George Duke Flac

Straightforward small combo jazz (basically an electric/acoustic piano trio with occasional guitar, reeds and percussion) of a kind that George Duke's detractors say he has long since abandoned, In a Mellow Tone is indubitably a mainstream jazz record with little adventurous spirit and a sound that occasionally even verges on the easy listening horrors of smooth jazz. However, as such albums go, it's more than pleasant, with Duke's underrated piano and Fender Rhodes technique driving the songs.

On Dukey Treats, George Duke returns to the big FONK of the late '70s and early '80s on this set for Heads Up. In truth, it's a bit of a surprise given the sheer laid-back tone of 2006's In a Mellow Tone, which was a piano trio date, but then, Duke hasn't been predictable for some time. What is interesting is that this return to the music that made him a commercial superstar and a platinum-selling artist coincides with a look back at his early fusion catalog by Universal in Japan, Europe, and the United States.

For the past 35 years George Duke has been one of the least predictable jazz,funk and fusion keyboard players around.
And this new album simply titles 'Duke' shows that he hasn't changed.In the past decade and a half Duke's sound,as so many other musicians of his type has been forced to compete with many younger (and often less ambitious) singers and musicians who are more popular then he is.So to get it out of the way that is way modern R&B singer Eric Benet sings on "Somebody's Body",which is redeemed totally by Duke's wonderful piano stylings.Elesewhere this CD is a close to wonderful as Duke has ever been.On "Trust",the pulsating "T-Jam" and the more contemporary "Saturday Night" Duke delivers classic funk in his own unqiue style,just as he does on the midtempo "I Wanna Know",

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…

It took a few years before I was ready to record another CD. With the mediocre success of George Duke, I needed time to think about my musical direction. Also, I had many A&R meetings with Bob Krasnow about the direction for the project. I would try a few things, send them to him for his reaction, and so on and so forth. I had never been in that position before. By the way, that goes on in the biz everyday, but not to me!! I went along with the program since I knew that if this record didn't do well, that it was curtains for me at Elektra.

DreamWeaver marks George Duke's return to recording after a three-year silence, and his first since the death of his wife Corine in 2012. While he is always diverse, this set is uncommonly so. The opener, a slippery, atmospheric title intro, flows directly into the Latin-tinged "Stones of Orion," a jazz tune with Duke on piano, Rhodes, and synths, Stanley Clarke on upright bass, and a four-piece horn section. It's shimmering groove-oriented jazz that reflects the time that Duke spent with Cannonball Adderley. "Trippin'" is a funky, jazzed-up R&B tune where he offers his autobiography; it features some fine muted trumpet work by Michael Patches Stewart. "Missing You" is a jazz ballad tribute to Corine, with the finest vocal Duke has laid down in a decade. But there's funk here, too, in the fat stomper "Ashtray."

A really great early album from George Duke - quite different than his work for MPS to follow - and more in a groovy late 60s California mode! There's a vibe here that resonates nicely with some other late 60s sessions on Liberty Records - kind of an expansion of a Cali soul jazz mode, similar to the style the Crusaders were starting to go for - but colored in with some of Duke's obviously hip inclinations as well! George plays some great electric piano on the record - and other players include Ernie Watts on tenor and flute, and Jay Graydon on guitar.

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!