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 MUMBAI: On Jaya Bachchan's birthday on April 9 (she was born in 1948), I remember that in one of her finest performances, she plays mother to an endearing son who just becomes a number: 1084. In real life, she’s mother to a son who’s well on the way to becoming No 1. Co-incidentally, I saw Jaya Bachchan playing mom to Joy Sengupta in Govind Nihalani’s unforgettable Hazaar Chaurasi Ki Maa just a day before Abhishek won an award for his fine performance in Yuva. Minutes after his name was announced, I received a message from the proud mother informing me of the same. I could see the tears of pride and joy glistening through the words. Jaya’s role as mother matters more to her than any other. That’s precisely why she gave up super-stardom in 1973, when she ruled the box-office, to become wife to Amitabh Bachchan and subsequently mother to Shweta and Abhishek. "Everyone saw it as a big sacrifice and painted me as Mother India. But the fact is, I did what I wanted to. There was no martyrdom involved because I’m not that kind of a person. No one can make me do what I don’t want to,” Jaya said to me. That this woman of substance won’t do something only because it’s expected of her, goes without saying. Jaya is a woman of steel in the truest sense of the word. In spite of being the first lady of filmdom with the accompanying baggage of obligations and responsibilities, she’s as real and rooted to the ground as anyone can get. You won’t find her saying or doing anything she doesn’t believe in. Nor will you come across anyone who can accuse her of being unfair. Frank, sometimes brutally so, she calls a spade a spade. How often she has pulled me up for my personality-oriented page-3 writing! “You aren’t meant to do these things. We need serious writers who can put our cinema into a perspective. We’ve enough peeping-tom journalists writing about which star sneezed at which party.” In fact, Jaya, in all her candid objectivity, believes I write too much about her husband. I agree. I feel film history has been extremely unfair to Jaya Bachchan. You really can’t blame me entirely for the scarcity of writings on this formidable actress. She doesn’t allow me to write about her, unless I throw a major tantrum and threaten to go on a hunger-strike in front of her beautifully kept residence Jalsa in Juhu, Mumbai. Let’s not forget that this pioneering performer heralded naturalistic acting into mainstream Hindi cinema. Before her there was Nutan, and after her there are Smita Patil and Shabana Azmi. But Jaya occupies a unique position. When she came into the movies with her two back-to-back performances in Guddi and Uphaar in 1971, Jaya’s complete denial of ‘filmy’ glamour became a trend-setting phenomenon . While we tend to think of Jaya Bhaduri as the actress in a crumpled cotton sari and loose hair playing authentic middle-class characters in middle-of-the-road movies by Hrishikesh Mukherjee, Asit Sen, Gulzar and Anil Ganguly, she, in fact, created a fashion statement. In 1972-73, her hairstyle and specially-designed blouses with puffed sleeves, became the rage among women in the country. Jaya was a fashion icon. “Oh I thought other actresses were fashion icons. I was just…Jaya,” she laughed uproariously. “I just wore and did what seemed right for me. To me the thought of doing anything that doesn’t come naturally to me seems unacceptable." The daughter of a crusader and pioneering journalist Taroon Kumar Bhaduri, I’m proud to say that she’s my closest friend among the Bachchans and perhaps the most short-changed in terms of career and recognition. Everyone seems to think Amitabh Bachchan is the mega-star of the family. To me, Jaya is the tallest Bachchan. You have to see the well-oiled running of her impeccable household, and how cool she remains in spite of work-related and personal guests swarming her residence, to realize how tall her presence looms over her distinguished family. Everyone sees Abhishek as his father’s son, when in fact he has more of his mother than his father in him. The smile and those eyes…. They’ve been bequeathed to the Bachchan heir from his illustrious mother who at one point in the history of cinema was so huge, she could shoulder the then-struggling Amitabh Bachchan’s endeavour to become a star. So far she has been seen with her son only once in a Bengali film called Des where she played a social crusader who’s about to be whisked out of the country by her NRI son. Abhishek played the son. I don’t think Jaya is comfortable with the idea of playing her own son’s mother on screen. It’s hard for her to play a role that she has perfected in real life. It’s even harder for her to trifle with truth. So many struggling directors have been told bluntly that they need to improve their act. Her husband would never take upon himself to assess people. He would simply turn away with a smile. But Jaya can’t do that. She confronts people situations and crises headlong, gets to the bottom of the problem and then moves on. Zanjeer wouldn’t have happened to her husband if Jaya hadn’t agreed to play the relatively short role opposite Amitabh Bachchan. Many leading heroines, including Mumtaz, had said no. Jaya sportingly stepped in at the eleventh hour, adding great star value to the film… the rest is too well known to be repeated. What needs reiteration is the intense success-streak that she enjoyed from 1971 to 1973 , right up to Hrishikesh Mukherjee’s Abhimaan, Mili and Chupke Chupke, all three with her husband, before she called it quits. Virtually every film that she consented to do made money at the box-office. For a while it seemed there was no other leading lady except Hema Malini to challenge Jaya’s rein at the top. “I never thought of all that. I just did the quality and quantity of work that suited me. Then I moved on to look after my home and family. Today when the two boys in my life don’t need my presence that compulsively I ‘ve taken on the responsibility of being a Rajya Sabha member. That’s so no self-indulgence for me. I take my job as parliamentarian very seriously.” And films? “Where are the roles? Show me challenging roles for an actress my age , and I am game, as I was for Hazaar Chaurasi Ki Maa or even Kabhi Khushi Kabhie Gham and Kal Ho Na Ho where I didn’t have much to do in terms of footage. But at least there was space for me to breathe in the script.” (This article first appeared on April 9, 2013) READ ALSO: Jaya Bachcchan shouts at photographer for calling her bahu Aishwarya
