Duke Jones - from Atlantic Starr to Antigua sunsets

Duke Jones doesn’t just play jazz; he also produces the groove behind it. A seasoned trumpeter, composer and R&B producer, he has worked with legends across genres, bringing his signature sound to recordings that blend jazz, soul, funk and Caribbean rhythms. From his early days with Atlantic Starr to launching his own label, Bassline Live, he has carved out a space that bridges tradition and innovation. A frequent visitor to Antigua, he continues to explore music on his own terms, both in the studio and beyond. We caught up with Duke to hear more about his journey through music, his reflections on the industry, and what still keeps him reaching for the next note.

You started playing the trumpet at an early age. What first sparked your interest in music, and why the trumpet in particular?

I started playing trumpet in elementary school at age nine. I’d always liked music, but I wasn’t keen on learning how to play an instrument – I was more into sports. My mother insisted I join the school band, so I asked the instructor about playing the saxophone as I liked the sound. He told me they were out of saxophones and only had trumpets left. After a few days, I decided to give the trumpet a try – a much harder instrument to play than the saxophone. That was the start of my journey, and I’m glad I made that choice. Trumpet players are rare and hard to find.

You co-founded Atlantic Starr and later released your solo album Thunder Island on the prestigious jazz label CTI in the 1990s. How did those early experiences influence your sound?

Atlantic Starr began in my high school lunchroom in White Plains, New York, when drummer Porter Carroll asked if I’d be interested in forming a band. We recruited Sharon Bryant on vocals, Joey Phillips on percussion and Cliff Archer on bass. Performing across New York, New Jersey and Connecticut gave us invaluable experience, and in 1976 we recorded two albums with London producer Malcolm Addy, known for his work on The Beatles’ Abbey Road. Listening to jazz trumpet greats like Miles Davis, Lee Morgan and Lou Soloff helped me shape my own sound, and regular jam sessions honed my skills. After recording Atlantic Starr’s first album in California, I signed with Creed Taylor’s CTI Records, joining artists like George Benson, Bob James and Gilberto Gil. That’s how Thunder Island came to be – and it proved to be a major break for me.

You’ve worked with some big names over the years and toured internationally with acts like The Temptations and Angela Bofill. What has been your most memorable experience?

I had the pleasure of working with Angela Bofill on her recording Intuition and touring with the Temptations in Japan. It was an incredible experience playing those classic songs with them night after night. I also have many great memories of working with jazz drummer Norman Connors. We toured all 50 US states, performing in major cities and even performed at the Montreux Jazz festival in Switzerland in 1978. I later toured Japan with the country’s number one pop band, Kome Kome Club, performing in all the major stadiums. I’ve been fortunate to enjoy so many unforgettable musical experiences.

You launched Bassline Live to spotlight Jazz, R&B and Caribbean sounds. What made you want to start your own label?

Bassline Live was launched in 2018 as a nightclub and restaurant in Mt Vernon, New York, hosting live shows with Caribbean artists as well as jazz and R&B performers. When the pandemic hit, I had to close for good as no one was going out. Once things began to return to normal, I decided to reopen it as a record company, since I had a large collection of music masters and video recordings. I’ve since released my new record Afro-Cafe Vol. 1, which I had been working on for some time. I’ll soon be releasing new music recorded in Brazil, featuring collaborations between Afro-American and Afro-Brazilian musicians. This project unites two cultures that were long separated by the transatlantic slave trade, yet share deep roots in Africa. I’m currently seeking funding to bring Soul of Brazil to fruition and release.

You studied calypso and soca during your time studying in the Virgin Islands, and you now spend a lot of time in Antigua. How have those Caribbean influences shaped your music?

I studied music at the University of the Virgin Islands, immersing myself in calypso, soca, reggae and quelbe historical music. I learned about the rhythms of Caribbean music, played with different bands, and now incorporate those influences and sounds into my recordings.

After visiting Antigua several times, it opened my eyes to the vibrance of all forms of Caribbean music. Previously, I had performed in New York with Antiguan guitarist, Roland Prince, a highly regarded jazz musician in America. Some of my fondest memories are of relaxing at St James Marina, eating breakfast by the docks and feeling the easy Caribbean vibe and the cooling trade winds. I’ve written several pieces inspired by that feeling. Caribbean Windsor featured on my Thunder Island album and was a hit in Japan, where it’s played every morning on Tokyo FM!

What keeps me coming back to Antigua is the warmth of the local people, the natural vibes of the food markets and the evening sunsets with the gentle trade winds – and, of course, the great variety of rums.

You visit Antigua & Barbuda regularly - what keeps bringing you back?

What keeps me coming back to Antigua is the warmth of the local people, the natural vibes of the food markets and the evening sunsets with the gentle trade winds – and, of course, the great variety of rums. A quiet, tranquil bar with an ocean sunset – life does not get any better than that. The fresh, local food is incredible.  Antigua is so romantic – there is nothing like it anywhere else. It’s a truly one-of-a-kind experience.

What’s one piece of advice you’d give to young musicians starting out?

Maintain ownership of your master recordings and publishing. Never sell your music – only grant short-term licenses to use it. Practise as much as possible and keep pursuing musical directions.

What’s next for you?

My next ambition is to release all the different records I’ve made using the latest technology, which at the moment is Atmos mixing. I also want to create natural landscape videos and showcase the music in live performances. I aim to reunite long-separated communities of the diaspora through collaborative music projects.