Category Archives: Steely Dan

Aja At 40: Welcome To The Land Of Steely Dan

Steely Dan’s 1977 album Aja was an album whose success has been based far more on its quality than its commercial potential. In 2010, it was even inducted by the Library of Congress into their United States National Recording Registry. It even won a Grammy in the the year of its release for being the best engineered non classical record of the year. For me, it represented the precision musicianship of the jazz funk era musicians who played on the album at some of their personal best. Also in 2010, I wrote a review on Amazon.com about the album and how I personally heard it.


Time has a way of testing a work of art that might be today’s masterpiece but tomorrow’s rubbish pile. One would probably find that not only would this album ace such a test with flying colors but could actually still be considered something of a yardstick of it’s kind. I am not sure but before this album very little music that qualified as jazz-funk,fusion or pop/jazz ever quite had the same level of all around success this one had in pop and rock circles and especially among pop radio listeners. There are a couple reasons for this.

For one the music featured here is a fully realized refinement on what was accomplished with The Royal Scam and unlike that albums more jagged moments both the production and arrangements on this album are clean as a whistle. For another thing none of that took away from the daring and adventurous flavors here. So you have this mixture of elegance,sophistication and a strong groove that only those really in the know about funk can provide.

The production of the Clavinet on “Black Cow” pretty much tell the story and some of the songs people don’t remember as well here such as “Home At Last” and “I Got The News” there’s some of the most intricate and uniquely textured piano work Donald Fagen had committed to record thus far and trust me: on that area he’d more than earned a few brownie points already. The title song has one of the most complex melodic constructions your liable to find in a pop record.

And of course it’s not easy to get Steve Gadd’s amazing fusion style drum solo at the songs conclusion out of one’s memory even after the passing of time. The popular hits from this album “Deacon Blues” and of course “Peg” showcase another surprising element of this album. Those familiar with Steely Dan before this album realize lyrically they tended to specialize in warped tales,usually of people no one wanted to know. These songs maintain their lyrical style but the tales they tell are a bit more accessible in tone and are among the more lighthearted and quaint in their catalog.

Yeah they were probably making a few funnies about the stereotypical simplicity of pop music lyrics but….a lot of it just is what it is and that’s kind of different for their usually double meaning approach. “Josie” ends the album on a similar note although the lyrics on that one may be just a tad slinkier and the groove just mildly edgier. At this point you could say this was Steely Dan’s best overall album and it’s certainly their best known.

But it’s also important to know their “laboratory in the studio” approach to recording across their previous two albums really opened the door for this to happen. So this was the conclusion to a long enduring musical experiment rather than something that came out of this air. That taken into considering the amazing thing about this is…..all these years later it still doesn’t sound like a product of hard labor.


Aja was an album that I first heard playing in my family’s car “boom box” when, as I recall, we were going to pick apples. Its an excellent example of a record where the melodic and very welcoming jazz/funk fusion grooves of the album deflect from Steely Dan’s typically cryptic and “insider commentary” based nature of their lyrical content. There’s a lot on the musical end of this album that I was able to project into a YouTube video I did about the album recently.  Aja is a record I could go on and on about here. But in the end, its best for the music to do the talking in this case.

 

 

 

Advertisements

2 Comments

Filed under Steely Dan

Anatomy of THE Groove: “Gaslighting Abbie” by Steely Dan

Steely Dan disbanded after the release of their 1980 album Gaucho. Walter Becker retired with his family to Maui. Donald Fagen released a very successful solo album in 1982 called The Nightfly, basically semi-autobiographic nostalgia that served as a musical followup to Gaucho to a degree.  Becker did occasional production work,in particular with the British group China Crisis in 1985. After some aborted sessions after working together with singer/model Rosie Vela in the late 80’s, the pair came together with Becker producing Fagen’s sophomore solo album Kamikiriad in 1993.

With that album being a positive experience, the two launched on their first live tour in roughly 20 years in 1995- for both Becker’s solo album 11 Tracks Of Wack and a box set containing remasters of all their studio albums Citizen Steely Dan. This prompted their first live album Alive In America. A couple of years later, Becker and Fagen were recording Steely Dan’s official follow up to Gaucho. In 2000, the album came out as Two Against Nature. Much to my surprise, it won album of the year at the 2001 Grammy awards. The opening song that got my instant attention is called “Gaslighting Abbie”.

Ricky Lawson’s hi hat heavy drums start off the groove with Fagen’s Fender Rhodes/ Clavinet and Becker’s high rhythm guitar playing a brittle call and response. Lawson’s drumming gets into that slow,funky beat-with Becker and Fagen’s Rhodes/rhythm guitar continuing for the refrains of the song. The B section and choruses takes the song across several chord progressions. On the second refrains, the horn charts quietly enter the mix. On the bridge, Dave Tofani plays an electrified sax solo before Becker takes a guitar solo. An extended refrain plays out with a sustain horn chart fading out the song.

“Gaslighting Abbie” basically picks up where the musical approach of Gaucho left off.  Rhythmically its structured as a strongly funk based composition. In terms of the notes,chords,harmonies and instrumentation however, the vibe of the song is highly jazzy. It establishes Steely Dan as perhaps being their own particular sub-genre of music as opposed to a group embracing many genres. Becker, Fagen the the players they work with fully understand the composition their dealing with here. And it made it a fresh and very familiar start to the first album of their early aughts comeback.

 

 

Leave a comment

Filed under Donald Fagen, Steely Dan, Walter Becker

Anatomy of THE Groove: “Glamour Profession” by Steely Dan

Steely Dan’s 1980 album Gaucho had its rough patches in terms of productions. Started only months after the release of their Aja album in 1977, there were some major issues that hampered the sessions. Two revolved around the now late Walter Becker. One had to do with his increasing drug problem. The other had to do with a traffic accident that sent Becker to the hospital. And into six months of recovery. Donald Fagen collaborated with him via phone during that time. The album finally came out just a little over three years after its predecessor-in November of 1980.

Even for all that and a number of legal battles over the album title from Keith Jarrett, Gaucho continued Steely Dan’s peak of musical excellent. It would be their final studio album for twenty years. And that was just fine for most people. It was one of the few newer albums my parents had in their record collection during my own early years. Most of my life, the song from it I was most familiar with was “Hey Nineteen”. By the time its followup Two Against Nature came out, I began to explore Gaucho even deeper. And that’s how I discovered what’s likely my favorite song on it called “Glamour Profession”.

Steve Gadd’s straight up dance beat sets the pace right away. Its accompanied by Fagen’s processed Fender Rhodes piano and Anthony Jackson’s counter melodic bass hump. Before the refrain comes in, Tom Scott’s Lyricon and Michael Brecker’s sax play a nighttime friendly horn chart. During the refrains and chorus, Steve Khan plays some bluesy jazz guitar riffs. He also gets time for a solo just before the vocal bridge of the song-where the song changes key for a bar or so. The song fades out on an extended instrumental refrain with Khan’s soloing taking precedence.

“Glamour Profession” is likely the coolest song (and only one as I recall) about a fading basketball player’s involvement in an elaborate drug deal I’ve ever heard. Donald Fagen’s lyrics are as poetically cryptic as usual. Its also an amazing “dazz” song-its disco jazz flavor enhanced by the jazzy chords of the guitar,bass and processed Rhodes part that define the song. The production and melody are the sonic equivilent of clear glossy lacquer. The sound is slick and slippery. Yet is also full of weight and texture. And surely one of Steely Dan’s many fine musical moments of their original run.

Leave a comment

Filed under Steely Dan

Steely Dan: The Early Years As A Duo-A Tribute To Walter Becker (1950-2017)

Steely Dan Early Years As A Duo

Steely Dan started life as a sextet that included musicians such as guitarists Denny Dias and Jeff “Skunk” Baxter. By 1975, group founders Donald Fagen and Walter Becker were on their own. And their sound took on a sleek jazz funk sound as such-bringing in more session players from that field. A lot of this had to do with the founding members lack of interest in touring. Yesterday I woke up to the news from my boyfriend Scott that Walter Becker had passed away at the age of 67. Considering the bands relationship in their years as a duo, this essentially marked the official end of Steely Dan.

At the suggestion of Henrique Hopkins, I decided to wait a day or two in terms of writing about Becker and his music. After all, another friend in Thomas Carley already was doing some wonderful writing on Walter Becker-both as a member of Steely Dan, a solo artist and producer for people such as Ricki Lee Jones,China Crisis,Rosie Vela,Michael Franks and Fra Lippo Lippi. Woke up this morning to read a Rolling Stone article by one Rob Sheffield about Becker. This article mainly focused on Becker’s more negative “rock star” qualities. So decided there had to be another way to present Steely Dan.

In all honesty, the gritty and…cryptically jazzy poetry of Steely Dan’s lyrics have never detracted from my love of their music. Nor did it define everything about them. Becker, who according to Sheffield had the most attitude of the Dan’s founders, managed to balance (along with Fagen) the sometimes very sarcastic and cynical lyrics of Steely Dan with a romantic (and even relaxing) choice of words and a sound often defined by an extensive use of the processed Fender Rhodes piano. So as tribute to Walter Becker, wanted to present my two Amazon.com reviews of their first two albums as a duo.


Katy Lied/1975

Originally Steely Dan was a band featuring people like Denny Dias and Jeff Baxter. By this time Donald Fagen and Walter Becker had grown weary of the road the decided to stop touring and concentrate on their studio craft which,they felt was their strongest suit. They also broke up the band and Steely Dan became them as a duo plus the studio session musicians they hired for the sessions.

Even so during this time Becker and Fagen were not entirely sure how their sound was going to evolve from this point on so not only was the music on this album fairly tentative but Donald Fagen detested the recording quality of the album to such a degree he issued an apology to record buyers on the back of the original sleeve and didn’t desire to listen to this.

Well it’s not really that bad an album but it does find them beginning to re-imagine their sound with very mixed results. “Black Friday” and “Chain Lighting” are two of the best remembered songs here and even though nothing on this fared too well commercially these songs embrace a slick blues/rock flavor that Steely Dan really hadn’t emphasized in their music too much and really never would to this extent again.

“Daddy Don’t Live In That New York City Anymore” again showcases the same idea only with somewhat of a jazzier funk edge to it. A lot of the songs here are rather spare jazzy pop such as “Bad Sneakers”,”Rose Darling”,”Doctor Wu”,”Any World” and “Everyone’s Gone To The Movies”. Here also you see them really putting even more emphasis on their twisted character plays in the lyrics and things are becoming so metaphorical in that respect some of their lyrics are more impenetrable.

A second part of “Your Gold Teeth” and “Throw Back The Little Ones” show a stronger indication of their future sound,even to an extent Aja in terms of the intricate and complex jazzy arrangements and tempos. The best way to describe this is as transitional. Most of it is still very much in the same musical zone as their first three albums with a full band. But as with any retooled musical concept it takes time to both maintain AND refine a musical style and that’s basically where this album stands for Steely Dan in the context of their career.

The Royal Scam/1976

To be said Katy Lied had it’s definate moments but without any doubt this has to be Steely Dan’s most creatively and musically satisfying since Countdown To Ecstasy several years earler. Musically however the music couldn’t me more different. By this time Becker and Fagan had settled firmly into the studio oriented ethic they were hoping for but didn’t fully achieve with the previous album.

And even though this never got the recognition that what came after it did this is really the pair and the studio aces they surrounded themselves with at last finding their sound. What they really found is the funk. Now Steely Dan had ALWAYS been funky but in terms of the technically demanding rhythms and harmonics of the music,which naturally suited Becker & Fagen’s style anyway this album really finds them dipping into that area more than anything.

This was actually one of the earliest Steely Dan albums I owned and it was deep in my “funk period” so it worked pretty well. Yes true this album does feature a lot more guitars;Becker himself,Larry Carlton,Denny Dias,Dean Parks and Elliot Randell are all featured throughout this album and that’s a pretty big guitar army for these guys. Interestingly enough the guitars are used in a very jazzy funk way throughout as more of a textural sound element overall than just as soloing noise makers.

That’s exactly the effect you get on four of the albums strongest (and uptempo) cuts in the sharp,aggressive yet elegant funk styling’s of “Kid Charlemagne”,”Don’t Take Me Alive”,”The Fez” and the almost Songs in the Key of Life-period Stevie Wonder sounding “Green Earrings”. The Clavinet’s and keyboards used on these songs really add to the harmonic style as well.

Lyrically most of these songs are Steely Dan at their darkest:songs about misdirected anti heroes,youth bombers and domestic unrest are among the themes explored here and the good part is their presented in a wonderfully poetic and intelligent manner. “The Caves Of Altamira”,”Sign In Stranger” and the title song are all elaborate mid tempo jazz-funk-fusion explorations that really look the most to their sound to come although the dynamics are a bit looser than they would be in the immediate future.

“Everything You Did” and the lightly Caribbean flavored “Haitian Divorce” are closer to the breezy jazz-pop of the earlier Steely Dan but again produced very differently. Officially bidding farewell to their earlier band based sound this album finds Dan firmly on the way to Aja and if you listen to this album thoroughly you’ll realize that album was really the logical follow up.


These reviews were written seven years ago, right in between Fagen’s 2012 solo album Sunken Condos and what turned out to be Becker’s final solo release in 2008’s Circus Money. Becker and Fagen were always musical perfectionists. Both in terms of instrumentation and production. But with Katy Lied and The Royal Scam, their relationships with Crusaders’ Wilton Felder and Larry Carlton along with the great session bassist Chuck Rainey took their precision to the next level. And represent the best way for me to remember Walter Becker’s contributions to the Steely Dan’s sound.

Leave a comment

Filed under Donald Fagen, Steely Dan, Walter Becker

Anatomy of THE Groove: “Time Out Of Mind” by Grover Washington Jr.

Grover Washington Jr. has often been referred to as one of the main progenitors of smooth jazz. This term extended from the softer toned end of 70’s and 80’s jazz/funk fusion. Grover always was a master of subtlety as a player. On the other hand,music production basically turned “smooth jazz” into a sub genre. And one that basically robbed the instrumentation of its vitality. Still,that music still reduced down to jazz/funk at its base. Especially when smooth jazz groups/soloists performed live. Towards the end of the 80’s,I tended to see Grover caught up in this musical conundrum.

When Grover passed away in 1996,I’d honestly started to forget about him. It wasn’t too long after that did I notice a new interest in his early to mid 70’s albums and songs such as “Mister Magic” and the first 70’s era Grover Washington Jr. song I heard “Lock It In The Pocket”. In  the years to come,I started to pay some more attention to Grover’s mid to late 80’s music that I’d tended to ignore whenever it showed up in record stores pre owned CD/vinyl bins. One such album was his 1989 release Time Out Of Mind. Never occurred to me until last night that the title song was a Steely Dan cover version.

A steady 4/4 dance beat on drums starts the song,accentuated by percussive congas. After this,the main keyboard line comes in on a ringing synthesizer. Accompanying that is a a gentle,bluesy guitar solo playing what was originally Walter Becker’s guitar line. Grover himself plays Donald Fagen’s lead vocal part on sax-adding many lyrical touches. On the choruses,he’s joined by a group of female backup singers. After a couple repeat plays of the songs bridge,Grover’s improvisations on sax take over much of the last minute or two of the song before it fades out on the chorus.

Steely Dan’s songs were always ripe (and perhaps even designed) for interpretation by jazz instrumentalists. And this cover is a very good example. It has some of the milder production elements of smooth jazz that were just beginning to occur in the late 80’s and early 90’s. For example,the guitar and keyboard parts aren’t quite as brisk and crisp as they were on the original. On the other hand,the bluesy jazziness that defines the songs content is brought right to life by Grover’s soloing. And even the rhythm section backing it up. So it ends up being a quality example of Grover Washington Jr’s latter period.

Leave a comment

Filed under 1980's, blues funk, Donald Fagen, drums, Grover Washington Jr., jazz funk, percussion, Saxophone, smooth jazz, Steely Dan, synthesizer, Walter Becker

Anatomy of THE Groove: “Black Cow” by Ahmad Jamal

Ahmad Jamal-born Frederick Russell Jones in Pittsburgh,Pennsylvania is one of those musicians whom I’ve been discovering a lot about within the last several years. He came into prominence at a time when a lot of younger jazz players just coming up were looking for a stylistic alternative to the be-bop oriented sound all around them. Much like Miles Davis,Jamal was a major innovator of the “cool jazz” school of the mid/late 50’s. Miles even said that Ahmad Jamal’s light touch on piano had an enormous influence on his own playing style after his sister Dorothy introduced him to Jamal’s music for the first time.

My own personal exposure to Jamal’s music didn’t come through anything like cool jazz. It came through my father in one of his mid 1990’s “here’s a jazz version of that” turns. What he played me was a jazz-funk interpretation of Stevie Wonder’s “Superstition” by Jamal. Somehow after that,I kind of conceptualized Jamal as being a thoroughly jazz/funk based musician. When actually nothing could be further from the truth. That being said,the man did put his understated style to some sleek funk over the years. My friend Henrique introduced me to another interpretation from 1978 of Steely Dan’s “Black Cow”.

Ahmad Jamal plays every melody on this song on the Clavinet. The intro,much as on the original has that direct bassy sound-accompanied by light percussion. As the drums build in,Jamal’s Clavinet tone becomes much higher for the refrain and is accompanied by a heavy drum beat and powerful funk bass line improvising every melodic change. On the choruses,the lead vocals are handled by three backing singers-one of whom is Eloise Laws. As the song progresses,these backup singers vocalize their way around Jamal’s increasingly rolling Clavinet improvisations as the song fads out.

Ahmad Jamal really does this song justice here. And not by altering too much,but rather expanding on what’s there. He upped the tempo just a bit and made it more percussive-which is about all he really changed. Instrumentally this song is a massive jazz/funk showcase for it’s present and funk’s future. The Wrecking Crew’s Hal Blaine is responsible for the sizzling percussion while the rhythm section and vocals are arranged by future SOS Band mentor Sigidi Abdullah. In terms of a cool jazz veteran interpreting then contemporary funk smashes,Ahmad Jamal really had it locked down.

Leave a comment

Filed under 1970's, Ahmad Jamal, clavinet, cool jazz, Funk Bass, Hal Blaine, jazz funk, percussion, Sigidi Abdullah, Steely Dan

Anatomy of THE Groove: “On The Case” by Alphonso Johnson

Alphonso Johnson seems to me as a bassist whose contributions to the iconic fusion band Weather Report are rather under heralded. That could be because he was sandwiched in between their original bass player Miroslav Vitous and of course Jaco Pastorious. As a session man,he joined up with Billy Cobham on and off for many years. He also had stints back up Genesis/Phil Collins on multiple occasions as well playing on former LTD lead singer Jeffrey Osborne’s 1982 solo debut. The reason I personally tend to view Johnson as a rather obscure artist is because I only found out that he even had a solo career at all just under a decade ago. And have the feeling I may not be the only one.

One of the greatest things to happen in the post millennium internet age is the advent of two things: reissue record labels and YouTube. If it weren’t for those two things, this blog would be a lot different than it is. In 1976-1977 during his years with Cobham,Alphonso Johnson recorded three solo albums on the Epic label. These featured the backing of some of the major fusion instrumentalists of the time-all touched by the music of Alphonso in some kind of way. I have two on vinyl,since the CD versions were difficult to locate upon going out of print. Only his second album Moonshadows was something I was able to locate on CD. And one song that stood out on it for me was “On The Case”.

Alphonso starts off with a shuffling bass solo that has a bluesy,up-scaling melody that is very similar in tone to the electric piano solo on Steely Dan’s ” Black Friday”. Drummer Narada Michael Walden keeps that shuffle going while Dawilli Conga adds a counter melody on electric piano. Separated by progressive fusion bursts of intense drums, Alphonso’s solos expand along with the electric piano into fuzz toned psychedelia. On the second refrain,Lee Ritenour plays a mid toned rhythm guitar solo. This grows to a heavier intensity with the solo Lee takes on the third and final refrain of the song. Conga’s electric piano leads the shuffling rhythm to the songs fade out.

This particular song always stuck out to me with how much it finds the funk in the blues and the blues when it rocks. The rhythmic base of the song is in a strong groove-with Narada staying on the one primarily through the use of hi hat. And all of the musicians understanding of the jazz/rock fusion style comes out here as well. Alphonso’s funkiness on the bass gives it all a phat center that keeps the focus consistent.  I’ve started to realize that rock ‘n’ roll is often a far simpler musical form than it might like itself to be. Yet with the combination of jazz harmonies and electric funk within the fusion genre,songs like this found a great middle ground in which to rock up the funk.

 

 

Leave a comment

Filed under 1970's, Alphonso Johnson, bass guitar, Blues, Epic Records, jazz funk, jazz fusion, Lee Ritenour, Narada Michael Walden, Psychedelia, rock 'n' roll, Steely Dan, Uncategorized, YouTube

Anatomy of THE Groove: “Mama Coco” by Gino Vannelli

During the mid to late 1970’s, the Montreal native Gino Vannelli was Canada’s musical answer to Steely Dan basically. With a strongly grooving progressive jazz sound in tow, Gino and his keyboardist brother Joe had signed their group to Herb Alpert’s A&M Records about a decade into the labels inception. It was also time when new record labels were far more open to more creatively minded artists. So Gino and company were able to really stretch out in terms of making music that was both instrumentally meaningful and commercially successful.

I personally discovered Gino’s music about 8-9 years ago. And quite by accident, as it came from a music recommendation based on my own browsing habits on Amazon.com. It wasn’t long before I was ordering used copies of his 70’s albums on CD from there. One that made quite an impact on me was his third album from 1975 entitled Storm At Sunup. It was a concept album dealing with a male 20 something coming of age during the post 60’s sexual revolution. The second song on the album called “Mama Coco” was the one which really blew me away!

A metallic synthesizer bursts into a mix of Afro-funk percussion accompanied by electronics playing a classical opera melodic theme. It drives right into a righteous rhythm with round,burbling Moog bass and Fender Rhodes electric piano playing the songs bluesy melody. On the refrains,one of which features a deep vocalese on the talk box, the song suddenly goes into a swinging Brazilian jazz mode before returning to the original chorus. Another refrain hard rocking bridge with a screaming guitar and electric piano solo before ebbing out.

In terms of funk, this song covers all the bases beautifully. It has the blend of European classical and soulful modern electronics, the Afrocentric jazzy instrumental attitude as well as the progressive rock arrangements of the time. It’s a wonderful groove stew. Thematically Gino is wittily making a point about the exoticism black women can provide in the mind of a free and single young white men. Even pointing out to Mama Coco that he’s “just a male Caucasian/I’m virgin to your kind”. It’s one of many examples of fine funk Gino threw down in this era.

1 Comment

Filed under 1970's, Afro-Cuban rhythm, Afrocentrism, Amazon.com, bass synthesizer, Brazilian Jazz, Canada, concept albums, electric piano, Fender Rhodes, Gino Vannelli, Herb Alpert, jazz funk, Montreal, Moog, percussion, sexual revolution, Steely Dan, Uncategorized

Anatomy Of THE Groove for 5/8/2015: “Another Trippy Day” by Chicago

It’s been over a year since I first heard the song being discussed here. Chicago (once known as Chicago Transit Authority) have reveled in the musicality which made them one of the most popular and acclaimed bands of the 1970’s. Their channeling of melodic pop song craft along with progressive jazz and soul instrumentation has made them a model for many instrumentally inclined bands since their heyday.

In a similar manner to Earth Wind & Fire,with whom they toured about a decade ago now,and how are about to go on the road again with the Heart & Soul tour? Founding members such as trumpeter Lee Loughnane,trombonist James Pankow,sax and flute man Walter Parazaider along with the singer/songwriter Robert Lamm have continued to keep the band going with new members and studio albums every so often. “Another Trippy Day”,presented as a bonus song on last years Chicago Now-XXXVI,stood out for me personally as a shining example of why this band is still so incredibly vital musically.

A digital percussion sound opens the song before two round,spacey synthesizers play major/minor chords before the trumpet plays a bright and melodic solo. That’s when the the body of the song kicks in. It’s all about a a stomping, funkified beat. A bluesy sound slap bass accents each rhythmic exchange. All with that spacey synth,wah wah guitar and muted trumpet weaving in and out. On the choruses,all of these elements thicken up into melodic unison. A refrain starts out with an electronic symphony of synthesized sound before a full melodic horn chart,following by a pulsing drum,slap bass,synth duet before the chorus fades the song right out.

For me this song is an excellent example of cleanly produced,modern day West Coast style funky soul.  The song is defined by funk. That slow,stomping beat that has the average rhythm of the human walking pattern. Lamm takes this setting and lyrically explores the romanticism of the urban landscape-with allusions to “a hint of jazz and lovers embrace”. This song also evokes it’s strong California vibe that stands it’s own with the sassy and sweet jazz voicings of Becker/Fagen compositions with Steely Dan. And a welcomed jazzy pop/funk urban contemporary sound for the modern age.

Leave a comment

Filed under 2014, Chicago, Donald Fagen, Earth Wind & Fire, Funk, Funk Bass, James Pankow, Jazz-Funk, Lee Loughnane, Robert Lamm, slap bass, Steely Dan, synthesizer, trumpet, wah wah guitar, Walter Becker, Walter Parazaider, West Coast

Anatomy of THE Groove 3/20/2015: “You Gotta Love The Life” by Melissa Manchester

With now over four decades in the music business? Melissa Manchester has taken her soulfully theatrical wail of a voice and heavy melodicism as a songwriter from the singer/songwriter,blue eyed soul,new wave and synth pop genres of music. Since she comes from the pop music scene,having had her biggest hit album produced by one time Marvin Gaye producer and fine singer/songwriter in his own right Leon Ware? It’s no surprise that through it all,Manchester would maintain a strong jazziness about her sound as well.

After a decade as an adjunct professor at the USC Thornton musical school,Manchester was encouraged by some of her students to independently raise money for a new album she wanted to record. The album was released in February of 2015 along with a series of club dates to promote it,including a guest appearance on Tavis Smiley’s talk show on PBS. Including a bevy of powerful guests,including the the late Joe Sample,Bronx native Manchester’s title song to her brand new album You Gotta Love The Life really bought her back with a serious musical bang!

Starting off with a persistent kick drum from Mister Abraham Laboriel,the horn section of Tom Evans.Steve Baxter and arranger/trumpet/flugelhorn player Lee Thornburg make a serious rapid fire funky horn proclamation before a groove assisted ably by the bluesy piano of John Proulax,Hammond organ player Steve Welch-all led along by the percussion of Lenny Castro on a pumping dance floor friendly jazzy funk rhythm. On the bridge the rhythm,the piano breaks down to a cymbal based beat after which guitarist Peter Hume takes a fiery jazz/rock solo. After this Manchester’s toughly vocalized chorus kicks right back in and stays there until it comes right into the end with the songs title frankly sung.

With a guest of crackerjack musicians along with backup singers Vangie Gunn and Susan Holder? This song is of the sort that most professional musicians would want to begin their album with. The melody is bold,the rhythm is righteous and the band are absolutely on fire along with the performance of Manchester herself. She sings about devotion to the love of creating and performing music,even through all of the outside struggles that are put upon artists. Stating in the end that it’s all worthwhile since “you’ve gotta love the life”. The uptempo,hard horn packed jazzy funk vibe and the style of choruses,instrumental harmonies and rhythms are also right out of the Crusaders/Stuff/Steely Dan school as well-which also helps matters for the lover of a good groove. An excellent way for Melissa Manchester to launch her comeback album!

Leave a comment

Filed under Abraham Laboriel, Bronx, Jazz, Jazz-Funk, Joe Sample, John Proulax, Lee Thromburg, Lenny Castro, Leon Ware, Melissa Manchester, PBS, Steely Dan, Steve Baxter, Steve Welch, Stuff, Susan Holder, The Crusaders, Tom Evans, USC Thornton, Vangie Gunn