Sublime

The album opened up with a tribute to Dilla, “Dilltastic Vol Won(derful),” which sampled Slum Village.

creator of the Smithsonian Museum’s “Programs in Black Culture,” and one of the leading authorities on Black American music culture,

I want to show the specific ways that Coltrane the person and artist used his music, work, spiritual life, identity, and community to express, indeed practice, a conception of freedom that remains useful today.

In a chapter called “Egotism in Work and Art” he launches an extraordinary, racially tinged attack on jazz, “the clearest of all signs of our age’s deep-seated predilection for barbarism.”

at The Cry of Jazz and another film called Unheard Melodies, which showed how wind caused statues to

Alfred Newman used to say that you should always “keep your score paper and pen right near you, ’cause if you’re not up, God will take it down the street to (Henry) Mancini!”

The final selection, made by the Zappa office from albums supplied by Rhino employee Tom Brown, comprised, As An Am (New York, 1981), Live At The Ark (Boston, 1968), Freaks & Motherfuckers (New York, 1971), Unmitigated Audacity (Indiana, 1974), Any Way The Wind Blows