The George Benson Cookbook

 

Bossa Rocka

The George Benson Cookbook

The George Benson Quartet

Featuring Lonnie Smith - Organ

Produced by John Hammond

Cover Photo: Don Hunstein and Sandy Speiser / Columbia Record Photo Studio

Columbia Records Collectors' Series - Special Reissues for the Discriminating Record Buyer

Columbia STEREO CS 9413

1967

From the back cover: One ingredient that runs through all the recipes in The George Benson Cookbook is a good groove. The rest of the elements many vary, the seasoning may change – but that good groove is always there, sending out all kinds of enticing musical aromas

As a guitarist, Benson is the exciting new sound – but a new sound that is solidly grounded on such old sounds as that of Charlie Christian. In 1966, at the Newport Jazz Festival's Guitar Workshop, he was a neophyte amidst a group of top-ranking, established guitar stars. but is was young Benson, described by Down Beat as "a young guitarist with roots in Charlie Christian and a wonderful best," who provided the "peak moments."

Benson is also a composer who is rapidly expanding his talents and, in the process, revealing and ability to find striking melodic and harmonic effects. One aspect of Benson as a composer looms up in the dark, deep and gutty theme of The Borgia Stick, which he wrote for a television production of the same nane. ("The Borgia Stick" is a cane with an insignia which identifies the program's gangsters to each other.)

There is a variety in his writing... a gentle lyricism in Benson's Rider, a foot-patting head of steam in the aptly titled Bossa Rocker, and a reflection of rock 'n' roll in Big Fat Lady.

The rock reflection is legitimate because Benson, a few years back, was whanging away in a rock 'n' roll group. That was when he discovered jazz guitar on a record Hank Garland made with Joe Morello and Gary Burton. Listening to Garland led him to other jazz guitarists, most particularly to Charlie Christian, so that when organist Jack McDuff asked Benson to join his group, Benson was ready.

But Benson didn't start as a rock 'n' roll guitarist. First he was a singer – he actually recorded vocals when he was only ten years old! And he still is a singer – a singer with the kind of vitality and projection that come from a combination of natural ability and years of confidence-building experience. This is the special ingredient he puts into All Of Me

All this – composer, singer, instrumentalist – is just a starter. Benson is a listener, too, and an appreciator. Jimmy Smith's Ready And Able came into this collection as a result of Benson's appreciative listening, while Return Of The Prodigal Son, composed by saxophonist Harold Ousley, is a first recording of a piece by a composer for whom Benson has great admiration and from who he has ever greater expectation.

And one other thing: Benson is impulsive. The sound of surprise – in jazz critic Whitney Balliett's wonderful phrase – is an accent that flavors all of Benson's work as he responds to impulsive ideas. Not just musical ideas – emotional ideas, too.

For instance, the presence of Benny Green's trombone – smooth, lusty and authoritative – on Benny' Back And Jumping' With Symphony Sid is the result of an impulse. Benson was on his way to a recording session for this album when he ran into Benny in the street. They hadn't seen each other for years and, on the spur of the moment, Benson invited Green to join the session. To complete his impulse, when they got to the studio Benson sat down and dashed off Benny' Back as a vehicle for his guest.

Just as Benny Green was impulsively added to the quartet on two numbers, Benson, on an equally perceptive impulse, trimmed the group down to a trio on Bossa Rocks and Benson's Rider. Baritone saxophonist Ronnie Cuber sat out these two numbers, but all through the rest of the album he constantly proves his credentials, with the rugged, commanding intensity of his attack, as the most important voice to be heard on baritone sax in years.

Back of it all – back of Benson's guitar, Cuber's baritone sax, Benny Green's trombone – is the cushioning organ of Lonnie Smith and the drumming of Jimmy Lovelace or Marion Booker. But the mark of identity for the group as a whole, for the arrangements, for the spirit and polish of the performances, is George Benson. He may be simmering, steaming, boiling, au jus, au bait, or au naturel – but he's always cooking. – Gordon Barnes

The Cooker

Benny's Back

Bossa Rocka

All Of Me

Big Fat Lady

Benson's Rider

Ready And Able

The Borgia Stick

Return Of The Prodigal Son

Jumpin' With Symphony Side