Richard v. Benson

Unlike Collection, Warner Bros.' second George Benson compilation Best of George Benson only draws from the label's own catalog, so by definition it is a less representative sampler. And even then, it does not give a thorough overview of Benson's 17-year tenure at Warner Bros…

George Benson is a unique figure in jazz, considered by many to be one of the best bebop-influenced guitarists since Wes Montgomery, while, simultaneously, loved by smooth jazz and pop fans for hits such as "On Broadway," and "This Masquerade," two songs that also feature his vocals. This "Jazz Moods" disc concentrates on Benson's instrumental side, though he does sing on the last track, "Hold on I'm Comin'." On this 10-track collection of tunes, mostly taken from his 1970s catalog, Benson funks up standards such as "Take Five" and "Take the 'A' Train," and offers extended jams on Jefferson Airplane's "White Rabbit" and the Mamas & the Papas' "California Dreamin'." Additionally, he turns in smoking hot, swinging versions of Miles Davis's "So What" and Benson's own composition, "Clockwise." Benson's blazing solos on these songs reminds listeners why he is so worshipped by fans and fellow guitarists worldwide.

This project had its genesis back in 1983 with a Benson promise to Count Basie that he would record an album in his style, a promise partially fulfilled the following year with 20/20's "Beyond the Sea." Focusing on standards that steer commendably clear from tunes normally associated with Basie, Benson takes on the dual challenge of big-band singer and lead guitarist and succeeds with authority in both roles. The robust playing of the Basie band under Frank Foster poses absolutely no problems for Benson's muscular guitar, for he punches out the notes and octaves in irresistibly swinging fashion (for prime mature Benson, check out "Basie's Bag"). As a vocalist, he sounds solid and debonair, blending well with Basie vocalist Carmen Bradford on "How Do You Keep the Music Playing?" There are two deviations from the format, though.

Taken from Columbia's multi-volume jazz primer, this is not bad for a single-company compilation. The selections split down the middle between George Benson's early 1965-1966 Columbia albums and his 1971-1976 CTI output that Columbia now controls; the gaps are obvious but the title of the series neatly narrows the scope of the survey. We hear the young, eager Benson in four cuts from It's Uptown and only two from the superior George Benson Cookbookincluding the spectacular "The Cooker" – before sampling a cut apiece from CTI's Beyond the Blue Horizon, Bad Benson, Good King Bad, and In Concert-At Carnegie Hall.

This A&M/CTI debut album by George Benson signaled the arrival of a true star in the jazz scene. Creed Taylor signed Benson immediately after Wes Montgomery's passing in 1968 – he was being groomed for it by Verve's house producer, Esmond Edwards, and arranger, Tom McIntosh, before he ever came to CTI. Taylor paired Benson with arranger Don Sebesky (who had done plenty of work on Montgomery's A&M sides) and engineer Rudy Van Gelder. Herbie Hancock and Ron Carter (both members of the Miles Davis Quintet with whom Benson had guested earlier that year), bassist Richard Davis, and pianist Hank Jones were all guests. Benson's core band for these dates included organist Charlie Covington, drummer Leo Morris, and conguero Johnny Pacheco.

Even before the first KuschelRock album, Kuschelrock was named as a weekly nightly music program for HR3 radio station (HR3 broadcasts from Frankfurt, Germany), the author and host of this project was Thomas Koschwitz, who is considered to be the co-author of a number of albums in Kazle … After Sony Music patented the right to release a series of albums called "KuschelRock", the HR3 radio station can no longer air this night music show … And now Sony Music regularly releases every year on the album …