That Weekend in L.A. with George Benson

 

In late September of 1977 jazz guitarist and newly minted crossover R&B crooner, George Benson landed in Los Angeles to record his landmark live album at the legendary Roxy Theatre.  At the time, Los Angeles was in the midst of creating incredible historic and enduring moments.  The months leading up to Benson’s performance on the night of September 30th at the Roxy Theatre, Angelinos had not only witnessed the inauguration of President Jimmy Carter with the rest of America, but locally experienced remarkable events that ranged from the unforgettable imagery of NASA’s Space shuttle Enterprise soaring across the sky piggy-backed on a Boeing 747 jet, experiencing the frenzy of the redefining sci-fi soon to be juggernaut film Star Wars, to welcoming Mayor Tom Bradley—arguably the most politically and socially significant person west of the Rockies in the ‘70s—into his second term, collectively breathed a sigh of relief with the capture of the sick “Freeway Killer” all while watching new Dodgers’ manager Tommy Lasorda lead his team into the NLCS*.  Los Angeles was indeed primed and ready to receive a George Benson performance.

A year prior, Benson’s popularity reached the zenith of his career with the release of his hit single “This Masquerade” from his two time Grammy award winning album Breezin’. His sure-fire vocals and scats, which mirrored his guitar melodies and jazz riffs, catapulted him into the upper echelon of R&B crooners of the era.  Benson, for the first time, effectively crossed over from the jazz genre solidly into the world of R&B and pop. Attracting new and larger audiences for his live performances, Benson was indeed primed to deliver for a slick and beautifully complex L.A. audience.

On the afternoon of September 30th, Benson made his way up Sunset Boulevard amid fancy cars, infamous traffic, Hollywood sunshine, larger-than-life billboards, palm tree-lined streets, and of course a bit of that iconic L.A. smog on his way to the Roxy Theatre. The theatre on Sunset, commonly known as The Roxy, was founded by producers and Hollywood insiders Lou Adler, Elmer Valentine, David Geffen, Elliot Roberts, and Peter Asher who together opened its doors for business just four years earlier.  In a short time, The Roxy had emerged as the venue of choice for up and coming artists to showcase their talents to a consuming audience bent on catching a glimpse of the new hot thing. Upon Benson’s arrival, he was met by his well rehearsed and longtime band, which consisted of Stanley Banks on Bass, Ronnie Foster on synthesizer, the late Ralph MacDonald on percussion, Phil Upchurch on rhythm guitar, Harvey Mason on drums, and the late Jorge Dalto on piano.  He quickly rehearsed the setlist and worked out any kinks to create a flawless show.  After rehearsal, Benson met with the late producer Tommy LiPuma to work out stage sounds and board mixes.  In conversation with Benson, LiPuma agonized over what to name the album and pondered a few ideas. Ultimately, not wanting to apply a common and yet all too mundane moniker like George Benson Live at the Roxy, which is a style that has been used to name other albums recorded live at The Roxy, rather LiPuma settled on George Benson Weekend in L.A.  The title implied a happening–an event that was not to be missed.  Benson loved it.

That very night in late September, Benson stepped on stage to a sold out and packed Roxy.  The audience was filled with Angelino fans eager to be lifted to the next level by the magic of Benson’s performance.  Music industry heavy hitters such as Aretha Franklin, the late Minnie Ripperton, the late Natalie Cole, Bonnie Raitt, Tom Scott, the late Leon Russell, and even actors David Soul and Keith Carradine were nestled into the crowd to certify Benson’s rising star as an R&B and pop artist.  Benson’s music swept over the audience and filled the gritty theatre with a lively atmosphere of celebration, which aided in the release of tension for residents of L.A.  His skillful jazz licks and well-seasoned vocals easily carried the audience to a place of both respite and pleasure.  Benson and his band opened with songs such as the aptly named “Weekend in LA,” written especially for this live event.  Then in grand style, summoned for the first time, he performed  “On Broadway,” which, after this night, would become his signature song. Next, Benson dug in on the heartfelt “Down Here on The Ground,” which was followed by  the driving “California P.M.”  And finally, to round out half of the album’s set, he sang out in fantastic fashion “The Greatest Love of All,” which he recorded a few months earlier for the Muhammad Ali film, The Greatest.  The late Whitney Houston’s recording of “The Greatest Love of All” became the first of her many signature songs.  The Roxy audience cheered, shouted, and erupted in applause throughout the lively performance while Benson continued to perform the rest of the evening.  His songs’ fed L.A’s appetite for epic and uniquely cultured music.

In the end, Benson performed at The Roxy for three nights.  The L.A. audience embraced his music amid the electric climate of the late seventies.  Certainly, Benson was ready for his proverbial “Hollywood close-up,” which was made possible by his newfound crossover appeal. The Roxy was the perfect venue to bring together the complex and slick L.A. audience.  The live recording of George Benson Weekend in L.A. captured a magical evening that not only demonstrated how a guitar and jazz riffs could bring a crowd to a frenzy but more so, spoke to the issues of the era.   The entire live album, upon a contemporary listen, is infused with the promise of hope and change.  Without question, the 80s kept that promise.  That weekend in L.A. with George Benson was indeed a happening, which we can revisit and experience anytime. The album is a classic. 

George Benson Weekend in L.A. was released three months later in January of 1978. Benson’s weekend effort garnered him the Grammy for Best Male R&B Vocal Performance for the song “On Broadway.”  Benson’s album, which turned 40 years old earlier this month is impeccably recorded and is a must listen.

 

*Not to get all sporty here but the Dodgers won the NLCS in a 3-1 victory over the Phillies and went to the World Series to battle the Yankees.  Reggie Jackson with a little help from the rest of the Yankees sent the Dodgers packing 4-2. It’s a good thing they had George Benson Weekend in L.A. to soothe the hurt.

Soul and The Business of Music

So, I’m still reeling from the comments made a few weeks ago by Terius Youngdell Nash a.k.a. The Dream when he said, “Blacks can’t do soul records anymore.”  Maybe reeling is too strong of a word and over emphasizes my response to what he said. Let’s just say his statement has kept me thinking about the state of Black music and the music industry for quite a few days now.  My prolonged thinking about his statement is not predicated on if what he said may or may not be true but rather what I hear on the radio in terms of soul music.  I don’t hear it!  You see, for some time, I’ve heard people say that Black music is changing–artists don’t sing like they used to and the music lacks a certain dimension.  The sound that was once front and center in a soul song has now paled in comparison to what was once heard on the radio or is simply missing altogether (think of the vocals and music of Al Greene, Marvin Gaye, Teddy Pendergrass, Aretha Franklin, Patti Labelle, and Chaka Kahn).  This is indeed what I hear from people of a “certain age,” like myself, who have had the opportunity to witness the evolution of music over the past few decades.  From what I hear on the radio Blacks in fact don’t make soul music anymore.

So, I was thinking, “why is this?” and  “why don’t I hear Blacks singing soul music on the radio anymore?  Something has changed.  Is it that Blacks can’t sing with a soul sensibility anymore?  Let me be clear, when I say soul, I’m speaking of a voice, which possesses the ability to grab your attention and drag you through emotional highs and lows weather you want to or not.

Chaka singing soul

I’m speaking of the kind of voice that contains enough power to fill almost any room without being mic’d and can navigate the chordal dynamics of a live band without getting lost in the sonic and melodic interplay of the instruments.  Furthermore, someone who has a bit of musical acuity must wield this voice.  The person wielding this voice can and will stop anyone in their tracks.  It is hard to ignore.

But wait, surprisingly, this voice does in fact exist.  It can be heard in the small clubs, coffee shops, backrooms, the parking lot of churches, rented halls, weddings ceremonies, funerals, and talent contests from New York, Atlanta, to Austin, and Los Angeles.

Marvin Gaye (David Corio/Michael Ochs Archives)

They are just not heard on the radio.  Why not?  The music industry has changed! There has been a disturbance in the force!  I feel record companies have evolved from small enterprises led by individuals who had real interest in music and music culture to large companies run by executives hell-bent on the promotion and sale of a product with huge profits in mind.  At one time, small enterprising leaders were more often than not willing to take a chance on artists and their artistry.  They recognized “talent” and the importance of developing that talent as well as understood the value of uniqueness.  Today, record companies employ executives who are imbued with a business sense and have no real ground level connection to music and its culture.  They do not take chances; it’s not good business sense.  Today’s record company executive is simply about the product and the bottom line.  A question like “Does investing in this individual, group, or band make fiscal sense given our financial outlook and projections this quarter?” is what ultimately drives today’s record company.  Don’t get me wrong, I know the small record enterprises run by individuals with a connection to the music had a bottom line as well.  They too wanted to make a profit.  However, the drive for a profit did not diminish or compromise the integrity of the music, in fact, these individuals wanted to capture the essence of the music and keep theirs and the music’s integrity intact (think Stax, 50s and 60s Atlantic records and Motown).  Being true to the music and letting the artist explore, expand, and flourish in their musical endeavors made great radio several decades ago.

Moreover, record companies are money-making entities refined and designed to profit and are no longer in the business of developing or showcasing soul music and its culture.  For the large music companies (Universal Music Group, Sony/BMG Music Group, Warner Music Group, and EMI) the music and the artists are strictly a product to be sold.  The ear for soul music no longer holds capital within the large companies.  Record companies function in such a way as to make a quick return on their investments.  Taking time to develop an artist is a no go–artists’ music must be immediately viable.  In order to do this, record companies must continuously seek out the next popular “sensation” to market and sell, which by its very design the product tends to be disposable.  As a result, speaking for myself, in terms of soul music, when I listen to the radio I am subjected to less than mediocre efforts.  Gone are the intelligent soulful hyperboles and any decent poetic aesthetic imbedded in lyrics.  Ultimately, to a certain extent, record company executives become the final arbiter of musical taste of an entire population.  Are you serious?!!!!

In the end, can Blacks do soul records?  Yes, they can.  They can record songs thick with cultural history individual talent and musical skill that will sit you down.  But these recordings will not be found on the radio.  Record companies neither have the ear nor the financial drive for Black soul music. That’s okay, the Dream and I can listen to Internet radio!

My Brief Time With Biggie

It’s hard to believe 15 years have passed since Notorious B.I.G. was shot and killed on March 3^rd, 1997 in Los Angeles. Considered one of the best rappers of our time, Biggie Smalls, Big Papa, or the Black Frank White has ascended into a true icon of Hip Hop.  His image, his swag, his tone, his style, and his lyrics all constitute a high benchmark for the art form.  Past, contemporary, and certainly future Hip Hop lyricists have and will place Biggie at the top of their “best of” list for rappers.  Biggie’s emergence on the Hip Hop landscape was pivotal.  He signaled the return to Hip Hop’s origins.  Biggie relayed the realities of urban youth in the here and now wrapped in danceable rhythm and rhyme in much the same way it was done in the late 70s and early 80s.  Biggie left pace with gangster and conscious rap of the 90s and forged a hard-edged party rap.  He was right on time.

In 1994, I was a Johnny-come-lately to Biggie and his music.  I’d heard of him but didn’t pay much attention to him or his music.  I was still trying to wrap my mind around Snoop’s “Gin and Juice” as far as Rap/Hip Hop was concerned.  However, in 1996 when I first heard “Hypnotized” with its smooth lyrics and Herb Alpert’s looped single “Rise,” I became fully aware of Biggie.  My attention was captured and only increased when just a few months later he was gunned down.  My mental timeline for Biggie’s career/life is short but powerful.  Today he is definitely at the top of my “who is the best rapper of all time” list.  For me, lyrically, he had no time to make mistakes he was on point in every stanza I heard.  I didn’t witness the real time change, if any, from his first album “Ready to Die” to his second and last album “Life After Death” as some artists make.  For me, it’s just one seamless Biggie soundtrack.  And it’s all good.

Rest In Peace Biggie!

Know that you had me at:

I can fill ya wit real millionaire shit

Escargot, my car go, one sixty, swiftly

Wreck it buy a new one

Your crew run run run, your crew run run . . .

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