The only vocalist in history to net Grammy Awards in three different categories (jazz, pop, and R&B, respectively). Collection includes: We Got By (1975); Glow (1976); All Fly Home (1978); This Time (1980); Breakin' Away (1981); Jarreau (1983); High Crime (1984); L Is For Lover (1986); Heart's Horizon (1988); Blue Angel (1992) Single; Heaven and Earth (1992); Tenderness (1994)
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!
George Duke was an American musician, known as a keyboard pioneer, composer, singer and producer in both jazz and popular mainstream musical genres. He worked with numerous artists as arranger, music director, writer and co-writer, record producer and as a professor of music. He first made a name for himself with the album The Jean-Luc Ponty Experience with the George Duke Trio. He was known primarily for thirty-odd solo albums, of which 'A Brazilian Love Affair' from 1980 was his most popular, as well as for his collaborations with other musicians, particularly Frank Zappa.
The Sony/BMG Original Album Classics series brings together 5 CD's of rare and out of print titles with some best sellers from the Sony/BMG Rock catalog. Many of these albums have been unavailable on CD for some time and are sought after by collectors. Each set is presented in a high quality, rigid cardboard slipcase containing five vinyl replica mini LP sleeves. This 5 CD collection of original releases featuring George Duke includes the albums From Me To You, Reach For It, Don't Let Go, Follow The Rainbow, and A Brazilian Love Affair.
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.
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.