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King Kong: Jean-Luc Ponty Plays the Music of Frank Zappa : ウィキペディア英語版
King Kong: Jean-Luc Ponty Plays the Music of Frank Zappa

''King Kong: Jean-Luc Ponty Plays the Music of Frank Zappa'' (or simply ''King Kong'') is an album by French jazz fusion artist Jean-Luc Ponty first released in 1970 on Liberty Records' World Pacific Records subsidiary label and later released on Blue Note. The album contains numerous selections Zappa had previously recorded either with the Mothers of Invention or under his own name, including:
*"King Kong", originally included on the Mothers' 1969 album ''Uncle Meat''
*"Idiot Bastard Son", from the Mothers' 1968 album ''We're Only in It for the Money''
*"Twenty Small Cigars", from Zappa's 1970 album ''Chunga's Revenge''
*"America Drinks and Goes Home", from the Mothers' 1967 album ''Absolutely Free''
In addition, the track "Music For Electric Violin And Low Budget Orchestra" includes the themes from "Duke of Prunes", from ''Absolutely Free'', and "Pound for a Brown", from ''Uncle Meat''.〔http://www.globalia.net/donlope/fz/songs/Music_For_Low_Budget_Orchestra.html〕 Zappa excised those themes, and everything that followed them, when he later recorded the piece himself under the title "Revised Music For Guitar And Low-Budget Orchestra", which was first released on his 1978 album ''Studio Tan''.
George Duke, who would eventually join Zappa and Ponty in the Mothers, is featured on piano on all tracks. Ernie Watts is featured on alto and tenor saxophone on all tracks except for "Music for Violin and Low Budget Orchestra". Zappa himself plays guitar on one selection, and Mothers members Ian Underwood (tenor sax) and Art Tripp (drums) contribute to the album as well.
==Reception==
Rolling Stone's Bob Palmer called it "one of the most rewarding and boundary-obliterating collaborations" and said "Zappa, donning his Jazz Composer - Arranger suit, emerges as a first-rate practitioner of the art: his previous lack of acceptance by the jazz community is probably due to the same bizarre touches that endear him to his younger audiences. Here he is reminiscent of Charles Mingus, not musically (except for the Mingus-like melody and violin-tenor voicing of "Twenty Small Cigars") but in the way he examines and finds new expressive possibilities in his earlier pieces, and combines them with new music that refers to wide areas of experience without centring in any one stylistic bag."〔Palmer, B., Rolling Stone, August 6, 1970, p.33〕

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