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from the vault
8 George BensonGeorge Benson talks about recording live, sitting
in with Wes, and lots more in this classic Guitar
Player interview from 2010.
20 FeaturePete Huttlinger
Gear
24 New Gear From the November 2014 issues of Guitar Player .
oN the NewsstaNd
26 GP November 2014 Table of Contents
lessoNs
28 Bill Frisell Master Class
(from the December 2002 issue of Guitar Player ).
38 Joe Pass Altered Dominant Sounds
(from the August 1995 issue of Guitar Player ).
sessioNs
40 The ever-popular TrueFire Lessons
traNscriptioNs
42 “Welcome to My Nightmare” Alice Cooper
50 “Send the Pain Below” Chevelle
56 “Behind the Veil” Jeff Beck
nnNovember 2014 · Volume 4, Number 11
J.J. Cale - Page 8
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classic interview
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march 2010
ROMPIN’IN
REAL TIMEGEORGEBENSON
G O E S L I V E T O R E C O R D
SONGS AND STORIES
BY ART THOMPSONP H O T O G R A P H B Y J O H N H A L L
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classic interview
The
world may know George Benson best by
his golden voice, but lurking alongside
his crooner persona is a hard-core jazzer
with deep improvisational skills and some
of the scariest chops around. Benson
learned about “one take” recording early
in his career, and by all accounts he was
a quick study. In these trial-by-fire sce-
narios Benson’s fretboard prowess, great
ear, impeccable groove, and boundless
self-confidence made him an unstoppable
force in the jazz community. “I had such
chops in those days and I wasn’t afraid to
try anything,” Benson recalls. “I would
stretch things out and make them sound
wild and crazy—that was just my way of
doing things back then. They once did a
blindfold test on Wes Montgomery and
played him a cut from one of the first
CBS records that I did with [saxophonist]
Ronnie Cuber and [keyboardist] Lonnie
Smith. When he heard it, he said, ‘I know
who that is—it’s that kid George Benson.
Man, when he slows down he is going to
be a monster!’”
By the time he was in his 20s, Benson
was a seasoned veteran who had recorded
with such heavyweights as Miles Davis,
Jack McDuff, Herbie Hancock, Stanley
Turrentine, Freddy Hubbard, Ron Carter,
Jack Dejohnette, and Hubert Laws.
Benson may have dropped out of high
school, but in the university of real-
world jazz he honed his skills to a razor’s
edge and became a hot commodity as a
solo artist. Following a series of albums
on the CTI label, Benson signed with
Warner and, with the help of producer
Tommy LiPuma, broke from mainstream
instrumental jazz once and for all with
the hugely successful album Breezin’.
Benson’s rendition of the Leon Russell
song “This Masquerade” made him a
vocal superstar, and the equally popular
instrumental title track basically laid the
foundation for the smooth-jazz genre.
Benson’s latest album, Songs and
Stories doesn’t stray far from this for-
mula that has kept him in good stead for
the last 30-something years. Masterfully
produced and arranged, it showcases
Benson in 2004.
PHOTO: GREGORIO BINUYA / RE
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march 2010
GEORGE BENSON HELPED
to bring worldwide at-tention to Earl Klugh byfeaturing him on WhiteRabbit, one of his mostcelebrated CTI-era al-bums. Benson had beenim-pressed with Klugh’s
nylon-string playing afterdiscovering him in De-troit. “He was playing ata club that his managerowned called Bakers Key-board Lounge,” says Ben-son. “Everybody playedthere—Ella Fitzgerald,Oscar Peterson, Joe Pass,all the greats—and theywould stick Earl in a cor-ner so that nobody would
notice how young hewas. His manager said,‘George, I want you tohear a guitar player.’ SoI asked him to bring Earl
down to where we wererehearsing. Earl was veryshy, but when he playedthat guitar I just thought,‘wow!’ There was noone else doing finger-style guitar like that at
the time—especiallyan African American—and Earl studied with ateacher who had studiedwith Andres Segovia, sohe had the right tech-nique. When I first heard him I was mesmerized by what he
could do, and he was only 17 at the time. His manager askedme if I could do something for him—which was kind of funnybecause in those days we were just making it from week toweek—but I invited Earl to be on an album with us, and wewent in the studio and recorded White Rabbit.”
What was it like to be a kid from Detroit and the first record you
play on is with George Benson, Herbie Hancock, Billy Cobham, and
Ron Carter?
I was 17 and it didn’t really sink in at the time. I was veryexcited and very amazed, but I think more about it now at 56than I did then. At 17, you figure that you might have these
opportunities. Lookingback, you realize that notmany people do. So muchof it is being in the rightplace at the right time.I was very green, andno way was I up to thelevel of those guys, butit was a great opportu-nity. It got me in front ofsome record people and
that allowed me to getmy own deal eventually,which was great.
What was the ses-
sion like? How many takes
would you guys do?
Oh, with [producer]Creed Taylor, one or twotakes. They weren’t fool-ing around. That’s whyhe had players like that.He spent money on thembecause he knew he wasgoing to get perfection.
He didn’t have to spendit on studio time.
What did you learn from
George Benson?
I played in his band,so there was a lot that I
learned from him. Thebiggest thing I remem-ber was after a show, wemight go out to break-fast at 2 am and Georgewould go back to hisroom and practice until
6 am. I figured if George Benson thinks he needs to practice
that much, then I better do the same thing or more [ laughs].You don’t make it without that drive and determination.
What advice would you give to young players who find them-
selves in an intimidating musical situation?
Don’t let it throw you, because if you think about it toomuch it will. The thing that I learned over time is this: Doall your preparation and you’ll know what you should play.
Then go out there and be yourself. Don’t let an intimidat-
ing situation make you think that you should change yourintent. Just do what you do, even if you feel scared, and beyourself.
EARL KLUGHON BACKING GEORGE BENSON
Benson (left) and Klugh
back in the day.
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cuts while spotlighting his guitar playingon the songs “Exotica,” “Living in HighDefinition,” and “Sailing.” What makesSongs and Stories special is that it was
cut live in the studio. A bevy of top-tierL.A. session musicians were recruited forthe project, including bassist/co-producerMarcus Miller, drummer John Robinson,guitarists Jubu and Steve Lukather, andkeyboardist Gregory Phillinganes. ForBenson, it was familiar turf: “These guysplay better when they play together, andthey kept pumping out these new ideasfor me to bounce off of. I think just abouteveryone in the studio cried after we didthe first song because they realized it wasgoing to be something special. It was likethe old days, and it felt so good.”
Do you have to rehearse more for a live
recording?
No, because rehearsing kind of blocksout my thinking. It makes me sound ster-ile because I start thinking about all thisstuff I practiced and I can’t get away from
it. I prefer to bounce off the musicians.
If someone plays a chord that is alteredin some degree, I tend to use that as aplatform for what I’m going to play. I likedoing it that way because it makes it a
one-time performance. It’s never going tohappen that way again, and I think that’swhat we’re looking for as creative musi-cians. Even back when we made thosegreat recordings with Stanley Turrentine,Freddie Hubbard, and Hubert Laws, weonly rehearsed the songs once or twicebefore we jumped on them. Those recordscame off like we had been playing themall of our lives. They had a freshnessand didn’t need any fixing. Every recordshould have two formulas: feel good andsound good. Once you do that, the rest isleft up to the melody and whatever the
song is about.Although you were recording in a multi-
track studio when you first signed to CTI,
why didn’t you take advantage of tracking
parts separately?
Creed Taylor [CTI Records founder]didn’t have any money back then—he
was just starting his record company—
so he couldn’t put any sweetening onthe recordings. We just went in withthe musicians we had, flopped aroundin the studio, and made some music.
Whatever happened, that’s what it was. Also, [Engineer] Rudy Van Gelder didn’tlike overdubbing because he was alwaysafraid he was going to erase something.He was the only engineer in the studio,and he had to do everything himself.So we did straight-ahead recording andwe either liked the result or we didn’t.Many of our tracks had a lot of loose endsbecause we never went back and cleanedthem up. Some of that stuff came back tohaunt us later. It would have been so easyto go in and erase all the clicks and badlicks or whatever, but that was not the
order of the day then.Was Songs and Stories recorded entirely
in L.A.?
The James Taylor song “Don’t Let MeBe Lonely Tonight” was recorded four orfive years earlier in Brazil. It was still livein the studio, but with Brazilian musi-
Those were the days of the sitar, whenRavi Shankar was a superstar. A kid came
up to me in Buffalo, New York, and said,“Mr. Benson, I’d like to show you some-thing—give me your guitar.” He retunedit and gave it back to me, and told me toplay it just the way I normally would. Istarted playing, and I went, “Oh, wow,I’m Ravi Shankar.” I remembered thetuning when I went in the studio, and it
worked our really nicely on that song. Inever used it again after that, but I stillhave it in my head. I promised the youngman I wouldn’t divulge the tuning, and Inever have.
What made you change the groove from
swing to funk on your famous version of “Take Five” from the album Bad Benson?
That was Phil Upchurch’s idea. Heand I had been friends for many years,and when he got out of the army, hestopped in New York to see me. Creed
Taylor invited him to the studio, and
that’s where he came up with the idea,
He said, “Have you ever thought aboutplaying ‘Take Five’ like this [scat singsthe funky 5/4 rhythm].” I thought it wasgreat, so we jumped right on it. To this
day, if I want to find out what’s new orwhat’s possible with the guitar, I’ll callPhil and ask him what he’s working on.He never ceases to amaze and surpriseme, and that’s the reason he and I haveremained such friends over the years.
You performed a nice solo guitar piece
on that album called “From Now On.” Why
didn’t you pursue that style of playing
afterward?
Funny you should bring that up,because now everybody is trying to get
me to do a solo album. Back then, though,I was never in that category. I was always
trying to be like Grant Green and CharlieChristian, and they weren’t chord guys,they were single-line geniuses. Later, Istarted hearing all these wonderful chordpieces from these great players like JimHall, Joe Pass, and, of course, Earl Klugh.
After I had him in my band for a year,
I really started thinking about chord-melody playing. [See sidebar for more on
Earl Klugh]How did Charlie Christian influence you?
He devoted everything to the swing,
and it wasn’t just notes he played—it hadto fit within the groove. Learning thatwas important for me. Unfortunately Icouldn’t conceive his licks well becausehe was always going somewhere that Ididn’t expect. I didn’t understand himharmonically, but I did get that pointabout making it swing. Also, the tonalityof his guitar was a most amazing thing.Very few people ever matched that.
When did you first feel like you could
excel in the jazz world?
When I recorded Giblet Gravy [laterrenamed Blue Benson]. I had my Guild
X-500, and man, I was in my world whenI made that record. I was up there trad-ing fours with the great Herbie Hancock.Years later it occurred to me: What was Ithinking messing with Herbie? It showedhow much nerve I had in those days. Iwasn’t afraid of anything. g
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Performing on the front line with Guns N’ Roses requires legendary tone. And when Richard Fortus needs extra firepower he calls on the V-Type,
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