George Benson - Song and Stories

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01-George Benson-Dont Let Me Be Lonely Tonight
02-George Benson-Family Reunion              
03-George Benson-Show Me The Love            
04-George Benson-A Telephone Call Away       
05-George Benson-Someday Well All Be Free    
06-George Benson-Nuthin But A Party          
07-George Benson-Come In From The Cold       
08-George Benson-Exotica                     
09-George Benson-Rainy Night In Georgia      
10-George Benson-One Like You                
11-George Benson-Living In High Definition   
12-George Benson-Sailing                     

Gerald Albright Saxophone
Maguinho Alcântara Drums
Patti Austin Vocals, Vocals (bckgr)
George Benson Guitar, Vocals, Liner Notes, Soloist
J.J. Blair Engineer, Vocal Arrangement
Norman Brown Guitar, Vocals
Bruno Cardozo Keyboards, Organ (Hammond)
Paulinho Da Costa Percussion
Chuck Findley Trumpet
David Garfield Organ, Piano, Keyboards, Vocal Arrangement, Production Assistant
Gary Grant Trumpet
Lalah Hathaway Vocals
Jerry Hey Horn Arrangements
Mary Hogan A&R
Toninho Horta Guitar (Acoustic), Associate Producer
Paul Jackson, Jr. Guitar
Marcelo Lima Guitar (Acoustic)
Charles Loper Trombone
Steve Lukather Guitar, Producer
William Magalhaes Fender Rhodes
Marcus Miller Organ, Bass, Percussion, Piano, Arranger, Conductor, Keyboards, Marimba, Programming, Vocals, Producer, Vibraphone, Fender Rhodes, Horn Arrangements, String Arrangements, Drum Loop

David Paich Keyboards, Programming, Producer, Horn Arrangements
Ray Parker, Jr. Guitar

Carolyn Perry Vocals (bckgr)
Lori Perry Vocals (bckgr)
Sharon Perry Vocals (bckgr)

Greg Phillinganes Piano, Keyboards, Fender Rhodes
Steve Porcaro Synthesizer

Lee Ritenour Guitar (Acoustic), Guitar (Electric)

John "J.R." Robinson Drums
Smokey Robinson Vocal Arrangement
Robin Ross Viola

Tom Scott Saxophone, Horn Arrangements
Leslie O. Smith Vocal Arrangement
Paul "Scooby" Smith Assistant Engineer
Bobby Sparks Keyboards, Organ (Hammond)

Rod Temperton Arranger, Keyboards, Programming

Victor Vanacore Conductor, Horn Arrangements, String Arrangements

Wah Wah Watson Guitar

George Benson's sound is so recognizable that, in its way, it's quite comforting to hear his voice or his guitar come across on the radio or in a club. His recordings have been polished and extravagant in many cases, but there are those signature elements — his relaxed delivery and silky touch on the strings and his voice, as evocative as a cool breeze floating across a hot summer night. Songs and Stories doesn't deviate from his formula a great deal, but it doesn't have to. He's chosen ten ubiquitous pop tunes from a variety of songwriters (and one by a relatively new kid on the block), and with the help of producers John Burk and Marcus Miller, he puts them across in fine style. The set opens with James Taylor's "Don't Let Me Be Lonely Tonight," with the great Brazilian guitarist Toninho Horta on acoustic to contrast with Benson's electric. The tune simply eases down into the listener, and more than a desperate plea as it was in Taylor's case, this version is a request that offers plenty of rhythm — courtesy of a beatbox by Butterscotch and Paulinho Da Costa's percussion. Another standout on the set is the slow strolling version of Bill Withers' "A Telephone Call Away," with guest vocalist Lalah Hathaway in duet, Gerald Albright's saxophone, and Bobby Sparks II's B-3 all adding to the band's textural palette. Following it is an intimate small-group setting of a cover of "Someday We'll All Be Free" by Lalah's late father, Donny Hathaway. Young Southern soul singer/songwriter Marc Broussard contributes "Come in from the Cold" to the mix. Benson is accompanied by Tom Scott on saxophones, guitarist Jubu, Miller's bass, and Sparks' Hammond, embellished by some nice Rhodes work by Greg Phillinganes. The reading of Tony Joe White's "Rainy Night in Georgia" is unusual, and laden with strings, but it works because Benson doesn't try to create a definitive version of anything; he simply creates his own. There are also two fine surprises at the end of the disc: an excellent version of Smokey Robinson's "One Like You" with a large ensemble; and a downright funky take on Lamont Dozier's "Living in High Definition," which is sure to be a hit at contemporary jazz radio. Benson, Jubu, and Wah Wah Watson all contribute electric guitars, with Miller playing vibes as well as laying down layers of beats atop his own string arrangements. Benson fans should have a ball with Songs and Stories. It's consistently smooth in texture, its arrangements are elegant, and it's sequenced beautifully.

George Benson - Weekend in L.A. 1977 - Original 2 LP Digital transfer, noise cleaning and mixed, at Audio Design Studio Home Sound Recording Studio made 2012 th.

 

Continuous Records       DATA

George_01    George_02    George_03

George_04    George_05    George_06

LP 01

a

01 - Weekend in L. A.

02 - On Broadway

b

03 - Down Here on the Ground

04 - California P.M.

05 - The Greatest Love of All

LP 02

a

06 - It's All In The Game

07 - Windsong

08 - Ode To A Kudu

b

09 - Lady Blue

10 - We All Remember Wes

11 - We As Love

The Players:

George Benson - Lead Guitar and vocals

Phil Upchurch - Rhythm Guitar 

Ronnie Foster - Keyboards

Jorge Dalto - Acoustic piano and keyboards

Stanley Banks - Bass

Harvey Mason - Drums

Ralph Macdonald - Percussion

• Art Direction – John Cabalka 
• Design – Brad Kanawyer
• Engineer [Assistant] – Don Henderson 
• Mastered By – Doug Sax 
• Photography By [Back Cover] – Jim McCrary 

Recorded live at the Roxy in Hollywood, 

sept 30, oct. 1st, oct. 2nd. 1977.

On the surface. George Benson's career has followed the pattern established by Nat "King" Cole and Ray Charles: many duespaying years as an instrumentalist, then the big payoff with the emphasis on vocals. There are significant differences, however, because Benson has been singing since his preteens, long before either his minifame as a serious jazz musician or his current pop stardom as a singer guitarist. And, more important, while Cole and Charles were and are thoroughly original artists, Benson remains a polished follower.

vocals on this live double album again reflect a debt to Charles and to Stevie Wonder. Benson more often sounds like an unknown soldier in that nondescript legion of black crooners who once or twice came up with a hit (like Tommy Edwards with "It's All in the Game," covered here) and were then forgotten. Anonymous carbon-copy arrangements and tepid Jorge Dalto acoustic piano inhibit "Game," "Down Here on the Ground" and "Lady Blue," but "On Broadway" works better with its meaner groove, guitar scat section and a model percussion duet from Harvey Mason and Ralph MacDonald. Nothing, however, is as obviously geared toward the charts as "The Greatest Love of All" (a black "My Way" with enough hooks for three songs), which finds Benson confidently and enthusiastically belting at a melodramatic peak.

Early Benson fans won't find much satisfaction in the six instrumentals. With session masters like MacDonald, Mason and rhythm guitarist Phil Upchurch on board, this band clearly knows how to play, but a little of that extended "What's Going On" vamp feeling, heard on almost every cut, soon becomes a lot. True, Benson recites a number of stunning guitar licks that occasionally overwhelm through sheer quantity ("Windsong"), but his playing too often sounds disconnected. "We as Love," the one song on which he relaxes and tells a musical story, finds many of the Roxy's audience engaged in conversations of their own. (RS 261)