George Duke: From Me To You – The Definitive Collection 1977-2000 (Robinsongs Robin5BX74)
A five-CD box seems an appropriate tribute to keyboard master George Duke. Containing a staggering 87 tracks, it comprises over six hours of music. Starting with seven tracks (including the title track) from the album From Me To You (Epic, 1977) the set concludes with the laid-back If You Will from Cool (Warner Bros, 2000). The five CDs were gleaned from (at least) 14 albums including ones Duke recorded with Stanley Clarke. Six of the nine tracks from the Clarke/Duke Project (Epic, 1981) are included on CD3.
But despite the erudite and informative 10 pages of sleeve notes by the ever-reliable Charles Waring there is very little discographical information included in the package and tracks from respective albums do not always follow the order in which they first appeared. This is a shame because only by Googling is it possible to determine who is playing what and when. The sparse discographical details given in the booklet list track titles, the record company and year published but curiously no album titles.
In total, Duke recorded 32 albums under his own name. But of his debut album, the archly titled The George Duke Quartet Presented By The Jazz Workshop 1966 Of San Francisco (Saba, 1966) Waring says Duke thought “without a doubt… the worst record I’ve ever made”. He subsequently made seven albums for the German MPS label between 1970 and 1976.
Duke initially gained fame due to a fortuitous recording date when he was recruited by Jean Luc-Ponty for the album King Kong: Jean-Luc Ponty Plays The Music Of Frank Zappa (World Pacific/Liberty, 1970). Zappa, who composed all but one of the tunes and played guitar on the album, recognised Duke’s prodigious talent and asked him to join The Mothers Of Invention. Duke went on to appear on over a dozen Zappa albums albeit with a two-year hiatus from 1971 when he joined Cannonball Adderley, replacing Joe Zawinul. Significantly, Zappa introduced Duke to the wonders of the synthesizer, which radically changed the keyboardist’s approach.
Despite the commercial failure of From Me To You (Epic, 1977), its follow-up Reach For It (Epic, 1977) spawned an unexpected chart success with the bass-heavy title track hitting number 2 in the US R&B singles chart. This consolidated Duke’s new penchant for jazz-funk, which characterised his subsequent albums. That album went gold, selling over half a million in the USA alone. Duke had more album chart success with Follow The Rainbow (Epic, 1979), but the music was moving ever closer to disco and pop, as in the irresistible dance beat of Funkin’ For The Thrill.
High-octane rockers which belie Duke’s jazz roots include Heroes (not Bowie’s tune) from The Clarke/Duke Project II (Epic, 1983). Stand With Your Man, featuring The Original George Duke Funk Band, from his eponymously titled album (Elektra, 1986) is a standout, replete with a glorious, oozing bass line. By contrast, the synthy robotic-voiced Broken Glass from the same 1986 album is just plain weird. 3 (Epic, 1990) reignited Duke’s association with Clarke, and sported tracks such as a cover of Parliament-Funkadelic’s Mothership Connection. The jazzier After Hours (Warner, 1998) reached number 8 in the Billboard jazz charts. Whilst some funk-laden tracks may not appeal so much to jazz fans, others numbers here will entice listeners to Google-down the albums from which they originated.
Scott LaFaro: The Alchemy Of Scott LaFaro (Él Records, ACME3CD374)
The strapline under the title reads “Young meteor of the bass” which is apt since LaFaro (3 April, 1936 – 6 July, 1961) had a meteoric career prematurely cut short at age 25 in a car accident. Switching from sax and clarinet to bass aged 17, he had mastered the instrument within just a couple of years and was good enough to join the Buddy Morrow band. This three-CD retrospective charts LaFaro’s progress where he accompanied some of the most important figures in jazz. He was perhaps best known for his work with pianist Bill Evans and CDs 2 and 3 offer various examples of that trio including four tracks from Sunday At The Village Vanguard (Riverside, 1961). Crucially, within the Evans outfits, LaFaro introduced a bass technique that elevated the instrument to a co-lead role rather than an accompanying one. Just listen to his superb composition Gloria’s Step, adorned by his fleet-footed solo.
He participated in Ornette Coleman’s Double Quintet, along with his friend and fellow bassist Charlie Haden, on the album Free Jazz: A Collective Improvisation (Atlantic, 1961) of which the entire 37 minutes is included. Another complete album is The Arrival Of Victor Feldman (Contemporary, 1958) which was a showcase for the British multi-instrumentalist, here playing vibes and piano.
Like Haden, LaFaro had a bass sound that was extraordinary, deeply resonant and rich-toned. He replaced Haden in Coleman’s quartet, appearing on the album Ornette! (Atlantic, 1962) which was recorded on 31 January 1961 and from which the 16-minute W.R.U. is included. Whilst jazz aficionados may already be familiar with tracks represented in this box set, there will be ones that are unfamiliar and in any case such a celebration of this virtuoso bass innovator is very welcome. It’s a true collection of gems.
Mike Stern: Echoes And Other Songs (Artistry Music ART7087)
Mike Stern suffered a serious accident in 2016, breaking two bones in his right arm. There was nerve damage and it became more difficult hold a pick, but happily there’s no indication of any impairment on his new album. If anything, Stern’s playing is more affecting than ever. Check out his meaty, overdriven solo on Space Bar as evidence. Stern is accompanied by some familiar names including Christian McBride, Richard Bona and Dennis Chambers. Saxophonist Chris Potter contributes some strident tenor solos particularly on the title track. But sadly, the album was the swansong for keyboardist Jim Beard, who died on 2 March 2024 aged 63. Beard also produced the record, which Stern respectfully dedicates to his friend and long-time colleague.
