it blew me away. To this day, I can’t drive while listening to it because I end up going 90 MPH. I decided then to put my own big band together to mainly play the songs I was writing at that time. It was never my intention or desire to do jazz standards, but eventually a few made its way into my repertoire. The bulk of my library was original compositions.

Even before Zappa died, I had arranged a few of his songs for my band, but when he died, I decided to do a whole show’s worth. It became a popular thing in New York, so we kept it going.

MMB: There seems to be renewed interest in Frank’s music, particularly because Frank’s son, Dweezil, has been performing his father’s music over the last few years on the Zappa Plays Zappa tours, which have attracted many younger fans who had never even heard of Zappa. Has this Zappa resurgence had any impact on your performances and recording?

EP: No. At least I don’t think so. We’ve been doing pretty well since way before Dweezil hit the road. Of course, we don’t get nearly the number of fans as Dweezil does. That’s to be expected. In comparison, my audience is a fraction of his, but for a relatively unknown guy like me, that’s still pretty good.

As far as this resurgence affecting my performances and recording, no, there’s been no change or impact on what I do.

MMB: The Zappa family, particularly Frank’s widow, Gail, have not been entirely friendly in recent years with bands playing Frank’s music live.  In particular, another tribute band, Project/Object, who had been touring for over 10 years without any issues, was forced to cancel shows. Have you had any interaction with Gail or other family members regarding your albums or live shows?

Yes, but lately, not so much. Gail is very protective of the legacy which is admirable, but the artists she gets mad at I find bewildering. I think she thinks that guys like me and Project/Object are making money on this thing. All of us are losing money on this thing. The only one who can make money on doing FZ’s music is Dweezil. I hope he’s making a ton. It’d be nice to hear that SOMEBODY is.

MMB: Zappa’s music, especially the music on his jazz-heavy albums, is notoriously difficult music to perform.  Which song was the most complex to arrange and play live? What has been your favorite Zappa song to perform?

EP: BE BOP TANGO is the hardest, which is why we never play it. We only played the ACTUAL version once I think. I eventually simplified the arrangement a bit so as not to spend HOURS eating up rehearsal time. Besides that song, MOGGIO is probably the hardest. That’s on our 2nd CD, Take Your Clothes Off When You Dance.

I think one of my favorites to perform is Waka Jawaka. That’s a hard question. Like naming your favorite Beatles song.

MMB: It’s always been difficult to perform consistently with a large group of musicians due to a myriad a factors from rehearsing to financing. Frank even had difficulty touring with his 20+ group during the short Grand Wazoo tour in the 70’s. How have you gone about playing big band music for such a long period of time? Are there any particular musicians that have been with the group since the beginning or for extended periods of time?

EP: The longest surviving member of the Ed Palermo Big Band is my pianist Bob Quaranta. 30 plus years. He wasn’t the very first pianist in the band, but pretty close. I thank my lucky stars every day that I met him. He has the hardest book in the band and plays everything perfect.

As for the longevity of that band, it goes like this: since its inception, I go a few years of writing feverishly and performing occasionally in clubs. I then burn out due to lack of an audience. About 6 months go by and I start missing it and the whole pattern repeats itself. That said, since I’ve been doing Zappa music, I haven’t burnt out YET. That’s because I finally have an audience.

MMB: You’ve grown up listening to some of the greatest music ever written.  Are there any artists today that have particularly caught your eye?

EP: Mainly jazz writers like Alan Ferber and Maria Schneider. Gary Morgan is a GREAT writer. Mike Keneally is probably the greatest  artist out there in my opinion.

MMB: In addition to be a composer, musician, and arranger, you are a music teacher at the Hoff/Barthelson Music School.  Do you introduce your students to Zappa’s music? If so, have you ever had to deal with overprotective parents who only know the negative connotations associated with the name Frank Zappa?

EP: Yes, I still teach at Hoff/Barthelson. I LOVE it. The best thing a musician can do to better his OWN game is to teach. At least, that’s what I’m finding.

I mainly teach music from the jazz tradition. I almost never arrange any Zappa for the student ensembles. I like to keep the worlds separate. I think it’s more important for them to learn traditional jazz in the early years. That way they can learn what we call “functional harmony” as opposed to the advanced insanity of writers like Zappa. Most of the kids know about my Zappa band, however, and even come to my shows. We just don’t do the music at school.

MMB: The Ed Palermo Big Band has been playing for over 30 years and is comprised of 16-plus members and rotating special guests. You had an electric violinist play with you at your last show at Iridium Jazz Club and she performed wonderfully on songs like “Fifty Fifty” for example. Who do you plan on performing with in your upcoming gigs? Are there any plans to expand to incorporate additional instruments? Do you have plans to return to writing original compositions in the future? Or additional Zappa tracks? More shows?

EP: No plans as yet [for additional instruments]. I’m just THRILLED with Katie Jacoby, the violinist you mentioned. My main focus now is our next CD which will be a double CD for the price of one. One disc Zappa, the other my original material.

Regarding live performances, we have the City Winery, Tuesday August 24th. The next one is not until October 13th at Iridium Jazz Club, then again there on  December 8thth.

Thanks again to Ed for taking the time out of his busy schedule for this interview.  If you missed our feature on the group last week with side by side streamers of both the Ed Palermo Big Band tracks and their corresponding Zappa originals, check it out here.

Be Sociable, Share!

•