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George Duke - Faces In Reflection... 
...Just re-released as a Circuit City Exclusive? =-=-=-=-=-=-=-=-=-=-=-=-=-=-= I actually like this record. This was the first LP that really said what I wanted to say. The idea was to play intense music and use the voice as a tool for orchestration. I had been forced to sing with Frank Zappa, so my confidence was stronger. Don't get me wrong, I didn't then, nor do I now consider myself a singer. I always used singing as a means of communicating with my audience. Words obviously have a different affect than instrumental music. I felt the voice could be used to bridge the gap in a fusion of jazz, funk, latin, and pop music sources. The band was John Heard bass, and my new buddy, Leon Ndugu Chancelor on drums. Ndugu and I would go on to have a long musical relationship. Actually the album was to be called Faces. But a Rock group had come out with an album called Faces and BG didn't want any confusion between the records. I began experimenting with odd time signatures and various synthesizer textures. This was my first solo record using a synthesizer. Frank Zappa is responsible for my introduction to synthesizers. He told me one day, that I should play synthesizers. It was as simple as that! He bought an ARP 2600 and put it next to my Rhodes. It had all these knobs and looked totally intimidating. I took it home a few times with the manual, but got nowhere. I thought I was back in College studying some abstract foreign language. I finally settled on something simpler. It was an ARP Odyssey. I decided to use an ARP, purely to be different from Jan Hammer, who was playing the Mini Moog, and had a head start on me in the mastery of synthesis. Also, Ian Underwood was real good on the 2600, and I knew I'd sound like a total novice compared to him. But I must admit, I was really drawn to the possibilities inherent therein. There were some things that were a drag also! Remember, at this time there were no presets or ways of saving patches. Not only that, but you were limited to one note at a time. So overdubbing, a good memory and management system became very important. The year was 1974. ~George Duke http://www.georgeduke.com/1970s.html =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=  Where's the rest of his MPS catalog?
tA  Tribal Disorder
http://www.soundclick.com...dID=182431 "Ya see, we're not interested in what you know...but what you are willing to learn. C'mon y'all." | |
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theAudience said:
...Just re-released as a Circuit City Exclusive? =-=-=-=-=-=-=-=-=-=-=-=-=-=-= I actually like this record. This was the first LP that really said what I wanted to say. The idea was to play intense music and use the voice as a tool for orchestration. I had been forced to sing with Frank Zappa, so my confidence was stronger. Don't get me wrong, I didn't then, nor do I now consider myself a singer. I always used singing as a means of communicating with my audience. Words obviously have a different affect than instrumental music. I felt the voice could be used to bridge the gap in a fusion of jazz, funk, latin, and pop music sources. The band was John Heard bass, and my new buddy, Leon Ndugu Chancelor on drums. Ndugu and I would go on to have a long musical relationship. Actually the album was to be called Faces. But a Rock group had come out with an album called Faces and BG didn't want any confusion between the records. I began experimenting with odd time signatures and various synthesizer textures. This was my first solo record using a synthesizer. Frank Zappa is responsible for my introduction to synthesizers. He told me one day, that I should play synthesizers. It was as simple as that! He bought an ARP 2600 and put it next to my Rhodes. It had all these knobs and looked totally intimidating. I took it home a few times with the manual, but got nowhere. I thought I was back in College studying some abstract foreign language. I finally settled on something simpler. It was an ARP Odyssey. I decided to use an ARP, purely to be different from Jan Hammer, who was playing the Mini Moog, and had a head start on me in the mastery of synthesis. Also, Ian Underwood was real good on the 2600, and I knew I'd sound like a total novice compared to him. But I must admit, I was really drawn to the possibilities inherent therein. There were some things that were a drag also! Remember, at this time there were no presets or ways of saving patches. Not only that, but you were limited to one note at a time. So overdubbing, a good memory and management system became very important. The year was 1974. ~George Duke http://www.georgeduke.com/1970s.html =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Where's the rest of his MPS catalog?
tA Tribal Disorder
Well, don't know about domestic...but, now that I think about it, import versions of Feel, I Love the Blues, and Liberated Fantasies (as well as Faces in Reflection) are all available as Japanese and German imports now...Dusty Groove and Amazon were carrying all of them, though most seem to be out of stock presently...  man, I sure hope that wasn't just one of those infamous 3-month limited runs....
... " I've got six things on my mind --you're no longer one of them." - Paddy McAloon, Prefab Sprout | |
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I wonder if this is new album that is suppose to drop. i love his music | |
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