THE CLARKE / DUKE PROJECT

Activity of both might be indispensable as existence that bears the field of Jazz/Fusion after the 70's respectively. Having been highlighted as a member of Return To Forever is a well- known fact for Stanley Clarke. Other George Duke was active with Quintet of Cannonball Adderley as the successor of Joe Zawinul. And, popularity has been established by competing with Billy Cobham in the middle of the 70's.

Meeting of both goes back to "Journey To Love" that Stanley Clarke announced in 1975. Meeting George Duke that participates in this album is deepened, and of each participates in an album each other by the guest as a start and the exchange is deepened. And, the album done in the shape said that the competing work will be made in full scale for both becomes this work.

This album might also have the shade of meaning of the work as the joint work from the role as the group of both further. After announcing this album, both are daring a tour from all over the U.S.. And, it participates about Festival done in Japan. Furthermore, the sequel by this both is announced in 1983.

It has been aimed for two people (Stanley Clarke and George Duke) to submit each idea basically and to create one work. Therefore, it is likely to be able to catch as music where the part where it enjoys a performance each other for the listener and the part of the overall music are had both. This album was offering the topic also in the field of the chart and the contemporary music in Jazz in fiscal year 1981.

The establishing status as the player and the technology in the performance are the parts of the sensibility of the composition and the arrangement from the radical as a charm each other. And, it might be also true that there are results as the producer that excel and are excellent.

Guest's musician also has enhanced in this album besides two people (Stanley Clarke and George Duke) centering and leaving from the idea in all. John Robinson appointed as a drum player is known as a member of "Rufus". Or, Jerry Hey of a popular work about "Seawind" trumpeter participates as a guest. Perhaps, because George Duke did the album of Seawind in produce, it is guessed that there was an exchange. Or, Gary Foster of the Sax player known in the field of Jazz has been appointed. It will be able to be enumerated that two people (Stanley Clarke and George Duke) are taking charge of the part of the song as a point that should make a special mention. And, the point to conceive making the sound freely. Or, the point to have the sense of POP. It might be a work that can be caught as a music character at this time when the idea conceived mutually and freely was expressed enough.

"Wild Dog" is a joint work of Clarke/Duke. The sound that the keyboard is good for the rhythm of Funk twines. The part of a piano sound of the decoration and the melody by Bass offers a good relief. The form is music by Trio that adds the drum. The sensibility of Stanley Clarke and George Duke twines well for a performance each other. A fresh melody rules the whole.

Songs is written and it composes to "Louie Louie" by Richard Barry. And, it is a famous tune known by the cover of The Kingsmen. As for making the sound, the sensibility of Funk of George Duke is expressed though there is a simple part, too. The part of the repeated melody is emphasized by the harmony of Bass. As for the song, the taste of Clarke/Duke might be expressed well. It consists as an arrangement to which the age is taken well.

"Sweet Baby" is a composition of George Duke. George Duke takes charge of the part of the song. Melody of beautiful ballade that flows overall. And, the sound of Sitar effectively used. The song to make good use of the falsetto of George Duke twines round the sound of a steady rhythm and a transparent feeling well.

"I Just Want To Love You" is a composition of Stanley Clarke. Steady tempo. And, a transparent feeling that flows overall will be able to be called pure Love Song. A gentle song of Stanley Clarke is good in the tune each other. Solo of the guitar and chorus's melody are impressive.

The part of Interlude might act on "Never Judge A Cover By Its Book" as a flow of the album. Rhythm that flows slowly. And, the melody of a good keyboard that completely produces the anacatesthesia. Part where intermittent rest is used for repeated melody. Or, the line of Bass to contribute to the flow twines round the tune well.

"Let's Get Started" is a joint work of Clarke/Duke. The atmosphere of the dance music has been taken as a basic part. The song of Clarke/Duke twines there with the chorus. Making of sound in which age is taken. Or, the flow that Solo of Bass is introduced might be their exactly ideas. It progresses while making the chorus include the thickness.

"Winners" is a composition of Stanley Clarke. The line of original Bass that is twines round the rhythm with the dash feeling. Song and chorus in close relation to Bass synthesizer that George Duke performs. This tune might be very strong the element of the dance music. However, the performance that Bass does and the construction of the melody might be the parts that only they can exactly do.

"Touch And Go" is a joint work of Clarke/Duke. The melody of a beautiful song of both is an impressive tune. Melody of strings in close relation to rhythm that flows slowly. It is a beautiful tune where the progress of Chord gently expressed as the song powerfully expressed exists together. Romantic atmosphere drifts.

"Finding My Way" is a composition of George Duke. The song twines round a powerful rhythm with the dash feeling with the chorus. Progress of Chord that feels age. The sound might be recorded in the multiple as a composition of the tune and it process it. The line of Bass and the part of the synthesizer are also good each other. It succeeds as a tune with a grand melody and the composition. Solo of the synthesizer that appears on the way creates a space part.

It might be an album with the composition that only this both can do exactly. It is a work from which production with diversity as a composition in which the element of POP in addition to the established technology and the part of the song have been put out forward is given.

Well this is really where Stan stops being "The Man", to become a pop-rock star wannabe and completely fails. Possibly the album present in the PA database with the least excuses for being completely crap. Indeed with Stanley Clarke and George Duke's credentials and previous achievements, it's quite hard to believe they released this piece of crud. AFAIAC, they don't even have the excuse of having to adapt to the 80's, because both were more jazzmen than pop stars, and none of the jazz guys compromised to commercial soup like these two (mind you, Herbie was not exactly filled with artistic aesthetics with his Rock It, but at least that track and album were groundbreaking). Anyway the two giants are part of a trio, where Robinson handles the drums.

Right from the opening notes of the instrumental Wild Dog,, you know we're headed for trouble (even if it is the album's best track), and the Louie Louie RnR cover is simply atrocious: it sounds like a bad new wave version with a bass solo. Things get worse with a tear-jerking syrupy Sweet Baby that you'd swear would find space on a Lionel Ritchie album. Same crap for the following or rest of garbage tracks, the soppy I Just Want To and ultra electro-funk Let's Get Started, but rock bottom is hit with the losing Winners and its disco beat. Only the short and side-closing instrumental Books track doesn't stink too much andconfirms that Clarle's songwriting is indeed better than Duke's.

It's rather hard to believe that this album was once released as a Contemporary Masters Columbia Jazz series (with the red frame around the artwork), because not only does it suck big bones, but it's absolutely nothing to do with Jazz. Just a piece of early 80's funk-disco crap, and probably one more album that Stan The Man would rather forget he ever made. Best avoided at all costs,

It's quite surprising that this album is featured here at this site as the music is practically nothing being progressive. In fact one of the songs featured in this album "Sweet Baby" was becoming radio hit at that time with many radio stations always put this song on air everyday. One thing that really interest me to have this album was the bass playing style of Stanley Clarke that sounded very dynamic by the standard of the past when this album was released. Look at the opening track Wild Dog which demonstrates bass guitar serves as melody of the song. I then become a fan of this album merely because of Stan's dynamic bass playing. Almost in every track he plays his bass that way.All tracks are basically an R&B style and basically easy listening where any music buffs would easily digest.

For prog heads, nothing is memorable from this album even though this is not a bad R&B album at all. It's for collectors only, I think - those who want to complete their Stanley Calrke collection.

Peace on earth and mercy mild - GW