Walking To New Orleans George Benson
Dear HIGHRESAUDIO Visitor,
due to territorial constraints and also different releases dates in each country you currently can`t purchase this album. We are updating our release dates twice a week. So, please feel free to check from time-to-time, if the album is available for your country.
We suggest, that you bookmark the album and use our Short List function.
Thank you for your understanding and patience.
Yours sincerely, HIGHRESAUDIO
- 1Nadine (Is It You)03:53
- 2Ain't That A Shame03:49
- 3Rockin' Chair03:39
- 4You Can't Catch Me03:35
- 5Havana Moon04:54
- 6I Hear You Knocking03:45
- 7Memphis, Tennessee03:19
- 8Walking To New Orleans04:08
- 9Blue Monday03:03
- 10How You've Changed03:19
Info for Walking To New Orleans
George Benson gets back to Americana basics on Walking to New Orleans, the jazz guitar legend's double-barreled tribute to both piano-pounding hit machine Fats Domino and the original rock guitar hero and poet, Chuck Berry.
The album toggles between tracks written and/or recorded by Berry and Domino as though Benson were moderating a musical conversation between Missouri and Louisiana. It kicks off with a rock-solid rendition of Berry's 1964 post-incarceration story song "Nadine (Is It You?)," which Benson makes his own by scatting in unison with his guitar solo. Then a horn section pumps up Fats's 1951 R&B hit "Rockin' Chair" and his first R&B-pop crossover smash, "Ain't That a Shame," from 1955, with Benson's guitar standing in swingingly for the originals' sax solos. The Chuck Berry songbook is also represented on Walking to New Orleans by the good-timey "You Can't Catch Me," the sinuous "Havana Moon," the rollicking "Memphis, Tennessee," and the bluesy "How You've Changed." Fats Domino weighs in with the rollicking "I Hear You Knocking," "Blue Monday," and the album's iconic title track.
“I’m a great appreciator of the music made by both of those guys,” says Benson, who reanimates their genius with his signature soulful vocals and buttery solos. “Chuck Berry was a great showman and a great musician, and Fats Domino cut nothing but hit after hit after hit.”
George Benson, guitar
Greg Morrow, drums
Rob McNelley, guitar
Kevin McKendree, piano
Alison Prestwood, bass
Born on March 22, 1943 in Pittsburgh, Pennsylvania, Benson showed prodigious talent from an early age, winning a singing contest when he was only four years old and enjoying a short career as a child radio performer under the name of “Little Georgie Benson.” He started playing the guitar when he was eight, but it was as a vocalist that he spent much of his vast musical energy as a teenager, organizing and performing with a succession of rhythm-and-blues and rock bands around Pittsburgh. He made recordings for RCA Victor’s X Records subsidiary in the middle 1950s. But Benson’s stepfather encouraged his instrumental efforts by constructing a guitar for him, and in his late teens he began to concentrate exclusively on guitar. Seeking out the music of modern jazz’s golden age, he became more and more interested in jazz, and was particularly inspired by recordings of saxophonist Charlie Parker and guitarists Charlie Christian and Grant Green.
Discovered by John Hammond: In 1961 Benson jumped to the national stage when he joined the group backing jazz organist Jack McDuff. He played and recorded with McDuff for four years. Then he struck out on his own: he moved to New York City, then the capital of the jazz universe, and formed his own band. There Benson made two acquaintances who proved crucial in setting him on the path to jazz stardom: guitarist Wes Montgomery, whose soft tone and graceful octave playing provided Benson with his most important stylistic inspiration, and Columbia Records producer and executive John Hammond, whose unerring eye for talent brought
This album contains no booklet.