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Walter Becker
Circus Money
(5 Over 12/Mailboat)
First Appeared in The Music Box, June 2008, Volume 15, #6
Written by John Metzger
Tue June 17, 2008, 06:30 AM CDT
Some folks might find that listening to Circus Money, Walter Becker’s
long overdue sophomore set, is a frustratingly uneven experience. In some cases,
it adheres quite closely to expectations. At other moments, it seems to veer to
one side or the other, missing its target. Nevertheless, as has been the case
with much of Steely Dan’s output over the past 25-plus years, it is highly
advisable to take a step back and allow the subtleties of the affair to reveal
themselves. With Circus Money, Becker does more than simply waltz through
the same moves he has perfected with Steely Dan. To grasp the collection fully,
however, fans will need to view it from a different perspective.
Initially, Circus Money’s jazzier textures leap to the forefront and
leave the biggest impression. In fact, saxophonists Chris Potter and Roger
Rosenberg (on tenor and baritone, respectively) nearly steal the show. Their
solos aren’t necessarily aggressive, but they do add jolts of electricity that
slice through the sophisticated coolness of Becker’s material. Tracks like Door Number Two, Three Picture Deal, and Paging Audrey
certainly wouldn’t have sounded out of place within the context of Steely Dan’s
Two Against Nature, Gaucho, or, for that matter Aja.
Consequently, they provide a natural point of entry to Becker’s new endeavor.
More problematic, at least at the outset, are the reggae-lite grooves that
underscore a number of Circus Money’s songs. Sometimes, the tunes — Darkling Down, Selfish Gene, and Do You Remember the Name,
among them — tread so lightly that they struggle to make a solid connection;
they often seem as if they might wither, melt, and evaporate beneath the heat of
the summer sun. It is easy, however, to mistake the laid-back rhythms that lie
at the heart of Circus Money for a lack of inspiration. Settling into
(rather than fighting against) the set’s relaxed momentum provides the clarity
that is necessary for fully appreciating the outing.
In a sense, what Becker accomplished with Circus Money was to draw the
jazz-oriented inflections of his work with Steely Dan through the
Tulsa-meets-reggae-inclinations of Eric Clapton’s 461 Ocean Boulevard. He
also adds a dose of Boz Scaggs’ shimmering, R&B-tinged pop for flavor — most
notably on Downtown Canon — but the comparison to Clapton’s work proves
to be particularly apt. Throughout the collection, Becker seems to take a
backseat to his accompanists, often opting to play bass while relegating the
role of guitarist to Jon Herington and Dean Parks.
Becker doesn’t simply hide within the rhythm section, though. He absolutely
revels in his responsibilities by filling the spaces in the music with an array
of bottom-end textures that provide all of the guidance that his stellar team of
session musicians needs to flourish. There’s no doubt that Circus Money,
much like Clapton’s better endeavors, is a team effort — one that also is so
unassuming that it sometimes is difficult to grasp. Once Becker’s vision becomes
clear, however, the outing becomes something more than its pleasant gestures
initially seem to suggest.  ½
Of Further Interest...
Ray Charles - Genius Loves Company
Elton John - Peachtree Road
Boz Scaggs - Silk Degrees
Circus Money is available
from Amazon.com. To order, Click Here!
For Canadian orders, please
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For UK orders, please
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Ratings
1 Star: Pitiful
2 Stars: Listenable
3 Stars: Respectable
4 Stars: Excellent
5 Stars: Can't Live Without It!!
Copyright © 2008 The Music Box
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