dreadpirateroberts A slick but interesting album from a great guitarist.

George Benson's second set for CTI, 'White Rabbit' has all the hallmarks of the label. Sebesky's string arrangements, a glossy production where the instruments sound clean and warm, several covers (including pop songs and music from a film score) a thematic angle to the album (Mexico/Spain) and a strong leader backed by an all-star cast (Hancock, Carter, Cobham, and Airto Moreira among others.)

Benson himself did not enjoy the 'tracking' process where the rhythm section records first and the lead instruments are overdubbed, but the results are hardly terrible. However, I can understand him wanting to play 'live' with the rest of the band when recording.

To the tracks themselves. All but the closing are covers. First up is Grace Slick's 'White Rabbit' which starts the album with a mournful horn before the song builds to its crescendo, making time for guitar, electric piano and flute solos. A similar effect is used later on with 'California Dreaming'. Across the whole set, Cobham plays with his usual power and precision, comparatively restrained compared to say, Mahavishnu Orchestra, but still unleashing some driving rhythms, especially on 'Little Train' which is also where Moreira supplies some effective wordless vocals. They are mixed reasonably low and are quite fitting in 'White Rabbit' and 'El Mar' too, something I thought was an interesting touch.

'Theme from the Summer of '42' is track that benefits from its Sebesky arrangement, and brings to mind some of Benson's gentle playing from parts of his previous LP, 'Beyond the Blue Horizon.' To close the album is the only Benson composition, a ten minute exploration of a theme 'El Mar' (the sea) which has acoustic and electric guitar sharing the spotlight for much of the time, and is the album highlight.

Throughout this album the sound of guitar dominates, both acoustic and electric. There's a Spanish mood to the record too, with much of the brass playing supporting roles, leaving drums, bass and electric piano as the other focal points. Benson is considered and proficient as ever with his solos, but I feel like he never truly cuts loose in this set, which is a shame, as overall the album can feel a little too calm. It's still quite enjoyable for me, and has some fine interpretations backed by a great original. Four stars.

If you're looking for a guitar-based album that operates a bit left of field for a jazz album, then check this one out, just be warned that it does have some strings and orchestral backing, so have a listen first if that's not your cup of tea.

Sean Trane Second Creed Taylor production for the CTI label for Benson, despite being a usual Taylor suspects. Among the supporting cast, we find the future Bruford-collab Berliner, the giants Carter and Hancock, the percussive Airto and Cobham and the windy Laws, Bodner, Marge and Penque, and some more.

The weird thing is that George only wrote one tune (the excellent closing El Mar), but chose to feature some 4 fairly high-profile composition to cover although very much rearranged ala Wes Montgomery manner, but slightly more 70’s fusion. Indeed, one must really listen attentively to recognize Jefferson Airplane’s White Rabbit. Yes, there are some Spanish influence in the instrumental rearrangements, but one can’t hear much Casady’s original descending bass riff, and of course, the absence of vocals don’t help much either. The old Summer Of 42 standard is also quite different to what you’d expect, when Benson giving it a slight Flamenco edge with his guitar in the first part, before going big-band-like. Another fairly strong piece is the excellent Little Train.

On the flipside, one can’t help but being enthralled by the happy theme of the Mamas & Papas’ superb California Dreamin’, but I doubt that you’ll recognize it quick if it is your first exposure to these Latin arrangements. Excellent stuff, though. The album ends on the sole Benson tune, the almost 11-mins El Mar, which, as its title hints, also bears a strong Spanish influence, sometimes even hinting at Rodrigo’s Aranjuez piece, the only one featuring some vocals (flamenco), even if somewhat embedded in the mix.

While WR is a outstanding full fusion album, one that’s warmly recommended to most every fusion or even straight jazz fan (especially those enjoying Montgomery’s guitar playing), it will also be the last one on the CTI label that I would entice you to investigate, because his next few ones can be a bit whishy-washy efforts.