Meet Walter Kolosky, author of “The Mahavishnu Orchestra Picture Book.” Walter has written three books about the Mahavishnu Orchestra and we’ discuss the history of John McLaughlin’s group.
To buy the iBook go to https://itunes.apple.com/us/book/maha…
To buy the Kindle Book go to https://www.amazon.com/Mahavishnu-Orc…
[VIDEO] Vinnie Colaiuta & Tal Wilkenfeld LIVE: ‘Pound for a Brown’, Zappa Plays Zappa, Saban Theater, Dec 11, 2015Posted: December 12, 2015
Legendary guitarist Jeff Beck and killer bassist Tal Wilkenfeld have performed this stunt (and variations on this stunt) many times on many tours, over the last few years, this is a good example. Regular readers may notice, we’ve posted Jeff/Tal duets before. (what concert is this, what city? The YouTube notes don’t say) This is not just a novelty, musically it’s fantastic. Jeff Beck is holding down the beat, on a single bass string, on the low end, with Wilkenfeld soloing on the high end, on the same fretboard. Is this complicated? Not really. But it’s musically better than it should be, if you listen closely, the stunt disappears.
Bonus: notice the time signature shift near the end, where Tal departs, Jeff maintaining the original time signature, without interrupting the momentum, still holding the groove. This pairing has been among the most most exciting in jazz fusion in the last ten years, thrilling jaded audiences, boosting the careers of each artist, and bringing some much-needed vitality and sexy fun to an increasingly obscure art form.
Marc Myers writes: As midlife-crisis songs go, Steely Dan’s “Deacon Blues” ranks among the most melodic and existential. Recorded for the album “Aja” in 1977, the song details the bored existence of a ground-down suburbanite and his romantic fantasy of life as a jazz saxophonist.
Written by Walter Becker and Donald Fagen in 1976, “Deacon Blues” was released in 1977 on Steely Dan’s album “Aja,” which in the fall reached No. 3 on Billboard’s album chart, where it remained for seven consecutive weeks. The song also was a hit single in early 1978.
With Steely Dan appearing in New York at the Beacon Theatre from Oct. 6-17, Mr. Fagen, Mr. Becker, guitarist Larry Carlton and saxophonists Tom Scott and Pete Christlieb recalled the writing, arranging and recording of the cult classic. Edited from interviews:
Donald Fagen: Walter and I wrote “Deacon Blues” in Malibu, Calif., when we lived out there. Walter would come over to my place and we’d sit at the piano. I had an idea for a chorus: If a college football team like the University of Alabama could have a grandiose name like the “Crimson Tide,” the nerds and losers should be entitled to a grandiose name as well.
Walter Becker: Donald had a house that sat on top of a sand dune with a small room with a piano. From the window, you could see the Pacific in between the other houses. “Crimson Tide” didn’t mean anything to us except the exaggerated grandiosity that’s bestowed on winners. “Deacon Blues” was the equivalent for the loser in our song.
Mr. Fagen: When Walter came over, we started on the music, then started filling in more lyrics to fit the story. At that time, there had been a lineman with the Los Angeles Rams and the San Diego Chargers, Deacon Jones. We weren’t serious football fans, but Deacon Jones’s name was in the news a lot in the 1960s and early ‘70s, and we liked how it sounded. It also had two syllables, which was convenient, like “Crimson.” The name had nothing to do with Wake Forest’s Demon Deacons or any other team with a losing record. The only Deacon I was familiar with in football at the time was Deacon Jones.
Mr. Becker: Unlike a lot of other pop songwriting teams, we worked on both the music and lyrics together. It’s not words and music separately, but a single flow of thought. There’s a lot of riffing back and forth, trying to top each other until we’re both happy with the result. We’ve always had a similar conception and sense of humor.
Mr. Fagen: Also, Walter and I both have jazz backgrounds, so our models are different than many pop songwriters. With “Deacon Blues,” as with many of our other songs, we conceived of the tune as more of a big-band arrangement, with different instrumental sections contributing a specific sound at different points. We developed “Deacon Blues” in layers: first came the rhythm tracks, then vocals and finally horns.
Many people have assumed the song is about a guy in the suburbs who ditches his life to become a musician. In truth, I’m not sure the guy actually achieves his dream. He might not even play the horn. It’s the fantasy life of a suburban guy from a certain subculture. Many of our songs are journalistic. But this one was more autobiographical, about our own dreams when we were growing up in different suburban communities—me in New Jersey and Walter in Westchester County.
Mr. Becker: The protagonist in “Deacon Blues” is a triple-L loser—an L-L-L Loser. It’s not so much about a guy who achieves his dream but about a broken dream of a broken man living a broken life.
Mr. Fagen: The concept of the “expanding man” that opens the song [“This is the day of the expanding man / That shape is my shade there where I used to stand”] may have been inspired by Alfred Bester’s “The Demolished Man.” Walter and I were major sci-fi fans. The guy in the song imagines himself ascending the levels of evolution, “expanding” his mind, his spiritual possibilities and his options in life.
Mr. Becker: His personal history didn’t look like much so we allowed him to explode and provided him with a map for some kind of future.
Mr. Fagen: Say a guy is living at home at his parents’ house in suburbia. One day, when he’s 31, he wakes up and decides he wants to change the way he struts his stuff.
Mr. Becker: Or he’s making a skylight for his room above the garage and when the hole is open he feels the vibes coming in and has an epiphany. Or he’s playing chess games against himself by making moves out of a book and cheating.
A mystical thing takes place and he’s suddenly aware of his surroundings and life, and starts thinking about his options. The “fine line” we use in the song [“So useless to ask me why / Throw a kiss and say goodbye / I’ll make it this time / I’m ready to cross that fine line”] is the dividing line between being a loser and winner, at least according to his own code. He’s obviously tried to cross it before, without success. Read the rest of this entry »