George Duke – Déjà Vu – Heads Up International HUI-32031-02, 55:53 ****:
(George Duke – keyboards, percussion, bass, vocals; Jef Lee Johnson – guitar; Michael Manson – bass; Larry Kimpel – bass; Ronald Bruner Jr. – drums; Teddy Campbell – drums; Paul Jackson Jr. – acoustic, electric guitar; Ray Fuller – guitar; Jubu Smith – guitar; Sarah Tomblade – violin; Bob Shepard – tenor saxophone; Everette Harp – tenor saxophone, soprano saxophone; Kamasi Washington – alto saxophone;; Hubert Laws – flute; Nicholas Payton – trumpet; Oscar Brashear – trumpet; Rashid Duke – voice; Terry Dexter – vocals; Lynne Fiddmont – vocals; Lamont Van Hook – vocals; Shannon Pearson – vocals.)
George Duke, a Bay Area native, has made a significant impact on the musical landscape. He has collaborated with a divergent group of artists and genres. Early in his career, appearances on several Frank Zappa albums, establishing a credo of nonconformity. Subsequent work with Miles Davis, Jean Luc Ponty, George Clinton, Stanley Clarke, Milton Nascimento, Sheila E, Flora Purim and Jill Scott only served to enhance his stature. Regarded as a pioneer of the synthesizer, his impact would be reflected in the jazz fusion movement. With its mixture of rhythm and blues, jazz, blues and pop, artists were given flexibility to explore their cultural vision.
Armed with a never ending arsenal of keyboards, and a diverse group of session players, Déjà Vu is an irresistible homage to the fusion genre. Ten original compositions arranged for assorted ensembles move with grace and precision. The opening cut, “A Melody” introduces a Brazilian theme, punctuated by Duke’s Voyager synthesizer solo and a smooth vocal chorus. A straight ahead contemporary arrangement of “Stupid Is As Stupid Does” features a funky rhythm pattern on the Rhodes, enabling uplifting solos on flute by Hubert Laws and trumpet by Nicholas Clayton. Duke is more than generous with the session players. “What Goes Around Comes Around” establishes a medium tempo with crisp piano runs before a segue into an urgent soprano sax (Everette Harp) line. Duke’s piano and keyboard work throughout the album is concise and colorful. Fans of R & B balladry will appreciate “Bring Me Joy”, with its atmospheric tone. A vibraphone (Cool Vibes) adds a nice ambience, as does the low-key vocal by Duke.
A distinctive change of place occurs on the tribute to Miles Davis, ”Ripple In Time”. Following a more dissonant introduction, the track breaks into a hard fusion jam with trumpet solos (Oscar Brashear) that have a piercing resonance, even when muted.. There is a tense counterpoint to the driving pulse and melody exploration. At the heart of this venture is the connection to the seventies-era fusion landscape. The title song incorporates a violin (Sarah Thornblade), evoking an experimental symphonic largesse.
In a musical environment that is apprehensive of pretense and glossy production, the aural commitment of George Duke stands on its own.
TrackList: A Melody; You Touch My Brain; What Goes Around Comes Around; Bring Me Joy; Ripple In Time; Oh Really?; 6 O’clock Revisited; Come To Me Now; Stupid Is As Stupid Does; Déjà Vu.
— Robbie Gerson
