js “Shape of Things to Come” was George Benson’s first album with producer Creed Taylor and the A&M/CTI label after leaving Verve. Creed brought George on to the label to replace the recently departed Wes Montgomery, a guitarist that George had a lot in common with. Also on board is arranger Don Sebesky, someone who was well known for his ongoing work with Taylor. The result is an album that is somewhat commercial, but also smoking hot in places as well as creative and fresh. The salient feature of course is George’s incredible guitar chops. Easily in the all-time top ten of jazz guitarists, George is sometimes under-rated because of his pop vocal songs and the fact that he makes what he does sound so effortless. Some guitar ‘shredders’ are big on broadcasting how hard they are working, but Benson has no problem reeling off the near impossible without sounding like he has broken a sweat.

Breaking down the tunes, “Footin” is funky soul jazz boogaloo and “Face it Boy its Over” is a soul ballad. Aretha’s “Don’t Let Me Loose this Dream” has a Latin RnB horn driven drive and “Shape of Things that Are and Were” is hard bop blues. Cover tunes, “Chattanooga Choo Choo” and “last Train to Clarksville”, could have been very corny but both are rendered barely recognizable as they are transformed into more boogaloo soul jazz. One of the best tracks is the title track on which George tries out a device called the varitone that produces Les Baxter styled speeded up type effects and a doubling of the guitar sound. It also has one of the best melodies on the album and the only solo not played by Benson when organist Charles Covington takes us on a funky ride. Also worth mention is Sebesky’s exotica styled flute and strings drenched in reverb on the aforementioned “Footin”.

as1978 George Benson is a fantastic guitarist and, author. He has won several "Grammys" and is also known in the Rock world. Also because he is really a musician who knows how to combine Jazz with Rock, Funky and Soul and he always knows how to be himself.

In 1978 the compilation "Space" was released which opens with a "Funky" version (even if only as an arrangement) of "Hold On, I'm Coming" by Sam & Dave which is an unreleased (from the sessions of "Good King Bad ") and that I really like it a lot because of the Funky component, which makes it very Rock. But, with "summertime" (like all other songs it is live from "In Concert-Carnegie Hall" as "Sky Dive" which is unreleased as a recording), Soul comes to the surface. A Motown Soul. And the two aspects of George Benson are placed side by side without fear of making it appear that they are different genres or artists. However, what is surprising is the extreme versatility of a unique artist."Space" continues, after the first two pieces, in favor of a very linear and technical Jazz with a gram warmth that came to us fresh and not at all aged and flows away perfect and relaxing in its very recognizable sounds.

I don't rate "Space" as a proper compilation. To me it sounds more like a studio & live album, due to the two unreleased albums and I can say it's a really good album. Which I really recommend to all lovers of good music.

js No doubt, if George Benson isn’t the best guitarist in the world of jazz, he’s probably in the top five at least. The problem though, is finding an album where he really rips on the six string, as opposed to crooning love songs or some other commercial endeavor. Generally the early part of Benson’s career has his best recorded output, which is true with this early release, “The George Benson Cookbook”. Recorded when Benson was still fairly new to the scene, he does not hold back on this one and comes out with both guns blazing on the first cut. Album opener, “The Cooker”, is high speed hard bop with plenty of impossible lightning fast runs from Benson, as well as some very heated baritone work from Ronnie Culper. In fact, Ronnie shines all through this album, and his choice of bari sax gives him a unique voice. Side one continues with more swingin bluesy bop, some groovy bossa and Benson’s one vocal number, a very spirited take on “All of Me”. This song can be wore out, but George lifts it up with his energetic vocals. This upbeat version is a good example of how this entire album has the warm energy and spontaneous feel of a live club date.

Side two continues with more hard bop and bluesy RnB with “Return of the Prodigal Son” being a stand out with its cool soul jazz riffs suitable for a 60s spy movie or liquor commercial. There are no bad songs on this entire album and all the soloists really cook. Along with Culper and Benson, you get Lonnie Smith on the B3, Bennie Green on the T-bone, and a few other guests on horns. This album is highly recommended for fans of George Benson, great guitar playing in general and 60s hard bop that borders on soul jazz. Over the years, this sort of blues/jazz style became a bit generic, but not “Cookbook“, it has more energy than most.

Sean Trane Once Creed Traylor decided to go independent from the A&M stable, he created the CTI label, one that would release many early 70’s JR/F masterpiece of the early 70’s, with only Clive Davis’ Columbia label being even more influential by the middle of the decade. With an ahead-of-time humorous (and sad) album title and artwork, Benson invited Carter and DeJohnette and organist Clarence Palmer, somewhat unknown to me, but his playing is heavily reminiscent of Brian Auger.

Opening on one of jazz’s best-known riff, the unforgettable So What, but fairly thoroughly rearranged, so that it won’t be immediately recognizable, unless being a musician. Indeed, Palmer’s excellent soul-ish organ-playing is leading you into an Auger-ian express to oblivion, if it wasn’t for a Montgomerian-sounding guitar. Excellent but unexpected rendition of a timeless classic. The following Gentle Rain film theme gets the same gentle fusion treatment as its companion piece, with those unstoppable ogre organ lines.

If the A-side was made of covers, the flipside is all penned by Benson himself, and the opening All Clear track is a gentle upbeat composition that features some un-credited violin - maybe Ron Carter on cello, but not sure. The following Ode To A Kudu track features more bowed string instrument, but here we’re definitely in the cello’s register. The closing Somewhere In The East is easily the album’s highlight, partly due to the high energy level of all concerned, but particularly Benson’s louder guitar sound. The first CD reissue (on Epic) features two bonus alternate-take tracks, the first of which is an interesting version of Kudu and the second an All Clear, both of which seem to be a tad more Montgomery-esque.

While BTBH is an excellent classic, it doesn’t strike as many targets as its successor White Rabbit, but the present is a sure second-place album in Benson’s CTI era. I’m not sure hardcore JR/Fheads will really appreciate all that much this kind of gentle fusion, not that far away from mainstream, and chances are that if recorded as such some 15 years later, some would qualified then it as ECM-muzak. In the meantime, this short album and its successor could find a spot on your shelves if you’re into unobtrusive fusion.

Sean Trane Second Creed Taylor production for the CTI label for Benson, despite being a usual Taylor suspects. Among the supporting cast, we find the future Bruford-collab Berliner, the giants Carter and Hancock, the percussive Airto and Cobham and the windy Laws, Bodner, Marge and Penque, and some more.

The weird thing is that George only wrote one tune (the excellent closing El Mar), but chose to feature some 4 fairly high-profile composition to cover although very much rearranged ala Wes Montgomery manner, but slightly more 70’s fusion. Indeed, one must really listen attentively to recognize Jefferson Airplane’s White Rabbit. Yes, there are some Spanish influence in the instrumental rearrangements, but one can’t hear much Casady’s original descending bass riff, and of course, the absence of vocals don’t help much either. The old Summer Of 42 standard is also quite different to what you’d expect, when Benson giving it a slight Flamenco edge with his guitar in the first part, before going big-band-like. Another fairly strong piece is the excellent Little Train.

On the flipside, one can’t help but being enthralled by the happy theme of the Mamas & Papas’ superb California Dreamin’, but I doubt that you’ll recognize it quick if it is your first exposure to these Latin arrangements. Excellent stuff, though. The album ends on the sole Benson tune, the almost 11-mins El Mar, which, as its title hints, also bears a strong Spanish influence, sometimes even hinting at Rodrigo’s Aranjuez piece, the only one featuring some vocals (flamenco), even if somewhat embedded in the mix.

While WR is a outstanding full fusion album, one that’s warmly recommended to most every fusion or even straight jazz fan (especially those enjoying Montgomery’s guitar playing), it will also be the last one on the CTI label that I would entice you to investigate, because his next few ones can be a bit whishy-washy efforts.