Suction Prints - (4:20)
Abba Zaba - (4:24)
When I See Mommy I Feel Like A Mummy - (6:02)
Evening Bell - (1:52)
Pachuco Cadaver - (4:57)
When It Blows Its Stacks - (7:28)
A Carrot Is As Close As A Rabbit Gets To A Diamond - (1:33)
Sugar 'N' Spikes - (2:18)
When Big Joan Sets Up - (2:44)
Dali's Car - (1:19)
Veteran's Day Poppy - (5:29)
Kandy Korn - (4:08)
Tropical Hot Dog Night - (5:22)
Line Up
Gary Lucas: guitar
Jesse Krakow: bass
Richard Dworkin: drums
Rob Henke: trumpet
Phillip Johnston: alto saxophone
Joe Fiedler: trombone
Dave Sewelson: baritone saxophone
Further information
A seven piece tribute band put together in 2001.
Led by alto sax player, arranger and conductor Phillip Johnston.
Their intention is to use Don's music as a starting
point for jazz and rock based improvisation.
One of their first appearances was on 9th February
2002 when they played as part of The Captain Beefheart Project at
the Knitting Factory in New York. Beefheart biographer, Mike Barnes,
was there reading extracts from his book and has this to say about
Fast 'n' Bulbous:-
"If anyone can get to see Fast ‘N Bulbous I
would recommend, nay insist, that you go and see them. What impressed
first and foremost is that the group are faithful to both the spirit
and form of the music. I’ve heard loads of Beefheart cover versions,
few of which have added anything to the material - most dilute it
and some musicians seem merely keen on fame-by-association. Whereas
groups and artists can cover the music of great songwriters and
do worthwhile versions, Beefheart’s music is such a personal art
form it rarely travels well. Fast ‘N Bulbous play it just right.
"For starters, they are all excellent, exploratory
musicians and cope with the structure of even the Trout Mask
songs with great aplomb; "Pachuco Cadaver" had all the obtuse correspondences
of instruments - and sudden time changes plucked from the ether
- down brilliantly. The guitar and bass parts were spot on and only
an ultra nerd/pedant would criticise the drummer for not playing
John French’s parts exactly beat-for-beat. Anyway that wasn’t the
point he got under the skin of the rhythm in a freewheeling, French-ian
style and hit all the cues spot on. Meanwhile, Gary has obviously
done his homework and got all the knuckle-busting chords down, and
the bass player is a dextrous monster. I’m not surprised the crowd
were baying in between the pieces.
"Composer, arranger and alto saxophonist Philip
Johnston is the guy who initially hatched the idea and has written
some extraordinary horn charts. He has circumvented the thorny problem
of getting a singer by having a cooking horn section which can play
in super-tight harmony to bring out the melodies, without having
to go for a faux-Beefheart growler like Freddie Wadling (featured
on the Swedish "Music Of Captain Beefheart
Live"). They formed a beautiful brass chorale throughout "Abba
Zaba" and when they all let rip on "Veteran’s Day Poppy", they almost
blew my wig off - they are great soloists. Similarly, the power
trio reading of "Click Clack/Ice Cream For Crow" was a blast: aggressive
and improvisatory but without a whiff of self-indulgence. The drummer
got all the inside-out rhythms, while Gary's slide playing was fearsome.
And "Suction Prints" was right up there with the original Magic
Band version.
"I chatted to Philip Johnston before the show
and he mentioned that he was working on scoring "Dali’s Car" for
four horns. That sounds great on (black ants crawling across white)
paper and I’ve no doubt it will be great to hear. He’s working on
doing some "Decals" stuff too. This might all sound gushing, but
I’m actually trying to play it down. The group’s big, physical yet
intricate sound was a joy to hear for both the Beefheartophile and,
I’m sure, for the merely curious. I was expecting it to be good
but my expectations were surpassed in grand style. Who knows…. maybe
even Don would have liked it. "