George Duke George Duke

Al Jarreau and George Duke were friends long before they became household names. They began playing together in the mid-1960's in San Francisco as Al Jarreau and the George Duke Trio. The successes of these performances are what helped to launch both their careers. George's tragic passing in August, 2013, inspired Al to record this loving tribute to his longtime friend. With the exception of the fitting title track composed by Jarreau, all the tunes were written by George. Guest artists/collaborators include Gerald Albright, Stanley Clarke, Dr. John, Lalah Hathaway, Boney James, Marcus Miller, Jeffrey Osborne, Kelly Price, Dianne Reeves and Patrice Rushen. There's even a song with George Duke playing on it!

After years of producing albums which were more pop/funk than jazz oriented, George Duke simmers down, leaves off the R&B vocals, and takes a little creative license on the self-proclaimed "mood record" After Hours. While his recent Muir Woods Suite showed off his affinity for classical music, here he's at his best on the meditative Vince Guaraldi-type trio ballads "Together as One" and "Sweet Dreams," which glide along on the improvisational and gently swinging graces of Christian McBride and Leon "Ndugu" Chancler. A whole project in this vein would have been welcome, but Duke charters other new territory, too; on the easy grooving "The Touch" and the almost new agey "From Dusk Till Dawn," he borrows the actual Rhodes from Joe Sample but winds up perfectly simulating Bob James' "Taxi" vibe, especially on the exploratory solo on the latter tune. The untrained ear might swear it's an actual James recording, but Duke's a clever enough producer to go beyond strict imitation. "The Touch" achieves an intriguing low-toned brew, as Sheridon Stokes' bass flute melody drifts gently over a hypnotic weave of Larry Kimpel's bass and Duke's Rhodes.

Following two studio recordings, this impressive band hit the road and cut this session with keyboardist George Duke. Their encounter provided for an uneven, but infectious, recording. "Hip Pockets," composed by Cobham, and "Ivory Tattoo," composed by Scofield, begin the session with some intense playing. Things get a bit goofy with "Space Lady" (a song which probably worked better live), and a bit melodramatic with "Almustafa the Beloved."

George Duke says he “stretched a little more into the funk area on this one because I had so many people ask me to.” Think he’s kidding? The first half of Is Love Enough?, which is much more like his previous Warner Bros. albums Snapshot and Illusions than last year’s Muir Woods Suite, is heavy on the funk and slow jams.

"A Brazilian Love Affair" is a labor of love, something I have believed in for a long time but have not had the means to bring to life until now. It is not a pure Brazilian recording bur rather a blend of Brazilian musical concepts with the diverse musical ideas of my mind. For most of the selections, I have intermixed Brazilian artists with American artists to archieve a true fusion of the styles. ~ George Duke

On his R&B-oriented records of the late '70s, George Duke often shared the lead vocals with such band members as Lynn Davis, Josie James, and Napoleon Brock, but none of them are employed on 1982's Dream On, which finds him handling most of the lead vocals himself. And that isn't a bad thing, because Duke is a soulful and charismatic singer - there is no reason why he shouldn't hog the microphone on his own albums. Unfortunately, he doesn't have a lot of first-rate material to work with on this competent, if uneven and unfocused, LP. Dream On isn't a bad album; sleek R&B ballads like "I Will Always Be Your Friend," "Let Your Love Shine," and "You" are pleasant, but they aren't remarkable, and while Dream On simmers, it never burns and never explodes…

Greatest Hits is a fine ten-track overview of the funk keyboardist's late-'70s/early-'80s recordings, containing all three of his Top Ten R&B hits ("Reach for It," "Dukey Stick," "Sweet Baby") plus a good selection of minor hits and album tracks.

1969 marked Duke Ellington’s 70th year, and in honor of the occasion, Jazz Impresario George Wein sent Ellington and his band out on a European tour, a 70th birthday tour, so to speak. In a brief concert series entitled “Newport to Paris”, we have the chance to hear Duke and the band performing live in Paris, and the Salle Pleyel in November, 1969. On this night we hear Duke and his orchestra in rare form, presenting a few of such newly written compositions, featuring luminaries like Cootie Williams, Johnny Hodges, Lawrence Brown, Russell Procope, Paul Gonsalves, Cat Anderson and more.

If you are an electric bass player, this album will keep you busy for a while, listening to Mr. Clarke's excellent work. His range of tone qualities and techniques are amply exhibited here. This is a showcase for Stanley Clarke's virtuosity, and really an encyclopedia of the state of electric bass technique at the end of the 20th century.

The Jazz Club series is an attractive addition to the Verve catalogue. With it's modern design and popular choice of repertoire, the Jazz Club is not only opened for Jazz fans, but for everyone that loves good music.