Jazz

George Duke & Band - Leverkusener Jazztage (2011)

2013-08-15T15:42:43Z

George Duke & Band - Leverkusener Jazztage (2011)


1. Bus Tours 16:45
2. You Touch My Brain 6:01
3. Cobra/ Backyard Ritual 11:14
4. A Fonk Tail/ Old Skool Medley 17:52
5. Everyday Hero 2:33

Lineup:
George Duke - Piano, Keyboards, Synthesizer, Vocals
Andrew Papastephanou - Keyboards
Jef Lee Johnson - Guitar
Mike Manson - Bass
Gordon Campbell – Drums

George Duke (b. 12 Jan 1946 in San Rafael, CA, USA - d. 5 Aug 2013 in Los Angeles, CA), was a pianist and synthesizer pioneer, who also majored in the trombone. Early influences: Les McCann and cousin Charles Burrell. First gig was with the house band at the Half Note club and with vocal band Third Wave in 1968, from there he backed such musicians as Dizzy Gillespie, Kenny Dorham and Don Ellis, playing session musician on Jean-Luc Pontys Pacific Jazz Albums.1970 was a milestone for Duke playing on The Mothers of Invention album 200 Motels.

He then went on to join The Cannonball Adderley Quintet recording at least six albums with Adderley. Further collaborations with Frank Zappa and Billy Cobham came his first venture into the charts with “Reach for It” and “Dukey Stick”. Reverting to his jazz roots his “Brazilian Love Affair” album even impressed his jazz critics after many accused him of selling out to pop. ---last.fm

George Duke zwany częstokroć pionierem elektronicznej klawiatury w muzyce jazzowej, znany jest też jako kompozytor i wokalista muzyki popularnej. Współpracował z tak różnymi artystami jak Jean-Luc Ponty i Frank Zappa. Wśród jego najsłynniejszych projektów muzycznych znajdziemy The Billy Cobham - George Duke Band, w którego składzie oprócz Duke'a i perkusisty Billy'ego Cobhama znaleźli się też Alfonso Johnson i John Scofield.

Pod szyldem The Clarke / Duke Project natomiast wraz ze Stanleyem Clarke nagrał w latach 80-tych trzy płyty, spośród których za najlepsze ich wspólne dokonanie uważa się album wydany w 1981 roku ''The Clarke / Duke Project'', z którego pochodzi wspaniała kompozycja obu muzyków: ''Wild Dog'' oparta na wyśmienitych partiach gitary basowej i fortepianu. To zarazem jeden spośród najsłynniejszych utworów George'a Duke'a, którym Stanley Clarke do dziś często otwiera swe koncerty.

Największa popularność Duke'a miała miejsce na przełomie lat 70-tych i 80-tych ubiegłego stulecia, kiedy to soczysty, energetyzujący funk otoczony elektroniką z wdziękiem przez niego obsługiwaną cieszył się największym uznaniem zarówno wśród słuchaczy jak i bywalców dyskotek. Ta muzyka brzmi może dziś troszkę archaicznie, lecz w tym właśnie tkwi jej urok sprawiający iż doskonale słucha się jej również dziś, w XXI wieku. Dowodem na to niech będzie fakt, iż nagrania George'a Duke'a utrzymane w takiej konwencji cieszą się wciąż powodzeniem.

W dniu śmierci George'a Duke'a (6 sierpnia) premierę swą miał album Waymana Tisdale'a ''The Absolute Greatest Hits'' (2013), na którym znalazło się wspólne nagranie obu artystów: ''Let's Ride''. Kolejny Wielki Artysta dołączył w 2013 roku do niebiańskiej orkiestry grającej gdzieś tam, daleko ''When The Saints Go Marchin' In''. --- longplay.blox.pl

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George Duke - A Brazilian Love Affair (1979)

2010-09-12T21:38:25Z

George Duke - A Brazilian Love Affair (1979)


1. Brazilian Love Affair
2. Summer Breezin’
3. Cravo E Canela
4. Alone-6AM
5. Brazilian Sugar
6. Sugar Loaf Mountain
7. Love Reborn
8. Up From the Sea It Arose and Ate Rio in One Swift Bite
9. I Need You Now
10. Ao Que Vai Nascer
11. Caxanga .

Personnel :
George Duke - Piano, organ & different instruments
Roland Bautista - Guitar
Larry Williams - Sax Alt & Tenor
Jerry Hey - Trompet, Flishorn
Toninho Horta – Guitar Acoustic & Electric
Jamil Joanes - Bass
Byron Miller - Bass
Milton Nascimento - Guitar Acoustic, Vocal
Bill Reichenbach Jr. - Trombone
William Reichenbach - Trombone
Raul de Souza - Trombone
Roberto Silva – Drums & Percusion
Airto Moreira - Percusion
Chico Batera - Percusion
Sheila E. - Percusiones
Ricky Lawson - Drums
Flora Purim - Vocal
Lucia Turbull - Vocal
Flavio Faria - Vocal
Lucinha Lins - Vocal
Lynn Davis - Vocal
Josie James - Vocal.

By the time of A BRAZILIAN LOVE AFFAIR, keyboardist George Duke had largely left his jazz roots behind, opting to focus on producing R&B and pop albums, and while this 1979 outing nods to certain subtle elements of jazz, it essentially consists of funk and Brazilian pop. Recorded in both Los Angeles and Rio de Janeiro, the disc features a number of notable Brazilian artists, including singer/songwriter Milton Nascimento and percussionist (and famed Miles Davis sideman) Airto Moreira, and their presence informs the proceedings to varying degrees, the strongest impression being made on Nascimento's own "Cravo e Canela." In contrast, the opening title track is a slick R&B number replete with a prominent slap-bass line, while "Sugar Loaf Mountain" is a breezy keyboard workout gilded by exotic percussion. Those expecting an album's worth of either traditional Brazilian music or straight jazz may be disappointed; however, listeners willing go along with Duke on this eclectic, romanticized journey will find much to enjoy.

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George Duke - Dream Weaver (2013)

2013-08-18T16:02:39Z

George Duke - DreamWeaver (2013)


01. DreamWeaver [1:28]
02. Stones Of Orion [6:27]
03. Trippin' [4:22]
04. AshTray [4:01]
05. Missing You [5:45]
06. Transition 1 [0:14]
07. Change The World [5:55]
08. Jazzmatazz [4:45]
09. Round The Way Girl [4:11]
10. Transition 2 [0:18]
11. Brown Sneakers [6:10]
12. You Never Know [4:03]
13. Ball & Chain [5:58]
14. Burnt Sausage Jam [15:32]
15. Happy Trails [5:02]

Before I can get to the task of reviewing the latest effort from George Duke, there’s something bothering me about how this album was introduced:

“Out of devastating pain comes Dreamweaver from keyboardist/composer/arranger/producer George Duke.”

This was the headline of the press statement that accompanied the disc for review. It’s as if the promotional team behind the press release were trying to wring every single ounce of sensationalism out of Duke’s extenuating circumstances while assembling this record, fishing for a headline. And leading the tale of the tape with said tabloid fodder? All I can say is wow. This is George Duke we’re talking about here, not Brandi Glanville. With that said, it should be noted that I, indeed, fell for it. I had to read more about this “devastating pain” immediately. I delved in head first, voraciously absorbing the written information, pre-processing the meat of the review whilst delicately arranging my potatoes. My expectations after reading the press release were rife with daydreams of music derived from deep, emotional pain and inner conflict, which usually leads to profound expression and the making of some heady, pervasive sounds in the process (more on that later)... and there lies the problem I have with the pitch. It’s misleading.

Dreamweaver is more of a celebration of all styles that George Duke has mastered over his half-century career, with a couple of exceptions. He doesn’t touch much on his Zappa influence, or bring a funk rave a-la “Dukey Stick” to the mix. What he does bring is an all-star cast of superb interpreters, a wide range of stylistic impressions to explore, and a sense of who he is as a musician. Duke takes you through jazz, R&B, soul, smooth jazz, funk and remote tributaries of the aforementioned. There’s a collaboration with Teena Marie (one of her final unreleased recordings), “Ball and Chain”, which is showing up for the first time here. The rest of the all-star collabs feature the likes of Stanley Clarke, Christian McBride, Jeffrey Osborne, Rachelle Ferrell, and Lalah Hathaway. A lot of the more commercial-leaning cuts deal with stereotypical lyrical topics, but that aspect can easily be forgiven when you listen to master musicians play. What really can’t be forgiven are the use of harsh synth voices, poorly envisioned samples, and boring drum sequences. Luckily, it’s found on very few of the selections. Highlights include “Stones of Orion” (there’s definitely some heady, pervasive sounds here), “Ball and Chain”, and “Burnt Sausage Jam”. The album ends with a truly unique cover of “Happy Trails”. Avoid “Change the World”, unless “We Are the World” still lives somewhere in the abyss that is your iPod, and you grant it access to your ears on a regular basis. If so, this song is all you.

Even though Duke dealt with the death of his spouse while making this album, this life-altering event is not what Dreamweaver is about, not entirely. Not even primarily. He does explore his emotions on the subject, but it’s just a small facet of the whole. It’s more about George Duke the man rediscovering George Duke the artist, getting back to where you came from so you can move on to the next great innovation. At least that’s what I take from it. More joy than pain. ---Neil Kelly, popmatters.com

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