While the album Morph The Cat represented the end of Fagen’s musical trilogy, it was hardly an end. In fact Morph The Cat may represent the most productive stage in Fagen’s career. Fagen started recording Morph The Cat in 2004 shortly after the wind down from the Steely Dan world tour for Everything Must Go. The March 14, 2006 release of Morph The Cat
Steely Dan’s “Second Act” started in 1993 and shows no sign of ending. Though in 20 years it’s produced two Steely Dan album, it’s also include 5 Walter Becker and Donald Fagen solo album. It’s also seen the emergence of Walter Becker as a respected producer of jazz artist
Evanston, Illinois-based Chris Greene’s music always makes great road music, and Boundary Issues is no exception. Greene and his long-term band blend stunning new compositions like “Thunder Snow (written by piano player Damian Espinosa) and “The Crossover Appeal” (written by Greene) with daring and original interpretations of masterworks by Horace Silver (“Nico’s Dream”) and Kenny Kirkland (“Dienda”).
As we’ve covered earlier in the reviews of this album, there are a number of new players and even a new strategy represented by Two Against Nature. Not only do Becker and Fagen take the helm in the production
The best live albums offer something familiar along with something new. Unfortunately a number of live albums give you one or two studio recordings or dress up old ‘B” sides. Steely Dan’s Alive in America falls somewhere in the middle
I’ve always loved the six degrees of separation concept as it relates to my musical discoveries. The career of Joni Mitchell is a perfect example of that I didn’t discover Joni because of her much revered albums, Blue or Hejira.
I mentioned last week in my look back at Joni Mitchell’s album Wild Things Run Fast that it was her first album for Geffen Records and one which left a major impact on me. Mitchell’s subsequent release, 1985’s Dog Eat Dog was not only my first experience with the singer but left an even more lasting impact.
Joni Mitchell ended her tenure with Geffen Records with the lovely and understated Night Ride Home. The album is a stark contrast to its predecessor, 1988’s Caulk Mark In A Rainstorm, in many respects. The album leans heavily on Mitchell’s jazz guitar phrasings intertwine with coproducer Larry Klein’s 5 string bass.
Let me start off but stating the obvious. Vast talent does not equate to popularity. Fortunately in singer, songwriter and keyboardist Kiki Ebsen’s case, her vast talent has led to a string on elegant albums and respect of her musical contemporaries.
Did Fagen hit his high watermark with track number 4 on Morph The Cat? The song “Brite Nitegown” beats the listener over the head with Fagen’s rhythm stick. The writer producer/finally gets his drummer and bassist to work up a steamy sweat.
© Copyrights 2024 Preston M. Frazier. All Rights Reserved
