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Liberated Fantasies is the eighth studio album by American keyboardist George Duke. It was recorded and mixed by Kerry McNabb at Paramount Recording Studios in Hollywood, California in 1976 and released through MPS Records, making it Duke's seventh and final album for the label. The album features contributions from Alphonso Johnson and Leon "Ndugu" Chancler with guest appearances from several musicians, including vocalist Napoleon Murphy Brock, guitarist Daryl Stuermer, percussionists Airto Moreira and Emil Richards. The closing album in this MPS box set continues George Duke’s tendency to couple his fusion world with accessible R&B songs. Once again he shows a discernable vocal development. In Tryin’ And Cryin the Californian together with rock singer Napoleon Brock overlay multiple vocal tracks.

Unofficial release of George Duke and Stanley Clarke together with the drummer Leon Ndugu Chancler, recorded at live at Jazz Festival Montreux in 1988 and released by the label Jazz Door in 1993.

Deja Vu is 2010's bookend to 2008's Dukey Treats. That record explored George Duke's funk roots and channeled everything from Earth, Wind & Fire to P-Funk, artists who inspired his own successful run of funk outings. Deja Vu revisits Duke's love of electric funky jazz. Here he recalls some of the production and musical techniques he employed in the '70s. Along with playing a load of synths (mono and analog), Rhodes and Wurlitzer electric pianos, clavinet, acoustic piano, and even miniMoog bass are in abundance, too. The production is pure retro; compared to the contemporary jazz recordings of the 21st century, Deja Vu sounds almost organic.

In 1971 George Duke, having just recently done his time with the Mothers of Invention, was engaged by the Cannonball Adderley Quintet. Beginning in April of that year, Duke made two recordings over a short timespan that on their release in 1973 as a double LP (against the desire of the artists, by the way), would be a major statement. On Chapter One of his fusion autobiography, “Solus”, Duke, along with the skeleton crew of bassist John Heard and drummer Dick Berk, tries out the new compositional philosophy he had absorbed from his work with Adderley. The album was obliged to maintain a jazzy environment, illustrated by the harmonically flowing piano improvisation on “Love Reborn” and the bop-influenced busyness of “The Followers”. But the record also signifies the importance of the keyboards in all their diverse contexts – the funky rock of “Au-right”, and the smoldering, dreamy feel of “Peace”, for instance.

Released in 1978, Don't Ask My Neighbors was the second and last album that George Duke produced for Raul De Souza. For the most part, Duke serves the Brazilian trombonist well, but this vinyl LP isn't without its flaws. Duke sometimes overproduces, and a few of the tracks are weak – especially De Souza's disappointing versions of major R&B hits of the late '70s. Instead of really interpreting the Emotions' "Don't Ask My Neighbors," De Souza provides a pointless note-for-note cover and turns the song into elevator muzak. He doesn't fare much better on Michael Henderson's "At the Concert," which is marred by robotic female background vocalists who insist on singing the chorus instead of getting out of the way and allowing De Souza's trombone to be dominant.

This is a live recording of the George Duke Trio in Berlin 1977, featuring Leon Ndugu Chancler, Byron Miller, Charles Icarus Johnson, Sheila Escovedo and other musicians.

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.