George Duke
Man,
I sure agree with the Europeanization of Jazz. Makes me sick!!!! I just
told my 20 year old Brother drummer on saturday to avoid it. I told him
to check out the Olmecs and Balck Madonnas. The nuts who try to deny these
things are pushing us towards WWIII. Thanks for backing me up from your
lofty position. Man, I teach 2nd graders and tell them everything I can
in Baltimore City. Much of the enemy looks like us within the system
too!
Mark M.
Hi George!
And first, let me say that I consider myself an "old-school"
player---I have vivid memories of lugging my Rhodes Suitcase piano, Farfisa
organ and my tiny Yamaha CS-5 to gigs and dreaming of eventually getting
a Yamaha DX-7 or a MiniMoog [I eventually got both]! So I understand
your view completely and may I add that it seems like today's popular
music tends to favor mediocrity and eschew virtuosity.
Many times, I listen to some artists play live and
wonder how on earth they ever got a gig, let alone a record contract.
Lip-synching, sequences, and a live band and none of it groovin'.
That's why I treasure those shows where I get to see real musicians
play their instruments and heaven forbid, groove with each other--- [attention:
kiss-ass moment] like your show down here in San Diego's Humphrey's
By The Bay Concerts. My band was the one playing inside the lounge
while you and Stanley were on the outdoor stage; we caught some snippets
of you guys during our breaks and all of the guys in our band reverted
to schoolkids watching our heroes on stage.
Technique is and always will be a means to an end and not an end in
itself! Technique is important in allowing an artist to more easily express
ideas, giving flexibility of thought and the freedom to execute more difficult
and complex passages. BUT THE TECHNIQUE IS NOT THE MUSIC!
Amen. I figured that out long ago when I realized I'd never be Chick Corea,
Herbie Hancock, Jeff Lorber, Stevie Wonder or even George Duke.
Only I can think like me. We are what we listen to, and we
are an amalgam of our influences. I feel fortunate to be raised
by musically inclined parents: dad was a jazz lover who also enjoyed latin
music, mom is a musical omnivore that enjoys everything from opera to
the Beatles. And both parents were singers with perfect pitch---something
I've inherited as well. Drives me crazy when a singer is off-pitch.
I've been told that the reason I get called for gigs is because folks
like my feel, that I have a knack for making stuff feel better.
Kinda like my favorite players; they make the music feel better.
Quite humbling and satisfying to know how one is regarded by their peers.
I had a conversation with bassist Cecil McBee Jr. [a great player like
his dad], and we lamented how some players look for short cuts and don't
necessarily put the time in on their axe. We also lamented the lack
of historical knowledge that some of today's musicians have. My
father used to tell me to learn about the roots of my instrument(s) and
music in general, because to truly move forward, you need to know the
past. And my mother always tells me that if you're passionate and
inquisitive, you never stop learning something new.
The blues at its’ best (like gospel) is raw and free, and mad
technical expertise has little to do with it! On the other hand there
is nothing I love more than a beautiful melody played very eloquently,
but somewhere that rawness, or as Quincy Jones calls it – those
grits (that hot sauce – that bacon grease) - have to make an appearance
on the stove.
Funny. Dad used to call it "garlic". It ain't tasty
without the garlic! I love these cooking metaphors; jazz and cooking seem
to go hand-in-hand--- kinda like gumbo: a little bit of this, a little
bit of that and all tasty. [I come from a family of great cooks]
There are too many non-musicians deciding what musicians should do.
In a nutshell that’s what’s wrong with the business! And even
worse, these musicians are listening to these folk.
Sad but true. I once submitted a demo to a label and was told it was "too
fusion-y" and had "too many notes". He wanted me
to dumb it down, so it can be "saleable". But proof is
in the pudding, since I hear some great players put out some lame stuff
that belies their talent. C'est la vie and que barbaridad!
As I said before, style of music is irrelevant! The important message
is the freedom of creativity and thought. Building on what came before
and taking that idea to new levels. That’s the only way the music
will truly evolve and become an extension of what came before.
Dad used to tell me there are only two kinds of music: good and bad.
And if you're gonna make a living as a musician, learn to like it all;
or at least respect the art that goes into other styles of music.
As Billy Cobham said, it boils down to "simplicity of expression
and depth of thought".
Somebody once told me there are three levels of musicianship:
1. guys who play what they know with a limited vocabulary and technique.
2. This is the level most of us are: those musicians who are evolving
and expanding their vocabulary and their technique, and
3. This is the level we aspire to: those musicians who possess great technique and
vocabulary who simply just play: like Oscar Peterson, Chick Corea, Herbie
Hancock and you, George Duke, as well as many others.
On an off note, how are the memoirs coming along, George? I
look forward to reading about some of your road warrior stories.
[I was the guy who asked you about your Zappa days and your gear from
the 70's and 80's]. And I also look forward to seeing you at NAMM
at the Rhodes booth. Peace.
Max
Hey George!
I'm 18 and I live in England.
Hearing that from such a respected musician, is a great warmth to me,
as I have had the same thoughts myself.
I do know what you mean about the classical/jazz cloud that hangs over
a lot of new jazz material.
A lot of young jazz musicians I know never listen or play music from the
beginning/roots of jazz. The period of Jazz before it developed to the
complexity it did in the 40s, seems to provide no interest to many young
musicians. Everyone seems to dive into Bebop, stay there, or move on a
decade or so, and that’s basically it.
I think jazz is more intellectual than its ever been, and some people
seem to be playing more from their knowledge rather than their soul. Because
of the sophisticated and classical influenced direction a lot of young
jazzers are going, it can be said that in many cases jazz does not relate
to, or represent the hardships, blues and feelings of the youth majority
in the way it did in 50 years ago.
The classical and jazz theory can be learnt by reading a book, and practicing
3 hours a day. You can learn to play every scale, every sonata, but learning
to play from yourself, and using your feelings, is becoming harder and
more distorted for young “jazz” musicians by the day.
Life has changed since the the days of Autumn leaves and blue bossa. All
the stress, blues and feelings that teenagers experience, are usually
expressed by going to club and drinking, or going to see a rock band.
When it comes to sitting down and practicing jazz piano altered scales,
there seems to be clear separation between life and feelings, and the
world of 2 5 1s!
Now, if you look at current youth music that is all about current issues,
current feelings and current blues, that separation is non existent. IN
my opinion, underground hip hop, and British garage, can have blues, and
many of the same features that lie deep in the foundations of true “jazz”
music, SOUL and truth.
Personally I think a lot of the traditional values of jazz, can be more
prominent in other types of soul music. In a lot of British neo soul,
electronic drums are programmed slightly of beat, and that's what gives
the beat that certain something....
For me jazz is all about self expression and loosing your inhibitions.
Unfortunately, a lot of current jazz is more image based, and many seem
to play what they think is right, rather than what feels right.
It is a very interesting and mysterious issue, and as a young musician,
I can completely empathize with you.
Thank you for all your wonderful music and love!
Hope to see you one day.
Best wishes
Ben
(Duke response)
Hey Ben,
You might have just said it better than me and definitely made some great
additional points.
Thank you!
G. Duke
Can I shake the cage a tiny bit?... Why are some musicians leaning
towards the Euro-flavor rather than a more improvised flavor?
Let's draw a parallel to today's expressionism - one that many may hate
and not acknowledge as "talent" but in a social and economic
context is one of the top producers of followers and dollars... that is
-- Ghetto Rap... Why am I taking the discussion there?... stay tuned
and hear me out.
Way back, in the days of slavery, wasn't the "holler" used as
an improvised form of expression that was found to be "not the (white
people's) norm" of everyday chant and music? I'm sure way back
then, listening to some person "near the bottom of society's totem
pole" chant in a foreign manner conveying a tone of struggle would
have stirred some emotions long ago similar to the feelings that some
today may have towards ghetto rap... and let's not address whether rap
is "music" or "talent".. that's not the point.
The point is that ghetto rap is a form of improvised expressionism with
similarities to that of the holler - it conveys an improvised message
of struggle in a lyrical, musical, and metrically signatured format.
So what does this have anything to do with the reason why jazz seems to
be taking a pronounced turn towards a Euro flare? Let me build more
of the case...
How many of you musicians who are reading this column have the ability
to go out on stage WITHOUT pre-rehearsed musical scores in mind and jam
the way Miles or Jarrett do? The whole concert would be based on
your current frame of mind and emotions. The holler, rap, "call
your momma", (and even the blues).... all have improvisation as the
primary root as would going on stage cold with no rehearsed material.
I think it is fairly safe to say (flame suit on) that MANY musicians today
CANNOT improvise to the extent that the greats could only because of...
1) a lack of talent or ability to improvise
2) a (self-imposed) perception or conditioning that jazz is something
that is learned rigidly and played as close to some "standard"
rather than "auto-swung" in an emotional and ad-hoc manner
3) the population distribution demands more euro-flavored jazz and musicians
will follow the dollars and tune their talents that direction
Picking on #3, what percentage of restaurants, and therefore their customers,
will play the likes of Kenny G, Kim Pensyl, David Benoit, versus Keith
Jarrett, Tyner/Coltrane, and George!? I'll let you decide, cuz I
don't have the galaxy's answer but I have my suspicions.
Also, tell me if I'm wrong on #1 and #2.
So, there's my personal voice on why jazz will continue to go the route
of euro rigidness. That's not to say there won't be the African-influenced
version - I'm quite sure it will be around. It just won't be as
prolific as some of us want it to be. It's also not to say that
any genre of music is any better than the other... they all have their
place and time and audience.
George... here's my challenge to you (and you even have a recording studio
to fine tune it, but I prefer raw, even with talking in the background)
Publish a RAW and unplugged album, unrehearsed, jam as long or
short as you like per track... and even take it to areas that are as far
away as you can. 60 minutes of jammin, laughing talking, jammin
some more. Beatles recorded something like it, Jarrett in Fantasm
take #7. And while I'm asking for the moon, I prefer piano, rhodes,
and B3 while doing that type of music. The newer analog synths can
be saved for other awesome works ;-) Keep the jazz movement going
your direction... we will follow... not blindly, but due to our understanding
and our willingness to learn.
(Duke response)
I can truly say that you break it down very well, and it's obvious that
you say what's on your mind and don't apologize for it. I commend you
on that! You know, maybe you should write a book - it is an interesting
subject.
As far as my challenge, I hear you on that - stay tuned!
G Duke
Hey George its Miles:
Help me out here Bro.
Already I've received a copy of your editorial from an aspiring jazz
pianist who chose to highlight in red and underlines all of your points
challenging the value of technique vs. daring or spontaneity.
Now I know that chops alone does not the artist make. How many cats started
Julliard only to leave in search of more than the curriculum could provide?
I am in full agreement with your assertion that chops alone can never
replace attitude, humor, mood, or just sheer inventiveness in a live or
recorded performance. These and other qualities make 'our' music what
it is in the blues context or just the way we walk and talk.
(Maybe a definition of blues would be helpful too so folks won't
just think of somber, brooding tunes about broken hearts and love gone
bad. Some Blues tunes can be hilarious.)
What scares me is that their will be those looking for an excuse to skip
practicing altogether because Duke said 'it wasn't important'. As
a violin picker, I know that without sheddin', my fingers ain't gon' answer
when I call. You can't fool yo' fingers!
Where I come from, some cats just can't play... weren't meant to play
past a certain level and there's nothing wrong with that. Everybody can't
make the NBA just because they play a great game of street ball. Some
should just watch on tv.
Radio programming and Pro Tools has made it possible for darn near anyone
with the right gear to participate and maybe that's o.k. but I still get
an attitude when folks disrespect the art by not practicing their free
throws and layups. Understanding a little harmony and scale application
ain't gonna kill you.
Now, I love the technology, if only for the economics of allowing everyone
a shot at expression without the gatekeepers on Sunset or 6th Ave. blocking
all but a few, but fingering technique, (if its just some simple Hannon
exercises) is not a bad thing.
I also know that quantizing is not going to help you when you're playing
live with some cats that can play so the technology candumb us and numb
us if we're not careful.
I hear finger nails on the blackboard when I hear a cat on Jazz Radio
playing something at the high school proficiency level. Snatch a kid
right out of the marching band horn section and he could play the same
track note for note. Now that's pathetic.
Besides, it gives the H.S. kid nothing to reach for... nothing to strive for.
No dreams or aspirations of great artistry, he's already there. He's
just pondering his first deal and the cash... the lifestyle. ( and don't
let em learn circular breathing - Oh Lord, hep me somebody!)
No soul... no technique... just a record deal. Oh well! Maybe I'm just
gettin' older. :-)
I know everyone can't be Art Tatum but we can all strive to be better.
When you're no longer a student of the game you lose something vital.
I believe in my heart that Ellington, Strayhorn, Quincy and you Bro. Duke
would encourage anyone professing to love this thing called jazz or just
music to dig deep into the tool box and get familiar with all of the tools
of the trade - technique being one of my favorite. (Probably because it
kicks my butt along with hearing and trying to understanding everything
I hear.)
George, don't let these cats off the hook. Make 'em play Bro... make 'em
play! They'll listen to you!!!
Peace and blessings!
Miles
P.S. European vs. gut bucket... love em both and everything in between
but that's another e-mail. :-)
Love you Bro!
(Duke response)
Hey Miles,
How are you doing man, long time no see! Thanks for joining the discourse.
However, you misunderstood my point!
Obviously to take your craft to the next level, one has to dig deep and
learn not only what makes music work in the first place, but how to technically
execute those ideas in the mind and heart. Learning the basics of playing
and the theory behind playing will place a firm foundation for an artist
to build upon.
Now, in playing jazz, theoretical knowledge and the actual technique of
performance can be extremely beneficial. Having a thorough knowledge of
melodic and harmonic content and a great technique can make one a great
player.
However what separates the men from the boys and turns a great jazz player
into a unique and special player is the ability to transcend mere technique
and tap into that inner space that breeds innovation - that is music that
springs from an entirely different source, and besides execution, has
little to do with technique or musical knowledge. It is a spiritual thing,
something I call "the Ancient Source" - and that comes directly
from the tradition. It is a continuum from the past.
Now I know to some it will seem as though I must be smoking some good
stuff, but I assure you I am cognizant.
"For a player, technique and theoretical knowledge in and of
itself is not the ideal - that is not the music, only a means to it!"
Now Art Tatum is a great example. He was not only extremely proficient
as a pianist but also a very soulful player who not only sprang from the
tradition, but also led it in new directions.
So, it's not technique vs. daring or spontaneity - it's technique, daring
and spontaneity all inclusive supporting the art form. To be perfectly
clear, I have always said and will continue to say that learning the basics
of music, having a firm foundation and educating oneself is vital to longevity
and depth. Learning the craft will give a musician more tools to use in
their search for the ultimate melody and harmony. I am not letting the
youth off the hook in terms of learning the craft of making music!
However, that in and of itself is Not The Music, it is a means
to an end.
My main concern among young jazz pianists is the lack of
interest and knowledge in playing music based on afro centric traditions.
Those traditions were central to the development of jazz, its' overall
popularity through the years, and the feeling of the music. That
feeling is what seems to be disappearing and my question is why?
Why are young jazz players leaning more towards European musical traditions
than African American musical traditions. It's an interesting question
that some, based on some of the responses I received, believe may affect
or infect other areas of society.
Now I thought I had adequately explained what I meant by the blues
- not a form of music but rather a feeling that comes from Black America
via Africa, combined with European musical traditions and developed in
the bowels of New Orleans, Chicago, St Louis etc. but not isolated there.
It's the combination of those elements that give jazz its' unique twist.
Leaning more towards one element than the other has gone on for a long
time and there's nothing wrong with that. it just seems that now, the
youth movement in jazz have pretty much abandoned the Black American side,
and when they try and play with that feeling, it doesn't work because
it's not real - they never learned how to play it. In order to really
play it, you have to love it.
Do they really love it? As I said before, an interesting question!
I hope I clarified a few things with this response.
I wish you well my brutha!
G Duke
Hey George:
Gotta tell ya... I am enjoying this food for thought. Thank you!
I think I do get it and I agree with you. I understand that its not one or
the other. Technique is not the music; it's the means by which we make
the music. No problem.
I just wanted to catch those who would misinterpret your points about
technique as an excuse not to practice or study. It reminds me of other
discussions like 'why learn to read music when I have such a good
ear?' or 'why learn the repertoire; that stuffs old and irrelevant?'
I mentioned earlier that I had received an e-mail from someone who had
read your piece (before I read it) and highlighted points that seemed
to suggest to her that technique and facility were not important.
I know this particular musician to be one who would love an excuse not
to practice or study. (Imagine that! ) I just wanted to catch musicians
like her who might take your meaning out of context and remind them that
technique does indeed have its place and value.
I interviewed Kirk Whalum, Jonathan Butler, and Waymon Tisdale this afternoon
and you would have thought they had read your commentary. It was great!
There's a new piece out called the Miles Davis Story that touches
on the process of reaching that inner space or "the Ancient
Source" that anyone truly hungry for it or that truly 'loves
it' can have a feast.
I also watched a new PBS documentary last night called Billy Strayhorn
- Lush Life. Wow! The points you make are all over that Strayhorn/Ellington
era.
In fact, these guys were deep into the European vibe from an arranging/orchestration
standpoint while their feet were all up in the blues - swingin'.
One of the cats I spoke with today suggested its the connection to
the streets that Jazz once had that's missing from the music today.
We talked about Smooth Jazz; which he reminded me, provides a needed
break from the stresses of the world but costs us real time reflection
of what's happening in our society today. Maybe Jazz got too
smooth.
That's it for now!
Thanks again G!
Peace and blessings!
MJ
(Duke response)
Hey Miles,
You know man, I think you are absolutely correct about some young jazz
musicians having lost their connection to the streets. Someone else mentioned
that idea in a reply and I think it is valid.
You make some good points below! Tell the lady the highlighted my points
to you that she misinterpreted what I said in a big way!
Thanks for taking part, I really appreciate it!
I'll have my publicist call you about setting up an interview.
Take care & God bless,
G Duke
Thank you as always Mr. George Duke for your accessbility and engagement.
This conversation really resonates with me, because 30 something years
ago, my Father and I butted heads over and again about my notions of jazz
vs. his. He being an Oscar Peterson etc. etc. fan, he wouldn't hear
of jazz even being played on a fender rhodes.
Today of course, I've evolved and am also a Peteron lover.
While I do think he held a bit too tight to the classic
reigns, I also understand the dilemma in the sense that once the parameters
of a music might be compromised that could signal the beginning of the
end of the road. We see that in complaints about hip hop and
how it originated from socio political framework and messaging and now
how it has been all but hijacked as purely a tool of generating money.
The more authentic the music, the less controllable the artist - and with
that I agree that the technique has to be solid, and that the soulfulness
has to come from deep within - and probably from deep within a sistah
or a brotha' who has had those cultural challenges we face that help us
thrust forth a special product.
One must hurt like an Aretha (so to speak) to generate what I think you're looking
for from this future crop of jazz artists, On the other hand,
the Eurocentric model is that we should erase or otherwise ignore our
pain - trade it in for a mask of simulated pleasure and express it through
weak musicality that has no historical significance and as such ruins
our history of creating stuff that is cross generationally relevant (and
fun).
I know you get my drift. I'm saying what we see happening in our
music is happening across our whole collective being.
Thanks for the convo.
Terry
(Duke response)
Hi Terry,
Thank you for entering the discussion.
I hear you!
I still ask the question why has the interest in Afrocentric playing
wained among young jazz players. One doesn't have to be black and/or live
a miserable life to desire to play Afrocentrically - is that a word? (smile)
George,
My first George Duke album was “Don’t Let Go” in 1978.
I was familiar with you from your work with FZ, and at the tender age
of 18, I decided to take a chance with some of my scarce and hard earned
money. I still remember the day I bought that album; it was the
beginning of my life’s journey with music. (I was absolutely
amazed that the vocals in the title cut were sung faster than they could
be read, and I took speed reading!)
My days of actually classifying myself as a pianist and musician, are
only a part of one of my former lives. My OBX and Kurzweil are long
mothballed; I keep my piano in tune for my wife’s listening pleasure,
and my own therapy when needed.
I found a very personal connection to F. Murray Abraham’s portrayal
of Antonio Salieri in the motion picture “Amadeus”.
In his prayers, he struggled with why God gave him the gift to recognize
the divine and innocent beauty in music, but not the ability to create
it. He referred to himself as the Patron Saint of Mediocrity.
I loved that line.
The opinions and sentiments expressed here are all valid. Music
is changing, as it always has. The question is whether the changes
are part of the normal evolution of music. What is its place and
role in our culture? Is there a disconnect occurring with music
that is having the net effect of dumbing down the critical ear of society
at large?
Technology has contributed both good and bad. In pre-digital days
of the Moog and Oberheim, musicians sought to corrupt the near perfect
electronic waveforms, in order to make them sound more natural.
It was understood that technology produced something too perfect to be
pleasing to the ear. Detuning, chorus effects, harmonic distortion,
and ADSR were the tools of the electronic musician. Look at what
lengths you took to make the Yamaha Electric Grand and the Fender Rhodes
acceptable as musical instruments!
This tug-of-war with the technology helped keep things I check.
As technology advanced, and the digital era progressed, the human refusal
to surrender to technology began to weaken, and perhaps commercial artistic
standards as well. The immediate gratification culture has resulted
in off-the-shelf, turn-key, musical capabilities. At least in terms
of the new standards now widely accepted.
Contrast this to the hours of physical human labor and craftsmanship required
of African and Italian instrument makers, and Steinway factories, to make
instruments capable of producing pleasing sounds. Not to mention,
the immeasurable hours of practice required of someone bowing strings
on the violin, or pushing air over a clarinet reed, to produce a sound
that is actually pleasing to the ear. Historically, creating both
music and musical instruments have required a large amount of human capital.
Call it the "sweat equity" of the Sweet Baby.
Clearly, the cultural connection to physically making music has experienced
a serious interruption. So too, has the physical experience of listening
to music; unfortunately, for many of the current generation, the “columns
of moving air” are no bigger than the ear canal itself. Can
you say “Ipod”? Long live the Greek Theater, Red Rock
Amphitheater, and Carnegie and Heinz Halls! And oh, is there anything
sweeter, or more hypnotic and erotic, than a real live Leslie…(long
sigh)?
With respect to Jazz, I think it too, is suffering from culture’s
current obsession with instantaneous gratification and self. Anglo-European
music from Gregorian chant, through Baroque and Classical, were adventures
in strict compositional discipline. The musical styles reflected
both the repressive, but orderly, nature of the societies and cultures
of the time. One only needs to read Jane Austin, to realize that
the austere confines of societal expectations and self-judgment, served
to enhance one’s pleasure and emotional pain. Small things
carried large experiences. Sort of like the magic of making a single,
long note come to life. You, my dear Si r – are THE MAN!
In contrast, African music at its roots was a reflection of the importance
that society placed on the role of the individual in the society.
(Not the individual’s focus on self.) The polyrhythmic, hocket-style
music had no unified downbeat. Instead, each person’s “one”
is placed relative to another in order to create the complete picture;
without one of the parts, it was not complete. African instruments
themselves were assigned specific gender, and would have anatomical features
carved into them, as it was important for even the inanimate to be given
an identity. The Dukey Stick is aware of each and every one of you
all!
The genius of Jazz was the marriage of these two cultural approaches to
music. In simple terms, it combined the Anglo discipline of the
downbeat, with the African celebration of the individual. More important
perhaps, is that both approaches sought to achieve and communicate an
intimacy through music; thus Jazz music is the cultural behemoth of our
time, in all its forms.
How does a self-centric and instantaneous society, maintain and preserve
enough patience to foster the intimacy music intends? Is the Eurocentric
style you refer to, the result of an intellectual narcissism? From
a commercial perspective, the motion picture soundtrack may be one of
the last genres for music to retain some intimacy. One must actually
sit still for at least 90 minutes, and home theaters are a trend.
(As to whether we will ever again uncouple what is heard, from what is
seen, is a topic for another time. Did video really kill the radio
star?) My wife and I have taken up ballroom, swing, and Latin dancing,
and there is also some revival of disciplined and traditional, classic
al dancing. We have found this to be an incredible joy. West
Coast Swing is the funk!
I’m just not sure the 18 year olds of today can possibly begin the
journey through the purchase of a video game, or a download of the most
recent hit by one of today’s sexualized teen divas or gangsta goons.
Historically, self-absorbed pursuits of fame and wealth, combined with
the absence of critical, personal self-judgment, have not been the driving
motivations shaping music of the day. Unfortunately, the starving
musician has been replaced by the American Idol. As society
struggles to maintain and define its values, it is confusing a sensory
exercise for raw emotion, and a “product” for true art.
I hope I don't sound too negative, but stumbling accross your website,
and this discussion, just started some gears turning. My wife and
I hope to get to your Cleveland gig at the end of April.
With love and respect, and God Bless,
Joe
(Duke response)
Joe,
Man, you really laid it out there!
I truly appreciate your valuable comments to add to this discussion. This
thing just keeps growing and growing and I'm very happy that it has started
a dialog among musicians. As you know, nothing will change unless a problem
is recognized and dealt with.
In the end, whatever the future holds for music and musicians, I realize
I will have to accept. I just hope I did and am still doing something
to shape that future in a positive and meaningful way. The rest is up
to others, particularly the youth to carry the flag forward.
I just hope they don't forget the basics of what makes music work in the
first place and what it takes to perfect that craft.
Fortunately there are some great young musicians out there who will be
first class ambassadors for the music, they just need to be encouraged
and supported in their quest to suppress mediocrity in music.
Time will tell where this ends up!
Thanks again for your heartfelt comments.
George Duke
george....nothing more to add.....u nailed it....with ur written words,
ur tunes and ur spirit!!!! period!!!
all the best,
jens
Hi George
Who owns the mps tapes?
I believe Universal owns them at this time
Do tou think we'll ever see Feel on cd?
Answered above
Aura, the blues and lib. fan. were released as a double cd a few years
back. Unfortunatly I do not own a copy of that. How come it was those
3 albums that were released?
Had nothing to do with me, though I think they did a good re-mastering
job
Being followed by girls in Tokyo huh?
Are you sure it was YOU they wanted?
Perhaps they thought you were Chubby Checker!!!! ?
Or Cilla Black? I mean, it was downtown Tokyo, right?
Ha, ha, yeah maybe you're right - except they were saying "Georgie,
Georgie!"
(Here I paused to read the muscian's corner)
Some really good coments. I'm not so sure about this "swing"
idea. I mean, does "A Remark You Made" swing?
I hear you! What I'm referring to is an attitude, not "swing"
in the traditional jazz sense of "ooh bop she ba"
Isn't all of this .... this really ALL about actually Existing? And that
many people in the video game console world are focusing on external events
for gratification? Thus removing them further AND further away from the
real source of all feelings and sence of orientation in this dang world.
That's a point!
anyway
You're a sweetie George!
Love your Love (most of the time)
Peter
Ps If you dont get this mail EXACTLY like i mean it, I'll take it
all back. ds
Thanks for the shout!
George Duke
dear george,
it's a pleasure to be writing to you. i've been reading what you had to
say about the current state of jazz and the tendency of the younger
generation of jazz pianists, although technically excellent, to lose touch
with the roots of jazz and blues. i'm 24 yrs old and i was classically
trained on the piano. reading your thoughts reminded me what's important
about jazz, and that i should always keep the blues at heart. herbie's
headhunters was what turned me onto funk and jazz - and since then i've
discovered all your MPS records (and some zappa stuff too!) through my
love of the rhodes piano.
Thomas
You might find this essay by Kenneth Rexroth of interest -- it
seems to make some similar points to what you do --
http://www.bopsecrets.org/rexroth/jazz.htm
(Links at the bottom of that webpage lead to some other Rexroth articles
on jazz and jazz poetry.)
Cheers,
Ken
George:
It was a pleasure to read your reflections on the blues-based/Euro- centric
dilemma that has so polarized the music community today. I think you have
a sophisticated sense of what the issues are, an appreciation for the
virtues of many different forms of music, and a refreshing, honest approach.
I was startled to learn recently that many of the great older musicians
- Duke Ellington among them - disliked the word "jazz" because
for them, that term had disreputable connotations of the whorehouses whence
it sprang. It's curious how, for a later generation of musicians such
as yourself, that association need no longer be a source of disgust or
disdain. As you noted, jazz is in fact a melding of the African-American
and European forms. It's also curious that for a musician such as Ellington,
there was apparently no dilemma at all; he seemed to effortlessly unite
elements of the two traditions and create something new and exciting in
the process. It's also striking that you mentioned both Billy Childs and
Keith Jarrett. Billy Childs has created some heavily "composed"
pieces, fully of tricky and shifting time signatures, that nonetheless
swing hard and pulsate with vitality. Keith Jarrett has been able to draw
upon the subtle harmonies of romantic-era European music and spin some
magnificent improvisations from it. In my opinion, Brad Mehldau has also
successfully united aspects of the two traditions and created some amazing
stuff in the process.
So I wonder whether "blues/classical", or "Afro-American/European"
defines the matter exactly? Maybe it's "heart & soul/technology
obsession", or "artistic expression/demands of commercialization"
? I'd love to hear you take this up.
Best regards,
Robert
p.s. One minor point: I get a little dismayed when I hear people say "I
could care less", when it's clear that what they really mean is "I
COULDN'T care less". In spite of this, I loved your piece -- and
one of its virtues is that it called forth such an outpouring of informed
and sensitive responses.
(Duke response)
Hello Robert,
Thank you for your comments, but before I tackle something else, I think
I'll deal with the current subject at hand.
Peace,
G Duke
(Robert continues)
I don't think of it as something else -- I'm suggesting that the terms
of the opposition might not be posed correctly, especially since various
artists have successfully drawn upon both traditions. You yourself say
it: "What makes and made jazz was the combination of African American
and European elements." If this is so, then we have to ask: is there
really an opposition between them? We have to figure out what is primary
and what is secondary, what is essential and what is appearance.
(Duke response)
Hi Robert,
Of course it's all related. The interesting thing is that the responses
to my initial observation have taken on a life of its' own, and further
have broadened the issue much further than I imagined. For this I am very
happy! There are a lot of really smart and dedicated musicians and listeners
out there who have different strong points of view that need to be expressed
and heard.
Just for clarification, I'm not suggesting that there is a mortal conflict
between African American and European musical elements, in fact I believe
that "Jazz Is" because of the combination of these elements.
The fact that they are from different musical and cultural traditions,
and in some cases observe different musical rules, makes the combination
even more fulfilling to me!
At the same time, I also feel that in order for "Jazz" to remain,
that balance - or detente if you will - needs to be more or less observed.
Take the African American elements out of the music and Jazz in reality
becomes classical music. Take Classical elements from Jazz, and the music
becomes more chant like with less sophisticated chords, voice leading
and the like. Further, my definition of Jazz is probably broader than
most.
I believe from reading the responses of most of my fans, that they believe
as I do that there is a move away from African American musical values
among young jazz players, Black White Latino or Asian.
My question remains, why?
Some of the responses I've received have really attempted to answer this
question with quite valid reasons.
Well, one thing we can say for sure, the future evolution of American
music and its' influence on the rest of the world should be very interesting
in deed!
I appreciate your contributions to this discussion!
G Duke
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