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EASY LIVINGTheme from the Paramount Picture EASY LIVING

(The New Boss Guitar of George Benson, 1964)Words and Music by Leo Robin and Ralph Rainger

Figure 1-lntro and Head

"Easy Living" was a leading track from George Benson's debut recording.

Many jazz artists have made this venerable standard a part of their repertory, includ-

ing vocalist Billie Holiday, trumpeter Clifford Brown, pianist Bill Evans, and guitarist

Johnny Smith (an early influence on Benson). Benson plays the tune as a slow bal-

lad in the original key of F with a traditional jazz guitar chord-melody style, employ-

ing a light, strummed articulation throughout. He casts the arrangement of the head

and intro in a trio setting: guitar, bass, and drums. Jack McDuff (piano) lays out in the

first 36 measures.

Benson's reading of "Easy Living" consists almost exclusively of block chords

with short, single-note connecting lines. The D13~9 sonority in measure 1 (beat 3) is

noteworthy. This chord, a member of the diminished chord family, is moved down

symmetrically@minor 3rds. The effect is comparable to Johnny Smith's use of a sim-

ilar device (though his was an ascending phrase) in the classic "Moonlight In

Vermont." Benson was, as were most jazz guitarists post-1954, undoubtedly familiar

with this chordal maneuver._ " _Benson reharmonizes "Easy Living" with such enriched changes as:

Am7~ 5-D7~ 9 for F#a in measures 5, 13, and 29; Bm7-E7b 9 for G#o in measures 6,

14, and 30; F9#11 for Am7 measures in 7,15, and 31. A notable gesture is found in

measures 22 and 24. Here he harmonizes the E-F melody with Dm9-Eb m9 chords

for a strong coloristic effect. Generally, Benson's choice of voicings and articulation

in the tune are reminiscent of his early influences: Barney Kessel, Kenny Burrell,

Johnny Smith, and Wes Montgomery. And this is as it should be, as all great jazz is

part of an evolving musical tradition which builds on and reaches beyond the work of

previous innovators.

+Fgl

[Ajlntro

Slow Jazz Ballad J = ca. 46 (poco rubato)

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TRASNSCRlBED BY

WOLFF MARSHALL

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. . . .Copyright© 1937 (Renewed 1964) by Famous Music Corporation

International Copyright Secured All Rights Reserved

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CLOCKWISE(It's Uptown with the George Benson Quartet, 1966)By George Benson

Fig.2-lntro and Head

"Clockwise" is the sizzling number that kicked off Benson's Uptown set of 1966,

his first session with Columbia records. This recording featured Benson's famed

combo with Lonnie Smith (organ), Ronnie Cuber (baritone sax), and Jimmy Lovelace(drums). "Clockwise" is an uptempo bop blues typical of his early straight-ahead peri-

od when he was determined to make an impression on the jazz world. Indeed he

did-largely on the basis of performances like "Clockwise."

"Clockwise" is in G and begins with a terse, rhythmically-charged ensemble fig-

ure (Riff A) based on the G Blues scale (G-BkC-C#-D-F) punctuated by G7#S#9

and 07#5#9 chord bursts. This figure becomes a structural riff in the arrangement,

serving as a clever transitional interlude between solos. The head is an attractive

blues/bop melody delivered by guitar, organ, and bari sax. An ear-catching episode

in measures16-20 outlines four diminished arpeggios filled in with chromatic notes-

an affectionate nod to Charlie Christian's "Air Mail Special" solo.

+Fig. 2

[A ] Intro

Fast J = 138-140N.C. (G7)

1 , . , * Riff A J~'

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© 1966 (Renewed 1994) SCREEN GEMS-EM I MUSIC INC.

All Rights Reserved International Copyright Secured Used by Perrnission

7

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[ill HeadSwing FeeJ

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F i g . 3 - S o l o

Benson takes ablisterinq solo in "Clockwise." The eight-chorus excursion is a

dizzying ride marked by his trademark mix of ferocious bebop lines and swinging

blues licks. From the opening phrase, Benson adopts a take-no-prisoners attitude

with a barrage of complex lines showcasing his immense technical chops. His com-mand of linear playing is evident in the maze of position shifts during his improvising,

and this linearity remains an important aspect of his guitar technique. Benson uses

characteristic slurs (which suit the horn-like conception of his single-note lines) fre-

quently and purposefully throughout the solo. This legato phrasing is another identi-

fier of his style.

Benson's improvisations begin in measure 5 on C7, the IV chord. An essential

signature lick emerges early in the solo in measure 17. This is a particular descend-

ing minor-ninth arpeggio which is ubiquitous in his lines. "The Cooker" (Fig. 5), anoth-

er fast blues recorded a few months later, also contains several occurrences of this

8

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F13

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8

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33(F7) B~m7

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[Q J 6th chorus

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20

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B~m7

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21

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motive. Benson plays variations of the motive in "Clockwise" in measures 21-22,

34-35,44-45, and 81-82. Additionally, he regularly employs a C minor variant of the

motive over C7 to minorize the dominant-seventh IV chord. This effect can be heard

in measures 17-18,29-30, and 77-78.

Benson's musical thinking contains numerous advanced harmonic substitu-

tions: F minor over E7 in measure 20, Eb minor over Am7-07 in measures 21-22,

Ebminor over 07-G7 in measures 34-35. Eb minor over E7-Am7 in measures

44-45, C# diminished as an applied dominant over Am7 in measures 57 and 69, and

Eb major over 07 in measure 82. By contrast, he plays earthy blues licks in measures

12-14, 24-28. 45-47, 48-51, 58-59, 63-67, 70-71, 88-91, and 93-95. These

phrases feature Benson's tasteful combining of the G minor pentatonic scale (G-Bb-

C-O-F) and the G Mixolydian mode (G-A-8-C-O-E-F). In a similar vein, he plays

blues-based groove riffs in measures 23-25, 52-54, 60-62, 72-75, and 84-88. The

sequential zigzagging line in measures 80-81, marked by chromaticism and wide-

interval jumps, is another highlight. Solos like "Clockwise" cemented Benson's repu-

tation as a precocious master of bop improvisation in the auspicious first phase of his

career.

+ Fig. 3

1 1 : 1 8 1 Interlude (Riff A)

N.C. (07)1 1\ .lip-·

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9

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G7

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291 '1 ~~ ~~~~ . . ~ .. ~:;. /"fL~ . ..~;. PfL ~~~ ~~ ~

tJ

1

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v ,.. y

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, . . . . . , . . . . ,

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10

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79,., II II

- --'tJ ""-.-I

-"- -"- -A n .n -Ap

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-

4

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THE BORGIA STICK(The George Benson Cookbook)

By George Benson

Fig.6-Solo

George Benson wrote "The Borgia Stick" for the television show of the same

name. His striking solo in the track is a notable highlight of the Cookbook sessions.In it, Benson employs an alternation of rhythm feels to maintain musical interest. This

procedure would endure to become a regular strategy in his arranging approach for

solos, as in "So What" in this volume (see Fig.8). In "The Borgia Stick," Benson sets

up the solo choruses as alternating ten-bar sections with six measures of fast swing

and four measures of a half-time feel (based on the vamp of the theme).

Benson's solo is in A minor and splits the difference between funky blues,

straight-ahead hard bop, and droning modality for a definitive result. Throughout this

excerpt, Benson's lines are predominately blues-based and draw from the A minor

pentatonic scale (A-C-D-E-G) and A Blues Scale (A-C-D-E~-E-G). He favors the

A Dorian mode (A-B-C-D-E-F#-G) for modal passages, as in measures 5 and 8.

Benson offsets his blues licks with a complex arpeggio-based bop episode in mea-

sures 18-20 and the use of the leading tone (G#) in measures 4, 26. and 36. Heplays funky rhythmic riffs in measures 14-15 and 37-39, a familiar ascending pen-

tatonic sequence (also a staple of the rock guitar vernacular) in 28-30, and charac-

teristic broken-dyad lines in 31-34. Benson uses double stops and chordal textures

in measures 10-11 and 22 to provide contrast to his single-note lines.

+Fig. 6

11:041 Moderately fast Swing J = 162 ( . r : l = J ' } )[A J Am7 Bm7~5 E7 Am7

1 ,.. #!4 ~ ~~~ ~ • ;, di/~ ,,---.

tJ

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© 1967 UNIVERSAL - DUCHESS MUSIC CORPORATION

Copyright Renewed

All Rights Reserved Used by Permission

22

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I E ] 4th Chorus

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Am7 D7 G7

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12

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Half·time fee]Am9

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23

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C7 .~ ~~~,.. G7 E7~~7" • :--. ,.-. ~

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85

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13

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THE COOKER(The George Benson CookbookJ 1966)By George Benson

Fig.5-Head and Solo

Benson's crack quartet recorded The George Benson Cookbook a few months

after Uptown. Cut from the same cloth as his previous hard-bop offering, this follow-

up effort was distinguished by smoking tracks like "The Cooker." An early signature

tune in the Benson catalog, "The Cooker" is an appropriately-titled fast blues in A flat.

The 24-bar head (two times through a 12-bar blues), Benson's first seven choruses,

and the interlude riff are presented in this excerpt. The head combines single notes

and chord punches. Note the use of traditional blues-phrase structure. The repeated

four-bar minor-pentatonic melody of the first eight measures is answered by a con-

trasting melody in measures 9-10. The latter implies a chromatic progression:

B~13-A13, in place of the normally expected ii-V (B~m7-E~7) chord change, a

clever Wes-inspired permutation.

Benson takes the first solo and comes out swinging at 0:22. Teeming with

numerous signature licks, this flight is one of the most exciting of his early period. Hisopening statement immediately sets the pace with a dramatic rising line which

emphasizes harmonically rich tones such as the raised 11th (D), the 13th (F), the

raised 5th (E), and the 9th (B~). Benson plays muscular bop phrases in long strings

of eighth notes, a prime identifier of his style, in measures 19-24, 2S-30, 33-3S,

38-42, 43-48, 54-SO, 62-66, and 81-84. These florid lines, reminiscent of John

Coltrane's "sheets of sound," are beautifully contrasted by earthy blues licks and

groove riffs throughout, as found in measures 50-53, 67-68, and 74-80. Definitive

Benson licks appear as phrase endings in measures 3S, 48, 60, and 72. He para-

phrases a fragment of "All This and Heaven Too" (also a favorite Trane quote) in

measures 59-SO. By contrast, an R&B-inspired double-stop passage punctuates the

solo in measures 69-71. An ostinato of unison bends and bent double stops domi-

nates the seventh chorus before giving way to the ensemble riff in measures 98-108.

+ Fig. 5

[A ] HeadFast J = 134

A~13*l I ~ . ~ .

tJ I - II

**11if

T"

., . .,• II l! " "v

"w

" "'1 v

"v

. . . . . . w . . u

". . . .'Key signature denotes A' Mixolydian .

•• Ai-13 chord only played first time.

fI ~ . . . ,.

tJ - I - . . I

"_"7

".

"I'. .

'"u ';( . .

eu

" •V . . ~

© 1967 (Renewed 1995) SCREEN GEMS·EMI MUSIC INC.

All Rights Reserved International Copyright Secured Used by Permission

16

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Bm7~5Half-time feel

E7 Am926 fI

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p p. . " " . ."

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33

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p p ., ' p . . v ., v ,_ . .

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24

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BILLIE'S BOUNCE(BILL'S BOUNCE)(Giblet Gravy, 1968)

By Charlie Parker

Fig.7-Head and Solo

While George Benson has often been cited as a disciple of Wes Montgomery,

he is also as much one of "Bird's children" as most bebop saxophonists. He trans-

ferred much of Charlie Parker's vocabulary and phrasing to the guitar. Harnessing his

formidable technique, he was able to execute these daunting sax lines with an

unprecedented fluidity and fire. Benson paid homage to Bird with a superb rendition

of the classic blues, "Billie's Bounce," during his stint with Verve Records in the late

1960s. The sessions featured the era's luminaries of jazz: Herbie Hancock (piano),

Ron Carter (bass), Billy Cobham (drums), and Johnny Pacheco (percussion). This

undoubtedly drove Benson to greater heights.

Benson and company play "Billie's Bounce" in the original key of F . His unusu-

al arrangement builds gradually. The twelve-bar melody acts as both intro and theme

statement. It is played twice in the head {A] [B], first in unison with the bass (backed

only by percussion), and then with a contrapuntal guitar-bass treatment. Benson

plays the first two solo choruses [C] [D] with a similar sparse backing. Drums and

piano enter in the third chorus [E].

Benson's improvisations start in [el. His rhythmic phrasing, command of the

instrument, and mastery of the musical language yield a mature and potent bop solo.

You'll hear Bird-inspired bebop lines in measures 44-46,50,67-71, and 104-108,

augmented by more dissonant, chromatically-tinged substitutions and angular phras-

es in measures 26-27, 56-57, 63-64, 80-82, 92-93, and 115-117. Benson para-

phrases the "Honeysuckle Rose" lick, a valuable bop improviser's cliche, in measure

93. Groove riffs typical of swing music provide contrast in measures 36-43, 47-49,

and 96-103. Benson plays double-note blues figures associated with pianists and

organists in measures 34-35 and 97-101. The latter phrase combines keyboard ishmannerisms with blues-guitar double-stop bends for a beautifully balanced effect.

+ Fig. 7

lA l HeadModerately fast

N.C (F7)I'. - . .

u . . . . . . '-"' . . . . <:» . . . . . .nif

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P UU

PU v

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e

ueUUUU

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U. . . _ , _ . .

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,.", • " "

.. ."

.. .t: " " " "

,... . - ~ p - - -

"

Copyright © 1945 (Renewed 1973) Atlantic Music Corp.

All Rights for the World excluding the U.S. Controlled and Administered by Screen Gems·EMI Music Inc.

International Copyright Secured All Rights Reserved

25

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9(Gm7) (F7) (Gm7)C7)

II ~II. ~ r;

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_ .. . ." J! ~" ""_£ ., ... . v . . v v y v v . . -

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26

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(Gm7) (Gm7)C7) ~F7) (C7)

33 ~ ~ ~ ~ e 1 4 - - : . r--. ~ l)r/~ ~ ~ ~

~ '""'3"J

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2j

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[ Q ] 5th ChorusF7 F13

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[I] 7th ChorusF7 F7

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12

STORMY WEATHER(KEEPS RAININ' ALL THE TIME)(It's Uptown With The George Benson Quartet)Lyric by Ted Koehler

Music by Harold Arlen

Fig.4-Solo

George Benson's strong sense of swing pervades his brief solo on the Harold

Arlen standard "Stormy Weather." He takes the first thirty-two bars (first two Ns of the

AABA form) to produce a tight single-note statement that contrasts with the R&B

inflections of his vocal. Most of his lines are grouped in strings of eighth notes-typi-

cal of bebop phraseology at faster tempi. Benson plays his solo over a repeated

BkGm7-Cm7-F7 progression. During its course, he suggests other chords by out-

lining more harmonically active changes, such as G+7 in measures 14-15. Benson

plays characteristic bop substitutions in measures 12 (A diminished over F7) and 16

(E~ minor over F7). Blues licks dominate measures 8-9, 21-23, and 27-28.

Throughout the solo, Benson cultivates a lively bopping rhythmic feel, part icularly inthe bouncy staccato phrasing of chromatic lines in measures 3, 5, 7-8, 17-18, 23, and

30-31. Two versions of a favorite Benson rhythmic/melodic motive crop up in mea-

sures 11 and 29. This particular jazz cliche consists of three repeated pitches (quar-

:er-eighth-eighth) followed by a scalar descent or descending minor-3rd jump.

~ Fig. 4 r3

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© 1933 (Renewed 1961) TED KOEHLER MUSIC and S.A. MUSIC CO.All Rights for TED KOEHLER MUSIC Administered by FRED AHLERT MUSIC CORPORATION

All Rights Reserved

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BODY TALK(Body Talk, 1973)

By George Benson

Fig.9-lntro and Head

The mid-1970s CTI period saw Benson further expanding his musical horizonsbeyond bop and modal jazz in the Body Talk recording. The sessions boasted an

impressive lineup: Ron Carter (bass), Jack DeJohnette drums), and Harold Mabern

(electric piano), augmented by a first-rate horn section and the presence of then-

upcoming guitarist Earl Klugh. The title track is an exemplary grooving Benson com-

position that captures his fusion of jazz, funk, Latin, blues, and rock idioms. A riff-

based tune planted solidly in E (the Mixolydian mode: E-F#-G#-A-B-C#-D), "Body

Talk" relies on a simpler harmonic language and a static tonal center, more typical of

rock vamps than chord changes. A thematic ostinato figure (Riff A) played by piano

and bass dominates the intro. Benson joins the arrangement in measure 5 with a

strong secondary riff, reminiscent of the "Tequila" theme. He plays the figure in the

first position, utilizing its unique timbre and making strategic use of open strings.

Benson introduces the first theme in measures 9-12. This is a bluesy gospel-

inspired chord riff made of triads and dominant seventh chords. Note the trademark

voicing of the E7/D chord: an octave (D-D) with an inner sixth (B). Benson has

employed this sonority often, using its ambiguous nature to good advantage for a

variety of harmonic situations. The tune's second (and more prominent) theme in

measures 17-28 exploits these distinctive voicings to an even greater extent for

E7/ D , AId, D / A, E/G#, D/F#, and A lE chords. The second theme comes to a close

in measures 27-28 with a blues-swing figure based on a minor-sixth pentatonic scale

( E - F# -G-B-C# ).

~ Fig. 9

[ A ] IntroModerate Funk J = 120

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Copyright © Music In One (BMI)/Administered by MRBIAll Rights Reserved Used by Permission

3

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Fig.10-Solo

Benson plays his solo over an ostinato in E-essentially the song's main riff.

He crafts a definitive statement from a mix of funky blues licks, mutated bop lines,and utterly unique chordal passages. During this phase of his CTI period, Benson

regularly explored varied textures as a strategy in improvising. Note the variety of

ear-catching chordal phrases in measures 7-8,12-15,17-20,40-44,56-63,71-78,

and 83-84. The highly original Benson figure in measures 75-78 is particularly note-

worthy. This is a driving rhythmic riff made of parallel minor 3rds (on the second and

third strings) with an upper D note on the first string, implying Em7 and A11 sounds.

Benson utilizes a blend of blues, funk, and jazz elements in his single-note

lines. An unusual oblique-motion voiceleading motive appears in measures 11 and

55. This consists of a rising chromatic line and a pedaled upper E note. Benson

employs repeated notes and pedal tones in the energetic riffs of measures 21-25,

37-39, and 63-69, and blues and funk licks in measures 5-7, 26-28, 44-48, and

70-71. His modal-jazz side surfaces in the use of B minor (Dorian mode: B-C#-D-

E-F#-G#-A) sounds over the E Mixolydian tonal center, as found in measures 10

and 33-36. By contrast, Benson plays more complex bop-oriented lines in measures

10,29-32,49-53, and 81-82. He flirts with atonality in measure 52 and makes use

of angular intervallic shapes in 53-54.

A-.. Fig. 10 1 1 : 3 8 1VI L 2; wi Riff A, simile

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41

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*

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TAKE FIVE(Bad Benson, 1974)

By Paul Desmond

Fig.11-lntro, Head, and Solo

Many consider Benson's next CTI release to be his finest of the period. Bad

Benson featured a new band and a revitalized reading of "Take Five." The lineup con-

sisted of Phil Upchurch (rhythm guitar), Kenny Barron (electric piano), Ron Carter

(bass), and Steve Gadd (drums). "Take Five" is the "cool jazz" classic (a 1961 Top 40

hit by the Dave Brubeck Quartet) that introduced millions of listeners to odd meter.

This rendition grew out of a demo Upchurch arranged and played for Benson. In this

arrangement, Upchurch introduces, establishes, and propels the 5/4 groove with a

solid R&B rhythm figure (Rhy. Fig.1). Benson enters in the fourth measure and states

the head in single notes with typical embellishments. Note the use of slurred orna-

ments in the main theme (Theme 1), as well as his ''fall offs" (horn-inspired downward

slides) in the secondary theme (Theme 2).

Benson begins the solo with sparse melodies and space, generating forward

motion through increasing activity, thicker textures, and various rhythmic devices.

Note the use of rhythmic motives in measures 29-31 and 35-39. Benson's lines are

generally modal, based on both the E~ Dorian mode (E~-F-G~-A~-B~-C-D~) and

the E~ minor pentatonic scale (E~-G~-A~-B~-D~). Benson plays a signature

episode of broken-octave dyads in measures 33-40. He plucks these two-note

chordal lines with the fingers (or pick and fingers). The quick minor-pentatonic riffs in

measures 41-43 are staples of Benson's funk style. Pentatonic riffs give way to more

complex, double-timed sixteenth-note strings in measures 44-51. Benson weaves

several bop elements into his lines: chromaticism in 47 and 48, references to the

altered dominant chord (B~7~9) in measure 48, and seventh and ninth chord arpeg-

gios (G~maj7, A~9, B~m7) in measures 48-50. Benson plays two unmistakable licks

in this section. The first, in measures 48-49 (beats 5-3), involves a rising major sev-

enth arpeggio, an interval leap of a 4th preceded by a "leading tone" (E-F-B~), a

descending chromatic passing tone (Fb), and a conclusion with a Bird-inspired bebop

figure (beats 2 and 3 of measures 49). The second, in measure 51, often played as

a phrase ending, is a descending two-octave Ab minor ninth arpeggio (Eb-Cb-

Bb-Ab). A return to dyad texture provides further contrast in measures 52-56.

+ Fig.ii

I A l IntroModerate Funk .I = 146E~m9 BL.-.i9Sby. Fig. 1 VI,

Gtr 2 (Upchurch) #E~m9 E~m9

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© 1960 (Renewed 1988) Desmond Music Company

All Rights outside the USA Controlled by Derry Music Company

International Copyright Secured All Rights Reserved

48

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Gtr.2 '! } > '! i~)4 ,., Gr. 1(Benson) .". b : , . . ~ ." . f , . " . • ="""'I ~

~

- -~3-"

~m f

"ft~ .V .V ¥ V V

V.'n

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v

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7 , . ,c~ ;, ~ ~ ;'_JJ,~~ f , . " . • ==--"I

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B~I§

(Theme 2)

E~m9 A~7 E~m9 E~m9 B~m7 Am7 A~m7 Am7

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Mm7 Am7 B~m7 Am7 Alm?

49

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p )

(Theme 1)wi Rhy. Fig. 1 simile

E~m9 E~m9

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v v 'VI " '" 'w

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38h I

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steady gliss. w/pick

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ftv

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51

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E~m9

49 II ~ - , l l - L .~-,II- # # -,11- .-,11- ~- -

~ t: (~.~

e) - - - -_j L_j

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51 fI U .................. ___t : ~ / ~ - , 1 1 - ' ~ ~ /~ t:~

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b- ..............• • ,.

" " '"" v Oy

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U v.

etc.

52

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AFFIRMATION(Breezin'By Jose Feliciano

Fig.14-lntro

Jose Feliciano's Latin-tinged composition was a highlight of the Breezin'ses-sions and provided an ideal vehicle for the multifarious Benson guitar style. At vari-

ous points in the tune, he plays exquisite rubato passages, negotiates over changes

with a sophisticated bop conception, or decorates a rock groove with funk and blues

licks. The 35-second intro is noteworthy. This section is a theme statement in free

time and alternates between two minor chords: Em9 and Bm7(sus4). Benson begins

unaccompanied and is joined by lush string orchestration midway. Around the two

chords, he adds quick ascending runs and tasteful embellishments to the melody.

The opening scalar lines in measures 1 and 5 indicate E Dorian (E-F#-G-A-

B-d-D). The fluid rising line in measure 8 is a signature Benson run using a partial

Bm9 arpeggio spanning three octaves. The latter is facilitated by his flawless posi-

tion shift ing and strategic string skips. All in all, this is a brief but unforgettable George

Benson moment.

.. Fig. 14

Vntro

Slow free time (rubato)

NC 9 Em9

1 1\ ~ )( r . - - : J ~ ' • ~ l • . . rz-.

tJ . . : = = ~3 __j

p~mf: 11 • 11'

T" "

~ . .'-. '-.~ w ~ . . ~ ~ .:. . . ~ .ft

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.~

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. . ~ ;~ ~;.,. . . . . 01 (If ~Ifc ~

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Key signature denotes E Donan.

Bm7(sus4) Em9

4 fI II =ri,-, ,-_ -~ t':'I~ + ) 1 - - - - - - - - - - - k . . . , C--:--;12~"~~~ IlL • ~

tJ ~1 i.-.:I - - ~ = ~ = L .. . . J ~ _ J . . " " . i

w/vo!. swells ------1~1-1.

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Copyright © 1975 J & H Publishing Company (ASCAP)

All Rights Administered by SIallman & SIaliman albIa J & H Publishing Company

Inlernalional Copyright Secured All Rights Reserved

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Fig.1S-Solo and Interlude

Benson's improvisations in "Affirmation," begun at 2:24, grow organically out of

the melody. His playing in the body of the solo is constituted mainly of single notes

and employs a patented mix of bop lines, modal jazz melodies, blues-funk licks, and

dyad textures. Notice the bop-oriented substitution found in measure 1. Here, he

superimposes a familiar Fm9 arpeggio motif on beat 4 over Bm7 to create the sound

of an E7#5~9 altered, dominant-seventh chord progressing to Am? in the next mea-

sure. Benson utilizes other characteristic bop elements in measures 2 (beats 3-4),

5, and 17-18. He uses modal sounds in the phrases of measures 3, 9-12, and

25-30. Benson's blues and funk inclinations are at the forefront in measures 13-14,

21-24, and 31-32.

Unmistakable virtuosic flourishes decorate the solo in measures 7, 16, and

29-30. Benson plays a unique and absolutely uncategorizable lick in measure 8. At

once chromatic and intervallic, this is a slurred cascade of notes revolving around a .~.

high B pedal tone, articulated with Benson's slippery legato technique and lightning-

quick picking. Another uncommon Benson lick is found in measures 23-24. This is a

measured trill played by fretting without picking, using left-hand hammer-on articula-

tion. The trill is based on a D chord and begins with a rapid reiteration of D and A (the

tonic and fifth notes of a D chord). Benson often plays these patterns with the first

and third fingers at the same fret, but on different strings, to maintain greatest sepa-

ration of the individual notes and to use the strongest digits for hammering. The

phrase concludes with a descending line: A-A~-G-F#, also played in a similar fash-

ion as a measured trill, in which the lower notes move down chromatically against the

stationary higher D pedal tone. This lick is derived from saxophone playing of the

post hard-bop genre and is one of several ear-catching horn cliches Benson trans-

ferred to the guitar.

The interlude is played in the contrasting tonal center of D (Mixolydian) and

finds Benson playing terse rhythmic licks over a funky, rock-inspired ostinato. Note

the use of trademark three-note chord shapes in measures 35-38. These shapes are

generally voiced as octaves with an inner 4th or 5th tone and are a fixture of

Benson's style in both theme statement and improvisational settings.

+Fig. 15

Guitar Solo

12:241 Medium Latin Funk J = 104Bm7 Am7,-3--' D7

1 fI 1/,* --r--; • .fI- • ~~ .fI- L

tJ

m f -r"I------1

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Gmaj7

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tJ - r - - =steady gliss.

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'n " u " 'U ",. " . . v

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Em7!Ar-- --, ~- -

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Bm7 Am7 D7

16 II II f:~# 6 ~-~"~ : r-~ '- ': r- r : - " r - , . _ • ...-It~

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. . . . . . . . ~ . . . . . . ~ . . ~ _ . . . . - - . .. . . . . . . . . . ~ . . ~ ~ . . . . . . - _ . . . ..,"\ u

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~----~

13:361 Interlude

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1 1 2 wi fingers

37 " ~~, J~:: ~ ~

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68

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C-SMOOTH(Standing Together, 1998)

By DeChown Jenkins and Jaz Sawyer

Fig.16-Head and Solo

George Benson's collaboration with MORC yielded this modern R&B-jazz

number for his 1998 GRP release Standing Together. "C-Smooth" placed Benson's

unmistakable guitar voice in yet another contemporary setting, providing further tes-

timony of his ever-broadening musical palette and the continued relevance of his

style. As has been his recording practice through the 1990s, he played a variety of

archtop electric guitars from his collection into Polytone and Fender amps on the ses-

sions.

"C-Smooth" is a blues in A minor animated by a sultry, slow hip-hop groove,

somewhat like a half-time swing feel. An underlying swing rhythm pervades the tune

and lends a soulful, elastic quality to Benson's lines. Pronounced blues elements are

implicit in the vocalesque pentatonic melody (check out Benson's sweet vibrato in

measures 3-4 and 7-8), the call-and-response phrase structure of the head, and the

song's 12-bar form. Altered chords are thoughtfully used in the V-IV part of the pro-

greSSion, as in measures 11-12, to expand the tonality beyond tradit ional blues har-mony. Benson gathers momentum during the twenty-four-bar head, adding slinky

pentatonic-blues fills in measures 13-14, 17-18,21-22, and 25-26.

Benson's two-chorus solo contains numerous noteworthy lines. Played exclu-

sively in single notes, his melodies are largely based on the A blues scale (A-C-

O-E~-E-G). They exploit idiomatic blues guitar embellishments such as slides, ham-

mer-ons, pull-ofts, string bends, and stylist ic vibrato. Characteristic modal lines are

found in measures 30-31 and 41-43. These generally lead into and emphasize the

modality of the iv chord (Om). Benson plays bop-based lines in measures 36-38 and

48-51. Note the use of elements such as extended seventh and ninth chord arpeg-

gios, generous chromaticism, and several variants of a familiar Bird-inspired motive

in measures 48 (beat 4), 49 (beat 2), and 50 (beats 2-3). The latter occurs within a

swirling cascade of notes that caps the solo.

+ Fig. 16

Intro

Moderately Slow j = 74

7

10:301

IA l HeadAm7

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m f I f 4~or ,~ . ~ ~ p p .

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tJ ~ -""-- ---- 1 + 4

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Copyright © 199B Triangle Music (BMI)

All Rights Reserved Used by Permission69

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C7/D Am711 r-----sII - -------,

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30

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Dm7

1 1 1 1 1 1 1 1 1I II il l1 1 1 1 U ~ H I II 'l rl ll l] ~ ~ ~ ] 1 1 1 1 1 1 1 1 1 1 1 1 13 9 9 9 9 0 4 3 7 3 1 3 9 5

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