Agreed 😄! This album is a gem. 💎 So are the live videos of him and McCoy Tyner on TH-cam when they were touring this album! You can find a lot of those scattered across TH-cam from this tour.
The lick at 14:40 reminds of a lick idea I discovered years ago. This is a guitar friendly lick that uses a "3-2-1 fingering exclusively" with each "melodic cell" leading into the notes of a diminished seventh chord. Using G7b9 [G B D F Ab] or B diminished 7th [B D F Ab] as an example, all the notes are played on string ③ - G Gb F - E Eb D - Db C B - Bb A Ab using "3-2-1 fingering exclusively". The example in the video starts on string ③ - Eb D Db - C B Bb then moves across to string ④ Ab G Gb. Each "melodic cell" leads into the notes of a Gb Major triad. Great Transcription Skills by John Storie! Respect!
More good stuff Chase. Most Benson completists will know this album and his Stella is definitive. Great breakdown of what he’s up to. Thanks to you both.
Gents GB is my hero and dear friend and big brother I worked on that recording as well as my others. It wasn’t available because GB bought up all the inventory cause he didn’t like how it was promoted Great job guys All the best Russ DeFilippis0:50
Aspiring jazz guitarists can learn some important details at - 3:10 - playing a high (D) melody note then playing guide tones of Gm7(F Bb) to C7(E Bb) on strings ④ ③ 3:18 - holding a high (C) melody note while playing guide tones of Bm7 or E7sus(A D) to E7(G# D) on strings ④ ③. [NOTE - E note on ② string is also sounded on E7 chord]
I do have that CD. (And own most of his CDs.) I think his most under appreciated recordings is C-Smooth from the Standing Together CD. Cool fire at a slow pace. Soulful, funky and mellow. It's a bourbon and chill kinda vibe. It's straight up guitar talk.
Soft touch maybe, but what I hear from Benson is the presence from attack and dynamics. What I learned from my teachers--also huge fans of Benson--is the importance of getting sound OUT of the guitar. Combination of soft and loud, but you gotta make it pop. That means, you can't play "gentle" all the time. A teacher told me a story of studying with Jim Hall--how he would go into the kitchen and force you to play acoustically. If you weren't playing loud enough to be heard in the next room without an amp, Jim Hall would say play louder--yes THAT Jim Hall :)
Gentlemen, great video! I often tell people that this is the best version of Stella. Along with his solos on Jimmy Smith’s blues, I’ll Drink To That and Off The Top, are my three favorites. Everything he does is great, but those are kinda special to me. This is in the key of G. Is this the original key? Most people seem to play it in Bb, thanks to the Real Book. I remember seeing a TH-cam video where someone had transcribed this solo and then transposed it to Bb. That’s dedication. Anyone who can transcribe this whole solo deserves an honorary doctorate in jazz guitar studies. John, you may be there😎
Killin. The record sounds overproduced to me-i always felt like some of the horns sound added on too, or even synths…but that doesnt take away from the killer playing. Really cool breakdown. It must be so cool to be able to play georges stuff at will while youre discussing it! Impressive! Ps. I bend.
I was so excited to hear some love for this record! I discovered this recording of stella sometime last year and immediately was inthralled with it. this is my jazz guitar white whale that I need to learn
finally! talking about the melody being played all the way through.. I hate this modern trend of only playing bits of the melody, like lip service, while cramming in every fast scale and chord sub possible.. why reharmonize tunes that were made famous with the original changes? no respect for the melody or changes.. using every excuse to show off fast licks.. 🎸😎
It can't be said definitively that George Benson comes out of Hank Garland, since the LP that you're referring to came out in 1961 and so did Benson's first recording. So there is an equal chance that Hank Garland comes out of George Benson. And with that, Benson's sound has always been consistent. And as you have said: Benson's sound is always recognizable.
Interesting angle you have on those two players, but there's no mystery: George Benson has acknowledged the role Hank Garland played in his formative years on guitar. G.B. also did the same with Johnny Smith, another early influence. Benson is the complete gentleman, and has never been shy to credit his influences. And the circle is completed by younger players who have pointed to Benson as being a big influence, Mark Whitfield to name just one example. It is germane to note that Benson's earliest work is still pretty raw and unformed compared to just a few years later. Jack McDuff and his other mentors recognized Benson's enormous talent, but also the fact that he was somewhat raw and untutored. Benson relied on his innate talent, ability to play the blues and popular music, and big ears to get him through those early pro gigs as a pro musician and jazz man. Another early talent spotter for Benson was the late Lou Donaldson, who also helped bring the greatness of another all-time great jazz guitarist, Grant Green, to the masses. Benson and Lou became jamming partners and pals for life.
This is easily the best side of youtube, no idea how i got here but thank you!
Glad to have you here! 🤘
A lot of passion in this here video for the great George
Thanks for watching! 🙏
Agreed 😄! This album is a gem. 💎 So are the live videos of him and McCoy Tyner on TH-cam when they were touring this album! You can find a lot of those scattered across TH-cam from this tour.
John and Chase, thanks for your stunning jazz mastery, your mutual respect which is inspiring, and a great analysis of a monster jazz guitar player.
Our pleasure, Max! Thanks for watching! 🙏
The lick at 14:40 reminds of a lick idea I discovered years ago. This is a guitar friendly lick that uses a "3-2-1 fingering exclusively" with each "melodic cell" leading into the notes of a diminished seventh chord. Using G7b9 [G B D F Ab] or B diminished 7th [B D F Ab] as an example, all the notes are played on string ③ - G Gb F - E Eb D - Db C B - Bb A Ab using "3-2-1 fingering exclusively". The example in the video starts on string ③ - Eb D Db - C B Bb then moves across to string ④ Ab G Gb. Each "melodic cell" leads into the notes of a Gb Major triad. Great Transcription Skills by John Storie! Respect!
More good stuff Chase. Most Benson completists will know this album and his Stella is definitive. Great breakdown of what he’s up to. Thanks to you both.
Thank you! 🙏
Marvelous commentary. The best on the Internet. You guys are smashing.
Thanks Tim! Appreciate you watching and supporting 🙏
Digging John's breakdown🤘
Love it guys! Amazing solo..articulate breakdown of it as well 🔥🔥👏🏼👏🏼
Thanks for checking it out, Michael! 🤘🤘
GREAT hang guys!!! Amazing playing. Beautiful breakdown and analysis.
Thank you! 🙏
Great video and analysis of this track by the legendary George Benson. I feel Benson is still underrated as a guitarist in the wider music world.
Thanks for watching! 🤘
Fantastic video, thanks Chase and John!
Glad you enjoyed it! 👍
George toca para el publico y para musicos , demuestra su genialidad, swing, gusto, sutileza
Junto a wes, y joe Pass son mis idolos !!
I love his singing on You Don't Know What Love Is from this album. I bought the CD on Ebay because it was out of print.
Also a great one! 👌
Great video! And it inspired great discussion in the comment section!
Thanks so much! 🤘
Gents GB is my hero and dear friend and big brother I worked on that recording as well as my others. It wasn’t available because GB bought up all the inventory cause he didn’t like how it was promoted
Great job guys
All the best
Russ DeFilippis0:50
So cool, Russ! Benson is my guitar hero as well 🤘 Appreciate you watching the video 🙏
Aspiring jazz guitarists can learn some important details at -
3:10 - playing a high (D) melody note then playing guide tones of Gm7(F Bb) to C7(E Bb) on strings ④ ③
3:18 - holding a high (C) melody note while playing guide tones of Bm7 or E7sus(A D) to E7(G# D) on strings ④ ③. [NOTE - E note on ② string is also sounded on E7 chord]
Nice details to point out 👍 Thanks for listening!
George's solo version of Tenderly on this LP is a monster. This was a return GB's to jazz but unfortunately it wasn't a big seller.
Yes indeed! 👍
I do have that CD. (And own most of his CDs.) I think his most under appreciated recordings is C-Smooth from the Standing Together CD. Cool fire at a slow pace. Soulful, funky and mellow. It's a bourbon and chill kinda vibe. It's straight up guitar talk.
The solo over mambo inn on this record is great too.
Benson could play "Twinkle, Twinkle, Little Star" and it would be 🔥
@@ChaseMaddox Totally agree. Not a fanatic fan of him, but he's always on fire. Love his early stuffs.
Soft touch maybe, but what I hear from Benson is the presence from attack and dynamics. What I learned from my teachers--also huge fans of Benson--is the importance of getting sound OUT of the guitar. Combination of soft and loud, but you gotta make it pop. That means, you can't play "gentle" all the time. A teacher told me a story of studying with Jim Hall--how he would go into the kitchen and force you to play acoustically. If you weren't playing loud enough to be heard in the next room without an amp, Jim Hall would say play louder--yes THAT Jim Hall :)
Thanks for watching! 🤘
Gentlemen, great video! I often tell people that this is the best version of Stella. Along with his solos on Jimmy Smith’s blues, I’ll Drink To That and Off The Top, are my three favorites. Everything he does is great, but those are kinda special to me. This is in the key of G. Is this the original key? Most people seem to play it in Bb, thanks to the Real Book. I remember seeing a TH-cam video where someone had transcribed this solo and then transposed it to Bb. That’s dedication. Anyone who can transcribe this whole solo deserves an honorary doctorate in jazz guitar studies. John, you may be there😎
Thank you! Theres' also a nice live version of Benson with McCoy on Stella: th-cam.com/video/pKrxrMkU40k/w-d-xo.html
Which ones are your Top 5 GB songs?
Killin. The record sounds overproduced to me-i always felt like some of the horns sound added on too, or even synths…but that doesnt take away from the killer playing. Really cool breakdown. It must be so cool to be able to play georges stuff at will while youre discussing it! Impressive! Ps. I bend.
Thanks for watching!
I was so excited to hear some love for this record! I discovered this recording of stella sometime last year and immediately was inthralled with it.
this is my jazz guitar white whale that I need to learn
Thanks for watching! 🤘
finally! talking about the melody being played all the way through.. I hate this modern trend of only playing bits of the melody, like lip service, while cramming in every fast scale and chord sub possible.. why reharmonize tunes that were made famous with the original changes? no respect for the melody or changes.. using every excuse to show off fast licks.. 🎸😎
Thanks for watching! 🙏
More. John Story is a credit to the music we all love.
It can't be said definitively that George Benson comes out of Hank Garland, since the LP that you're referring to came out in 1961 and so did Benson's first recording. So there is an equal chance that Hank Garland comes out of George Benson. And with that, Benson's sound has always been consistent. And as you have said: Benson's sound is always recognizable.
Thanks for sharing your thoughts!
Interesting angle you have on those two players, but there's no mystery: George Benson has acknowledged the role Hank Garland played in his formative years on guitar. G.B. also did the same with Johnny Smith, another early influence. Benson is the complete gentleman, and has never been shy to credit his influences. And the circle is completed by younger players who have pointed to Benson as being a big influence, Mark Whitfield to name just one example.
It is germane to note that Benson's earliest work is still pretty raw and unformed compared to just a few years later. Jack McDuff and his other mentors recognized Benson's enormous talent, but also the fact that he was somewhat raw and untutored. Benson relied on his innate talent, ability to play the blues and popular music, and big ears to get him through those early pro gigs as a pro musician and jazz man.
Another early talent spotter for Benson was the late Lou Donaldson, who also helped bring the greatness of another all-time great jazz guitarist, Grant Green, to the masses. Benson and Lou became jamming partners and pals for life.