I LOVE THE BLUES, SHE HEARD MY CRY

Once upon a time, George Duke was an amazingly great musician, playing with the likes of Jean-Luc Ponty, Billy Cobham and the most incredible Frank Zappa. This album is one of the few of his solos that I've heard that showcase this side of his music, as opposed to him playing that "Quiet Storm" form of bland adult contemporary jazz.

The music is an eclectic blend of hard Zappa-like fusion, softer, but not bland romantic soul fusion, blues and even a humorous Jimi Hendrix-like rock song. And all of it works, and makes this one fantastic album (I wore out 2 vinyl LPs of this before the CD finally was released).

Duke manages to capture the spirit of Zappa's instrumental music on That's What She Said, but he really gets his Zappa going on Giant Child Within Us - Ego, which feature the talents of one Ruth Underwood (as well as Bruce Fowler, who's brother Tom appears elsewhere on this album).

This is a great fusion album, and a must for the Zappaphile.

A slightly disappointing album that sees Duke heading in a funky directions, where vocals take on a more important role, but it's not yet at the detriment of the music. Recorded in late 74 and released the following year under a puzzling old cotton-field blues-type of cliché photo (is that an oxymoron or what?) and title, which for the longest of time fooled me into avoiding it. Getting lots of studio help from whoever was around from the Zappa entourage and the Santana crowd and others hanging around, this is still a fairly interesting album at times

If Chariot and Her Eyes are good funky-leaning tracks, I must say that the vocals turn me off a bit. Some tracks are still instrumental like the quiet Beck/Hammer-sounding Serene Sister, That's What She Said or the funky-spacey-jungle Mashavu, but the majority has vocals, including the rocking-Hendrix-ey (that means very guitar-ey) and spoof-ey Rokkinrowl track; fun stuff. I wouldn't want to overstress the vocals, as they are not too intrusive except on the totally out-of-character bluesy title track closing the album and the awful Someday just preceding it.

The flipside is certainly more prone to singing, including the ultra-funky-jazzy Prepare Yourself, but it has a fine middle section where the Miller/Johnson duo shines on bass and guitar respectively. Giant Child starts on a slightly dissonant intro, which bears little resemblance to what's been just heard, being more standard jazz, but soon jumps into the fusion fire with a horn section and strings. Don't be fooled like I was for almost two decades by the misleading artwork and title, this is still a good fusion album, which is rather pleasant until it reaches the final two tracks to become a bit of "n'importe-quoi", ruining the album's cohesiveness. Make sure you investigate previous duke albums, but this one is still likely to please progheads.

With George Duke's unfortunate passing just a few days ago, now feels like as good a time as any to revisit one of the man's finest albums, 1975's I Love the Blues, She Heard My Cry. This record was released towards the end of Duke's time spent playing with Frank Zappa's band, and it's apparent that some elements of Zappa's quirky and complex fusion music had rubbed off on him by this point - although not entirely a jazz fusion observation, I Love the Blues, She Heard My Cry contains some tracks like "That's What She Said" and "Giant Child Within Us - Ego" that sound straight out of the Zappa playbook. Not too surprising when one considers that fellow Zappa alumni Ruth Underwood, Bruce Fowler, and Tom Fowler also participated on this album!

I Love the Blues, She Heard My Cry also explores funk and soul-inspired music without ever coming across as bland (even the ballad "Someday" is fantastic!), as well as humorous hard rock on "Rokkinrowl, I Don't Know" and pure traditional blues in the title track. The title track is the only song that I could really do without; I feel that it is a rather weak way to end such a fantastic record, but blues fans may be more into the song than I am. Even taking the out-of-place title track into consideration, I Love the Blues, She Heard My Cry is one of the best jazz fusion albums of the classic era, and an essential pickup for all fusion enthusiasts. Rest easy, Duke!

Impressive lineup on this record raises the expectations on the record quality and also raises questions on the cohesiveness. Legitimately, because Duke has always been a versatile keyboard player what we get here, is a usual mix of R&B, funk, fusion and even soul and blues. The fusion role has diminished with time, sometimes acting as accompaniment to a funk rhythm section. "Look into her eyes" has a fantastic rhythmic structure in the beginning, another nod to the drummer. We also hear more electrical guitar on the record that doesn't get in the way of keyboard though.

Most songs are under 4 minutes and given the number of ideas, Duke could have add more playing time to showcase playing abilities - let's go back to the second track whose end seem abrupt to me. "Sister Serene" is one of the best instrumental ballad, ironically written by Chancler (drummer). Duke certainly knows how to keep a low key on this one, adding warm electric piano touches and synths. "That's what she said" is one of the most balanced fusion Duke instrumentals, taking inspiration from Zappa (listen to the marimba parts), motivated guitar leads and keyboards. The black heritage comes with "Mashavu" and bluesy rocker "Rokkinrowl" with amazing Hendrixy vocal by Duke. Miles away from fusion but why not? The golden dish comes with the ambitious "Giantchild within us" that starts with a classical piano, adding marimba, transforming to prog-rock synth and then the drummer catapults the track with frenetic drumming into the fusion heights. Duke seconds with keyboard bass, piano and synths. Excellent and very memorable composition with a constant heartbeat of excitement! The ending is reminiscent of RTF. This song could have easily lasted for 10 minutes. After that we enter a jazz-funk and blues territory again. Strange as it may sound, despite many artistic directions, this album sounds like a lot of fun to all participants!