Remembering Steely Dan’s Walter Becker

Walter Becker, the songwriter, guitarist, bassist, and record producer, passed away on Sunday. He was 67.

Becker is best known as the co-founder of the band Steely Dan, active between 1972 and 1981 and again from 1993 on. He played guitar and bass and co-wrote songs along with the group’s lead singer and keyboardist, Donald Fagen.

Steely Dan’s music is a unique blend of jazz and rock. Filled with ear-catching harmonic sophistication, it doesn’t exactly fit one category or another. Instead, as music critic Andy Gill wrote following the release of the 1977 Aja album, it’s “a very well-forged alloy of the two – you couldn’t separate the pop music from the jazz in their music.”

Steely Dan’s enigmatic and atmospheric lyrics often outline a narrative. For example, Glamour Profession from the 1980 Gaucho album evokes and mythologizes the freewheeling Los Angeles drug culture of the time. Other tracks on the album, like Babylon Sisters and Gauchoare infused with a similarly sunny West Coast vibe.

The group was famous for its exacting technical standards, using legendary drummers such as Jeff Porcaro, and routinely laying down thirty or forty takes of a given song. Steely Dan’s quest for rhythmic perfection led to the development of drum machine and splicing techniques. These are on display in the song Hey Nineteen from the Gaucho album. As Ken Micaleff writes in this 1992 Modern Drummer article,

Bits and pieces of different instrumentalsts’ work would be lifted and spliced together, forming the ultimate solo or rhythm track. And most of this was done before the predominance of the click. WENDEL, the group’s equally revered and despised electronic sequencing genie, further enhanced their control of the music. The dazzling audio quality of their finished products was second to none.

Here are two of my favorite songs from the 1973 album, Countdown to Ecstasy, recorded long before the drum machine. (Becker played electric bass on this recording). In My Old School, I love the saxophone “rockslide” which follows the line, “California tumbles into the sea.” Jeffrey “Skunk” Baxter’s guitar comes alive with a soulful voice throughout this song:

The wrenching harmonic turns of Razor Boy suggest bittersweet melancholy, even amid the song’s upbeat rhythmic groove and jazzy vibraphone solos. With each chord change, we’re pulled to a new expressive place:


About Timothy Judd

A native of Upstate New York, Timothy Judd has been a member of the Richmond Symphony violin section since 2001. He is a graduate of the Eastman School of Music where he earned the degrees Bachelor of Music and Master of Music, studying with world renowned Ukrainian-American violinist Oleh Krysa.

The son of public school music educators, Timothy Judd began violin lessons at the age of four through Eastman’s Community Education Division. He was a student of Anastasia Jempelis, one of the earliest champions of the Suzuki method in the United States.

A passionate teacher, Mr. Judd has maintained a private violin studio in the Richmond area since 2002 and has been active coaching chamber music and numerous youth orchestra sectionals.

In his free time, Timothy Judd enjoys working out with Richmond’s popular SEAL Team Physical Training program.

1 thought on “Remembering Steely Dan’s Walter Becker”

  1. —a side note about one particular drummer used by Steeley Dan….
    the most important song that changed everything for drummers was the title track from Aja.
    I sort of knew back then that Steve Gadd was the drummer for the Paul Simon tune-“50 ways to leave your lover”….and I vaguely remember seeing Paul Simon play it on SNL… a tune built around the opening drum beat—-it was so loose and perfect, just oozed feel…..It made drummers everywhere sit up and take notice—-here was a guy that took a march beat,slowed it down, and redistributed his hands around the kit to make this unbelievable funky feeling rock beat…..nothing like it had ever been done.
    Shortly afterwards,I was at Juilliard at the time, and every percussionist in the department was talking about ” Aja” …”have you heard Gadd ?”…… it was all about, “Gadd has broken through !” ….that there was some kind of unbelieveable drumming on it.
    All of us quickly learned who Gadd was- he came out of Eastman,had played with Chuck Magione in Rochester,and then joined the Army….after the army, he came to NYC …and set the drumming world ablaze .
    The drumming on the title track “Aja” was indeed ground breaking in every way—technique,style and feel.The track also featured jazz sax legend Wayne Shorter,but it was Gadd that took the spotlight.Every drummer on the planet bought that record to listen to Gadd ,….and listened over and over….wore out the grooves on the vinyl…. and tried to copy and analyze….nothing like it had ever been done ! Gadd had made his mark in drumming history, and would become one of the most sought after drummers in the recording industry for the next 20 + years.
    The story goes that Gadd played the “final” for the song Aja on the 2nd take….and from that moment on, drumming changed forever.


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