George Duke is the keeper of the keys - Music - Arts - Evening Standard
       

George Duke is the keeper of the keys

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Hard jazz goes in and out of fashion but for its more soulful practitioners life is consistently sweet. Take George Duke. A keyboard star and composer-producer of impeccable credentials — his first big break was with the great Cannonball Adderley, followed by just about everybody from Frank Zappa to the Brecker Brothers — he’s also a born crowd‑pleaser whose funky music gets heads nodding and feet tapping however complex the chord changes.

Hitting town last night on the last leg of a gruelling European tour — "No offence, but we just wanna go home" — Duke maintained remarkable energy and creativity at the head of a brilliant young band about one-third his age. Drummer Ron Bruner, five-string bass‑guitarist Michael Manson and fuzz‑toned guitarist Jeff Lee Johnson set up high-tension beats as Duke stretched out on various synth keboards.

Their opening number, Homeland, was a medium-fast bossa with changes similar to the A section of Giant Steps. Its joyful vibe recalled Duke’s first Latin-American album, A Brazilian Love Affair. The next, Up On It, was an extended funk classic from the early fusion days, with sensational solos from Manson and Bruner.

Only then did Duke finally introduce vocalist Shannon Pierson, who until that point had offered only backing vocals while smiling angelically from the wings. It seemed a long time to keep a lady waiting but Duke sounded inspired. He was a monster player 30 years ago and, bless him, he still is.

What a shame this was a one-night stand.

George Duke
Ronnie Scott's
47 Frith Street
Soho
London
W1D 4HT

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