Phillips, Saisse, Palladino's "PSP" Comes to Yoshi's

Audiences around the world have come to know the ambidextrous talent that is British percussionist Simon Phillips. Not unlike the great Billy Cobham before him, Phillips also sports a monster, 12-piece, left-handed drum set, deftly struck with flams and paradiddles aplenty. The group "PSP" developed when Phillips and bassist Pino Palladino recently joined forces on keyboadist Philippe Saisse’s CD “At World’s Edge. It was that collaboration, which sparked the idea of incarnating the trio into a full-fledged working unit. PSP arrived at Yoshi's in Oakland last night and concludes their fiery set tonight.

“I’ve always had such tremendous respect and admiration for Simon and Pino as musicians, so playing with them in this trio is a dream come true for me,” admitted Saisse. “We discovered that we have an incredible synergy, and really compliment each other as live musicians,” added Phillips.

The trio will also continue to pursue their solo endeavors as well.

Phillips has all ready completed tours featuring his own band in Japan, Indonesia, and Europe earlier this year, and is working on his own solo record. Palladino, who did recent tours with The Who and The John Mayer Trio, continues to work with Mayer on various projects, and the Welsh born bassist, remains to be one of the most sought after session players in the UK.



British born Phillips moved to Los Angeles in 1992 and set up his Phantom Recording Studios in San Fernando Valley. French born Saisse last year moved to Los Angeles after an 18-year stint living in New York, and now shares space at Phillip’s studio complex.

The international rooted ensemble intends to make PSP stick, “We realized after our live gigs together, that what we’re doing musically feels pretty special, “ attests Palladino, “so we’re committed and excited about seeing how far we can take it.”

PSP: Simon Phillips / Philippe Saisse / Pino Palladino
Yoshi's in Oakland
Friday, February 25th
8pm show $24

10pm show $20

Kit Watkins Revisited

I am still mesmerized by the fantastic 2008 release of the multi-talented musician Kit Watkins entitled, "The Works". This Data/DVD is an incredible collection that spans nearly thirty years of this prolific artist. Watkins first came to my attention on the campus of Georgetown University, during his tenure as founding member of the group, "Happy the Man". Sponsored by the university's then forward thinking radio station, WGTB, Watkins and his group produced a show that is now the stuff of legend and heralded the age of prog-rock and new age music of the late '70's and '80s. There are 27 albums and 12 bonus tracks in mp3 format on the DVD, (including my personal favorite, "Over the Andes" with Coco Rousell), making this a must have collection of a true musical genius.

Another reviewer once wrote of Watkins, "Kit Watkins first came to prominence as part of legendary progressive band, Happy the Man. Despite disbanding years ago after just a couple albums, Kit still gets questions as to if and when this band might ever get back together. Later he joined up with Andrew Latimer in Camel for the album, "I Can See Your House from Here." Shortly afterwards he became a solo artist with his first album, "Labyrinth." From here it was inevitable that Kit would start his own label, Linden Music.

For me, Kit's music is a perfect example of why more artists need to start their own labels. The major labels make it a point to market to the lowest common denominator. An artist on a major label, and even many niche indie labels, must record albums that basically sound the same from beginning to end and from one album to the next. That makes it easy for the labels to market, but denies the artist any artistic growth and eventually cuts short his/her career. Kit refuses to treat his audience in this manner. Instead he assumes that they are both very intelligent and very curious and each album is a new adventure in a totally different musical world."

Born to classical piano teachers in 1953 in Virginia, Kit Watkins studied piano at home from ages 5 through 13. During his teen years, Kit was drawn to rock music and became a driving force behind a series of local bands, playing organ, synthesizer, and flute, as well as singing lead. By age 18, he was discovering his own writing abilities. He soon joined up with the band Happy The Man (HTM) which was forming at the local university. It was with HTM that Kit honed his skills in composing, performing, arranging, and producing. During its six years, the band recorded five albums, including two produced by Ken Scott and released on Arista Records. In 1979, Kit then joined the British band Camel for an album produced by Rupert Hine and several tours of the UK, Europe, and Japan from 1980 through 1982.

Kit’s solo career began in 1980 with the self-produced album Labyrinth, released on his own Azimuth Records label. The album won him 5th place in Keyboard magazine’s Annual Readers’ Poll Awards for keyboard album. He recorded and performed with drummer/percussionist Coco Roussel during this period. During the 80s, Kit continued to produce solo and collaborative albums, some released on his own label, while others were picked up by larger independent labels. In the early 90s, Kit formed a new label, Linden Music, which released a number of his new recordings, as well as CDs by Robert Rich, Jeff Greinke, David Borden, and others.

His music style has changed focus from album to album, and has encompassed such varied forms as progressive, electronica, ambient, jazz, and world-fusion. Some notable influences include artists such as Brian Eno, Mickey Hart, Mark Isham, Joe Zawinul, Harold Budd, Wayne Shorter, Steve Reich, Joni Mitchell, Jon Hassell, Eberhard Weber, Jeff Greinke, Steve Roach, and Wendy Carlos.

In 2001, Kit performed a milestone concert in Philadelphia for The Gatherings series, hosted by Chuck van Zyl of Star’s End Ambient Radio. It was Kit’s first performance in 20 years, and his first ever as a solo artist in a new genre. In preparation for this concert, Kit began learning and using an electronic wind instrument as the focal point of his stage performance. He finds this instrument far more expressive and liberating than electronic keyboards, especially for melody and solo work. Coupling his abilities on flute with his many influences by horn and reed players, the migration to the electronic wind instrument has been a natural. The Gathering CDs are also available, as well as a video of the concert on DVD.

Also in 2001, Kit briefly formed an improvisational ensemble named Tone Ghost Ether. The group was realized through a natural interaction between three musicians (Kit Watkins, Brad Allen, John Tlusty) searching for a common form of expression. All of the music by Tone Ghost Ether was improvised and played in real-time without overdubs.

Kit Watkins is continuing to record and release new works from his private studio in Brattleboro, Vermont. The music of Kit Watkins can be heard on-line at KitWatkins.com, as well as on such broadcast radio shows as Hearts of Space, Star’s End, and Echoes. His wide ranging interests in music and sound allow him to change his focus from album to album resulting in a fresh experience for both artist and listener. Expect the unexpected.

George Duke Returns to Yoshi's

I first saw the enigmatic keyboardist George Duke, back in the '70's with violinist Jean Luc Ponty and the incredible Frank Zappa and his stellar line up of the Mothers of Invention, featuring Ruth Underwood, Tom Fowler, Chester Thompson and Napoleon Murphy Brock. Soon he would team up with now legendary jazz icons Stanley Clarke and Billy Cobham. His subsequent solo albums with Flora Purim, Airto Moriera, Ndugu Chancler and Alphonso Johnson were equally unforgettable. In the ensuing years, Duke has become an in demand record producer winning grammys and working with many of the most popular artists on the scene today. For his return at Yoshi's Oakland, Duke comes in leading a quartet which will cover his hits from the past and new material too. Tonight will be the last of a two-night stand which began on Thursday, so catch him while you can.

Duke's biography from his website, paints a fascinating history of a truly stellar musician. "George was born in San Rafael, California, and reared in Marin City, a working class section of Marin County. When he was just four years old, his mother took him to see Duke Ellington in concert. "I don't remember it too well," says George, "but my mother told me I went crazy. I ran around saying 'Get me a piano, get me a piano!'" He began his piano studies at age seven, absorbing the roots of Black music in his local Baptist church. "That's where I first began to play funky. I really learned a lot about music from the church. I saw how music could trigger emotions in a cause-and-effect relationship."

By the age of sixteen, George had played with a number of high school jazz groups. He was heavily influenced by Miles Davis and the soul-jazz sound of Les McCann and Cal Tjader. Attending the San Francisco Conservatory Of Music and majoring in trombone and composition with a minor in contrabass, he received his Bachelor of Music degree in 1967.

George and a young singer named Al Jarreau formed a group which became the house band at San Francisco's Half Note Club. "There was another club up the street called The Both/And and I worked there on Mondays with everybody from Letta Mbulu to Sonny Rollins and Dexter Gordon." George later received a Masters Degree in composition from San Francisco State University and briefly taught a course on Jazz And American Culture at Merritt Junior College in Oakland. It was about this time that George began to release a series of jazz LP's on the MPS label.

One night, on a local jazz station, George heard a record by the violinist Jean-Luc Ponty. When he found out that Jean-Luc was coming to California to record, he sent a tape to Dick Bock at World-Pacific Records, along with a note saying "There is no other pianist for this guy but me."

The George Duke Trio which emerged from those sessions was soon burning a path of creative excitement through the jazz world. It included a major European tour and an appearance at the Newport Jazz Festival. The group's first gig in a rock-oriented venue came in early 1969. "It was a club in Los Angeles called Thee Experience," George recalls. In attendance were Cannonball Adderly, Quincy Jones, Frank Zappa, and the unexpected presence of an electric, rather than acoustic, piano on-stage. The Ponty-Duke performance wowed the crowd, and ushered in the West Coast counterpart of the Eastern fusion revolution sparked by Miles Davis, The Mahavishnu Orchestra and Weather Report. Before '69 was out, George joined Frank Zappa (as he put together a new "Mothers Of Invention" lineup) and toured for an entire year.

At the end of 1970, George Duke received an offer he couldn't refuse from veteran jazzman Julian "Cannonball" Adderly. "I joined the group in January '71, and stayed two years. Through Cannonball, I was given the opportunity to meet and work with Nancy Wilson, Joe Williams, Dizzy Gillespie -- all these great artists I'd been listening to since I was a kid."

I met Stanley Clarke through my association with Cannonball. We played a festival in Pori Finland where I heard Stan with Chick Corea for the first time live – I was astounded! Through my recordings and live performances with Cannonball and Stanley, I developed a musical, and even more importantly, a family relationship with Flora Purim and Airto Moriera. The 70’s were filled with musical experimentation with all of these great musicians and more.

In 1973, George rejoined Zappa and brought Jean-Luc Ponty with him. That band stayed together for the next three years, until Duke left to join forces with drummer Billy Cobham. Together, they formed a powerhouse jazz fusion unit even more popular and influential than the earlier Duke/Ponty group.

George Duke became a solo artist in 1976, and enjoyed success with a series of fusion-oriented LP's such as his debut CBS LP, From Me To You. In 1978, the funk-flavored sound of the gold album Reach For It propelled George Duke into the upper reaches of the charts, and from small clubs to large arenas.

In the late '70s, George decided to get into producing as a career. George began by producing the Brazilian instrumentalist Raoul de Souza, then made his first vocal album with singer Dee Dee Bridgewater. His breakthrough came with an album by A Taste Of Honey. The single, "Sukiyaki," went to Number 1 on the pop, adult contemporary, and R&B charts, ultimately selling over two million copies.

"From there," says George, "things started snowballing." He went on to produce three albums for Jeffrey Osborne (including the Top Ten pop singles "Stay With Me Tonight" and "On The Wings Of Love") and two best-sellers for Deniece Williams (including her across-the-board number one smash "Let's Hear It For The Boy" and the chart-topping R&B single "Do What You Feel").

Duke also wrote and produced the number one single "Sweet Baby" for his own recording with Stanley Clarke (The Clarke/Duke Project). Duke's special expertise was even tapped by such unlikely mainstream artists as Melissa Manchester and Barry Manilow. By the end of 1988, he had produced four songs for Smokey Robinson and several songs for saxophonist George Howard. George's other production projects included the number one chart hit "Call Me" by Phil Perry and several songs for Miles Jaye, vocalist Dianne Reeves, The Pointer Sisters, 101 North, Najee, Jeffrey Osborne, Take 6, Howard Hewett, Chante Moore, Everette Harp, Rachelle Ferrell and, most recently, Gladys Knight, Keith Washington, Filipino star Gary Valenciano, Johnny Gill and Anita Baker.

George Duke made his debut on Elektra in February, 1985 with the Latin-flavored Thief In The Night. A second album, simply titled George Duke, was issued in August 1986, followed by Night After Night, George Duke's final release for Elektra.

Through the years, along with his own releases and busy producing schedule, George has acted as musical director for numerous artists and television specials, including the Soul Train Music Awards (nine years), NBC's Sunday Night Show and Anita Baker (Duke took Anita and a 14-piece band to Washington D.C. to perform at the Kennedy Center for The Democratic National Committee). He served as musical director for Disney's concert to benefit the Foundation for Pediatric AIDS For Our Children (featuring an all-star cast that included Michael Bolton, Paula Abdul and Kris Kross) and Disney's Salute To Youth during the President's Inaugural celebration. In '92, he went to Spain to be music director for the largest guitar festival in history, featuring such artists as George Benson, Stanley Clarke, Larry Coryell, Paco de Lucia, Rickie Lee Jones and John McLaughlin. He also was at the helm for Legend to Legend with George Burns, Tony Bennett, Johnny Mathis, and others.

In addition to his non-stop musical adventures, George appeared on NBC's soap opera Generations in '89, playing the role of a night club owner. He also found time in his schedule to appear on Comic Relief with Doc Severinson, donating his funds to the homeless. That same year George recorded a third album with Stanley Clarke for Epic Records, titled Stanley Clarke & George Duke 3.

In 1990, George Duke was named "R&B Keyboardist Of The Year" by Keyboard Magazine for the second consecutive year. Other honors include Grammy nominations for his production of "We Are The World" by the Children Of The World; "Sweet Baby" by the Clarke/Duke project; "Let's Hear It For The Boy" by Deniece Williams; "Stay With Me Tonight" and "On The Wings Of Love" by Jeffrey Osborne; and "Fumilayo" by Dianne Reeves. Tutu, by Miles Davis with selections produced by George Duke, won a Grammy in 1986. Both Miles Davis Amandla (selections produced by Duke) and Al Jarreau's Heart's Horizon (produced entirely by Duke) received Grammy nominations in 1990.

Duke has also established a reputation for television and film scoring work with The Five Heartbeats film soundtrack, the title song for the movie Karate Kid III, music for Paramount Pictures Leap Of Faith and Meteor Man, and NBC's Leeza and Marilu daytime talk shows.

Highlights of '91 included a sold-out U.S. tour with Dianne Reeves and Najee, with a performance at the Montreux Jazz Festival's 25th Anniversary and headlining the first annual Japanese Playboy Festival at the Tokyo Dome.

In '92, George's Warner Bros. debut Snapshot captured the number one slot on the jazz charts for five weeks and generated the Top Ten R&B single "No Rhyme, No Reason."

The following year, George Duke's Muir Woods Suite, a major orchestral piece, premiered at the Montreux Jazz Festival and, in 1994, Duke began work on Illusions.

Reflecting on Illusions George said, "I wanted to continue what I started with the Snapshot record, to continue doing that type of music... and I wanted to do a follow-up to 'No Rhyme, No Reason.'"

Following the release of Illusions in January 1995, Duke began mixing the Muir Woods Suite which was recorded live, when originally performed at the Montreux Festival in 1993. When not locked in the studio with the Suite, George arranged, produced and performed on songs and albums for a number of artists, including: Najee, George Howard, and the Winans (he arranged and produced three tracks on their Qwest album Heart And Soul which was nominated for a Grammy). George Duke also traveled extensively, performed a European tour with Anita Baker and a Brazilian tour with Rachelle Ferrell, as well as toured the states with his own Duke and Friends tour featuring Phil Perry, Howard Hewett, Dianne Reeves and George Howard. He ended the year performing in Jakarta with Phil Perry.

'95 also saw George involved in conducting and arranging for numerous award and episodic TV shows. He maintained his long time association with Soul Train, and served as Music Director for their 25th anniversary special and also wrote, performed and produced the theme for the Walt Disney show Inside Out.

The beginning of '96 saw the release of his musical and emotional tour de force Muir Woods Suite, which was performed by a jazz quartet made up of George Duke (piano), Stanley Clarke (bass), Chester Thompson (drums) and Paulinho Da Costa (percussion) with L·orchestre National de Lille, Ettore Stratta, conductor.

This was followed by more production with work on songs for Marilyn Scott, Al Jarreau and Natalie Cole. (George produced one-third of the songs on Natalie Cole's Stardust LP which was nominated for two Grammys and won one). George also wrote and produced the main title for The Malcolm and Eddie Show on UPN.

1997 began on a high note, with a trip to the Arkansas Ball for the President's Inaugural, where George Duke was a featured performer and special guest. This was followed by the spring release of George Duke's 30th solo album and fourth release on Warner Bros. Records, Is Love Enough? It displayed myriad influences and boundless energy, continuing his tradition of posing questions, inspiring thought and requiring reflection.

George Duke immersed himself in more "Love," serving as executive producer on Warner Bros. Records artist Marilyn Scott's album, Avenues Of Love. (George also produced the Grammy-nominated hit "The Look of Love," from the same album.) That same year, he played on yet another labelmate's album, Kirk Whalum's The Gospel According To Jazz, recorded live at the Roy Acuff Theatre in September of '97 (and released in late '98). The two teamed up again, along with Michael McDonald, headlining the inaugural event for a weeklong celebration entitled "Memphis Remembers Martin," in March of '98. Around the same time, he served as musical director for the critically-lauded Burt Bacharach television special on Fox Network entitled One Amazing Night, which featured Bacharach and an array of legendary and breaking artists including Dionne Warwick, Elvis Costello, Winona Judd and Barenaked Ladies.

In addition to doing his annual Soul Train Music Award stint in '98 and recording and releasing his "for lovers only" Grammy-nominated After Hours, his first completely instrumental album since 1975, he also produced three tracks for Dionne Warwick and one for Take 6. Next he hit the road, touring with Rachelle Ferrell, subsequently serving as music director for The Lady of Soul Awards and the Kansas City Jazz Festival.

George also produced the Grammy award winning In the Moment CD for Dianne Reeves, and Rachelle Ferrell's Individuality, delaying completion of his own year 2000 solo release, Cool. In the midst of production of his wonderfully diverse and vocally revealing sixth Warner Bros. solo release, he headlined a tribute to Jesse Jackson at a special birthday celebration for the renowned reverend, along with Stevie Wonder and Erykah Badu and continued his longstanding association as musical director for the Soul Train Awards. During the summer, Duke toured with the Montreux Jazz Festival on Tour in the USA, for which he served as both musical director and a featured artist, along with an all-star cast of musicians and vocalists including Al Jarreau, David Sanborn, Roberta Flack and Joe Sample.

Immediately following the tour, George began work on another Dianne Reeves CD, a special tribute to Sarah Vaughn with full string orchestra. It is entitled The Calling. October 19th George received the Prism award and began shooting a one hour biographical television special for BET called "The House Of Duke." Once again, Duke served as music director for the Soul Train Christrmas Star Fest, and on December 16th plays at The Forum in Los Angeles as part of the Stevie Wonder Toy drive for disadvantaged kids.

In January, Duke flew to New York to sit on several panels for the International Association of Jazz Educators, including a one hour "One on One" discussion and interview with Quincy Jones. Live performances in January 2001 include Las Vegas, Vale, Colorado (w/Chante Moore) and a week at Catalina's Bar and Grill in Los Angeles. George also began work on a flag song for the Arthritis Association featuring artists such as Steven Seagal, Donnie McClurkin, Bonny James and more. George's CD Cool, is nominated for a Grammy and an Image award. While not winning either, George did win a Grammy for producing the Best Jazz Vocal Album In The Moment for Dianne Reeves.

In April, George re-releases Follow The Rainbow and From Me To You on CD via his Web Site. On April 19th, a special performance of Muir Woods Suite at St. John Devine Cathedral to aid various battered womens shelters in New York was scheduled. Upon his return, George began work on three tracks for a Christmas CD featuring Kelly Price.

The summer of 2001 finds Duke on the Tom Joyner Cruise with a combination vacation and gig. Live dates include a special performance for the 100 Black Men of AmerIca Convention in Atlanta. Off to Europe where Duke is artist in residence at the North Sea Jazz Festival featuring performances with Dianne Reeves and Rachelle Ferrell. A special performance of Muir Woods Suite with the Prima la Musica Orchestra form Brussels was amazing! Also various performances at the Montreux Festival kept George busy. One special moment was a tribute to Miles Davis featuring Marcus Miller, Christian McBride and Richard Bona on basses; Herbie Hancock and duke on piano and synths; Terri Lynn Carrington and Chester Thompson on drums; Wallace Roney on trumpet and Jeff Lee Johnson on guitar.

Upon his return from Europe, rehearsals for a USA tour with Al Jarreau and Rachelle Ferrell begin. Once again immediately following the tour, George begins rehearsals for the Lady Of Soul Award Show featuring performances with Johnny Gil, Tyrese, Luther Vandross, Ronny Isley, Genuine, and El Debarge. In September, work began on his new CD to be released the Spring on 2002. George also was part of Wave for Peace, a concert to raise money for the victims of the WTC incident.

Predictably, the energetic, unstoppable George Duke keeps moving from strength to strength, bringing invention, dimension and texture to music that is alive with personality and rich with artistry. In the case of his passionately performed Cool, which was nominated for an Image Award and a Grammy, Duke takes the lead on vocals adding presence and power to his ever-evolving view of others and himself. This deeply revealing and yet thoroughly accessible edition of Duke celebrates life, love…and the “Ancient Source."

2001 was a great year for Duke! Tami Willis from BET produced and directed a profile called “House Of Duke.” We also find the release of the Duke produced Grammy award winning Dianne Reeves album, “The Calling.”

He hooked up with Kenny Lattimore to write and produce a Gospel song entitled “Healing.” George also enjoyed producing three tracks for the incredible Kelly Price for her first Christmas offering on Def Jam.

After returning from a brief European tour, George did a USA tour with Rachelle Ferrell and Al Jarreau. After another Soul Train Awards ceremony, George set about writing and recording the first CD for his new label, BPM (Big Piano Music) called Face The Music.

The beginning of 2002 finds Duke editing and enhancing Rachelle Ferrells live CD Live In Montreux 91-97, and putting the final touches on his new solo CD. This year also marks his debut performance in South Africa. In May of 2002, George began rehearsals for the second installment of Kirk Whalum’s “Gospel According To Jazz.” He also worked on Eddie Griffin’s movie “Undercover Brother” with Stanley Clarke, and played a “vacation” date in Bermuda.

Duke returned to Rotterdam for several shows with Randy Crawford before returning to LA to put the final touches on Dexter Gordons CD for BPM.

Face The Music was released on September 3rd. The rest of the year finds George on the road doing one promotional activity after another. Between these dates, George found time to play for the Emeril Show, and a trip to Holland to perform with the Metropole Orchestra.

The end of the year, he is quite busy scoring a film for Whoopi Goldberg and Danny Glover called "Good Fences," directed by Ernest Dickerson for Showtime. It is now available on DVD.

2003 finds Duke still touring and promoting his new CD, while handling the MD chores for Soul Train, The Trumpet Awards, and BET’s Gospel Celebration. The Dexter Gordon CD, Live at the Both/And Club 1970 was released on BPM, and George found time to recorded a tribute project for Jimi Hendrix and played several tracks on a new Will Downing CD.

During the summer, George takes his band to Moscow to perform, and secures the release of “Face The Music” in Europe through Challenge Records in Holland. George spends several weeks re-establishing contacts in Europe, and then returns to finish the DMX film.

2004 began with George performing “Muir Woods Suite” at Disney Hall with The LA Philharmonic, followed by a performance with The US Air Force Band at Constitution Hall in Washington DC.

MD for the Trumpet Awards was again on tap followed by an Artist In Residence series at Berklee College of Music.

George produced albums for Regina Belle and Marilyn Scott, and continued to tour with his band in the US and Europe. He also found time to score his second film for Ernest Dickerson “Never Die Alone” staring DMX.

Duke completed work on “DUKE,” his second solo CD on his label, BPM. In September he was MD for the Black Caucus Gala and the Thelonius Monk Institute Awards in DC.

George received the coveted Edison Life Time Achievement Award in Rotterdam in November. January 2005, George served as artist and MD for a special series of concerts in India featuring Al Jarreau, Stanley Clarke, Earl Klugh, L Subramanium and Ravi Coltrane. BET and MTV India documented some of the shows.

Duke composed the theme for the “News & Notes” PBS radio show staring Ed Gordon, and flew to Jakarta, Indonesia for the 1st Annual Jakarta Jazz festival. More live dates followed with George promoting his new CD.

Another Marilyn Scott CD was on the way (to be released in 2006), and a very special George Duke & Friends show was presented at the Hollywood Bowl featuring Billy Cobham, Christian McBride, Airto, Bobby Hutcherson, Kenny Garrett, Roy Hargrove and Joe Sample. George & Joe also began playing some duo piano gigs in the US and Japan.

At a New Years Eve fundraiser, George saluted the Symphonic Jazz Orchestra with his jazz trio at the Bakery. Brain Bromberg was on bass and Terri Lyne Carrington was the drummer. A week later, Duke was in the studio with this band recording his new jazz CD for release in June 2006. At the end of January another project took place in Nassau, the Bahamas for the Michael Jordan Celebrity Golf Tournament. George put a band together for himself, Michael McDonald and Philip Bailey.

T-Jam” from the DUKE CD was nominated for a Grammy as “Best Instrumental Pop Performance.” The new jazz CD should be released in June and the Clarke/Duke Project begins touring at the end of May. Also some very interesting production projects are coming up including a foray into the Broadway Musical scene.

Stay tuned."


The George Duke Quartet
Yoshi's in Oakland
Friday, February11th @ 8pm & 10pm $30

Fortune Smiles Comes to Yoshi's

Bay Area quintet Fortune Smiles was formed by guitarist Ted Nirgiotis in 2007 to explore beyond traditional straight-ahead jazz by blending the creative improvisation of modern jazz with rhythms and harmonies from popular music styles such as Latin, Brazilian, funk, fusion and the blues. He has been fortunate to be able to recruit four experienced musicians to join him for this project all of whom have both a deep knowledge of jazz, as well as familiarity with a wide variety of other types of music. The group has been building up a large repertoire of lesser known standards by masters such as Wayne Shorter and David Samuels, and is currently focusing on incorporating more original songs. They released their first, eponymous CD this fall, and will be playing music from it at the upcoming Yoshi’s show. Several new original compositions will also be premiered.

The liner notes from the group's new CD provides a glimpse of this fine album, "Featuring Ted Nirgiotis on guitar, Leonard Sklar on tenor sax, Gary Monheit on piano, Dan Krimm on fretless electric bass and Matt Willis on drums, Fortune Smiles draws on its members' experience in a wide variety of musical forms, including classical, progressive, rock, Caribbean and Latin jazz (plus stylistic flavors gathered from around the world such as Indian and Hawaiian) to create a unique and eclectic jazz sound.

This self-titled album includes a selection of the band's favorite tunes from the repertoire, showcasing a journey through a range of moods, textures, and styles.

The album begins with a tune drawn from Dave Samuels' Caribbean Jazz Project: Ivory Coast, a rollicking 6-meter groove with roots in West African music, treated with fresh western harmonies and modal solo sections. Following that is Walden by bassist Dan Krimm, a lilting jazz waltz with an airy melody flying over a series of constantly modulating keys, resting occasionally on modal vamps.

Next up is Wayne Shorter's touching homage to his wife Ana Maria, who was tragically lost aboard TWA flight 800. A poignant solo piano introduction by Gary Monheit leads to a gentle Latin-flavored groove with a melody both hopeful and admiring, but repeatedly interrupted by an ominous section filled with harmonic tension and sharp rock-based drums. Then comes Airto Moreira's spirited 7-meter samba Mixing to lift the energy with a trundling groove punctuated by a sharp rhythmic motif played by the band in tight unison.

The program continues with The Jody Grind, a classic Horace Silver Latin-rock 12-bar blues head, on which the band settles into a steady dance beat with everyone getting a chance to offer their improvisational comments. That's followed by Eddie Harris' popular jam tune Freedom Jazz Dance, with a soft-funk groove that evolves over an extended modal exploration.

The penultimate track is Gary Monheit's nostalgic ballad Last Time, introduced with another contemplative solo piano invention, and leading to a smoky melody seemingly reflecting on the intersection of past, present and future, ending with a pending "dominant 11th" chord as if delaying a final parting. Finally, a rousing salsa version of Benny Golson's iconic Killer Joe cleanses the palette with a toe-tapping, hip-swinging party twist on the old cool classic, with a tight-pop ending to leave the listener tidily resolved."

"Fortune Smiles" at Yoshi's, Oakland, CA
Monday, February 7th at 8:00 pm
Leonard Sklar - Winds
Ted Nirgiotis - Guitar
Gary Monheit - Piano
Dan Krimm - Bass
Matt Willis - Drums

$10 Student (With valid ID)
$14 General