George Benson's facile post-Wes Montgomery single-line and chord-accented style was well received in his salad days of the mid- to late '60s. Primarily self-taught and ear-trained, he made great strides in a five-year period around his native Pittsburgh, working with organist Jack McDuff on the East Coast chitlin circuit. As the soul-jazz and boogaloo movement was establishing itself, Benson was right in the pocket, as these seminal mid-'60s sessions perfectly illustrate. In tandem with saxophonist Red Holloway, the two ...
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George Benson's facile post-Wes Montgomery single-line and chord-accented style was well received in his salad days of the mid- to late '60s. Primarily self-taught and ear-trained, he made great strides in a five-year period around his native Pittsburgh, working with organist Jack McDuff on the East Coast chitlin circuit. As the soul-jazz and boogaloo movement was establishing itself, Benson was right in the pocket, as these seminal mid-'60s sessions perfectly illustrate. In tandem with saxophonist Red Holloway, the two Prestige label LPs New Boss Guitar and Hot Barbeque were initially reissued in 1977 on a vinyl two-fer, and now on this single CD. The first two tracks, "Shadow Dancers" and "The Sweet Alice Blues," sans McDuff though toeing the groove line, are the most original and modern numbers. The remaining tracks on the New Boss Guitar 1964 dates add McDuff, with "Just Another Sunday" a gold standard for the emerging style. Benson's balladic expertise during "Easy Living" is as impressive as in the different dynamic of the rompin' stompin' "Rock-A-Bye." From May Day of 1965, the title cut and original version of "Hot Barbeque" has become an all-time hit and ultimate groove biscuit. Drummer Joe Dukes is the difference maker, as his fluid ease in either swinging or mixing hard bop with R&B fifty-fifty effectively drives the band so simply. "Briar Patch" approaches rock & roll, while "Hippy Dip" shows a completely unified Benson and McDuff on a fun melody line. A most arresting high-register organ sound, near unearthly, surrounds an easy swing on "The Party's Over." In addition, check out the slow late-night blues "I Don't Know" (from the 1964 dates) and "Cry Me a River" from 1965. Although Benson would reach a zenith in his short career as a jazz musician during this period, before abandoning its purity for commercial pop singing, Holloway and McDuff went on and on and on to their own great acclaim. This is Benson's initial emergence, and a valuable reminder of how great he once was. ~ Michael G. Nastos, Rovi
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