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A mighty collaboration between Stanley Clarke & George Duke – working here in a pairing that refueled both of their careers for the 80s! In previous years, both Clarke and Duke had a penchant for really stretching out in complex, experimental modes – but here, they're playing in a relatively stripped-down and focused way – hitting some of the more soul-inspired sides of fusion at the time, although still without the slick or commercial feel of the rising GRP generation. Guitars figure heavily on a number of tracks, and vocals do too – sometimes in ways that are slightly too sweet and almost cloying. Tracks include "Wild Dog", "Louie Louie", "Sweet Baby", "I Just Want To Love You", "Winners", "Let's Get Started", and "Touch & Go".

An underappreciated soul set from George Duke for Epic – his Rendezvous from '84 – an engagement worth keeping! Given the mid 80s release date, you might be expecting a whole lot of programming and drum machine action – there's a bit of it, but this is a really lively set with some great musicianship across the board – and the songs are pretty strong, too. Duke produced, sings and handles an array of instrumentation from keys to synths and programming, with Stanley Clarke, Paulinho Da Costa, Ernie Watts, Oscar Castro Neves and other great players in the mix. Titles include "Got To Get Back To Love", "Take It On", "She Can Wait Forever", "Stay Awhile", "Thinking Of You" (with some nice extended string arrangements), "Secret Rendezvous", and "Ipanema Lady"

This one's a real shift from her earlier jazz-based work, or her recent recordings for Verve – and a sweet funky fusion album that Dee Dee recorded for Elektra in the late 70s. The set was produced by Stanley Clarke, and has a soul/fusion sound that's not that different than his own work of the time, and which works very well with Dee Dee's sweet vocal approach. Players include Bobby Lyle, Ronnie Foster, George Duke, and other strong 70s fusion players – and overall, the record's probably Dee Dee's best non straight jazz album of the 70s. Tracks include "Sweet Rain", "Open Up Your Eyes", "Just Family", "Melody Maker", and "Children Are The Spirit (Of The World)".

A much-needed look at one of our favorite instruments ever – the irreplaceable Fender Rhodes keyboard! The Rhodes has a sound that's unlike anything else – and has become a favorite of musicians over decades of use – as you'll hear in the film's interviews with Deodato, George Duke, Stanley Clarke, Patrice Rushen, Ramsey Lewis, Dave Grusin, Rodney Franklin, Joe Sample, Jerry Peters, Les McCann, Maurice White, Ronnie Foster, D'Angelo, Chick Corea, Herbie Hancock, and other jazz and soul legends – an incredibly large roster for a project like this! The film was partially put together by Gerald McCauley – a keyboardist himself – and it shows a love and respect of the Rhodes that really comes through. Almost 2 hours long, in color, with a special "Rhodes Scholars" feature.

Maynard's got some great help on this session – stripping things down and working with a group of west coast fusion players led by Stanley Clarke! The date's a bit later than some of Maynard's classic funk, but the groove's back on track – thanks to Stan's production and arrangements – and players that include Lee Ritenour, George Duke, Ndugu Chancler, and Tod Cochrane. The vibe is surprisingly soulful on most numbers – and titles include "Deja Vu", "Portuguese Love", "Here Today", "Touch & Go", "For Your Eyes Only", "Don't Stop Til You Get Enough", and "Hollywood".

Pure vocal magic – featuring the lovely Flora Purim at the height of her California powers – working in a sublime mix of jazz, fusion, and Brazilian rhythms – a sound that she virtually invented! The group on the set is one of her greatest of the time – with players that include Joe Henderson, George Duke, and Stanley Clarke – coming together with some great Brazilian percussion from husband Airto. The tracks are tight and jazzy – and include "Light As A Feather", "Dr. Jive (parts 1 & 2)", "Butterfly Dreams", "Moon Dreams", and "Dindi". This is the stuff that virtually defined the Brazilian/American groove of the 70s – and it's still light years ahead of any of Flora's many imitators!