GEORGE DUKE - DEJA VU

George Duke is back with Déjà Vu, a new album of jazzy soul fusion. On this new release, George plays lively set that shares a tendency with his great 70s albums in that it feels fresh and live in its craft in a really transcendent way. Duke plays pianos, a range of synths, Rhodes, Moog, electric Wurlitzer and more plus sings on a number of tunes and players include Larry Kimpal on bass, Ray Fuller and Jef Lee Johnson on guitar, Teddy Campbell & Ronald Bruner Jr on drums, Hubert Laws on flute, Sarah Thornblade on violin and others. Déjà Vu is a look back at some styles that Duke was interested in during the early parts of his career. In some ways it’s similar to his previous album Dukey Treats but it is a different look back. For one thing he chose to do a lot more synthesizer playing on this album using vintage analog synths along with current technology digital synths.

Here’s a song by song breakdown from Deja Vu:

1. A Melody: on this track Duke revisits the “Brazilian Love Affair” vibe in a slightly different way. Here he had the opportunity to play an extended Voyager (mini moog) solo which he had not done in a long time. This is a great this vibe and the vocals are definitely A Melody.

2. You Touch My Brain: actually written for the Dukey Treats album but never recorded. This is a real loose “Sly” kind of funk groove which gave Duke a chance to sing a simple song and though most fans are not used to hearing Ron Bruner Jr. play this way, he puts that simple spice on the drum track allowing the music to flow naturally – after all.

3. What Goes Around Comes Around: originally written by Everette Harp and George Duke for the latest Everette Harp album that Duke produced. With an over abundance of songs it was never recorded for his album. The song has been altered a bit and decided to include it in Deja Vu. The melody is played by Everette Harp on soprano sax and George Duke on Voyager, a real nice blending of timbres. This tune may remind some of a funky type of Weather Report vibe. Michael Manson plays great bass on this track along with some tasty guitar work from Ray Fuller. Duke also played synth bass along with computer drums, the latter being programmed to sound like a real drummer.

4. Bring Me Joy: will remind some of a Stevie Wonder song. Duke here plays lead Voyager and sings some easy vocals but overall allow the synths to dominate the feeling. Most of the synths are Arp Oddesey and Mini Moog – all played one note at a time to achieve a chord. The vibe solo is a played via Giga Studio, Cool Vibe patch.

5. Ripple In Time: a tribute to Miles Davis from his funky free “Tutu” period. This tune allowed Duke to create what has been called tone poems using various synths to create the environment. It features Oscar Brashear’s interpretation of Miles, and he did a great job. Ron Bruner is solid throughout as is Jeff Lee on guitar. Here Duke plays the Marcus Miller sounding bass on this one.

6. Oh Really?: Kinda funky in an off beat way. Ron Bruner Jr. lays the beat back and George and company all ride the wave. Once again Jeff Lee is amazing! Larry Kimpel laid the law down on this one as well. Duke’s old Wurlitzer 140B sounds like it’s stuffed with socks – and that Castlebar Clavinet – oh boi!!!

7. 6 O’Clock Revisited: exactly what it says. Originally recorded for Duke’s Warner Brothers album Snapshot. This time around he wrote lyrics and changed up the groove. It’s mostly an all synth track except for Ray Fuller on guitar and Duke on piano.

8. Come To Me Now: a song Duke wrote some years ago and never recorded. It’s got a great melody and allows Duke the chance to play some sensitive lead piano.

9. Stupid Is As Stupid Does: a track in the typical jazz tradition of solos by all (except the bass). Duke used to record these type tracks almost on an everyday basis back in the day – this is truly a Déjà Vu moment. Bob Sheppard, Nicholas Payton and Hubert Laws throw down along with a blazing Nord Lead 3 solo by Duke followed by a crazy Ron Bruner solo.

10. Déjà Vu: a track where the melody begins very simply and grows and grows. The tune allows Duke to stretch on a Motif ES8 synth guitar patch and gives Bruner a chance to shine especially at the end of the tune. Mention must also be given to Sarah Thornblade who has quickly become one of Duke’s favorite violinists. This tune will remind some of the Mahavishnu Orchestra experience and that is appropriate.