George Duke – The Inner Source - 1973 Space Jazz Fusion -- Analog Audiophile - - Sealed 180 Grm 2LP
George Duke – The Inner Source
MPS Records – 29 20912-1
2 x Vinyl, LP, Album, Reissue, Remastered
Audiophone analogue remastered version for Record Store Day 2018. 180g Pressing. Linear Notes & a picture of the original master tape box inside.
.Recorded in 1971 at Wally Heider Recording, San Francisco, Calif.
Produced for MPS Records by BALDHARD G. FalkOn Center label: Aufnahme MPS Records - Vertrieb BASF
Soul-Jazz, Afro-Cuban Jazz, Fusion, Jazz-Funk, Modal, Jazz-Rock
A2 Love Reborn
A4 My Soul
B1 Feels So Good
B3 Sweet Bite
B4 The Followers
C1 The Inner Source
C3 Some Time Ago
C4 So There You Go
D2 Nigerian Numberuma
D4 Always Constant
Recorded At – Wally Heider Studios
Produced For – MPS Records
Bass, Electric Bass – John Heard (tracks: A1 to A3, B4, C4 to D2)
Congas – Armanda Peroza* (tracks: A4, B1)
Drums – Dick Berk (tracks: A1 to B1, B4, C4 to D2)
Flugelhorn, Trumpet – Luis Gasca (tracks: A4, B1)
Keyboards, Trombone, Conductor – George Duke (tracks: A4, B1, C1, D4)
Percussion – Dick Berk (tracks: A1 to A3, B4, C4 to D2)
Piano, Electric Piano [Rhodes, Wurlitzer] – George Duke (tracks: A1 to A3, B4, C4 to D2)
Tenor Saxophone, Soprano Saxophone, Flute – Jerome Richardson (tracks: A4, B1, C1, D4)
Violin [Amplified Bass Violin] – John Heard (tracks: A4, B1)
Violin [Bass] – James Leary (tracks: D3)
"In 1971 George Duke, having just recently done his time with the Mothers of Invention, was engaged by the Cannonball Adderley Quintet. Beginning in April of that year, Duke made two recordings over a short timespan that on their release in 1973 as a double LP (against the desire of the artists, by the way), would be a major statement.
On Chapter One of his fusion autobiography, "Solus," Duke, along with the skeleton crew of bassist John Heard and drummer Dick Berk, tries out the new compositional philosophy he had absorbed from his work with Adderley. The album was obliged to maintain a jazzy environment, illustrated by the harmonically flowing piano improvisation on "Love Reborn" and the bop-influenced busyness of "The Followers". But the record also signifies the importance of the keyboards in all their diverse contexts - the funky rock of "Au-right," and the smoldering, dreamy feel of "Peace," for instance. And on "Manya" Duke lives it up as he shows off his exuberant experimental synth side.
"The Inner Source" continues in the same vein. "So There You Go" is a downright delightful waltz featuring e-piano, whereas "Some Time Ago" is pure tonal color and atmosphere. We find an exotic gem in "Nigerian Numberumba" in which an African Lamellophone is craftily simulated with an echoplex and ring modulator. Duke also begins to vary the lineup here. "Feels So Good" and "My Soul" are reinforced with Latin percussion, and incisive horn and reed instruments (luminaries from the Thad Jones and Santana entourages). The same with the title track, a masterstroke of quintet dramaturgy, with Duke on his first instrument, the trombone. As a curiosity, two basses compete with each other on "Twenty Five." The last piece, "Always Constant," is a more open piece that spontaneously unfolded in the studio."
."This double album is, in reality, two separate sessions recorded in 1971 that were originally intended to be separate albums called Solus and The Inner Source. Long story short, the original music label (SABA) changed hands a couple of times, eventually ending up back in the hands of its original owner at a newly started label, MPS. Recorded with the standing George Duke Trio (John Heard, Dick Berk) plus some extra horns and percussion, the recordings align with Duke’s short tenure in the Cannonball Adderly band (as Joe Zawinul’s replacement, no less) following his first stint with The Mothers. For some reason, MPS opted to interleave the recordings from both sessions, so the flavor of the two is now mixed together.The Inner Source is an important stage in Duke’s journey of self discovery—a pair of Rhodes trips where he explores the range of the electric keyboard in a variety of settings, from Coltrane meditations (“Peace”) to avant-garde (“Solus”) and Africana (“Nigerian Numberama”). To my mind, the stronger pieces are the more direct and melodic: “Feels So Good,” “So There You Go,” “The Inner Source.” “Some Time Ago,” popularized by Sergio Mendes, is another highlight, here re-imagined in a frothy Coltrane treatment. Otherwise, a lot of The Inner Source sounds like a cross between generic jazz (“Love Reborn”) and a Rhodes demonstration record (“Manya”). Those listeners interested in the journey of George Duke would do well to pick up a copy of The Inner Source"
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