In the annals of rock history, few bands are more misunderstood than Steely Dan. Their lyrics are strange and complicated, and their chord progressions are closer to Miles Davis than they are to anyone else in the Rock and Hall of Fame. Perhaps this is best illustrated by the fact that the “Steely Dan Chord” is common terminology in jazz circles. Their fusion of rock, jazz, blues and funk has led to a legion of both hard-core fans and critics, and a wider audience of casual listeners most familiar with their handful of radio hits. The band – essentially songwriters Donald Fagen and Walter Becker – was a studio band and non-existent touring act in their heyday of the 1970s and early 1980s, but have become a perennial touring act in the past decade.
On their past two tours, Steely Dan has taken to performing themed concerts: either entire performances of classic albums such as the Royal Scam, Aja and Gaucho; or a "Dawn of the Dan" evening, featuring songs from their first three albums; or finally, a fan request night titled “Taking it to the Seats” night, a reference to former band member Michael McDonald, in which online voting determines the song selection. So when Steely Dan came to the Wang Center in Boston for a three-night run, I was thrilled to take in the “Taking it to the Seats” event. The Citi Performing Arts/Wang Center is an appropriate venue for the band at this point in their career, as the crowd tends to prefer sitting to dancing, even at their most spirited. Steely Dan offers a sophisticated sound, and the Wang Center provides a venue to match.
The danger of a fan voting night is that the set list doesn’t necessarily reflect the wants of the die-hard Dan fans. Fagen himself acknowledged that they were sick of performing “Rikki Don’t Lost that Number,” a sentiment to which I agree, and the inclusion of an original version of “Reelin in the Years” and “Do It Again” was expected, but uninspiring. That said, there were a few bones for the die-hards, including an opener of “Your Gold Teeth,” and “Godwacker,” from their most recent album Everything Must Go.
In its current form, Steely Dan features an 11-piece band in addition to Becker and Fagen. For a band notorious for interchanging dozens of studio musicians when making their Grammy winning albums, it is ironic that Steely Dan has become comfortable with a core group of musicians and allowing their band to play a featured role. Many songs benefited from extended solo sections and featurettes, while Becker and Fagen could sit back and enjoy the groove. Extended horn solos, guitar solos and piano solos also allowed the band to become exactly how Steely Dan billed the tour: Jazz-Rock Ambassadors to the Galaxy.
The drummer, Keith Carlock, was seated higher than the rest of the band and basked in his own light all evening, and it is clear Becker and Fagen are fully aware of the resource they have. It has long been rumored that all Steely Dan ever wanted was the perfect drum track, and that is exactly what Carlock provides. If my cell phone sets its time to satellites, then the satellites set their time to Keith Carlock. Guitarist John Herrington does an excellent job duplicating the sounds necessary for each song, but makes each solo his own. The four-piece horn section is one of the tightest horn sections ever assembled, with trombonist Jim Pugh a standout. The trombone is an under-appreciated instrument, but the Dan understands what others don’t: there is nothing like a good trombone.
What was most impressive is that a stage featuring thirteen different artists was still able to maintain the space and restraint necessary for such songs as “Time Out of Mind” and “Hey Nineteen.” Most rock trios and quartets never learn the lesson that the notes not played are as important as the notes played, and Steely Dan put on a master class.
The performance was excellent, but not without flaws. Fagen’s voice- never a strong suit to begin with, but perfectly suited to the dark sarcasm of Steely Dan- was strained at points, and required the three background vocalists to fill some gaps. Becker and Fagen seem to have lost a step, as Becker leaned against his amp for half the songs and Fagen flubbed some lyrics throughout the show. “Your Gold Teeth” started awkwardly, but hit its stride by the bridge. The bass could have been turned up a little, especially on tunes such as “Josie” and the James Brown cover “Papa Don’t Take No Mess.” It was nonetheless a night of excellent songwriting and musicianship, and other bands should take note. Steely Dan is a rare blend of originality, musicianship and songwriting, and they play to their strengths.
The theater was energetic all night, despite the mostly seated and overly inebriated Tommy Bahama crowd. The final two songs, “My Old School” and “Reelin’ In the Years,” brought everyone to their feet, and the encore of “Kid Charlemagne” kept it going, prompting Walter Becker to acknowledge that he loves playing in Boston. Whether or not it is true may never be known, but both Becker and Fagen have said more than once that the Boston Steely Dan fandom is the most dedicated. As a member of this group, I like to think that it is true. With any luck, Boston will be able to prove this reputation for years to come.
Steely Dan official site
Steely Dan US "Shuffle Diplomacy" dates
Oct 13 Las Vegas, NV The Palms
Oct 14 San Diego, CA Harrahs Rincon Casino
