July 14, 2010

Something about days and times gone by seems to be ever-increasing as the musical stalwarts and pioneers embrace its appeal more and more.  Master keyboardist/composer/producer George Duke is a case-in-point as he once again tickles our fancy with a visit to that period when music had the personality of a behemoth entity light on its feet and pure of heart.  He reached back on Dukey Treats and marvelously made his case for those glory days of funk.  Here with Déjà Vu, he again goes back to capture the “Duke of Earlier,” especially where synthesizers are concerned.  As he says, “The whole idea behind Déjà Vu was to take a look back at some of the stuff I used to do that was a little more musically challenging. In some way or another, whatever happened before always comes around again. It may be different, but it will resurface. That’s kind of what this album is—a resurfacing of some ideas I had back in the 70s when I recorded albums with a lot of synthesizers…” 

Yep, it’s true.  Duke has always been willing—even anxious– to push the envelope of what was considered conventional and show us all how good good can be. Déjà Vu is loaded with such examples. There’s the light and breezy opening track, “A Melody,” with its Brazilian flavor (something Duke hasn’t concocted in a while), and the funky and slinky “You Touch My Brain,” a tune originally written for Dukey Treats but never recorded. Something about this cut reminds me of the lazy and captivating genius of Sly Stone when he would drawl out something like “Just Like a Baby,” just in a slower time.  Then, there’s the nod to the odd but delicious structure of Miles Davis’ pieces with “Ripple in Time,” which starts off in a quiet, subdued and beautiful place then explodes with the edginess of rock and funk.  Oscar Brashear on trumpet “represents” really well on this track. You’ve gotta love it.

The vocals with their refreshingly accurate harmonies on the popping mid-tempo cut “6 O’ Clock Revisited” are a smooth and welcome addition to this track originally recorded by Duke in the 80s but without lyrics.  The sweet and beautiful romantic offering “Come to Me Now” is quite moving, and the lively and solid “Stupid Is As Stupid Does,” features flutist Hubert Laws, trumpeter Nicholas Payton, and saxophonist Bob Sheppard sharing the spotlight with some stellar groovin’.

Not that you would expect anything less from Duke, but Déjà Vu is another standup and proud production from one who knows this craft inside out. –  Ronald Jackson