Snapshot
(1993)
After the Clarke/Duke 3 tours were finished, I delved headfirst into record production. I was really having a good time. I also began recording and touring with Anita Baker, and at that time she was so hot, that touring with her was like touring with nobody else. She also treated me like a King (not a Duke I might add) and was overall a wonderful touring partner. I did this for several years, until 1992.
The only reason I started making records again was because Mo Ostin wanted to sign me at Warners. He saw me at the Montreux Festival, doing a show with Rachelle Ferrell, in her first performance in Europe, and was so impressed with her that he signed me! Seriously though, we turned the festival out!!!! I was feeling real good about playing music again and was content to not have a record deal unless I could have the freedom to make unorthodox records as well as commercial ones. He agreed to allow me to make different kinds of records that were geared towards different audiences. In fact, when we had our first meeting, I told him I wanted to make an acoustic jazz record just to test his starch. He told me to make whatever kind of records I wanted to. I then told him I was just joking, but did eventually want to make an acoustic jazz record. I was, and still am, committed to expand into other musical areas.
This is a great record. Probably because it has a focus and I was really relaxed when I cut it. I was not trying to reach a certain radio market or write a hit record. I was just making music that I loved. It was important that this record represent me honestly, and I think that honesty is why this record was so successful.
Of course, it didn't hurt to have a hit. "No Rhyme, No Reason" became a kind of anthem for suppressed feelings. I can't tell you how many men and women tell me how much this song means to them. It means a lot to me as well. This record put me back on the map. The biggest mistake was not making a video. But at first, no one except Hank Spann at Warners thought we had a big record. I never will forget his excitement after his first listen. I was shocked. I didn't want the song to be the first single because I didn't want people to think that this was another vocal record. It was important to have the integrity of my instrumental playing shine through. But I can't deny that he made the right choice.
I remember when Rachelle Ferrell sang the end of the song. I told her not to sing any words - just moan. In one take she simply floored me! I would not let her change it. When it's right, it's right!!
There is much I could say about the making of this record, but that will have to wait for my book. However several highlights for me would be "Fame" with some of my favorite heroes on vocals. Also on "Geneva" was my old buddy Hubert Laws on flute. Nobody plays like him. Hubert, I love ya man! George Howard makes a nice appearance on "The Morning After."
George Howard makes what turned out to be one of his final performances on "The Morning After."
I must also mention the incredible sensitive playing of guitarist Ray Fuller on “No Rhyme” – I mean, can anybody play it better? It’s like he was in my mind! My constant cohort Paul Jackson also made some prominent musical statements on this album.
I should also mention that this is the first record I made with Larry Kimpel on bass. I met him through Anita Baker, and he is not only a fabulous player, but a fabulous person as well.
This record is closer in content and vibe to the records I made as a young recording artist. I won't say anymore, except that this one is really me, and means a lot in my overall career and scheme of things. I'll let you discover the rest.
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George Duke