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Benson developed his skills as a soloist while playing with trumpeter/vocalist King Porter at the Royal Blue Bar in 1950. Porter's group featured a horn-driven brand of rhythm and blues, and although the musicians preferred to play jazz, the fun-loving crowd demanded blues. Benson learned to "walk the bar" while playing, which he found was an easy way to supplement his bare bones sideman's salary. "All the guys used to do that sort of thing; people would fill up the horn with money," George remembers.
Benson is a passionate player and he means every note. |
He has ...a fine tone, use of full dynamic range of the instrument, and the innate ability to put the right note in the right spot...
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The number of jazz outlets continued to shrink in the early 60's and to keep working, Benson turned more to pop oriented music. The younger generation tuned into 'soul' music, a fusion of blues, gospel, and pop exemplified by Motown Records, so Benson put together the 'Soul-Lites', a pop-oriented group that enjoyed local success in Detroit and neighboring communities. George also led the last band at Detroit's fabled Flame Show Bar (1962-63), a trio with Motown mainstay Earl VanDyke on organ and drummer "Big Mike" Lawton. The group worked six nights a week and backed up many great singers, including Dinah Washington.
George's solos are consistently coherent, swinging, and enjoyable; his work on tenor sax... is especially soul-stirring...
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The mix of material is typical of Benson's repertoire and ranges from early jazz and pop standards to 1940's Ellingtonia to a beautiful reading of Thad Jones' "A Child is Born." George's solos are consistently coherent, swinging, and enjoyable; his work on tenor sax, an instrument that he added to his musical arsenal in the mid-50's, is especially soul-stirring. He has a similar concept on both instruments: a fine tone, use of full dynamic range of the instrument, and the innate ability to put the right note in the right spot. Taste, I guess you'd call it. Benson takes "Lullaby of the Leaves" at a bright tempo, and it really swings. "Ja Da" is recast with a funky blues flavor and it sounds damn good; Schunk and the rhythm section sound especially good on this one. Benson is a passionate player and he means every note. His interpretation of "I Surrender Dear," recorded by tenor sax god Coleman Hawkinds in 1940, is excellent, and I hope he features the number more often in his public appearances.
Taken as a whole, George is a sterling example of the talented musicians that have graced the Detroit jazz scene. This CD shows him at his best.
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by Jim Gallert |
Benson assembled a quartet after leaving Porter's group and commuted to Toledo, Ohio every week to work the numerous bars in the area. For one engagement George's band included a young Tommy Flanagan on piano as well as R&B guitarist Calvin Frazier. "We would play jazz the first set or two, until the people would come; then we'd break out and play R&B", George recalls. "Calvin would have a long cord, walk all over the club and we would have that place packed EVERY night." In February 1952, Benson recorded four numbers with his combo for the Detroit entrepreneur Joe VonBattle in the makeshift studio at the back of VonBattle's record store on Hastings Street. The recording of the "The Nearness of You" (and "Begin the Beguine" on the flip side) went on to become a best selling single in the Regent Records (Savoy) catalog.
A number of changes to the music scene occurred during the 50's. The rise of TV hit clubs hard, and many discontinued live music altogether. A sideman in the late 40's could subsist on a six night per week job, but the wave of change tipped the economic scales against musicians. Many took jobs in non-music related fields. The responsibilities of married and family caused Benson to reevaluate his priorities, shelve plans for a move to New York City, and get a day job. "I wanted my kids to have all the things that other kids had," he states. "After I got my day job, I didn't have to worry because I had money coming in." He continued to work full-time at a series of jobs until 1998, retiring from the US Postal Services after thirty years. |
Best of all, they blend well as a rhythm section, and the guys sound like they're having a lot of fun.
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Benson likes to learn and to teach and he accepted an offer to work at a local college in the 80's. Former students regard hinm as an inspiring teacher, and I have seen George take a group of musicians whom to my ears sounded pretty sad and develop them into a swinging ensemble.
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Review by-- Jim Gallert, Detroit, August, 1999 |