White Rabbit (George Benson album)
Occupation
- George Benson - Guitar
- Jay Berliner - acoustic guitar
- Earl Klugh - acoustic guitar (on El Mar)
- Ron Carter - Bass
- Herbie Hancock - Piano
- Billy Cobham - drums
- Airto Moreira - percussion, vocals
- Gloria Agostini - vibraphone, percussion
- Phil Bodner - flute, alto flute, oboe, English horn
- Hubert Laws - flute, alto flute, piccolo
- George Marge - flute, alto flute, clarinet, oboe, English horn
- Romeo Penque - English horn, oboe, alto flute, clarinet, bass clarinet
- Jane Taylor - Bassoon
- Wayne Andre - trombone, baritone horn
- Jimmy Buffington - French horn
- John Frosk - trumpet, flugelhorn
- Alan Rubin - trumpet, flugelhorn
White Rabbit is a jazz album by George Benson, which was recorded in November 1971 and published in 1972 by CTI Records. The album's title refers to the written by Grace Slick Jefferson Airplane song White Rabbit.
Background
In White Rabbit played George Benson, supported by renowned jazz musicians such as Herbie Hancock, Ron Carter, Billy Cobham, Airto Moreira and the then seventeen- year-old Earl Klugh, Soul Jazz versions of former hits like White Rabbit and California Dreamin ' with Spanish touch, from producer Creed Taylor and arranger Don Sebesky underlaid with great orchestration.
2011 CTI was a remastered version of the 40th anniversary of the establishment out.
Reception
John Kelman review the new edition of the album at All About Jazz restrained:
"An anomaly in Benson's catalog, Perhaps, and one with its fair share of weaknesses to offset its many Strengths, this CTI Masterworks reissue of White Rabbit remains, in many ways, a curiosity did transitions in between his more mainstream efforts and the soulful jazz / pop star hey what about to become; not without its merits, but not essential either. "
"Maybe an anomaly in Benson's catalog, and with its fair share of weaknesses to compensate for its many strengths, this CTI Masterworks reissue of White Rabbit remains in many ways a curiosity that the transition between its more attributable to the mainstream efforts and the soulful jazz / pop star, who he was about to become marked; not without value, but not necessarily essential. "
Richard S. Ginell rated album at Allmusic with four out of five stars and wrote:
"For George Benson's second CTI project, producer Creed Taylor and arranger Don Sebesky successfully place the guitarist in a Spanish -flavored setting full of flamenco flourishes, brass fanfares, moody woodwinds and such. In this ... prime sample of the CTI idiom, everyone wins "
" For George Benson's second CTI project of producer Creed Taylor and arranger Don Sebesky placed the guitarist successfully in a Spanish - tinged environment full of flamenco flourishes, brass fanfares, moody woodwinds and so on .... In this best example of a CTI idiom, everyone wins. "
In the edition of the Penguin Guide to Jazz by Richard Cook and Brian Morton in 1994 rated the album with only two stars and count White Rabbit with Body Talk (1973 ) and Bad Benson (1974 ) to the less successful productions from the CTI - phase " a terribly weak labor for someone who had some years earlier collaborated with Miles in the Sky [ Miles Davis ]. "