Bad Benson
Bad Benson is a jazz-funk album by American guitarist George Benson, released on October 13, 1974, by CTI Records.[1] Featuring six tracks that blend soul-jazz improvisation with funky rhythms, the album highlights Benson's guitar work in both original compositions and covers, supported by an ensemble including bassist Ron Carter, drummer Steve Gadd, pianist Kenny Barron, and guitarist Phil Upchurch.[2] Recorded at Rudy Van Gelder Studio and arranged by Don Sebesky, it captures Benson's transition toward broader commercial appeal while rooted in jazz traditions.[3] The tracklist opens with a cover of Paul Desmond's "Take Five" (7:07), followed by Johnny Mandel's "Summer Wishes, Winter Dreams" (2:54), Benson's originals "My Latin Brother" (6:55), "No Sooner Said Than Done" (5:50), "Full Compass" (5:38), and "The Changing World" (4:50).[4] Standout tracks such as "My Latin Brother" showcase rhythmic interplay and memorable solos, emphasizing Benson's precise phrasing and the album's Latin-infused grooves.[5] While the core LP runs about 33 minutes, reissues often include bonus material such as "From Now On", "Take the 'A' Train", and "Serbian Blue" from Benson's CTI era.[2] Critically, Bad Benson received praise for its tasteful guitar lines and strong ensemble performances but mixed reactions for some arrangements, including a lackluster "Take Five" cover and overly commercial elements.[5] AllMusic describes it as a precursor to Benson's 1976 crossover hit Breezin', noting its funky jazz immersion with solid rhythmic drive.[1] On Discogs, it holds an average user rating of 4.2 out of 5 from over 650 ratings, reflecting enduring appreciation among jazz enthusiasts.[2] The album contributed to Benson's rising profile in the mid-1970s jazz scene, bridging hard bop roots with soulful accessibility.[6]Background and recording
Album development
In 1971, George Benson transitioned from his early career with Prestige Records—where he had released straight-ahead jazz albums such as The New Boss Guitar of George Benson (1965)—to CTI Records, signaling a deliberate pivot toward more commercially oriented jazz-funk sounds. This shift followed his 1970 A&M release The Other Side of Abbey Road and was facilitated by producer Creed Taylor, with whom Benson had previously collaborated at A&M Records on Tell It Like It Is (1969). Benson's debut CTI album, Beyond the Blue Horizon (1971), exemplified this evolution by incorporating larger ensembles and rhythmic grooves, laying the groundwork for subsequent projects like Bad Benson (1974).[7][8] For Bad Benson, Benson aimed to fuse his hard bop foundations with emerging funk and soul elements, aligning with CTI's signature polished, crossover aesthetic under Taylor's guidance. This intent stemmed from Benson's desire to expand jazz's audience while retaining improvisational depth, as he reflected on blending genres to create accessible yet sophisticated music. Influenced by CTI's house style—which emphasized rhythmic vitality and stellar sidemen—Benson sought to highlight intricate guitar interplay, drawing directly from his formative encounters with Wes Montgomery, whom he met in 1961 and described as providing "the highest school in the world," and Miles Davis's fusion explorations that convinced him "the guitar could speak like the voice."[8] The album's title, Bad Benson, served as a playful reference to Benson's renowned "bad" (slang for exceptionally skilled) reputation among jazz peers, evoking his bold, commanding stage presence as "butt-kickers" who delivered powerful performances. In pre-production, Benson and Taylor closely collaborated to curate a balanced repertoire, opting for a combination of covers and originals to enhance broad appeal and showcase Benson's versatility, building on the experimental groundwork of his prior CTI effort Body Talk (1973).[8]Recording process
The recording sessions for Bad Benson took place at Rudy Van Gelder Studio in Englewood Cliffs, New Jersey, spanning April 22, May 29, May 30, and June 20, 1974.[9] Rudy Van Gelder served as engineer, employing analog techniques that produced the album's signature warm, full-bodied tone typical of CTI Records releases.[2][3][10] Key session elements featured dual guitar performances by George Benson and Phil Upchurch, which highlighted their rhythmic synergy across several tracks.[2] Overdubs of horns and strings, arranged and conducted by Don Sebesky, added layered textures to the core band recordings.[3][2] Creed Taylor's production oversight ensured alignment with CTI's jazz-fusion style.[2]Musical content
Style and influences
Bad Benson exemplifies a fusion of jazz-funk and soul-jazz, incorporating hard bop elements from Benson's early career with the rhythmic drive of 1970s funk grooves, marking a shift from his acoustic jazz roots toward broader commercial appeal.[1][11] The album's sound draws from Benson's hard bop background, developed through collaborations with organist Jack McDuff in the 1960s, blended with electric instrumentation to create a more accessible, groove-oriented style.[12] This approach prefigures Benson's pop crossover success with Breezin' in 1976, while remaining rooted in jazz traditions.[13] Central to the album's style is Benson's emphasis on electric guitar leads, supported by funk bass lines from Ron Carter and dynamic horn sections, contrasting his prior acoustic work and highlighting a move toward ensemble-driven fusion.[5] Influences include rock elements, such as the wah-wah pedal and percussion inspired by Peter Frampton, which Benson adopted to infuse a funkier edge and respond to critics questioning his versatility.[14] A representative example is the cover of Paul Desmond's "Take Five," reimagined with a 5/4 groove that underscores the album's experimental jazz-funk leanings.[5] The production, overseen by Creed Taylor at CTI Records, features lush arrangements by Don Sebesky with strings and winds, embodying the label's "supermarket jazz" era—polished, orchestral jazz designed for wide accessibility and commercial polish.[15] This CTI aesthetic, akin to Eumir Deodato's fusion recordings on the label, prioritizes entertainment and crossover potential over pure improvisation, positioning Bad Benson as a transitional work in Benson's discography from 1960s pure jazz to 1970s mainstream success.[13][5]Composition and tracks
Bad Benson is an all-instrumental jazz-funk album featuring a mix of cover versions and original compositions, with a strong emphasis on improvisation during guitar solos.[5] The tracks showcase George Benson's melodic guitar playing, often supported by dual guitar harmonies from Phil Upchurch and enhanced by Don Sebesky's horn arrangements that bolster melodic hooks.[16] The album opens with a funky cover of the Paul Desmond standard "Take Five" (7:07), which includes an extended guitar solo adapting the classic 5/4 rhythm into a soulful jazz-funk groove.[2] This is followed by the ballad "Summer Wishes, Winter Dreams" (2:54), a cover of the Bergman/Mandel composition from the film Summer Wishes, Winter Dreams, featuring lush string orchestration for emotional depth.[2] The original track "My Latin Brother" (6:55), composed by Benson, fuses Latin percussion elements with shifting rhythms and a repeating five-note motif, highlighting improvisational interplay among the ensemble.[5] "No Sooner Said Than Done" (5:50), another original, delivers an upbeat soul-jazz instrumental driven by tight rhythmic sections and spirited horn punctuations.[2] "Full Compass" (5:38) stands out as a guitar-driven funk piece, where Benson's solos weave through groovy bass lines provided by Ron Carter.[5] The album closes with the reflective "The Changing World" (4:50), an original composition offering thematic depth through contemplative guitar lines and subtle orchestral swells.[2] CD reissues include bonus tracks such as the new mix of Billy Strayhorn's "Take the 'A' Train" (4:13), an extended jam version of "Serbian Blue" (13:03) composed by Sebesky, and Benson's "From Now On" (2:20).[17] These additions, drawn from the original sessions, extend the album's exploratory improvisation and rhythmic variety.[17]| Track Title | Duration | Composer(s) | Notes |
|---|---|---|---|
| Take Five | 7:07 | Paul Desmond | Funky cover with extended guitar solo |
| Summer Wishes, Winter Dreams | 2:54 | Alan Bergman, Marilyn Bergman, Johnny Mandel | Ballad with string orchestration |
| My Latin Brother | 6:55 | George Benson | Original with Latin percussion fusion |
| No Sooner Said Than Done | 5:50 | Phil Upchurch | Upbeat soul-jazz instrumental |
| Full Compass | 5:38 | Phil Upchurch | Guitar-driven funk piece |
| The Changing World | 4:50 | George Benson, Art Gore | Reflective closer with thematic depth |