Interview with George Duke


Q: Please tell me why you founded your label BPM. What can it offer you that you've missed while being signed to a major label?

George Duke: Why not? If an artist has the means to do it then I think they should. Ownership is the key issue! It is wonderful for an artist to own the publishing, writers and copyright of their material, but if the recorded performances are owned by someone else, then final control is taken away. Artists need to become more aware of the business and begin to own what they produce and license its' use. As far as being signed to a major label, I think it is important for some artists. It depends on their emphasis. For a young singer looking to become the next "it" in the pop world, maybe a major label is their best bet because they have the money, staff and connections to put the project over the top. However, for an artist like me who is interested more in the music I create, if the major label does not spend the money, use the staff or their connections to support my album, then what good are they to me? In fact, they are a hindrance!

Q: You've already released the album Face The Music on BPM. How content are you with your label and the reaction it gets so far?

George Duke: Actually, I am very content. First of all I don't have a twenty year old product manager telling me to create music more like Jay-Z. Of course I would love to sell more albums, but because I don't have the split point determined by a major label, I reach my break even point much more rapidly. Since I own my own studio and pay for my own album, I get paid from record number one more rapidly!

Q: You've worked with what reads like a who's who in the jazz and soul world. Is there anybody left a George Duke want to work with? Who would it be and why?

George Duke: I wish I had more contact with young artists. There is a wide gap between the young musicians of today and artists of my generation because most of these young artists did not grow up in our bands - so there is a connection that has been severed and as a result the music has suffered. They can't get it by pushing a button, sampling, or listening to a record. That's all part of it, but more important is the actual "hands on" experience of working with your predecessors. For example, I love listening to Miles Davis, but in the end it meant more to actually meet and work with him - actually have him give me ideas, show me things musically, etc. I think many young artists are missing out by not tapping into this wealth of knowledge that is still available for the asking from this large pool of "mature" artists. The love needs to be passed down, the torch needs to be passed on, and it's difficult to do by wires, you need flesh on flesh - one on one conversation and sharing of ideas. Then the music will grow!

Q: Recently you've spend some time in India and Indonesia. Please share some of your inpressions. What has impressed you in these countries?

George Duke: What is obvious is that we all need each other. Countries carry on as if they are independent and not dependent on others. We all need each other! Music is a great ambassador for the human spirit. It is not dependent on verbal language, it is a language in itself that at its most powerful is spiritually derived. Both of these countries have deep spiritual roots. Even though many in the audience may not understand the style of music presented, they understand the honesty of presentation and love with which it was produced. Thus, a spiritual connection is formed that just may outlast and be stronger than any political bond. I found the people to be very warm and open to what we played - what more could I ask?

Q: On the Duke album you've worked with Rachelle Ferrell, Eric Benet and Phil Perry amongst others. I like the songs No One, Superwoman and In Between The Heartaches but I wonder why these three vocalists only sing the chorusses instead the full-length songs.

George Duke: First of all this is my album! I feel there are far too many instrumentalists not taking the lead in their albums, allowing singers to make a statement for them. Don't instrumentalists have a voice anymore? It's way past time for instrumentalists to make their voice heard! Though I sing a little bit, my true voice is my keyboard playing. If someone wants to hear Rachelle or Eric or Phil carry a song, then they should buy their albums. Could you imagine me taking the lead on a Rachelle Ferrell album - that's insane. For me, I have to live or die by my talents, not diffuse my musical thoughts by taking a back seat and allowing others to speak for me. This is not an ego thing, it's just reality! For me, I use vocals like an instrument, as part of the fabric and orchestration of a song. Further, I produce and have produced many artists. The first thing I stress to everyone is that they allow their personality to emerge, not submerge it with overproduction or other musical points of view. Now, I love strong musicians and vocalists with strong musical identities. Such a person brings a wealth of knowledge and experience to the table. But my album has to be just that, my album!

Q: On of my favourite songs on Duke is the epic improvisational Hybrids. Is that a direction you would like to explore on future releases?

George Duke: Absolutely, I can see an album in the future of music like this. For any creative artist, I feel it is necessary to let their juices flow somewhere on an album. It is a give and take kind of thing. At times you have to give the people what they want, but when the time is right you have to give them what they need or expose them to elements they probably won't hear on the radio or are not aware of. There are moments when a musician has to be just that - a musician whose only consideration is the creation of something from nothing. In fact, when you think about it, creating music like this is as close as we will ever get to being like God.

Q: And talking about upcoming releases...what can we expect from you in the near future? Are there any new collaborations or production works you're working on?

George Duke: Many things. I have a project for BPM that will probably be released in the Fall featuring Al Jarreau with the George Duke Trio at the Half Note Club from 1965. I have also secured the release rights from Claude Nobs at the Montreux Festival to release DVD's of my varied performances at the festival over the years. I will unwrap these performances in 5.1 format. They will include performances with Al Jarreau, Dianne Reeves, Chante Moore, Miles Davis, Dizzy, Bobby McFerrin, Herbie Hancock, Chick Corea, etc.
The future will find me also recording a variety of projects including a big band album, a straight ahead album, a funk album, and a what I call ethnic origin albums. This will include recordings with African and Cuban musicians.
I know that some of you reading this will wonder what is on my mind! Variety is what keeps me in the game. I want to see what's out there and combine what I feel about melody and harmony with what others have to offer. I subscribe to the Star Trek philosophy - let's see what's out there, make a left turn at that next star and go to warp.

Q: After almost forty years in the music business I'm sure you know it inside out. What do you think of the music industry these days? Do you think that the decline in sales major labels keep lamenting about is their own fault because it's all about hit or miss with the first release and not about longevity? Or do you think the internet and filesharing are to blame?

George Duke: I think you've pretty much said it. Obviously they didn't pay enough attention to emerging technologies. As you said, there has also been a lack of artist development. It generally takes more than one or two albums for a real artist to emerge.
I choose to look at the glass being half full not half empty. We are at an interesting time in the industry. Artists are beginning to assert their right of ownership, or at least question the "standard" deal, point structure and back end arrangements of their agreements. I think this is a positive turn of events. In the end I hope it will lead to better music being produced and played. Anything that will raise the standards will be good for everyone. And let me be clear that I'm not referring to a particular style. The internet has forced all of us to re-evaluate how we communicate and barter - it's a wonderful new world and I love it!
One more thing, MUSIC IS NOT FREE!! Copyrights do (or should) mean something. Legal downloading at a fair price is cool but free sharing is a real problem especially for new artists. It takes money away from being used for developing new artists, and believe me the internet is not enough! Now, it's obvious that the majors took financial advantage of fans and so there is a backlash. Everybody likes something for nothing, but in the end their is a price to be paid for free art, especially when that becomes the order of things.
On the other hand, I know some musicians who feel that it is too late, the cat is out of the bag and that music is and will be freely distributed and shared. Further, that musicians were going to have to find an alternate way of making a living, maybe with sponsors and live performances with CD's becoming merely a tool for advertisement and promotion. Well, we'll see!

Q: Which musicians influence you these days? Can you recommend any new artists to the readers of jazz-not-jazz?

George Duke: Actually, the same musicians and singers who influenced me all along. It's been a long time since I heard an artist that has truly stunned me, though I'm sure one exists! The last one would undoubtedly be Rachelle Ferrell, an awesome talent!
As far as me recommending a new artist, why don't you guys experiment? Do what I do, see what's out there, take that next star on the left and go to warp, you might be surprised at what you find.

For more infos visit georgeduke.com, domerecords.co.uk and read my review of Duke.