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 GEORGE DUKE JAM talks with the veteran keyboardman about past associations, the meaning of the word "jazz," and working with Al Jarreau.
GD: It was a wonderful experience. We were on the same page musically during that period, in the late '60s. I was totally into the Miles Davis thing back then. Tony Williams, Herbie Hancock, all those guys. Jean-Luc (also) was interested in doing a more progressive kind of music. We had a great time. What an incredible musician! JAM: Frank Zappa GD: Frank was an amazing musician. And he really opened me up in terms of learning to like and enjoy playing and listening to all kinds of music. I mean, he opened me up all the way around... like in terms of playing synthesizers. I never wanted to do that; but he was the first one to introduce me to it. He was also the first one to get me seriously thinking about singing. He challenged me to become a comprehensive musician. He'd say, "Look man, classical music is great, but 1950s doo-wop music has validity, too." He made me feel silly after a while for having such a serious attitude about "serious" music. JAM: Don Ellis GD: (laughs) Don Ellis... You know what, man? To me, Don was a lot like Frank. Don's music was really complicated. But it gave me that same challenge. I loved playing with Don. And I really wish he was still around. He was an amazing cat. You know, these guys you're asking me about were all musicians who looked to the future. They weren't looking to do what had already been done. That's what was so great about working with all of them. JAM: Cannonball Adderley GD: Well, Cannon was like my daddy. Matter of fact, a lot of people say I look like him now (laughs). Cannon knew more about jazz history than anybody I'd ever met. I used to love to just hear him talk. You know, about Sarah Vaughan and Ella Fitzgerald and Miles... All these guys who were my heroes, he'd talk about them like they were his next door neighbors. And then they'd come see him and I'd get the chance to meet them. It was a wonderful experience working with Cannon. Also, like Frank, he was very open musically, and liked to do all kinds of music. I love that. JAM: Sonny Rollins GD: Oh, man... Sonny is one of those heroes who has that sound like nobody else. I mean, we're talking about a serious musical personality there! I loved playing with Sonny. And I have to tell you about one experience I had with him in Japan. It was (with) Al Foster on drums, Stanley Clarke on upright bass, myself on piano and Sonny. We played in Yokohama at an outdoor venue where there were something like 10,000 people. And when they announced Sonny... man, you woulda thought the Beatles were coming on stage! I was like, "Jeez! I've never heard people get this much into a jazz musician!" And Sonny played his heart out. Like I said, he's a hero. JAM: Billy Cobham GD: I love Billy. He was another one of those guys who was always looking for something new. Billy brought a whole new style of thought and intent to drumming. And by the time I started working with him, we were both interested in seeing whether we could bring more R&B elements into fusion. Again, the people you're mentioning were all pioneers. And I feel blessed to have been able to work with each of them. JAM: Stanley Clarke GD: Well, he's like my best friend, my buddy... He's an incredible player. And he's a musician very much like myself who likes all kinds of music. I love people like Stanley who are comprehensive and can do all kinds of things. JAM: In the All-Music Guide to Jazz, critic Scott Yanow writes "little of George Duke's post-1976 work is relevant to jazz." How would you respond to that? GD: (laughs) Well, it depends on what your definition of jazz is. And my definition of jazz is pretty broad. Jazz to me is an intent... a certain way of looking at music. I think jazz can be inherent in rock and roll and other kinds of music, because jazz is not "pure" to begin with! It has always been a kind of "fusion" music. And that's what has enabled it to become more inclusive. It's true, I have ventured into other areas, and that's my prerogative; but no, I don't agree with that comment. I guess everybody's entitled to their opinion. JAM: Let's talk about your upcoming Kansas City appearance with Al Jarreau. What kind of music will we hear that night? GD: I'm sure Al will be doing material from his new album, plus some kind of collection of his hits from the past. And I'll be doing a lot of different things, too. But I think the thing that's gonna make this interesting is that all three of us -- Rachelle (Ferrell), Al and myself -- are going to be on the stage at the same time working together as a band. So, people will be hearing some things they can't hear on records. Like, we may go back and pick out an old jazz tune, and give it a special treatment made just for the three of us. People will get to hear lots of different things that night. JAM: You will also be in the role of accompanist part of the time, too, right? GD: Right. JAM: What are the requirements of a good accompanist? GD: I think there's no doubt that you have to be sympathetic. And you have to be able to listen. Listening is very important. You can't be in your own world, just comping away. You've got to really listen to what the soloist is doing; and when you feel there's a spot where (the music) needs to grow, you can even push the soloist a little bit. That's something a good rhythm section can do: kick the soloist in the butt every now and then -- but at the same time not be overbearing. It's a give-and-take situation, at its best. And it can be incredible when there's a lot of empathy. JAM: Have you and Al worked together before? GD: Oh yeah! Al and I go way back. We had a band together in 1965... that shows you how old I am (laughs). I was in college, and Al was a psychologist. Neither one of us knew if we could make a living performing music, and I just happened to have a gig in this little club in San Francisco. Al came down one Sunday afternoon and sang and blew everybody away. We worked together for about three years, 1964, '65 and '66. So, we have a long history. JAM: Who are some other singers you've enjoyed working with? GD: Oh man, there are so many... (pause) Sarah Vaughan was always one of my favorites. I really enjoyed working with her. And of course Anita Baker is a wonderful person to work with. I love working with Rachelle Ferrell. For people who don't know about her, she's an a-mazing singer. She's one of those singers who can do anything: jazz, R&B, funk. Anything. She's got those kind of chops. There's also my cousin, Diane Reeves. I love her, too. JAM: Well, George, good luck with your Kansas City show on the 17th. We hope you enjoy your visit here. GD: Absolutely, I will. I always have a great time in Kansas City. And I'm really looking forward to coming back. Catch George Duke when he appears with Al Jarreau and Rachelle Ferrell at Starlight Theater on Friday, August 17 at 8:00 p.m. RETURN TO AUGUST/SEPTEMBER 2001 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2001. All rights reserved. |
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