GEORGE BENSON & AL JARREAU
Givin' It Up

Concord

Read the Jazzitude review of George Benson/Irreplaceable

It would be easy to dismiss this album of George Benson/Al Jarreau duets as a smooth jazz commercial pop chart bid, but that conveniently ignores the fact that Benson and Jarreau have seen enough popularity to record the kind of music they want to at this point in their lives and careers. If Benson wanted to go back to playing soul jazz in a guitar/organ group he damned well could. But what sense would that make? The music Benson plays is today’s soul, whether one likes the fact or not. And few do it better than Benson. He inhabits the center of this sound and his guitar is the thing that somehow manages to keep it all somewhat real. I’ve never been a really big Al Jarreau fan, but having heard him periodically through the years, I have to admit that he is a good singer who can successfully build bridges between musical styles, with his smooth-toned harmonies, soaring falsetto, and ability to scat.

They start off with Benson’s original crossover hit, “Breezin’” given a healthy dose of vocal work featuring Jarreau’s vocal percussion work, his upfront vocals and Benson’s background singing. Benson’s guitar is still the guidepost, but is much less out front. Vinnie Colaiuta lays out the groove solidly, and arranger Larry Williams fills in with lush layers of keyboards. Next is another showcase for Jarreau, “Mornin’” which he wrote along with David Foster and Jay Graydon.

There are two pieces associated with Miles Davis here. “Tutu” is the Marcus Miller-penned groove that brought Miles into the age of MIDI in the early ‘80s. Jarreau’s lyrics here are nowhere near as interesting or mythical as Cassandra Wilson’s on her Miles tribute Travelin’ Miles, but with the band behind him, there’s no way he can blow it. Besides Benson, there’s Herbie Hancock on piano, Patrice Rushen on keys, composer Miller laying down the wicked bass lines, and Miachael White behind the drums. And Benson’s solo here is damn good, a real blast of what he can do when the occasion demands it. Then there’s a very laid-back vocal version of Davis’ hard bop tune “Four” that sounds like it could be a hit at weddings. Both “God Bless the Child,” featuring Jill Scott, and “Summer Breeze” are solid, if not particulary inspired performances.

Benson steps to the fore for an instrumental version of the John Legend/will.i.am song “Ordinary People” with guest saxophonist Marion Meadows. It’s a pleasing Benson pop performance. So is the Jarreau/Barry Eastmond composition “Let It Rain” on which Benson backs singer Patti Austin, who duets with Jarreau. Miller and Rushen are back here, and Chris Botti lends his latenite trumpet sound as well. Other winning performances include Jarreau’s version of the Darryl Hall pop hit “Every Time You Go Away,” Jarreau’s Latin/funk jazz turn “Don’t Start No Schtuff” with Stanley Clarke on bass, and the closer, Sam Cooke’s “Bring It on Home To Me” done with a contemporary gospel feel and Paul McCartney (!) singing with Jarreau.

In some respects, albums like Givin’ It Up function as a personal radio station, with a variety of grooves and guest artists bringing new flavor to each track, while at the same time featuring enough of the same musicians to ensure a certain uniformity of sound. In terms of the kind of album Benson and Jarreau probably set out to make, Givin’ It Up seems pretty successful overall, a disc of fun, good grooves, and just the right touch of soul. Anyone got a problem with that?