Steely Dan / The Royal Scam (1976)

Royal Scam is like the middle child in the Steely Dan discography, a precocious adolescent record that is somewhat awkward in its nascence while offering tantalizing hints at the brilliance and sophistication that became the band's hallmarks. I don't listen to it nearly as often as its immediate predecessor Katy Lied or masterful successor Aja, but each time I do, I remember what I'm missing. Those might be two of my favorite albums, but Scam is an underappreciated gem hiding in the shadows of its bigger brothers. I think it unfairly suffers for sounding, perhaps, too similar to Katy Lied while not quite achieving the same level creamy sophistication that was captured on Aja. Indeed, many of the songs would fit in nicely with the set on Katy Lied, and if you were so inclined, a seamless resequencing of the two records isn't a far fetched idea. But regardless of Scam's lack of further groundbreaking in terms of stylistic appeal, if you like Steely Dan, then you should find plenty to sink your teeth into. Scam has all the characteristics I attribute to Becker and Fagen's work.

As per usual, no two songs sound alike, and each one features a core group enhanced by a veteran session man. These contributions provide a variety of aural textures that buoy the program. Whether they are anchoring the rhythm section or setting the front line on fire, you can always expect fireworks from the sidemen on a Steely Dan LP. On almost every track, I really enjoy the Chuck Rainey's solid and soulful bass playing, for instance, and prominent work by guitarist Larry Carlton imparts a dazzling and sometimes grainy feel that was missing among the fold of Katy Lied. (The scholars among us will note that Carlton did the guitar bit on Katy Lied's "Daddy Don't Live in That New York City No More.") You'll also note the work of Steely stalwarts Denny Dias, playing the first solo in "Green Earrings" and Elliott Randall, who does the second. Becker steps out from behind the glass and gives the solo on "The Fez." And while he only gets a single solo spot, Paul Griffin plays piano on "Sign In Stranger," an ascerbic poke at musician union cronies. It's easily is my favorite track and possibly the best solo on the record.

Of course, it wouldn't be Steely Dan if the lyrics didn't tell great stories (part fact, part fiction?) in entertaining and cryptic language colored by great one-liners. Right out of the gate, Fagen spins sly yarns about counterculture kingpins, the music business, coming of age, and the plights of stupid young lovers, with more than a dash of wry irony and humor. Musical styles bridge the territory between jazz, soul, blues, pop, disco, and full-out rock and roll. I suppose that is what the word "fusion" is for, but because it has acquired other connotations that do not apply to Steely Dan, I want to steer away from it. If you're having trouble decoding some of the lyrics or want to fully appreciate the juicy imagery employed by Fagen, then stop by and have a look at the Steely Dan Dictionary.  It's a user supported thing, so shoot them an email if you've got something to share. If that doesn't do it for you, then visit the Official Steely Dan Homepage FAQ -- which actually references the aforementioned SD Dictionary. I think you'll find the website is as entertaining as some of their liner notes. I've been listening to this record for a few hours now, and started my latest affair with it a few days ago. It's a rare thing when a record wears in to the equivocal point of a runner's high, providing more enjoyment on repeat listening, rather than less. There aren't many acts who can pull that off. As far as music goes, I love these guys. And I hope they don't ever stop. 

Frank Zappa - Waka/Jawaka (1972)

Waka/Jawaka is the conceptual follow-up to Hot Rats, the precocious middle child in the Hot Rats trilogy (Hot Rats, Waka/Jawaka and The Grand Wazoo). Although Waka is very enjoyable by itself, it’s a style in transition, a more complex offering that contains beginnings of the big band sound later featured on the Grand Wazoo while retaining only impressions of the hard rock grit from Hot Rats. The band, the structure of the compositions, and the instrumentation are all in development. Overall, it is a much better approximation of jazz-rock fusion than the heavy blues rock comprising most of the Hot Rats set. “Your Mouth” features a dose of the sarcasm you’d expect from Zappa, with a slinky melody and nice slide work by Tony Duran. But it’s the bookends that really light things up. Opener “Big Swifty” and closer “Waka/Jawaka” are two long jazz suites, a form that became Zappa’s favorite vehicle. These are tightly arranged but have the loose feel of a rock band in full flight. There are some awesome solos, too: Don Preston’s escapade on the Mini-Moog during “Waka/Jawaka” is as notorious as it is entertaining: upon hearing it, inventor Bob Moog supposedly remarked that such music was impossible on his instrument. Zappa’s electric guitar colors the entire album, sounding more accomplished here than on Hot Rats, always reminding listeners of the ‘rock’ half of the ‘jazz-rock’ recipe. It’s an enjoyable spin by itself, but is best heard in context with the other albums in the trilogy. I recommend taking an afternoon and listening to Hot Rats, Waka/Jawaka, and The Grand Wazoo, in that order. When you’re finished, listen to all three again. Afterward, you’ll understand what Zappa was cooking up. It isn’t pop music. It isn’t dance music or background music or music for parties, like other music from 1972. It’s music that rewards active listening because behind the fuzz bass and swirling Mini-Moog, there are ideas. The Ryko CD release was doctored up a little bit and sounds different than the original LP. In spite digital reverb applied to the final production, it still sounds nice.

Experiments in world fusion: Bill Frisell, Rabih Abou-Khalil, & Mahavishnu Orchestra

J.J. Johnson once remarked, "Jazz is restless. It won't stay put and it never will." It’s been this way since the beginning: the roots of jazz lay in a handful of musical traditions from Africa and Europe, as well as drawing on the blues, ragtime, and pop. Stylistic developments like bop, fusion, third stream, and soul jazz came about in a similar fashion, combining elements of other musics in the context of established jazz norms. World fusion, or cultural fusion, is a flexible subgenre that incorporates ethnic or non-Western musics into the construct of jazz music. It also works the other way around, and ethnic or non-Western musics which include jazz in their forays may be described by the term. If you like coffee, think of cultural fusion as a caffe americano or a long black. The ingredients are the same, hot water and espresso, but the order of their combination creates two entirely different beverages (although no one working at Starbucks seems to know the difference). Works of cultural fusion are no less stimulating than either of these drinks. If you’re looking to expand your listening horizons, try some of these exciting, genre bending titles.

Bill Frisell - The Intercontinentals (2003)

A look at the lineup explains why The Intercontinentals is a good title. Leader and guitarist Bill Frisell, violinist Jenny Scheinman and multiinstrumentalist Greg Leisz bring their experience in American jazz and roots music. Also present are Malian guitarist and percussionist Sidikki Camara, Brazilian guitarist Vinicius Cantuaria, and Macedonian vocalist and oud player Christos Govetas. The melodies are smokey and mysterious, peppered by contributions of the players who reinvent the blues with improvisations of exciting texture and instrumentation. Listening feels like a midnight drive through an eerily familiar landscape and while you know the point of departure, the destination is uncertain. As the album meanders it stays accessible, deliciously soaked in reverb and governed by strong musicality. It relies on the players for its charm, but the focus is removed from any one solo voice and placed on group interplay, creating an interwoven tapestry that shimmers on the surface, unfolding to reveal new stylistic surprises.

Rabih Abou-Khalil – Bukra (1988)

Abou-Khalil is a Lebanese oud player whose work bridges the gap between American jazz, European classical, and traditional Arabic music. Teaming up with alto sax Sonny Fortune, bassist Glen Moore, and percussionists Ramesh Shotham and Glen Velez, Bukra departs immediately for new territories of cultural fusion. The opener “Fortune Seeker” inspires equally the hypnotic vision of a Bedouin caravan or dark nightclub. Don’t miss Fortune’s screaming, evocative introduction to “Kibbe,” or the sliding, pensive bass work by Moore on any track. Percussion plays a strong role in the course of each composition, but never dominates improvised sections. The album closes with some introspective and beautiful oud work by Abou-Khalil. The only downside to Bukra is that it ends too soon. 

 Mahavishnu Orchestra – Birds of Fire (1973)

After recording benchmark electric jazz-rock fusion with Miles Davis, John McLaughlin formed Mahavishnu Orchestra to bring his interests in jazz, funk, and Indian music to new heights. Birds of Fire is the second LP issued by the original lineup, and it best showcases the concepts the group was exploring. Furious energy, solos seamlessly divided between band members, and a melding of international influences in original compositions are the order of the day. Listen to “One Word” for the band’s ultimate statement, a 5-way musical argument of colliding meters and self-aggrandizing phrases. With this kind of energy, it’s no wonder the band broke up so soon. If Mahavishnu Orchestra was a bright star, then Birds of Fire was its supernova. A thing so brilliant simply couldn't last. If I had to pick, I'd take some of the later members of Mahavishnu over the players in this lineup, for instance, Stanley Clarke over Rick Laird (I know! Saying so is blasphemy). But it's a damned hard band to beat on any level, and one of the greatest lineups ever assembled for any type of music. It's no wonder that Birds of Fire became a crossover hit with rock audiences.