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| George Benson | Primary Artist, Guitar |
| Johnny Pacheco | Conga, Tambourine |
| Pepper Adams | Baritone Saxophone |
| Ron Carter | Bass |
| Herbie Hancock | Piano |
| Jimmy Owens | Trumpet, Flugelhorn |
| Ernie Royal | Trumpet |
| Bob Cranshaw | Bass |
| Billy Cobham | Drums |
| Eric Gale | Guitar |
| Eileen Gilbert | Vocals |
| Carl Lynch | Guitar |
| Tom McIntosh | Conductor |
| Alan Raph | Bass Trombone |
| Albertine Robinson | Vocals |
| Snooky Young | Trumpet |
| Lois Winter | Vocals |
| Esmond Edwards | Producer |
| Nat Hentoff | Liner Notes |
| Tom McIntosh | Arranger |
| Hollis King | Art Direction |
| Tom Greenwood | Research Coordination |
| Carlos Kase | Research Coordination |
| Daniel Kramer | Cover Photo |
Editorial Reviews
All Music Guide - Richard S. Ginell
No, you're not in Creed Taylor country yet, but you might as well be, for many of the ingredients that would garnish Benson's albums with Taylor are already present in this often enjoyable prototype. The immediate goal was to groom Benson as the next Wes Montgomery who was about to leave Verve -- and so he covers hit tunes of the day "Sunny," "Along Comes Mary," "Groovin'", playing either with a big band plus voices or a neat quintet anchored by Herbie Hancock, and the sound is contoured to give his guitar a warm mellow ambience. But the eclectic Benson is his own man, as his infectious repeated-interval rhythm trademark tells us on his self-composed title track, and ...