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.
The late Karen Carpenter and her brother Richard dominated the early 70’s pop charts and radio. And were a duo who helped define what we now know as the easy listening sub genre. As such,The Carpenters are still only very loosely considered to be a rock act. And would likely be exhibit A for “devoid of funk” to the ears of many. That is…not entirely true on the last part. As instrumentalists, Karen especially came out of being a jazz drummer. She loved classic Motown too. While at first not always evident,Karen Carpenter’s love of rhythm proved very significant for The Carpenters a bit later on.
By 1977,Karen’s anorexia and Richard’s prescription drug addiction kept them from being too musically involved. This happening at a time when both desired to mature as artists and change up their sound. The result was the 1977 album Passage. Not only did it contain no drumming from Karen,but no songs written by Richard either. The duo produced the album with a variety of contemporary jazz songwriters and musicians. The hit they had was a version of Klaatu’s “Calling Occupants (Of Interplanetary Craft)” But the song that really got me here was the Michael Franks composed opener “B’wana She No Home”.
Ron Tutt’s bossa/calypso drumming (with Tommy Vig and Jerry Steinholtz on percussion and congas),Joe Osborn’s slinky and flamboyant bass line along with Peter Jolly’s piano make up the intro and refrain of the song-along with Tony Peluso’s bluesy electric guitar. On the choruses,this guitar gets more fuzz filtered. Tom Scott joins in with his sax breaks on the second refrain. He also solos twice in the song. Once on the bridge playing a flute solo. And then,after Karen’s final chorus of the song,he plays a bop styled improvised sax solo as the song fades out.
One of the best things about “B’wana She No Home” is that its the bluesy Calypso jazz/funk vibe Michael Franks set up in his composition brings out another side of Karen Carpenter vocally. Rather than being in her usual reflective and somewhat sad vocal mood, she gave this song the female equivilant of Frank’s sensual and amorous vocal delivery. Even though the Carpenters who not as creatively involved in this song as they normally were,it set up the more soul/disco influence Karen Carpenter solo material recorded a couple of years later. And the more soul/pop based music of their final albums together.
Tom Scott and the band T-Connection are two artists whom I’ve never discussed. Scott himself is turning 68 today-another musician who shares a birthday with yours truly. Both of us have played alto sax. Difference is Scott made a very successful career out of it,and I did the same with photography and music blogging. He was most famous as the funkiest side of the 70’s TV theme song genre such as Starskey & Hutch and The Streets Of San Francisco. Not to mention he and his band LA Express backing artists such as Joni Mitchell as they transitioned to a more jazz and soul oriented sound.
T-Connection meanwhile were a disco era funk band hailing out of Nassau,Bahamas. They truly lived up to the phrase “funky Nassau” in terms of bringing a thick,phat funk bottom to uptempo music during the height of the four on the floor beat era. The first such song I ever heard by them was titled after them and truly embodied that spirit. Just a couple hours ago, I was at the local record store Bull Moose and saw a pre-owned vinyl copy of their 1983 album The Game Of Life. It turns out Tom Scott participated in one groove from the album called “I’ve Got Good News For You”.
The song starts out with a bluesy processed Fender Rhodes before the cymbal heavy,fast drum shuffle kicks in. This is accompanied by a liquid boogie funk rhythm guitar and jazzy funk bass line. This encompasses the choruses of the songs. On the refrains,the melody and the stop/start drums enter deep into the Afro-Latin rhythmic clave-in a manner similar to the Jacksons’ “Shake Your Body (Down To The Ground”. Interludes between the two sections of the song showcases some brittle synth brass. Whereas the Rhodes and Tom Scott (on alto sax) improvise on the chorus as the song closes out.
One thing I’ll say for Tom Scott is that,when he wasn’t recording as a bandleader or solo performer,he had his high session credentials. And even though a good chunk of his solo material is funky as you wanna be,he was such a key part of the LA musician scene that it seemed appropriate to celebrate him blowing some funky sax with another group known for their funky music. Session playing allowed musicians to explore different sides of their creative personality. And Tom Scott had a long history of bringing his grooves into the many different tributaries of funk music.
Filed under 1980's, Boogie Funk, clave, drums, Fender Rhodes, Funk Bass, Los Angeles, Nassau, rhythm guitar, Saxophone, session musicians, synth brass, T-Connection, Uncategorized
One of the key musical inspirations that led to the creation of my music blogs was the discovery of The Sylvers. For a teenager seeking to bring the world of Star Trek and other thoughtful science fiction into reality,the fascination with the cosmic funk of Earth Wind & Fire and P-Funk held a special meaning. An often referenced story of my musical back round is that 1994 vinyl giveaway at the University of Maine. It’s where I discovered a very beat up copy of The Sylvers 1977 New Horizons album. Never heard anything about this group before,save for that they seemed to resemble the Jacksons. Only with the women in the family on board. And the album contained the extra goodie of a fan club order sheet.
The cover art showing the seven member group dancing on a spaceship shaped like their own logo was designed by Japanese illustrator Shusei Nagaoka. He had a strong back round in funk album jacket design with his work for Earth Wind & Fire, Rose Royce, Sun and George Clinton. This was a very special album for the band. It was for them what Destiny would be for the Jacksons’ a year later. All of the band members got a chance to write and produce. And Leon Sylvers III really showed his growth in this regard. The bands adult oriented funk,soul and disco oriented sound culminated for me at the end of the album with a song entitled “Star Fire”.
A peddling cymbal/hi hat solo accompanied by a high spacey synthesizer opens the song. Then the rhythm guitar kicks,along with Leon’s crunching bass and the ascending strings. The main body of the groove consists of all of these elements,plus many more. A percussive main beat keeps the rhythm hot during the refrains of the song,as the strings play melodic call and response with the bass/guitar interaction. On the choruses the horns lead into the Sylvers harmony vocals. There are two separate bridges. One continues the call and response between the strings,bass and guitar. The other features the spacey synth. This last one closes out the song with a bluesy muted trumpet solo.
Listening to this song in the context of what else I’ve heard of the Sylvers music,this is very likely the strongest jazz-funk tune they ever made. And very likely the only one. It has the harmonic feeling of swing and hard bop with the rhythmic crunch of heavy late 70’s dance funk. The presence of jazz-funk session players such as Richard Tee,Steve Gadd and Tom Scott on this song really adds instrumental might to the Sylvers’ growing abilities as composers,producers and musicians. Each time I hear this,it really brings out just how musically strong this musical family became under such strong instrumental tutelage-both during and before the time this particular song came out.
Filed under 1970's, drums, Funk Bass, horns, jazz funk, Leon Sylvers III, rhythm guitar, Richard Tee, Shusei Nagaoka, space funk, Steve Gadd, strings, synthesizer, The Sylvers, Tom Scott, trumpet, Uncategorized