A brilliant player on both acoustic and electric basses, Stanley Clarke has spent much of his career outside of jazz, although he has the ability to play jazz with the very best. He played accordion as a youth, switching to violin and cello before settling on bass. He worked with R&B and rock bands in high school, but after moving to New York, he worked with Pharoah Sanders in the early '70s. George Duke showed a great deal of promise early in his career as a jazz pianist and keyboardist, but has forsaken that form to be a pop producer.
Released in 1974, Faces in Reflection was, in many ways, George Duke's third album as a leader for MPS. The first two, Solus and The Inner Source, were recorded separately but issued as a double-LP by SABA, which shortly thereafter ceased doing business and was folded into MPS. That said, there is little resemblance between the man who recorded his early albums like Save the Country, those aforementioned, and the seasoned studio experimentalist who cut Faces in Reflection. Duke's periods with Cannonball Adderley and Frank Zappa (the latter an ongoing relationship; it was Zappa who introduced Duke to the synthesizer) had taught him a ton musically and about working in the studio. The players here include Leon "Ndugu" Chancler and bassist John Heard.
Following two studio recordings, this impressive band hit the road and cut this session with keyboardist George Duke. Their encounter provided for an uneven, but infectious, recording. "Hip Pockets," composed by Cobham, and "Ivory Tattoo," composed by Scofield, begin the session with some intense playing. Things get a bit goofy with "Space Lady" (a song which probably worked better live), and a bit melodramatic with "Almustafa the Beloved."