Chicapah It’s no secret in the jazz community but for those who only know George Benson as the popular, suave crooner who racked up seven Top 40 singles between the years of 1976 and 1983 it might come as a surprise to learn that his career prior to that had very little to do with his smooth, radio-friendly voice and consisted primarily of his considerable talent as a master of the guitar. He’d been discovered in New York circa ‘65 by none other than the legendary John Hammond who signed him to the Columbia label as a mainstream jazz instrumentalist and surrounded him with some of the best studio pros around. While his album sales were never outstanding he still managed to build up a loyal audience, gaining a respectable reputation in the process. “Bad Benson” was one of the last LPs he released before jumping over to Warner Brothers where his hitherto unexploited vocal abilities were brought to the front for his “Breezin’” disc and suddenly he became a star. But this album is an important historical marker in his impressive body of work because it came out at the very end of his swashbuckling guitar-player phase and, as such, shows as well as any other the extent of his industrious work as a “serious” jazz musician.

His splendid backing combo of Phil Upchurch, Steve Gadd, Ron Carter and Kenny Barron could’ve made Roy Rogers’s six-string sound like Wes Montgomery’s and their presence on this platter’s lineup card tells you that there won’t be a discouraging note encountered but, even so, some cuts are superior to others. One of the highlights is the opener, a cover of Paul Desmond’s iconic “Take Five.” George delivers a faithful rendition of this classic of modern jazz and, as is the case so often with a gifted virtuoso, the central question is what kind of vamping will he bestow on such a revered standard. The unequivocal answer is that Benson more than does it justice and Kenny’s energetic electric piano solo is an added bonus. The rhythm section of Gadd’s drums and Carter’s bass are as steady and solid as Gibraltar. A romantic number written by Johnny Mandel, “Summer Wishes, Winter Dreams,” is next and the symphonic score arranged and conducted by the great Don Sebesky is gorgeous. George displays his range of versatility by frequently complimenting the lush orchestra with tasteful jazz licks and melodic phrases. “My Latin Brother” follows and, as the title implies, it sports a cool samba groove and while it takes several uncomfortable and inexplicable minutes for the band to finally lock into an easy-flowing feel it’s the abject lack of imagination that really holds this one back. Steve and George finally generate some heat midway through as they run the track stride for stride, elbowing each other for position but the momentum drags a bit when Barron takes the baton and then fails to keep up with them on the electric piano. The latter part of the song has more spicy moments to savor but the cut, taken as a whole, is frustratingly inconsistent.

Upchurch’s “No Sooner Said Than Done” is a slick AOR tune characterized by strong tremolo and delay effects on Benson’s guitar that keep it from being sleepy-time vanilla fare. George stretches out on his ride and his clean-as-a-cadet’s-dress-shoes style is amazing as he flies effortlessly over the frets. The man is one hell of a picker. When Kenny contributes yet another nice but unassuming electric piano solo it occurs to me that a stirring flute or saxophone filling in that spot would’ve made for a timely and more colorful change of scenery. Phil’s “Full Compass” is a big step in that direction, though. His furious, fusionistic composition is energizing and the group’s execution is sharp as a razor’s edge. Gadd’s immaculate drumming holds this tricky tune together like industrial-strength epoxy and Benson shreds impressively while Sebesky’s bold and brassy horn arrangement adds punch but is never overbearing. In Kenny’s defense, his electric piano spasms are a spectacular walk on the wild side. Benson’s “The Changing World” closes the album in a pensive mood delicately created via the combination of Barron’s Rhodes and George’s Gibson. But it’s when Ron’s upright bass takes the reins and Don’s string & woodwind section gracefully falls in that the song goes truly transcendental. This tranquil piece moves on its own volition sans Steve’s drums because Carter leads the crew through its blissful waters like an experienced river guide along the shores of heaven and everyone involved in the track lends to it a beautiful, warm glow.

Although I have but a few of Benson’s records and those being from his first decade as an artist exclusively I can state with confidence that this is pretty much how most of them sound. Therefore any jazzer can invest in his backlog without fear of being disappointed. As a fledgling guitarist in the 70s trying to find my niche I admired George greatly because he played without strain a style I knew I could never excel at no matter how hard I practiced. Yet I knew by listening intently a tiny speck of his technique might rub off on me because he was that inspiring and he wasn’t taking any shortcuts to achieving excellence in his craft. If high-quality jazz guitar played expertly and in the company of stellar session musicians and arrangers is your cup of Lipton then “Bad Benson” is a worthwhile investment.