![]() But when Duke first emerged at the age of twenty, releasing his first album on the now legendary MPS label, Presented By the Jazz Workshop of San Francisco (1966), he was a relatively straight-ahead jazzer. ![]() Few can challenge his navigation of the late Frank Zappa's classic and complex "Inca Roads" on One Size Fits All (Ryko, 1975), breezy Brazilian contributions to Flora Purim's Butterfly Dreams (Milestone, 1974), his blinding yet undeniably funky synth solos on John Scofield's Loud Jazz (Grammavision, 1988) or the greasy groove of "Cobra," on Miles Davis' last significant studio album, Amandla (Warner Bros., 1989).Įqually, while distanced from the jazz sphere, it's hard to deny a talent that has produced successful albums for Natalie Cole, Smokey Robinson, Philip Bailey, Jeffrey Osborne and Gladys Knight. So, while his early days might be considered by some to be more significant in that they were closer to a jazz aesthetic and further from the R&B spirit that has moved him since, the fact is that Duke has always followed his own heart with respect to his musical choices. ![]() While he's gone on to become a renowned pop producer and, in recent years, has veered towards smooth jazz territory, keyboardist George Duke has, in fact, the credentials, skill and intuition to tackle most anything he chooses. My Soul -The Complete MPS Fusion Recordings
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