Benson uses this active backdrop as a springboard for his own rhythmically aggressive playing on the solo vamp. This jazz-bossa standard is treated more freely rhythmically and at times suggests more urban, New-Yorican, latin rhythms and double-time backbeat thanks to the polyrhythms of Jack DeJonnette. It never sounds like he’s just showing off… even though he might be!ĬD: Beyond the Blue Horizon (Mosaic Contemporary)įrom my perspective, this tune represents a period of exploitation, experimentation and growth for George Benson during his days on CTI Records (1971 – 1976). The thing that makes all this dazzle most amazing for me though, is that it is so controlled and tempered by a spirit of extreme musicality. He shows off two new techniques that are jaw dropping: a risqué sweep picking and an ability to play in flurries that are removed from the strictures of the meter. Actually, Benson takes Wes up a notch and in his single-line playing especially, states that this is the next level for jazz guitar playing. In his block-chord soloing he freely employs one of the techniques that was integral to Wes’ style without ever sounding like a mimic. His approach, rhythmic and otherwise, has the inherent essence of a decade or more of R&B and soul music that he adds to the jazz mix. The setting of this recording was actually Montgomery’s old turf (same record label, producer, arranger, musicians) as George was offered a new recording contract in order to replace Wes just after his untimely death.īenson’s playing here is the perfect example of a jazz musician who has fully realized his own voice on their instrument. On this tune, a blues head by Benson from his 1968 A&M Records debut, he both gives a nod to his predecessor Wes Montgomery, then breaks the mold. Track 3: Shape of Things That Are and WereĬD: Shape of Things to Come (Verve 000967402) The component that completes his stunning technique is his quicksilver response and coordination that allows him to execute so flawlessly. The thing that makes this solo so breathtaking isn’t how fast or lengthy his lines are, as much as how he is able to think and ‘hear ahead’ in order to shape finely crafted melodic ideas through the chord progressions. A much more obvious observation though, is that his technique here is simply mind-boggling. As always, his command of the jazz idiom and syntax, and how he is choosing to fuse these with blues and R&B leanings to form a distinctive and influential jazz guitar style is apparent in this solo. I’m particularly fond of his harmonic vision in this solo, which makes what and how he plays on these changes seem particularly unique and personal to him. Although George’s chordal ideas are voluminous, they are most properly placed (in both rhythm and octave range) to excite and propel the music and seemingly, always relevant in those same ways to the drama of the soloist’s phrases.īenson’s solo on this tune takes the excitement level up even more, which is quite a feat considering the superb solo that he follows. It’s a lesson in taste and subtlety as well as an indication of why a musician’s rhythmic feel is so important. With that said, please read, listen and most of all enjoy!ĬD: The George Benson Cookbook (Columbia 9184)Īfter the crisp execution of this Jimmy Smith Penned melody on the chords of I Got Rhythm, the thing that is just as exciting for me is to hear Benson’s comping behind Ronnie Cuber’s baritone solo. I could easily pick twelve more cuts and wax on with equal enthusiasm. These are just some of my favorites, and by no means should be thought of as a “best of” list. It includes my commentary of a dozen of George’s recorded performances that I feel offer important glimpses into his style during different periods throughout his career. It originally appeared on a now defunct website by a very well respected jazz journalist. As an answer to that and as a listening aid and primer for aspiring jazz guitarists, I’m republishing this article that I was asked to write in 2011. However, I’m not sure that he is sufficiently appreciated by modern-day jazz guitarists and students. Today, Benson has continued to practice, evolve and excel in his musical gifts. As a fifteen year old I thought, “If I can one day make the exhilaration and full range of emotion that I feel from listening to him, that’s what I want to do!” My attraction to Benson was what ignited my life’s work. He along with fellow six-stringer, Pat Martino, were the pillars of jazz on the instrument in the 1970s, before trends changed, and focus turned to more additives and categorical obfuscations. Any discussion concerning the most important guitarists in jazz must include George Benson.
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