Aja (album)

The album was produced by Steely Dan's longtime producer Gary Katz, engineered by longtime master engineers Roger Nichols and Bill Schnee and features contributions from numerous leading session musicians. The eight-minute-long title track features a jazz-based chord progression, a solo by saxophonist Wayne Shorter, and a notable drum performance by Steve Gadd. Co-composer and co-band leader Walter Becker did not perform on the tracks "Black Cow" or "Peg". The sessions for Aja produced several outtakes, including "The Bear" and "Stand by the Seawall" (the latter title was given to two completely different outtakes recorded during the sessions). None of these songs was ever officially released, but "The Bear" was later played live on Steely Dan's 2011 Shuffle Diplomacy Tour. ==Title and packaging==

The title of the album is pronounced "Asia". Fagen has said Aja was the name of a Korean woman who married the brother of one of his high-school friends. and was designed by Patricia Mitsui and Geoff Westen. The inside photos of Fagen and Becker were taken by Becker and Dorothy A. White. ==Marketing and sales==

Aja was released by ABC Records on September 23, 1977. In anticipation of the release, Katz urged the relatively private Fagen and Becker to raise their public profile, and arranged a meeting with Irving Azoff to discuss employing him as their manager. Fagen initially had reservations, saying: "We were ready to go blissfully through life without a manager." Attempts to make a surround-sound mix of the album for a release in the late 1990s were scrapped when it was discovered that the multitrack masters for both "Black Cow" and the title track were missing. Universal Music canceled plans to release a multichannel SACD version of the album for the same reason. In the liner notes for the 1999 remastered reissue of the album, Fagen and Becker offered a $600 reward for the missing masters or any information that would lead to their recovery. ==Reception and legacy==

Reviewing the album in 1977 for Rolling Stone, Michael Duffy wrote, "the conceptual framework of [Steely Dan's] music has shifted from the pretext of rock & roll toward a smoother, awesomely clean and calculated mutation of various rock, pop and jazz idioms", while their lyrics "remain as pleasantly obtuse and cynical as ever". He added that the duo's "extreme intellectual self-consciousness", though it might be starting to show its limitations with this album, "may be precisely the quality that makes Walter Becker and Donald Fagen the perfect musical antiheroes for the Seventies." Robert Christgau of The Village Voice wrote that he "hated this record for quite a while before I realized that, unlike The Royal Scam, it was stretching me some", and noted that he was "grateful to find Fagen and Becker's collegiate cynicism in decline", but worried that a preference for longer, more sophisticated songs "could turn into their fatal flaw". Greg Kot was also lukewarm about the band's stylistic departure, later writing in the Chicago Tribune: "The clinical coldness first evidenced on The Royal Scam is perfected here. Longer, more languid songs replace the acerbic pithiness of old." Amanda Petrusich wrote in Pitchfork that the album is "as much a jazz record as a pop one", In Dylan Jones' list of the best jazz albums for GQ, Aja ranked 62nd. The album has been cited by music journalists as one of the best test recordings for audiophiles, due to its high production standards. Walters wrote in his review that "the album's surreal sonic perfection, its melodic and harmonic complexity—music so technically demanding its creators had to call in A-list session players to realize the sounds they heard in their heads but could not play, even on the instruments they had mastered." Accolades Aja has appeared on retrospective "greatest albums" lists. In 1991, France's Rock & Folk included it on a list of the 250 best albums released since 1966, when the magazine began publication. In 1999, the album ranked 59th on the Israeli newspaper Yedioth Ahronoths "Top 99 Albums of All Time" list. In 2000, Aja was voted number 118 in the third edition of Colin Larkin's book All Time Top 1000 Albums, in which Larkin noted its "brand of jazz-influenced white soul". In 2003, Aja was inducted into the Grammy Hall of Fame and ranked 145th on Rolling Stones list of the "500 Greatest Albums of All Time"; it maintained the same spot on the 2012 update of the list, and rose to 63rd on the 2020 version. In 2006, Aja was included in the book 1001 Albums You Must Hear Before You Die. In 2010, it was recognized by the Library of Congress as "culturally, historically, or aesthetically significant" and selected for preservation in the National Recording Registry; the same year, De La Soul's 1989 debut album 3 Feet High and Rising, which sampled Aja, was also added to the Registry. The singer Bilal listed Aja among his 25 favorite albums, explaining that "It's a great body of work. It seems very thought out from beginning to end, every song just had a certain vibe. The songwriting to the sound and the look of the album, the whole package was just very well thought out." Classic Albums episode In 1999, Aja was the topic of an episode of the British documentary series Classic Albums. The episode features a song-by-song study of the album (except for "I Got the News", which is played during the closing credits), as well as interviews with, among others, Becker and Fagen, and new, live-in-studio versions of songs from the album, with a band made up of Bernard Purdie, Chuck Rainey, Paul Griffin, who all played on Aja, and their new guitar player Jon Herington. Becker and Fagen also play back several of the rejected guitar solos for "Peg", which were recorded before Jay Graydon produced the take used for the album. Of the sound of the album, Andy Gill wrote: "Jazz-rock was a fundamental part of the 70s musical landscape [...] [Steely Dan] wasn't rock or pop music with ideas above its station, and it wasn't jazzers slumming [...] it was a very well-forged alloy of the two – you couldn't separate the pop music from the jazz in their music." British musician Ian Dury says he hears elements of legendary jazz musicians like Charlie Parker, Charles Mingus, and Art Blakey on the album. He continues: "Well, Ajas got a sound that lifts your heart up, and it's the most consistent up-full, heart-warming [...] even though, it is a classic LA kinda sound. You wouldn't think it was recorded anywhere else in the world. It's got California through its blood, even though they are boys from New York [...] They've got a skill that can make images that aren't puerile and don't make you think you've heard it before [...] very 'Hollywood filmic' in a way, the imagery is very imaginable, in a visual sense." Yacht rock In retrospective appraisals, Aja has been discussed by music journalists as an important release in the development of yacht rock. In a 2009 Spin article, Chuck Eddy listed it among the genre's eight essential albums. Writing for uDiscoverMusic in 2019, Paul Sexton said that, with the album, Steely Dan "announced their ever-greater exploration of jazz influences", which would lead to "their yacht-rock masterpiece": 1980's Gaucho. Patrick Hosken of MTV News said that both Aja and Gaucho show how "great yacht rock is also more musically ambitious than it might seem, tying blue-eyed soul and jazz to funk and R&B". Aja was included in Vinyl Me, Please magazine's list of "The 10 Best Yacht Rock Albums to Own on Vinyl", with an accompanying essay that said: "Steely Dan's importance to yacht rock can't be overstated. [...] Arguably the Dan is smoothest on the 1980 smash Gaucho, but Aja finds Walter Becker and Donald Fagen comfortably hitting a middle-ground stride [...] as a mainstream hit factory while remaining expansive and adventurous". John Lawler of Something Else! wrote, "The song and performance that best exemplifies the half-time, funky, laid (way) back in the beat shuffle within the jazz-pop environment of the mid- to late- 70s can be found on 'Home at Last.' Bernard 'Pretty' Purdie feeds off Chuck Rainey's bass with righteous grooves and masterful off-beat fills with alacrity in this tight band favorite." ==Track listing==

Adapted from the liner notes. Side A • "Black Cow" • Donald Fagen – lead vocals, synthesizer • Paul Humphrey – drums • Chuck Rainey – bass guitar • Victor Feldman – Rhodes piano • Joe Sample – clavinet • Larry Carlton – guitar • Tom Scott – tenor saxophone • Clydie King, Venetta Fields, Sherlie Matthews, Rebecca Louis – backing vocals • "Aja" • Donald Fagen – lead vocals, synthesizer, police whistle, backing vocals • Steve Gadd – drums • Chuck Rainey – bass guitar • Larry Carlton, Walter Becker, Denny Dias – guitars • Joe Sample – Rhodes piano • Michael Omartian – piano • Victor Feldman – percussion, marimba • Wayne Shorter – tenor saxophone • Timothy B. Schmit – backing vocals • "Deacon Blues" • Donald Fagen – lead vocals, synthesizer • Bernard Purdie – drums • Walter Becker – bass guitar • Larry Carlton, Lee Ritenour – guitars • Victor Feldman – Rhodes piano • Pete Christlieb – tenor saxophone • Clydie King, Sherlie Matthews, Venetta Fields – backing vocals • Dean Parks – acoustic guitar Side B • "Peg" • Donald Fagen – lead vocals • Rick Marotta – drums • Chuck Rainey – bass guitar • Paul Griffin – Rhodes piano, backing vocals • Don Grolnick – clavinet • Steve Khan – guitar • Jay Graydon – guitar solo • Victor Feldman, Gary Coleman – percussion • Tom Scott – Lyricon • Michael McDonald – backing vocals • "Home at Last" • Donald Fagen – lead vocals, synthesizer (solo), backing vocals • Bernard Purdie – drums • Chuck Rainey – bass guitar • Larry Carlton – guitar • Walter Becker – guitar solo • Victor Feldman – piano, vibraphone • Timothy B. Schmit – backing vocals • "I Got the News" • Donald Fagen – lead vocals, synthesizers • Ed Greene – drums • Chuck Rainey – bass guitar • Victor Feldman – piano, vibraphone, percussion • Dean Parks – guitar • Walter Becker, Larry Carlton – guitar solos • Michael McDonald, Clydie King, Venetta Fields, Sherlie Matthews, Rebecca Louis – backing vocals • "Josie" • Donald Fagen – lead vocals, synthesizers, backing vocals • Jim Keltner – drums, percussion • Chuck Rainey – bass guitar • Victor Feldman – Rhodes piano • Larry Carlton, Dean Parks – guitars • Walter Becker – guitar solo • Timothy B. Schmit – backing vocals • Tom Scott – horn arrangements and conducting of horns • Jim Horn, Bill Perkins, Wayne Shorter, Pete Christlieb, Plas Johnson, Tom Scott, Jackie Kelso – saxophones, flutes • Chuck Findley, Lou McCreary, Dick "Slyde" Hyde – brass • Walter Becker, Donald Fagen, Larry Carlton, Dean Parks, Michael Omartian – rhythm arrangements Production • Stephen Diener – executive producer • Gary Katz – producer • Roger Nichols – executive engineer, engineer • Elliot Scheiner, Bill Schnee, Al Schmitt – engineers • Lenise Bent, Ken Klinger, Linda Tyler, Ed Rack, Joe Bellamy, Ron Pangaliman – assistant engineers • Bernie Grundman – mastering engineer • Barbara Miller – production coordinator • Stuart "Dinky" Dawson – sound consultant • Irving Azoff – management • Leonard Freedman – bagman • Karen Stanley – covert operations • Oz Studios – art direction • Patricia Mitsui, Geoff Westen – design • Hideki Fujii – cover photo • Walter Becker, Dorothy A. White – inside photos of Donald Fagen and Walter Becker • Michael Phalen (Walter Becker & Donald Fagen), Stephen Diener – liner notes Reissue personnel • Roger Nichols – remastering engineer • Beth Stempel – coordinator • Vartan – art direction • Mike Diehl – design • Daniel Levitin – consultant ==Awards==

Weekly charts Year-end charts ==Certifications==