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Related: Culture Forums, Support Forumsrzemanfl
(29,569 posts)JHan
(10,173 posts)JHan
(10,173 posts)rzemanfl
(29,569 posts)I was around to buy "Bumpin" on vinyl when it was new. When Wes Montgomery died so young in 1968, A&M wanted George Benson to fill his shoes. If you listen to Benson's 1969 album, Shape of Things to Come you'll get an idea of where A&M wanted him to go with one of Montgomery's arrangers, Don Sebesky.
JHan
(10,173 posts)I heard Wes in Benson , and I always saw George as the next evolution of Wes, just not as smooth as Wes. Thanks for the info.
And.. Wes.. the first time I heard him was through my uncle playing this album constantly:
rzemanfl
(29,569 posts)The Wikipedia page for Shape of Things to Come is the source of the George Benson info.
ariadne0614
(1,735 posts)Nevertheless, I appreciated all three. The first two were interesting, but stayed in my head. Sarah, on the other hand, made it so easy to feel, physically and emotionally. Thanks for the experience.
JHan
(10,173 posts)Sarah's voice was powerful, she possessed incredible range, and she had such control she could create these blissful intimate moments with her voice. She could improvise, float above the beat, just an ingenious singer all around.
ariadne0614
(1,735 posts)Your description of what she could do with her voice deepened my appreciation. As I said, jazz is pretty much a foreign language, and although I've been warming to it lately, my vocabulary is extremely limited.