Music Review: Benson & Jarreau together

By CHARLES J. GANS
The Associated Press

(AP) — George Benson & Al Jarreau, "Givin' It Up" (Concord Records/Monster Music): Guitarist/vocalist George Benson and singer Al Jarreau both started out in straightahead jazz before crossing over into pop and R&B to enjoy Grammy-winning, chart-topping success. But surprisingly, "Givin' It Up" (Concord Records/Monster Music) is the first album they've recorded together.

The duo opens the disc by reinventing two of their biggest hits. Benson's "Breezin" is turned into a vocal number with lyrics penned by Jarreau, who mixes crisp vocal lines with some scat singing over Benson's guitar licks. On Jarreau's "Morning," Benson returns the favor by making it over as an instrumental with Jarreau sounding like a percussionist in his backup vocals.

The covers include Billie Holiday's "God Bless the Child," given a contemporary flavor by Benson and neo-soul singer Jill Scott, who trade lead vocals; Seals & Crofts' pop tune "Summer Breeze"; and John Legend's "Ordinary People," done as an instrumental with Benson's soulful guitar supported by Marion Meadows' smooth sax.


On Miles Davis' hardbop classic "Four," Benson and Jarreau engage in spirited vocal interplay in a mostly acoustic setting with a rare performance by Stanley Clarke on upright bass, while Davis' later electronic fusion period is represented by the funky blues "'Long Come Tutu" with composer Marcus Miller's bass lines underscoring Jarreau's lead vocal, and Herbie Hancock contributing a stirring acoustic piano solo.

Among the 13 tracks are several Jarreau originals, including the infectiously funk-jazz "Don't Start No Schtuff" with Benson's piercing guitar runs and Jarreau's scatting; and the moody romantic ballad "Let It Rain" featuring Jarreau, Patti Austin and Chris Botti's poignant muted background trumpet.

Unlike much of today's overproduced, formulaic smooth jazz, "Givin' It Up" is loose, spontaneous and full of surprises, particularly on the closer, Sam Cooke's "Bring It On Home to Me." Paul McCartney, who was recording in a nearby studio, makes an impromptu vocal cameo before the session ends in a spirited call-and-response gospel groove.