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SUNDRY REPLIES, THE CONCLUSIONS OF PRETZEL LOGIC & ANALYSIS STAFF ABOUT A POSSIBLE “GREATER BRUCEDOM,” AND A HUMBLE CHRISTMAS GIFT SUGGESTION FOR AFICIONADOS OF DIAS THE BEBOPPER

With regard to exhortations, enquiries, entreaties and ever-so-slight nagging contained in the two fairly recent posts of the Anima ‘Jersey (Michelle, 10-29-02 – 19:54:09, 19:50:10): I certainly do appreciate your posts and will respond to each fully, leaving no stone unturned. I have serious reasons for taking so long between my posts, rather than responding to each post promptly as you suggest. It is not because I am in any way indifferent to yours or anyone else’s posts; rather, I like to carefully think matters through and stew on them for a while. The longer I stew on these subjects, the more things come to mind. You know the old adage: “It changed. It grew.” Moreover, the thread of posts that respond to mine are usually separated by a few weeks, and I prefer to deal with them collectively. From an even longer-term perspective, however, I am only now getting around to replying, under the seemingly innocuous suggestion regarding a Christmas present, to a post by Cosmic WoW from way back in May of this year. Older posts admittedly fade in the readership’s memory, but at least I conveniently cite the date of their posting for archival references.

Along with Earl (10-30-02 – 08:03:24) and Hats’n’Hooters (10-30-02 – 20:46:26) you opined that my posts are very lengthy, and you added that my writing is “a bit tedious.” I plead no lo contendere . Worse still for advocates of more frequent (tastes great) and concise (less filling) posts, I adhere to the Three Pretzel Logic & Analysis Principles of Life: (1) never refer to anyone by their real name if you can use a nickname, or to your own if you can use a pseudonym; (2) never reply in five words when you can use 15, or ideally, 25; and (3) never do anything simply when you can make it a big production out of it. I won’t rule out a concise and prompt post in the future, but consider it a highly unlikely prospect at best.

In reply to your “What’s My Line?” you surmise that I “sound like a male.” As Jerome would say: “Defin’lly.” For it is so. Am I affiliated in any way with Steely Dan? No, I’m just a Danfan of humble birth and the most rustic origins trying to realize the American Dream in the splendid Mediterranean climate of the City by the Bay. Am I connected with Skunk or Dinky or either of them in disguise? Neither, although I have corresponded a couple of times with the latter and would be equally thrilled to write to the former, but he doesn’t have either a website or a solo album; and I am too unlearned in computer wizardry to hack into the Pentagon computer system to uncover his Star Wars Missile Defense System super-secret-password in order to initiate a correspondence.

I first read about Dinky Dawson in Brian Sweet’s book. Assuming he was a UK resident, I discovered Dinky is a Bostonian after reading in The SD Digest an account about a Boston ‘Danfest on the y2k tour. A subsequent discovery of his website and the Rykodisc Label website revealed that Dinky planned to release on CD a soundboard recording from each of the groups for which he has mixed live concerts throughout his distinguished career, including the 1974 line-up of Steely Dan. I simply couldn’t believe my eyes and fired off an e-mail with inquiries on the status of the potential ‘Dansterly concert project from ‘74. Dinky kindly replied that the 7/1/74 Seattle concert is the one he plans to release if he receives permission to do so from D&W. I also ordered his book “Life on the Road” primarily because it had a chapter on the ‘Dan, but also to honor and support his good intention to release a concert from the Pretzel Logic tour.

A potentially new 1974 SD concert CD? Another book with a ‘Dansterly chapter? To each query I exclaimed, as we Californians are wont: “Eureka!” My advocacy of the release of this concert treasure and my repeated entreaties to the Fandom to join that praiseworthy bandwagon has no motive or reward beyond seeing a professionally produced 1974 concert gem “out there” for everyone to have, including yours truly. That Dawson has authored a book with a chapter on the ‘Dan I felt should also be called to the everyone’s attention. I naively thought everyone else would share my enthusiasm, and so I couldn’t wait to shout the news about Dinky from the cybernetic rooftops. I am aghast at not only the motives cynically attributed to me by some but also the appalling apathy expressed by others regarding the possible Seattle concert release and another book about the ‘Dan. While I am sorely tempted to write a great deal more about this matter, my intuition counsels me to place my scathe back in its scabbard and reserve any remonstrating for another time.

I certainly appreciated your concurrence earlier this year with my public Appeal to D&W to authorize the release of some 1974 concert material. In response to the second half of your October 29 post, I personally think D&W’s overdubbing of so many live solos from the ‘93 and ‘94 tours that went into the production of the Alive in America CD borders on The Unconscionable. I recall in an interview with D&W that Donald said there were only a few minor overdubs here and there on A.I.A. and that the album was otherwise a faithful reproduction of the live performances. Even Walter could not stomach this remark in silence and said: “Oh, come on, Donald, you can do better than that.” If Dinky is authorized to release the 1974 Seattle concert, I’ve no doubt that he would produce it with the greatest possible TLC and would have absolutely no part any studio-overdub-thrashing of a live concert for which he was the sound engineer, and especially of a live Steely Dan concert. He wrote to me that the “feeling of greatness” emanating from the stage of Seattle’s Paramount Theater on 7/1/74 was “overwhelming” and that “every note gave you goosebumps.” My hope has been that the Fandom would clamor so loudly for this release that D&W would have to at last give Dinky the nod. Never say die. Anything’s possible. Even with D&W.

Howard aka Bruce from Pommyland : I appreciate your clarification that it was actually a certain “Norm” who first posted the assertion that “everyone is named Bruce, whether they know it or not.” (9-18-02 – 16:08:37) Please accept my apology for incorrectly attributing that statement to you. Nevertheless, I see you fully share Norm’s view and asserted that in fact there were “many Bruce’s who posted that day.” (10-30-02 - 08:19:18) Therefore, I consider that you and Norm are of one mind and soul, even as you are both, of course, aka Bruce . To my staff here at Pretzel Logic & Analysis I duly forwarded the internet site that you so kindly identified, http://www.rraz.co.uk/alexs/Python/MontyPython3.htm, which greatly helped to clarify the origin of the claim that everyone is so named. It brought a prompt conclusion to the staff’s painstaking genealogical research. While the staff members are now engaged in researching other Steely Dan subjects—the fruits of which are revealed in the latter half of this post—I want to provide you an account of the momentous final moments of their analysis of the possible “Greater Brucedom” to which you, Norm, and Steevedan alluded back in September.

Shortly after reviewing your website reference on their computers, there was a murmuring and then a huge uproar heard among almost the entire staff. A veritable avalanche of interrogatives descended. “You’ve got to be kidding! Monty Python?? ” queried one, quite indignant. “We spent all this time tracing our family coats-of-arms based on a Monty Python sketch ??” said another, mightily annoyed. This grumpiness prevailed for some time. Another staffer, wishing perhaps to lighten the mood a bit, remarked: “Well, at least we can rest assured that we are not all named Bruce.” Then, just as the murmuring began to abate, PL&A’s chief financial advisor, Jacques de las Vegas, loudly proclaimed: “But there really is a place where everyone is named Bruce.” Silence instantly reigned in our main conference room. You could have heard pin drop. Momentarily, a hushed inquiry was whispered from stunned staffers: “Jacques, pray tell: where?? ” It seemed as though E.F. Hutton were about to speak as Jacques approached the podium and declared: “Mizar 5.” Anxious queries came in rapid succession: “How do you know that?” “Based on what?” “Where’s your proof?”

With arched eyebrows and the slyest of grins, Jacques’s gaze canvassed the room as he pulled from the lapel pocket of his bright Irish green suit a bootleg CD of some recently unearthed studio recording sessions from The Royal Scam. He had instantly downloaded them from Andy Metzger’s website where they had been posted for only a short while before the infamous Pit Bull Barristers of Steely Dan Legal discovered them and had them removed. Moving over to the conference room stereo system, Jacques queued up the CD. The motionless staff breathlessly awaited the first notes from this new gem. The first track was obviously an early, skeletal demo featuring Walter on bass guitar, Donald on piano and an unidentified drummer. It began with some very familiar introductory keyboard vamps followed by a delightfully crisp reggae beat. And then Donald began to croon: “Have you heard they’re all named Bruce in Mizar 5?”

With wide-open eyes and mouths a-gaping, the staff immediately shouted: “Halt the track! They’re all named Bruce in Mizar 5? Precisely what, or where the heck, is Mizar 5?” Jacques answered: “It’s the name of one of the outbacks ‘down under.’ Not far from Walkabout Creek, ‘mates. Residence in Mizar 5 is limited exclusively to recent British immigrants. The sign above the Residency Office where only pommies may apply just happens to invitingly read: ‘Won’t you sign in stranger?’” The staff exclaimed: “An amazing coincidence! Donald and Walter, just like Norm, Howard, and Steevedan, were obviously heavily influenced by this Monty Python sketch. Now we know the source of the original inspiration behind ‘Sign in Stranger,’ even though the lyrics were later given a, like, WoW, Cosmic sense by D&W as they developed and refined the song. Yo, Tristan, boss, can we have the day off and hoist a few in celebration?” In the context of such a whirlwind of thrilling discovery I simply couldn’t turn them down. I called up Lefty O’Doules and told the bartender to put on my tab the total for the potables and elixirs downed by PL&A staff. “Now go kick off your high-heeled sneakers,” I told the gleeful gang as they left the office “it’s party time.”

Howard (10-30-02 – 08:19:18): I have to add that your suggestion that there is a lyrical basis for understanding the “one note” guitar solo on "Gaslighting Abbie" was altogether fascinating. You infer, in other words, that the solo “gaslights” the listener. Very keen. Still, I would have preferred that the gaslighting had been limited to Abbie, with the guitar solo being delivered with greater deference to the no less important criterion of musicality and the quintessential funk groove of the tune. While RandyNightfly62 opines that "Gaslighting Abbie" really did not require an overly ostentatious solo, that was not what I am advocating. Rather, if one hears some of the more elaborate, though by no means ostentatious, in-the-pocket funk progressions what Walter played in the live solo on few times this phenomenal tune was featured on the y2k tour, one could not help but wonder why these didn’t make it to the studio version. You have nevertheless provided an important additional criterion for evaluating a solo. I’ll repeat what I wrote in my last post that it is interesting (and edifying) to learn of the various criteria by which ‘Danfans measure the success of a solo, track or album.

Hats’n’Hooters (10-30-02, 20:46:26): yes, yes, yes, indeed, the political postings on the Bluebook that I bellyached about in my last post hailed from around five months ago, but on the contrary, there were no sleeping dogs for me to have let slumber. Dan Akroyd’s September post defending “occasional” debates over national and international politics on a Steely Dan discussion forum kept those dogs awake and provided a means through which more of their yelping could “occasionally” re-enter the Bluebook. I felt Akroyd’s opinion needed refuting and so I reduced it to absurdity through a completely facetious suggestion to Hoops about possible “criteria” for Bluebook posts on “politics” with associated “links” to CNN. Hopefully, those political dogs are now fast asleep in the CNN kennel and henceforth will remain there.

RandyNightly62 (10-29-02, 20:56:35): you suggest that each album has a different instrumental accentuation and that progression or regression are not really at issue in the later albums (where, for example, there might be less complex rhythmic structures). While this viewpoint seems to differ slightly from your and Steevedan’s earlier notions that a progressive evolution is to be found in D&W’s work, I think it important to append some of Donald Fagen’s very own comments here. On a recent Digest, Fagen said of his and Walter’s parting of the ways after Gaucho: “We were under a lot of pressure to top Aja, which had been an enormous visible success. When I hear that record (Gaucho) now, I get the creeps.” After that, “it wasn't possible for us to go on. I thought Aja was our peak, and then Walter and I just went in different directions.”

Whether re-achieving the “peak” unavoidably implies mere “repetition” is perhaps a subject for another discussion. ‘Scam and Aja are definitely “peaks” but I don’t consider them repetitive in the least. As for repetition, you suggest that the strident drumming on "West of Hollywood" forces one to listen more intently to the sax and challenges the listener’s expectations. Hmmm. By contrast, I find that the limited drumming thoroughly handcuffs and hems in the sax work in a rhythmic straightjacket. This does indeed “challenge” my expectations insofar as it thoroughly frustrates them with regard to both instruments. The thrilling and extraordinarily complex rhythmic and harmonic interplay between Wayne Shorter’s sax and Steve Gadd’s drums on the title track of Aja accentuates, enhances and frees up each instrument, taking each to absolutely soaring, extraordinary heights, as does the dialogue between the unspeakably lush sax and aurally resplendent drums on "Caves of Altamira." Could it be said that the incredibly limited conversation between the sax and the entry-level surface-sounding drumming on "West of Hollywood," interpreted lyrically , is the perfect musical expression of a highway deep into nothing special?

Nevertheless, you are correct about the continually changing style of D&W—something also characteristic of the late Miles Davis who eschewed treading over his previous ground. Therefore, we may look forward to The Next One with all enthusiasm. Will the groove be stronger in D&W this time around with a “live” feel due to a lot of live playing in the studio as opposed to endless overdubbing and layering? We will all know soon enough.

Another Steely Dan song goes: “It’s the most wonderful time of the year…” Anyone having trouble thinking of gifts for the holidays for family, friends, co-workers, Danvention pen pals, etc? Well, the staff of Pretzel Logic & Analysis would like to make a humble holiday gift suggestion. But first, of course, the background. On May 24 of this year, Cosmic WoW, from the well-nigh lofty heights of WoWland, asked the following question: “What’s Denny Dias up to these days?” While PL&A staff are all ardent Skunkophiles, they also greatly admire Dias the Bebopper, and they were only too happy to undertake this research assignment once the “everyone is named Bruce” thing was cleared up.

Apart from the postings on the Bluebook this summer regarding an unreleased Denny Dias solo project of fairly current vintage that may be lurking in the wings (Cf. Dave 7-10-02 – 18:39:18; jk 7-10-02 – 14:46:09; hoops 7-10-02 – 11:46:27; Norm 7-10-02 – 03:00:13; Wendy Liu 7-9-02 – 21:18:23), it would otherwise seem that finding Denny playing in an officially-released non-Steely Dan context is somewhat akin to searching for the proverbial needle in a haystack. However, if one liberally defines the notion of “these days” to include a span of about three decades, that needle can be found, and, happily, the recording remains in print.

In one interview years ago, Walter Becker noted that Denny had always been “very loyal” to Steely Dan, and despite being asked by a considerable number of other groups to join them after the original Steely Dan ceased touring in the summer of 1974, Denny turned down every offer. Well, every offer except one, that is, and Walter made some cryptic reference to Denny’s predilection for the work of a jazz pianist Hampton Hawes. PL&A staff discovered that Hampton Hawes passed away in 1977. That left a period of three years during which Dias could have recorded with him after the original ‘Dan disbanded. In reviewing the catalogue of Hampton Hawes recordings from the period 1974-1977 on The AMG All Music Guide, PL&A staff happily discovered a CD entitled Something Special (Contemporary 14072). This featured a live Hampton Hawes Quartet concert in the summer of 1976 at a venue just a few miles down the coast from our posh corporate headquarters on the 14^th floor of The Custerdome West here in those distant lights from across the Bay.

Here is an excerpt from the extensive liner notes: “The music heard here was recorded on a relaxed Sunday afternoon at Bach Dancing and Dynamite Society, a rambling beach house located a little north of Half Moon Bay, a thirty-five-or-so minute drive south from San Francisco to where Highway I gets serious, where Pete Douglas has been presenting Sunday afternoon jazz (and Friday night gourmet dinners-cum-classical recitals) since sometime in the early mid-Sixties. ‘Relaxed’ pretty much sums up the BD&DS spirit, and Sunday afternoons there take on the general configuration of a restful meander down the Coast, with music to match the rest of the feel. Hamp's best-known associate here is Leroy Vinnegar, the Indianapolis-born bassist who arrived in L.A. in the Fifties and began his continuing demonstration of what surefooted walking is all about, a frills- and fuss-free exemplar of what makes bass The Bottom Line. They're joined by guitarist Denny Diaz, familiar for his work on the first few Steely Dan albums, but as obviously at home in straight-ahead jazz surroundings as he was in pop/rock; and drummer Al Williams, who abandoned his career behind the traps to manage his Long Beach, California jazz club, Birdland West (the bad news is that the club closed the week these notes were written). This June 10, 1976 session, recorded less than a year before Hamp's death, came during a year of substantial recording activity with Joan Baez, in a series of duets with Charlie Haden, for Contemporary with Art Farmer, Art Pepper, and Ray Brown (On the Road, OJC-478) and for his own last album.” (emphasis mine)

Here is the review from the AMG All Music Guide: “This 1994 CD released for the first time a live set (recorded at Half Moon Bay, California) performed less than a year before pianist Hampton Hawes’ death. Hawes, in a quartet with guitarist Denny Dias, bassist Leroy Vinnegar and drummer Al Williams, dominates the music and displays his ability to uplift a couple of pop tunes (‘Sunny’ and ‘Fly Me to the Moon’). He also swings creatively through a blues, ‘St. Thomas’ and a pair of his originals. This excellent music gives no hints of Hawes’ upcoming demise. The tracks on this live date are: BD&DS Blues (Hawes) 7:37; Pablito (Hawes) 8:58; Sunny (Hebb) 9:19; Nice Meanderings (Hawes) 8:52; St. Thomas (Rollins) 5:00; Fly Me To The Moon (Howard) 9:13.”

This CD may be purchased from CDNOW.com for $14.49. See: http://www.cdnow.com/cgi-bin/mserver/SID=334143599/pagename=/RP/CDN/FIND/album.html/ArtistID=HAWES*HAMPTON/ITEMID=125704. This website also features brief audio clips from each track.

As for other recordings featuring The Bebopper, there is one track that Dias played on much later with a group of studio musicians who recorded a CD in honor of the late drummer Jeff Porcaro, entitled Tribute to Jeff (Zebra 44005-2). This CD (unfortunately out-of-print) features Denny playing rhythm guitar on one track: a Milt Jackson tune entitled “Bag’s Groove”. (Incidentally, this CD also features a fine cover of “Babylon Sisters” with Bernard Purdie on drums, and another tune that borrows heavily from “Black Friday” called “E Minor Shuffle.” Danfans may wish to check out the following for the latter tunes: http://www.broberg.pp.se/sd_sound.htm).

Also, Denny Dias and Donald Fagen sat in with the band Toto during that group’s live concert tribute to the late Jeff Porcaro in December 1992. This concert was broadcast into the public domain on FM radio and the two Steely Dan tracks featured were "Chain Lightning" and "Josie." (See http://www.broberg.pp.se/sd_sound.htm) Donald Fagen was in awesome vocal form and Denny contributed some clean, bright and boppish guitar solos to both songs, although Steve Lukather’s stunning guitar playing on both tracks ultimately steals the show. (Based on these two thoroughly impressive tracks alone, D&W could be well-advised simply to tour with Toto as their backing band).

Lastly, Denny Dias also left his unique signature on several live concert performances during the modern Steely Dan tours whenever the ‘Dan played in L.A. and, depending on the tour year, variously invited Denny to sit in on “Bodhisattva,” “Teahouse on the Tracks,” “Do It Again,” and “FM”. It was more than clear from his inspired playing that The Bebopper still had the requisite ‘Dansterly chops.

Happy Christmas shoppin’ y’all.

Yours in Dandom,

Tristan Gustave Fabriani III, Esq.
CEO & El Supremo
Pretzel Logic & Analysis, Inc.
San Francisco

P.S. I have a proposal for consideration by The Bluebook Readership, but it is ultimately subject to a blessing from Hoops. I think this may be likely in view of this excerpt from a recent post from Hoops: “I'm always open to new ideas, especially ones that break new ground. It's appealing to think that any forum might be tweaked or implemented in such a way that we get more of the ‘good stuff.’” (11-01-02 – 13:35:06) Although the suggestion that I offer below is not related to the “chat room” that the above quote concerned, I think Hoops’ words are fully applicable. As a brief background to this suggestion, I would note that it is evident that several individuals with considerable musical education and talent contribute to The Bluebook. Some are even members of bands and even Steely Dan tribute bands. Some make the pedal steel soar; others scorch the Gibson and ‘Caster frets; while yet others tinkle the acoustic and electronic ivories.

Therefore, might the Bluebook acquire a separate “sound” section that features wav, MP3 or Real Player file of a Steely Dan track performed by one of these seminal bands that just happens to be represented by a contributor to the Blue? Surely there are extant soundboard recordings from gigs by Pretzel Logic, Katy Lied and/or the Steely Fan Band, etc. Why not have a fairly regular, though not overly frequent, posting of a standout performance from the most magical and memorable concert moments of these tribute bands for The Bluebook readership to savor? Perhaps there could be a “Bluebook Track of the Month” that is interpreted, respectively, by each band, resulting in several versions of the same tune that we can savor and compare. Of course, Hoops, that means that you would “get to” create a new category for the front page of Dandom.com for us to click on and then assume the onerous burdens of posting and managing the sound files. With all punsterliness, this Bluebook subsection could be entitled “The Bluenote.” I don’t know how much more of a workload that would create for you, but in any case we would defin’lly “get more of the ‘good stuff’” from those who pay tribute to the ‘Dan in sizzling concert performances (as distinct from loquacious posts). SharkD, Dennis, Steevedan, et. al., what say ye?

November 2002 BlueBook Entries

Haitian Divorce: it's Meaning…and other interesting stuff

The following article appeared in the December 25, 1976 issues of Sounds, a British publication:

The Strange World of Steely Dan
A lyrical exposeé by Tim Lott

The Reunion

Metal Leg articles 5 & 6 of six

Walter Becker Interview

"The Day After"

Donald Fagen Interview

"Two Days Later"

SUNDRY REPLIES, THE CONCLUSIONS OF PRETZEL LOGIC & ANALYSIS STAFF ABOUT A POSSIBLE “GREATER BRUCEDOM,” AND A HUMBLE CHRISTMAS GIFT SUGGESTION FOR AFICIONADOS OF DIAS THE BEBOPPER

Q & A With Steely Dan's Donald Fagen

Reunion Reviews

Libby Titus Presents New York Nights and a Steely Dan Reunion

Justin Morell on Steely Dan

November 2002 BlueBook Entries

Haitian Divorce: it's Meaning…and other interesting stuff

The following article appeared in the December 25, 1976 issues of Sounds, a British publication:

The Strange World of Steely Dan A lyrical exposeé by Tim Lott

The Reunion

Metal Leg articles 5 & 6 of six

Walter Becker Interview

"The Day After"

Donald Fagen Interview

"Two Days Later"

SUNDRY REPLIES, THE CONCLUSIONS OF PRETZEL LOGIC & ANALYSIS STAFF ABOUT A POSSIBLE “GREATER BRUCEDOM,” AND A HUMBLE CHRISTMAS GIFT SUGGESTION FOR AFICIONADOS OF DIAS THE BEBOPPER

Q & A With Steely Dan's Donald Fagen

Reunion Reviews

Libby Titus Presents New York Nights and a Steely Dan Reunion

Justin Morell on Steely Dan

The Strange World of Steely Dan
A lyrical exposeé by Tim Lott