After keeping quiet for a little over a week, I wanted to write a few reflections of my friend, my mentor, and one of my musical heroes, George Duke. I met George in 1980 as a result of doing a project for vocalist Lynn Davis. Little did I know at that time I’d be working with George pretty much steadily for 33 years. George had a way of bringing out the best in people. He would encourage you, challenge you, and make you feel like you could do anything. There was a song that George asked me to play on called “Bus Tour”. To this day, I think it’s the most difficult piece of music on which I’ve ever played. When he asked me to do it, I told him it was too hard. He said “here’s the music. Take it home and we’ll record it tomorrow”. We did. It’s because of George that I was able to rise to the occasion. I was blessed to do several great projects with George over the years. Al Jarreau, Steps Ahead, Diane Reeves, Jeffrey Osbourne, Rachel Ferrelle, and the list goes on. George called me to play on many things. The one constant was, regardless of musical style, the music was ALWAYS wonderful. Even the pop classic by Deniece Williams “Let’s Hear It For The Boy” was made better by the production magic of George Duke. And the recording doesn’t include the great times I had travelling with George to places like South Africa, Montreux Switzerland, and Tokyo Japan. In 1988, I got a recording contract with Atlantic Records. I did a song called “I Came To Play”. I was nominated for a Grammy. It featured a solo by me, and a ridicules piano solo by, you guessed it, George. And when I tried to pay him for the session, he wouldn’t take any money. George had a way of making you feel like the most important person in the world. When I would go to George’s studio to record, he always asked me what kind of chair wanted to sit in. The chair that works best for me is the cheap “Kmart” steel folding chair. George went and got one. Then, he made a photocopy of the cover of my CD, taped it to the chair, and under the copy he put the words “Your Guitarness”. I’m gonna miss being in my chair. There was an album George did in about 1976 with Billy Cobham called “Live In Switzerland”. It featured Alphonso Johnson on bass and John Scofield on guitar. This record was one of the most influential records in my musical development. George kinda played it off when I told him. Years later, when he was gonna put the band back together and John Scofield was possibly not available, George recommended me for the band. What an honor to be considered for one of the bands that changed your life. George helped me through some very tough years in my personal life. He and his lovely wife, Corrine, would encourage me, pray for me, and set an example of what a great marriage, being a great parent, and great working relationship could be like. He’d make you laugh, and make you think. There are very few people in the world like George and Corrine Duke. I played on George’s last project “Dreamweaver” and I did a video press kit with him about a month and a half ago. Little did I know it would be the last time I’d see George this side of Heaven. George knew Jesus Christ in the pardoning of his sins, so I know I will see him again. I look forward to the day when, once again, I can sit next to George in “my chair” and and watch in do his magic before the King of Kings, and Lord of Lords. In closing, one of the most important things I will take with me from my relationship with George Duke is this; it’s one thing to be a great man, it’s another thing to help others be great. I miss you, Dawilli.
Posted on: Fri, 23 Aug 2013 04:12:25 +0000
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