In Concert - Carnegie Hall
02. Take Five
05. Sky Dive
Bass – Wayne Dockery, Will Lee
Drums – Andy Newmark, Marvin Chappell, Steve Gadd
Flute – Hubert Laws
Guitar – George Benson
Keyboards – Ronnie Foster
Percussion – Johnny Griggs, Ray Armando
Recorded at Carnegie Hall, January 11, 1975.
In Concert -- Carnegie Hall is George Benson's final recording for Creed Taylor's CTI label, and was mostly recorded on one night in 1975. There was some additional recording done at Rudy Van Gelder's studio in 1976, where Taylor replaced the original rhythm section of Wayne Dockery on bass and Marvin Chapell on drums with Will Lee and Steve Gadd, for whatever reason Taylor had at the time. Regardless, this is a solid "live" effort with Benson cooking on all burners, beginning with a monster version of Dave Brubeck's "Take Five," which had been cut on an earlier album and had become a staple in the live set. Organist Ronnie Foster's backing skills here are indispensable, as they keep Benson talking to the other members of the band. The version of "Summertime" here could have been recorded by Phil Spector. The concert version of the tune -- on which Benson takes a vocal -- has been added to with the substitution of the rhythm section and the later addition of a string orchestra in the studio. (Perhaps Taylor understood Benson's crossover appeal; he would cross over into the pop charts on Warner the next year with "This Masquerade.") The crowd dug it, but it's simply OK over the test of time. Hipper is the long snaky groove of Benson's own "Gone," with begins with the steady pulse of Hubert Laws playing a counterpoint foil on flute. The entwining harmonic interplay between the two is gorgeous and goes on for over ten minutes. The band then takes on Freddie Hubbard's "Sky Dive" with real aplomb. The Latin rhythm and slippery guitar by Benson pull the rhythm section up a notch before he begins the head. His funky articulation of fifths and then eighths in his break is mesmerizing. The way Chapell rides the cymbal like a bell is particularly satisfying. The album closes on another Benson original with Laws popping in again. It's called "Octane." Over ten minutes in length, it begins with Benson in full roar before the time signature changes and triples, feeling like a bebop tune more than anything else. Foster keeps it all grounded, but this baby swings so hard it threatens to lift off. In retrospect, listening to this record in the 21st century, it's difficult to imagine Benson making the switch from a classy guitar firebrand to a pop star so quickly.