Peter's music has been heard on hundreds of radio stations and has been on SiriusXM rotation for over a decade. As a multi-award winning artist, Peter's music has also topped Billboard's Classical and Crossover charts.
For Captain Beefheart, a maverick-artist-musician, who was not just a complicated man but highly demanding and by most accounts very difficult to deal with. It was appropriate that Beefheart's Magic Band was to prominently feature a bassist as accomplished, bold and adventurous as Mark Boston, a.k.a Rockette Morton.
Born on July 14, 1949, Mark began life in the small town of Salem, Illinois before his family moved out to Lancaster, California when he was 13. With a bassist and steel player for a father, Mark gained a great appreciation for country and bluegrass along with the R&B and rock’n’roll that was on the rise. Within a year of the Boston clan moving out to Lancaster, Mark befriended a young guitarist by the name of Bill Harkleroad.
At a time when the bass guitar was seen as the dummy’s instrument, Mark left quite an impression on Bill with his talent and equipment, leading to the two joining forces to form BC And The Cavemen. With Mark’s mother sewing some outfits for them, the band developed a decent reputation, and the two would also play in a band with Jeff Cotton and John French known as Blues In A Bottle. And then a local hero came calling. Or perhaps screaming and howling!
In that same Lancaster scene, Captain Beefheart And His Magic Band were making a big splash as a top flight blues rock outfit, with 'Safe As Milk' having made a strong impression and 'Strictly Personal' being a strong record as well. But even with a sound that was speaking to people, one that perhaps would have been a more pragmatic one as far as a career goes, Don Van Vliet just wasn’t meant for conventional norms.
The Captain had all these ideas, ideas far too out for many, including early members. He needed new musicians, younger and more impressionable ones that wouldn’t object to his ideas. Already having John and Jeff in the band, now 'Drumbo' and Antennae Jimmy Semens, he then recruited Bill, dubbed Zoot Horn Rollo. And on bass, he found Mark Boston, who took the name Rockette Morton due to his love of outer space. And the classic Magic Band was born.
Trout Mask Replica (TMR) wasn’t an easy album to make. Yet even with all the bizarre ideas and the difficulty in preparing those ideas into music, Mark was a total champ through it all. The Beefheart sound is one of great dichotomy, and Mark can capture all of it. He’s so tight and precise, and yet there’s this raw grit and dirt. He’s highly intelligent and sophisticated in his playing, and yet there remains this childlike sense of wonder and curiosity.
He takes after all the great traditional American music, yet out into a whole other realm of time and space. The bass traditionally serves the role of grounding the harmony while locking in with the drums to provide a foundation, yet Mark’s playing often serves as another melody line in the music. In a lot of ways, he’s like a third guitarist that just happens to be playing bass.
The TMR on its own is a legacy few can compete with, and yet Mark contributed to more classic records like "Lick My Decals Off, Baby", "The Spotlight Kid", and "Clear Spot". There on Decals, you get the equivalent of Godfather II. With Mother Art Tripp on marimba and drums rather Jeff on guitar, you get an album that captures a great deal of TMR's brilliance while being brilliant in its own unique way.
Then you get to 'The Spotlight Kid', with bass godliness on cuts like “When It Blows Its Stack”, resulting in a bass solo that often opened shows, yet Mark proves himself just as talented on traditional in-the-pocket styles as demonstrated on cuts like “I’m Gonna Booglarize You Baby”. And that thing about bassists being failed guitarists? In the 'Clear Spot', with Mark taking guitar and the rhythm section now being a mini Mothers reunion of Art and Roy Estrada, yet nobody missed a beat. Throughout the record, Bill and Mark’s kinship really shines, their weaving right there with what Bill and Jeff had done, or what was done with Alex St Clair early on.
Of course, dealing with Don was quite a task of its own, so it’s inevitable that Mark and the others would all end up departing by 1974. He and Bill soon formed a group of their own called Mallard. For two albums, the first with Art and having some writing help from John French 'Drumbo', Mallard showed itself a pretty decent blues rock outfit. And giving that it was Mark who finally had a chance to create something that was truly his own rather than helping some achieve their vision, it’s understandably the work that he takes pride in. And over time, he’d end up making a solo record and create some cool artwork of his own, as well as performing with 'Drumbo' in the reformed Magic Band, allowing the music to live and breathe on stage again.
If you’re a Beefheart fan, how can you not love Rockette Morton? Not only a uniquely talented bass player but such a great stage presence full of joy, along with a lovably quirky personality and such a sweet guy. Easily one of my favorites from Magic Band members, you can’t help but smile when thinking about Mark. He’s been through some rough weather, including his health scares, and yet he’s still the same Mark we’ve known and loved all the years.
Happy birthday Mark! Thank you for all you have given us and look forward to more.
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Patrick Moore is a freehand drawing artist and freelance music writer.
By Subhash K Jha
I think of that moment in Hrishida’s Aashirwaad when the old and dying Ashok Kumar stumbles into his estranged daughter’s wedding to bless her before kicking the bucket.
Only Hrishikesh Mukherjee could have written that sequence.
Anupam Kher tells a very interesting story about Hrishikesh Mukherjee. “We were shooting for his last film Jhoot Bole Kauva Kate. Hrishida’s legs had given way, and he’d sit and direct us. I playfully asked him if all his parts had stopped working. ‘No, Anupam my most vital parts still work fine.’ Hrishida answered with a smile.”
A very sober and refined filmmaker who has been closely associated with Hrishida tells another story about the prolific Mukherjee during his final days. “I had gone there expecting him to be mournful and doom-laden. Instead Hrishida cracked one dirty joke after another for a full hour. Finally I got embarrassed and fled.”
Hrishida loved a good laugh. You only have to see Gol Maal, Khubsoorat, Bawarchi or even the lesser known laughathons Buddha Mil Gaya, Naram Garam and Jhoothi to know how much this amazing man enjoyed the lighter side of life.
About his penchant for laughter, Hrishida once told me, “To keep laughing is the most important thing in life. Our aim in life is to be happy. But we go wrong looking for happiness in transitory pleasures. You fall in love with a girl and pin your happiness on her. She dumps you. You produce a son and you place all your dreams in him. He leaves you. Happiness shouldn’t control your life. You should control happiness.”
And yet this man who made such super -comedies also directed some of life’s most lingering moments of tragic pathos in Anuradha (the story of how a male ego thwarts a woman’s talents, inspired by Kishore Kumar’s marriage to his first wife Ruma) and later its quasi-remake Abhimaan, Anupama (about a man who hates his daughter after his wife dies in childbirth, the story was inspired by Hrishida’s uncle who became an alcoholic after his wife died during childbirth), Satyakam (the director’s favourite work featuring his “favourite actor and humanbeing” Dharmendra), Anand (based on Hrishida’s intense friendship with Raj Kapoor, featuring Amitabh Bachchan as Hrishida and Rajesh Khanna as Raj Kapoor).
Before he moved to the hospital two months before his death, Hrishida was completely bed-ridden for close to two years.
The intermittent visitor apart, he lay there inert staring at the ceiling probably reliving all the golden moments from his cinema. But the spirit never flagged.
My last conversation with Hrishida had him imploring me to visit him. “Beta, come and see me soon. I’m just counting my days now.”
I never got around to paying Hrishida that visit. My friend Sanjay Leela Bhansali (a huge Hrishida fan and highly influenced by his simple yet sensitive narrative patterns) and I kept planning a visit before it was too late. But now the man who created some of Hindi cinema’s most endearing and enduring mirror images of the middle-class is gone.
When I visited him some years ago Hrishida had moved into a high-rise in Bandra, just next to where his bungalow used to be. There he sat with his arthritis and memories, trying to cope with both. His living room had only one picture prominently at its center, that of Lata Mangeshkar.
“People call her a reincarnation of Saraswati Mata. I call her Saraswati. Beta, do you know this is where Lata and I sat with composers like Sachin Dev Burman and Rahul Dev Burman and Salil Chowdhary to compose those gems in Abhimaan, Jurmana and Anand ?”
He then revealed an unknown facet of Lataji’s personality. “Beta, do you know she doesn’t charge a single paisa for any of the songs that she sings for me? She once made a mistake while singing one of my songs Ek baat kahoon for R.D. Burman in Gol Maal. I had my answer ready for people who asked why I allowed Lata to sing wrongly. ‘A wrong Lata is worth more than all the right singers in the industry.’
And then Hrishidaa laughed loudly. He loved his fun and games.
Simi Garewal recalls how he spent hours playing chess with her during Namak Haraam. “What an erudite and entertaining filmmaker. I learnt so much from him”.
Hrishida loved all his actors. From Ashok Kumar who was a permanent fixture in a majority of his films, to Rajesh Khanna whom Hrishida affectionately called Pintu Baba, to Rekha (for whom he had a special Tamilian term of affection), Jaya and Sharmila Tagore. Hrishida’s well-wishers wanted him to sign her for Anupama. But Hrishda said, “How can Sharmila play the demure repressed character when she’s busy running around in a bikini in An Evening In Paris? But I knew she had the expressive eyes for it.”
Jaya and Amitabh Bachchan were Hirishida’s favourite. AB went to Hrishida to say he was marrying Jaya. “I told Jaya I’ll be attending her marriage from my son Amitabh’s side.”
The filmmaker was very unhappy with the kind of work Amitabh did the the 1980s. “Many directors reduced him to a stunt man. Some people thought I had blundered badly by making Amit sing classical songs in Alaap when he was holding guns and booze bottles.”
Alaap was made during the Emergency. “It was a depressing film because I was very depressed. I thought it was the end of my life. I couldn’t believe Mrs. Gandhi had become such a dictator.”
To snap out of the doomed mood Hrishida made the comedy Khubsoorat.
Explaining the hop and the skip from the grim directorial debut of Musafir to the grin mood in Biwi Aur Makaan, from the dark Majhli Didi and Satyakam to the frothy Guddi and Chupke Chupke , from the nifty Naram Garam to the elegiac Jurmana and Bemisal…Hrishida said, “I’m an agnostic. I believe my conscience is my God. But having said that we’re all creatures of moods. At times you want to cry , at others times you want to laugh your head off. Critics ask me why I always have a death scene. I’ll tell you why. Death is the ultimate truth. Deven Varma once observed Sabse Bada Sukh (India’s first sex comedy!) was my only film where no one died. I told Deven he was wrong. It flopped so miserably that it killed the distributors.”
Sobering down, Hrishida lamented the quality of present day cinema.
“Everyone is stealing stories from laser discs. I confess I’m guilty of making potboilers like Do Dil and Asli Naqli. That’s because I had a unit and their family to maintain. I am aware my talent is severely restricted. I can never make a film like Satyajit Ray . I console myself with the thought that I’ve made decent films on family values which have touched people’s hearts. I’ve made films which have recovered their investments and fed my unit.”
After his last film Jhooth Bole Kauva Kaate, Hrishida was planning to adapt a short story called The Dressing Table written by music composer Salil Chowdhary. What Hrishida loved about the story was its quaint old-world values. “It talks about the value of a letter at a time when people are sending e-mails to one another.”
Hey Hrishida, isn’t that exactly the sentiment of all your films? Are you listening? Or are you busy telling a dirty joke to someone up there?
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