Pieces Benson

The Exclusive Edition includes two bonus tracks in addition to the major release.
George Benson's place as one of the greatest and most successful guitarists in the history of jazz is secure, but what's easy to forget sometimes is that he began his career as a vocalist, and if this release, a tribute to Nat King Cole, comes as any kind of surprise, it shouldn't. Benson's and Cole's careers are remarkably similar, both becoming known first as instrumentalists, Cole as a pianist, and Benson, of course, as a guitarist, with both eventually easing into the pop mainstream because of their voices. Cole was a one of a kind vocalist, of course, and even Benson wouldn't claim to equal him as a singer, but Benson has a similarly soothing and lush tenor voice that more than holds its own on these familiar songs.

Recordings such as this superb one serve to remind us that though we may think we know the output of the major composers, there are still treasures to be discovered. Works for individual instruments find their way into recital programs but often lie in shadow of the 'big works' for the concert.

George Benson's place as one of the greatest and most successful guitarists in the history of jazz is secure, but what's easy to forget sometimes is that he began his career as a vocalist, and if this release, a tribute to Nat King Cole, comes as any kind of surprise, it shouldn't. Benson's and Cole's careers are remarkably similar, both becoming known first as instrumentalists, Cole as a pianist, and Benson, of course, as a guitarist, with both eventually easing into the pop mainstream because of their voices. Cole was a one of a kind vocalist, of course, and even Benson wouldn't claim to equal him as a singer, but Benson has a similarly soothing and lush tenor voice that more than holds its own on these familiar songs.

This is one of the more unusual sessions that altoist Cannonball Adderley recorded during his career. Originally released under composer John Benson Brooks' name, the nine-part four-movement suite has original folk melodies interpreted by a quartet comprised of Adderley, trumpeter Art Farmer, guitarist Barry Galbraith and bassist Milt Hinton; Brooks briefly plays piano on one piece. Although not essential, the music is thought-provoking, quite melodic, and looks backwards toward folk music of the 1800's while giving the pieces a 1950's jazz sensibility.

“…Returning to Galleria, let me recommend without reservations a splendidly played and recorded Shlomo Mintz recital with Clifford Benson of Kreisler encores, including all his most famous pieces, such as Caprice viennoise, Liebesleid, Liebesfreud and Tambourin chinois, plus arrangements and pastiches of music by Albeniz, Weber, Wieniawski, Dvorak, Glazunov and others. This infectious recital comprised part of Mintz's recording debut for DG in 1981 and very entertaining it is, backed by a recording that is realistically full of presence.”

Although Enigma Records was better known for its connection to the mid-'80s Paisley Underground scene (Rain Parade, Game Theory, etc.), the Los Angeles-based indie was also among the first to document the rebirth of glam metal, which overtook the L.A. club scene at the same time, by issuing the first album by Mötley Crüe, Poison, and others. The glam-poppy Lizzy Borden was also ran in the hair metal sweepstakes, but its debut album, 1985's Love You to Pieces, holds up better than many other documents from the era. The packaging, complete with faux-goth band logo and the requisite hot big-haired chick in lingerie, is crushingly obvious, and the entire album flirts with cliché.