Zappa/Erie centers itself geographically, spiritually, and not surprisingly, around the Erie, Pennsylvania region; containing six discs covering two 1974 shows in the area, plus a performance from ‘76, and filled-in with bonus tracks from other locales within the relevant timeframe.  Like any Frank Zappa archival live release- and in recent years there have been many- the band’s lineup is the keystone to the tenor and vibe of the music, as much as the repertoire itself.  Though only two years apart, ’74 and ’76 hold distinct and notable differences in the Zappa story, united, as always, by the avant-garde composer’s willful flair for memorable concerts.

Even the assembled musicians on the two 1974 shows in PA- a May stop followed by a November appearance- are of slightly different configurations.  As Zappa’s work was, by design, reliant on both the acumen of the players handling the complex parts as well as the improvisational strength to shoulder the solos, any alteration to an ensemble prompted ripples ripe for compare-and-contrast.  The May 8th show at Edinboro State College was a virtuosic exercise in funk ‘n’ groove; Tom Fowler’s spotless bass-playing, and the dual drummer propulsion from Ralph Humphrey and Chester Thompson are so infectious and magnetic, it’s easy to get lost in those three, alone. 

That is, until Napoleon Murphy Brock enters on sax or flute, or unleashes his charismatic vocal.  Or Fowler brother, Bruce, slides in on trombone.  Or keyboardist George Duke mainlines the smiles with several dexterous, almost irresistibly ecstatic runs, as he does fantastically on the spry and ebullient bop of “Camarillo Brillo.”  Zappa, too, gets in on the fun, playing guitar as bell-bottom funky as ever as the unit exacts its joyful supremacy over the jams.

The November show is less a bookend, and more an outlier as Zappa battles the flu and an audience bent on chaos.  The band is similar, if smaller; adding stellar percussionist Ruth Underwood, but reduced to a sextet that includes Murphy Brock as the lone horn man; Duke, the only keyboardist; Thompson, the sole drummer; and just Zappa on guitar.  Expectedly, the approach is more concentrated, and at times, quite reactive to the unruly throng at Gannon Auditorium, prompting a take on “Montana” that doubles as a sedative, and a woozy “More Trouble Every Day;” two of the terrific set’s more exceptional moments.

The final two of the multi-disc collection come courtesy of a 1976 show from Erie County Fieldhouse, from a revamped group, slimmed down, and the brief tenure of vocalist and keyboardist Lady Bianca.  The setlist, too, is mostly changed and with a tighter and (for Zappa) slightly more conventional feel.  And while nothing yet eclipses Eddie Jobson’s shine on “Black Napkins” from the expanded, previously issued set of Zappa in New York during that same year, the two versions of the instrumental included here are standouts, both achingly beautiful; Jobson’s ethereal violin complimented uniquely by Bianca’s sacred soul.

It must be something special to be Joe Travers- the Vaultmeister of Zappa’s archives, who contributes a liner note essay to the Erie booklet- pulling off the shelf aging, yellowing cardboard boxes simply marked “Erie,” loading the analog tapes onto the machine, and pushing play; discovering, as now everyone can, another bounty of gems.