I’m probably like a lot of people in that I came to George Duke, the incredible keyboardist, composer, funk master and man about town through Frank Zappa and his indelible 70s unit. I had heard there was a solo album from Duke where, due to contractual obligations, Zappa took the assumed name of Obdewl’l X in order to contribute guitars to the album. It took a while to find a good copy of 1974’s Feel, and in the intervening time I came across a pair of albums released in 1975 that further stretched my perception of the man’s talent. 50 years seems like a great reason to jump back into them, so we’ll start with the first one released that year, The Aura Will Prevail.

Listening to opening track “Dawn” there’s little of the sense of absurdist fun Zappa was known for; this is smooth jazz fusion, and as much as Duke’s keyboards dominate the track, he gives plenty of room for his co-conspirators to explore, most notably Alphonso Johnson’s slithering bass. He had just come off his stint with Weather Report, and that vibe permeates many of the songs here. Likewise the drumming of Leon “Ndugu” Chancler, who had played with virtually everyone of note including Miles Davis, and might be best know for co-writing “Let It Whip” for The Dazz Band.

Allowing them to run unfettered makes for some truly great moments. Anyone looking for that Zappa influence will find it immediately in “For Love (I Come Your Friend)” – you can’t mistake that high, falsetto voice from Duke, instantly bringing you to the classic albums he played on for Zappa – a theme that will become more prominent as The Aura Will Prevail continues. Beyond the vocal performance you get the humorous vocal asides, the band mumbling and exclaiming over a great vamp before jumping back into the song that have long been a touchstone for Zappa’s music. “Foosh” reaches for a more somber, reflective funk mood, and if those words seem to conflict with each other then you’re starting to see the appeal of Duke’s music for me. The side closes with “Floor De Loop” which brings back the Weather Report fusion vibe and is a massive showcase for Duke to just lean into all his equipment. It’s joyous, and once again provides a platform for Johnson’s monster bass chops.

“Malibu” ushers in the Latin percussion and gust vocals from Gee Janzen, Kathy Woehrle and Sylvia St. James, and it’s a boisterous showcase for Johnson and Brazilian percussionist Airto Moreira who guests on the track. But as fun and playful as “Malibu” is, I really lean into the more reflective tracks. “Fools” is a special highlight; I love Duke’s vocals, and the way he’s able to make his synthesizers slide around the vocal melody. When he jumps into those higher registers it’s sublime, and the way the band rises up or sits back to let Duke shine is a testament to how together this outfit was.

“We thought we knew it all…”

As great as “Fools” is (it honestly might be my favorite track on the album), it’s hard not to jump up and take notice on the next two cuts, which are Duke’s interpretations of Zappa’s “Echidna’s Arf” and “Uncle Remus”. “Echidna’s Arf” in particular is dizzyingly complex, and I absolutely love what Duke does with it here. Getting to hear Johnson and Chancler play with and make Tom Fowler and Chester Thompson’s parts their own is great, but the focus is purely on Duke and his mastery of Zappa’s melodies and cadence. “Uncle Remus”, always one of my favorite Zappa tunes, gets an extended workout, largely respectful of the gospel tone Zappa created on Apostrophe(‘) but with Duke handling the vocals solo. I always thought it was the perfect song to end an album with, and just like Zappa refused to take my advice back then, ending with the amusing but honestly not a closer in “Stinkfoot”, Duke takes a wiser path and ends with the minute and half outro “The Aura”. It’s a slightmesh of keys, bass and percussion that’s enjoyable but ultimately no more than a invitation to disengage from the album.

I’ve always been partial to the albums that bookend this, the more electrifying approach of 1974’s Feel and the more soulful, interesting twists that would come a few months later with I Love The Blues, She Made Me Cry. But there is a lot to like in The Aura Will Prevail, and over the last few days I kept finding myself drawn to small moments, particularly in those more somber, reflective pieces. Beautiful album art, too.