Alex Henderson

George Benson
 
By Alex Henderson
 
          From hard bop guitarist to R&B/pop superstar, George Benson has worn a wide variety of hats over the years. R&B lovers know him as the guitar-playing vocalist who was responsible for such hits as “Give Me The Night” and “Turn Your Love Around,” while the jazz world continues to treasure his classic instrumental albums of the 1960s and early 1970s. And it goes without saying that Benson’s million-selling Breezin’ album of 1976 practically defined the NAC, quiet storm and smooth jazz formats.
        Because the guitarist/singer is so diverse and unpredictable, one never knows what he will do from one album to the next--and on his latest GRP release, Absolute Benson, he surprises us once again by emphasizing instrumental music. While Benson’s last album, 1998’s Standing Together, was full of R&B/pop singing, only three of Absolute Benson’s nine songs find him providing any vocals: Ray Charles’ “Come Back Baby,” an infectious remake of the late Donny Hathaway’s 1970s soul classic “The Ghetto” and Benson’s Latin-flavored “El Barrio” (which becomes the perfect companion piece for “The Ghetto”). Everything else on the album is instrumental, and this time, Benson’s distinctive guitar playing takes center stage.
        Though Benson is still quite capable of playing straight-ahead hard bop, Absolute Benson isn’t a bop album. Blending jazz with R&B and pop, Absolute Benson aims for accessibility and recalls Benson’s CTI albums of the early-to-mid 1970s. From the haunting “Deeper Than You Think,” the intriguing “Medicine Man” and the slightly Wes Montgomery-ish “One On One” to the funky “Hipping the Hop” and a thoughtful version of Stevie Wonder’s “Lately,”  Absolute Benson illustrates Benson’s virtuosity without sacrificing his commitment to the groove, the beat and the melody.
            “I play a lot of notes,” laughs the 57-year-old Benson, whose Absolute Benson was produced mostly by Verve Music Group Chairman Tommy LiPuma. “But they have to mean something. They can’t just be for the sake of plucking. So I try to be mindful of the harmony and rhythm that’s going on around me.....When jazz was danceable, it was king. The intellectual stuff that came later on--Charlie Parker and all that--turned toward a brainier sound. That was good, and I dug it. But I really like when people kick up their heels and go crazy.”
        On Absolute Benson, Benson is joined by an appealing combination of veteran improvisers and “Young Lions.” While the ubiquitous bassist Christian McBride represents jazz’s younger generation, pianist/keyboardist Joe Sample (who was a founding member of the Crusaders and presently records for GRP) and drummer Steve Gadd are jazz veterans with long and impressive resumes. Others who join Benson on this release include percussionist Luis Conte, organist/keyboardist Ricky Peterson, drummer Cindy Blackman (Benson uses three different drummers on the album) and the famous Roy Ayers (who contributes background vocals to “The Ghetto”).
        Of course, playing with first-class musicians is nothing new for Benson--he’s been doing it since the early 1960s. Born in Pittsburgh on March 22, 1943, Benson fell in love with a variety of music as a child and was only eight when he first sang in a local nightclub. As a guitarist, Benson’s primary influences were Charlie Christian and Wes Montgomery; but by the time organist Jack McDuff hired a 19-year-old Benson as a sideman in 1962, it was clear that he had become quite distinctive and recognizable himself. Benson’s first album as a leader, 1964’s The New Boss Guitar of George Benson on Prestige, was in the hard bop/soul-jazz vein and was followed by the critically acclaimed, John Hammond-produced straight-ahead albums he recorded for Columbia in 1965 and 1966.

        When one thinks of improvisers who defined straight-ahead jazz guitar in the 1960s, Benson’s name is inevitably mentioned along with Wes Montgomery, Kenny Burrell and Grant Green. But Benson was never a jazz purist or a jazz snob, and his love of R&B, rock and pop became increasingly evident when he joined forces with producer Creed Taylor--first at A&M in the late 1960s, then at Taylor’s CTI label from 1971-1975. While Benson was still best known as a jazz instrumentalist during that period, he didn’t hesitate to incorporate funk/soul and rock rhythms and interpret the hit soul, pop and rock songs of the day.
        It was in 1976 that Benson took the plunge and became a superstar in the pop and R&B worlds thanks to the platinum Breezin’, which soared to #1 on the pop charts and contained his Grammy-winning hit recording of Leon Russell’s “This Masquerade.” For the first time, Benson was enjoying mass appeal. But while thousands of R&B and pop fans were falling in love with Benson’s music, there were those in the jazz world who wanted him to play jazz exclusively.
            “Jazz lovers don’t always like to see you play for the general public,” Benson asserts. “They want to be catered to. But I’ve tried that approach, and it doesn’t work for me. Nobody can stay one way for 30 years. I’ve always tried to let my experience show itself. You learn, you change. The door opened, and I walked through it.”
            In the late 1970s and 1980s, Benson emphasized vocals and enjoyed one major R&B/pop smash after another, including “The Greatest Love of All” and a remake of The Drifters’ “On Broadway” in 1977, “Give Me The Night” in 1980, “Turn Your Love Around” in 1981 and the Kashif-produced “Inside Love” in 1983. But true to form, Benson refused to play any one style of music exclusively--he returned to classic standards and acoustic-oriented jazz with 1989’s Tenderly and paid tribute to Count Basie on 1990’s Big Boss Band.
            The 1990s found Benson, who has won no less than eight Grammies over the years, embracing everything from straight-ahead jazz to instrumental pop-jazz to R&B/pop vocals. And through it all, he has continued to demonstrate that creativity and commercial success aren’t mutually exclusive.
            “I was an entertainer first,” Benson asserts. “As a kid, I sang, danced and played the ukelele in a nightclub. As my career has progressed, I’ve had the pleasure of playing with the baddest jazz cats on the planet. But that doesn’t change my desire to entertain folks. That’s really who I am.”♦

 
Kuf Knotz
 
By Alex Henderson

    From the Roots to D.J. Jazzy Jeff & the Fresh Prince to Eve to Schoolly D, Philadelphia has long reigned supreme as one of America’s most important cities for hip-hop — and the City of Brotherly Love’s hip-hop legacy takes yet another step forward with the release of Boombox Logic, the debut solo album from Kuf Knotz on MAD Dragon Records. “Kufie” has been making a name for himself as a member of some of Philly’s most cutting-edge alternative rap crews — first as a founding member of the BurnDown All-Stars, and more recently, his own group, hip-hop/soul collective The Hustle.
    Knotz, a.k.a. Ty Green, is now making his solo career top priority, and with Boombox Logic, he’s created a diverse, far-reaching collection that underscores the rapper’s eclectic tastes. Hip-hop is the album’s foundation, but Kuf doesn’t hesitate to incorporate elements of everything from rock and folk to jazz, soul and the blues. “My music is definitely hip-hop, but it pretty much fits in well across the board,” the South Philly resident explains. “I’ve opened up for everyone from Common to the New York Dolls.”
    Boombox Logic boasts a long list of skillful producers that includes Pete Haslanger, Charlie Patierno, Klass, Tom Spiker, BeatSlanger, Onedependent, Taki 76, Ben Lee, Chuck Treece and singer/songwriter George Standford. The album’s diverse roster of guest artists includes Philly icon G. Love, rapper Doodlebug (Digable Planets founding member), singer/songwriters Sharon Little and Lizanne Knott, folk-rocker Allison Polans (Papertrees), neo-soul singer Dave Vegas and rappers Hezekiah and Reef the Lost Cauze.
    Boombox Logic is unpredictable, ranging from fun, good-natured party grooves like “Summa Funk” (featuring G. Love, vocals/guitar), “Sunny Philadelphia,” “Soul Music” (featuring Doodlebug, Vegas and Little) and “Fresh Kicks” to the serious-minded “What’s Goin’ On”-influenced social commentary of “Clock Tickin’” and “Party Queen,” about a close friend who was strung out on heroin. “I didn’t want to have too many songs like ‘Party Queen’ and ‘Clock Tickin’’ on this album,” notes Kuf, “but I needed to have a couple.”
    Other infectious highlights include “The Currency” (which, Kuf says, “was inspired by the way money controls everything”), “Drug Love” (which describes just how powerful sexual attraction can be) and “Fame Us,” a tune that, according to Kuf, addresses the never-ending battle between an artist’s desire for commercial success and his/her need for creative fulfillment.
    Knotz asserts that one of the tracks on Boombox Logic is titled “Soul Music” because the album is very much a reflection of his Philly upbringing . Growing up, he was influenced as much by his grandmother’s gospel singing as Motown, Peter Tosh, Donovan, 2Pac and that undeniable Philly soul.
    “Philly is very soulful,” Kuf stresses. “And it’s a very rich city musically. Gamble & Huff are from Philly. Hall & Oates are from Philly. Teddy Pendergrass and Patti LaBelle are from Philly. You can’t help being affected by that.”
    Kuf was discovered as a teen by legendary “Sound of Philadelphia” producers Kenneth Gamble and Leon Huff, who signed him to Philadelphia International Records. By the early 2000s, Kuf made his presence felt on the Philly scene as a member of alternative rap group Subtle Ground (who were mentored by DJ Jazzy Jeff). Kuf continued to move in an alterna-rap direction in 2004, when he co-founded the BurnDown All-Stars (whose three albums have received extensive exposure on the influential Triple A station WXPN-FM) and a few years later, when he formed The Hustle. In 2008, Kuf became the first rapper to open for Bruce Springsteen when he performed in front of a crowd of 50,000 people at a major rally for Barack Obama held on Philly’s Benjamin Franklin Parkway.
 In 2008, The Hustle released their debut, The 4,5,6 EP, another WXPN favorite that contained the anthemic “Philadelphia.”  After the Hustle broke up, Kuf quickly signed as a solo artist with Drexel University’s award-winning student-run MAD Dragon Records (ADA/Warner).
    “I’m excited about this opportunity,” Kuf says of MAD Dragon. “It’s such a great situation to be working with such an innovative program that works hands on and very close with the students. They work hard and push me to stay on top of my game and business. This situation is pretty ideal.”
    With the release of Boombox Logic, KUF KNOTZ is bringing his new twist on that famous Philly soul to not his only home town, but to listeners all over the world.

Candi Lynn
 
By Alex Henderson

        Vocalist/songwriter Candi Lynn has often been asked whether she considers herself more of a rapper or singer, and the New Jersey native’s response is that she likes to call her music “hip-pop.” Combining pop, rap, R&B and rock, the 21-year-old Candi has created a style that is distinctive, original and individualistic rather than generic or manufactured — and her originality is impossible to miss on her debut album, ILLMissBehavin, available on Ill Miss Musick (the independent label she co-owns with her mother/manager).
        Accessible yet adventurous and risk-taking, ILLMissBehavin is the work of a versatile artist who loves to have fun but also strives for depth and substance. ILLMissBehavin, which was produced by Chris “The Hitman” Conway (known for his work with Eminem, Capone-N-Noreaga, Run-DMC and many others) underscores Candi’s hands-on approach. She co-wrote all 15 songs on the album and enjoyed much more creative input than most artists her age.
        Stylistically, Candi has been described as a blend of Fergie, Pink and Britney Spears. Candi doesn’t disagree with those comparisons, although she points out that ILLMissBehavin doesn’t reflect anyone’s musical vision but her own.
        “My music has a hint of Fergie, a hint of Britney and a hint of Pink,” Candi explains. “Fergie because of the rap element; Britney because of the sexy, fun, naughty element; Pink because of the rock element and the snarl and the raspiness that I sometimes have in my voice when I sing. I love Pink. She just says what she wants to say, and I love that about her. But I’m not trying to emulate any of them. I do my own thing, and I’m not trying to be anyone but myself.”
     As much rapping as she does on ILLMissBehavin — and as much as she has been influenced by hip-hop — Candi doesn’t consider herself a hardcore rapper and is quick to point out that her music has as much to do with pop, R&B and rock as it does with hardcore rap.
        “I don’t compare myself to Eve, Jay-Z or Lil’ Kim,” Candi emphasizes. “Those artists are real rappers, hardcore hip-hop artists. I don’t claim to be a hardcore hip-hop artist even though I have the ability to rhyme words together. I call my music ‘hip-pop’ because it is pop music with a hip-hop element.”
        ILLMissBehavin is full of fun, infectious party songs that are both radio-friendly and club-friendly, including “Luv Ya Body,” “Naughty,” “Jump on the Train” and the lead single “Hey Gurl” (with a naughty-but-nice school girl video boasting a cameo by rapper Mr. Cheeks of Lost Boyz fame.) But Candi’s desire to have fun doesn’t mean that she isn’t edgy. That’s especially true on “Why” and “Bitch Please,” her humorous, in-your-face attack on what hip-hoppers call “playa-haters”—that is, people who resent those they are jealous of.
        “Everyone has a hater, especially girls when they’re young,” Candi notes. “‘Bitch Please’ is describing something that every girl experiences at one point in her life.”
        The lifelong “Jersey Gurl” also is quite capable of delivering social or political messages, which is what she does on “Find Your Place,” “Look to the Sky” and “No More War.”  Candi is as unpredictable musically as she is lyrically. The edgy “Why” incorporates a reggae beat, and hints of  Middle Eastern music can be heard on the hypnotic “Just Wanna.” Meanwhile, the sultry “Infatuation” is the album’s most R&B-oriented offering. Candi doesn’t rap at all on “Infatuation,” which could easily appeal to fans of Beyoncé, Mary J. Blige or Jill Scott. And the rock-influenced guitars flow freely on “MissBehavin,’” “My Body” and “So Sick.”
        Candi’s diversity stems from absorbing an impressively wide variety of music growing up at the Jersey Shore near Long Beach Island, where her tastes ranged from Beyoncé, TLC, Jay-Z and Eminem to Alanis Morissette, Christina Aguilera, Rise Against and Linkin Park. And along the way, different artists inspired Candi in different ways.
        “Eminem inspired me because he just says what he says and doesn’t care what people think of him,” she remembers. “That’s an awesome asset to have. Beyoncé inspired me because she’s so empowering and so real. Alanis inspired me because she’s very knowledgeable and very deep as well.”
        Even though Candi didn’t grow up in a tough inner-city area, she knows what hard times are about and what it means to struggle. Candi and her two siblings were raised by a single mother: Candi’s manager Carrie Ariemma, a domestic violence survivor. Despite facing an uphill battle, Carrie beat the odds and went on to become a successful entrepreneur who owns a major nightclub in Atlantic City. Observing her rise above her struggles taught Candi and her two siblings a valuable lesson: perseverance.
        “We had a hard life when I was growing up,” recalls Candi, who was born in 1988. “My mom was in an abusive relationship, which she got out of — and we were living in battered women’s shelters at one point. But we kept the faith and got through that. My mom is one of the strongest people I know. For her to be able to pull through the things she has and accomplish the things she’s accomplished took a lot of strength. My mom has been such an inspiration to me. She made me the artist I am today.”
        Having witnessed first-hand the value of such intense determination, Candi wanted to send out a message of hope on “Look to the Sky” and “Find Your Place”— both of which encourage listeners to stay strong in the face of adversity.
         “When I wrote the lyrics, I was thinking about the current recession,” Candi explains. “I was thinking about how sad people are and how so many people don’t feel beautiful when they look in the mirror. In that song, I’m telling people that anytime you feel down, just have that faith and keep your head held high. Any time you’re feeling like you’re knocked to the ground and can’t get back up again, just look to the sky and keep your faith. Things will work out for you. And ‘Find Your Place’ is saying that you should find your place in the world and embrace it. You might feel down, but you’re here for a reason — and there is a purpose for you. Keep going. Keep working at it. There will be hardships and craziness in your life, but keep going and keep working at it because d    oors will eventually open for you.”
    “No More War” is the most overtly political song on ILLMissBehavin.  “It’s heartbreaking when you turn on the news and hear that ten more American soldiers have been killed in Iraq or that ten more Iraqi civilians have been killed,” Candi asserts. “I know people my age who are coming home from the war in Iraq, and they’re mentally distraught. ‘No More War” is about how tragic war is.”
        Despite that hard-hitting subject matter, ILLMissBehavin is optimistic on the whole — and much of Candi’s optimism was inspired by Ariemma, who did everything she could to encourage her daughter’s interest in music. Candi was 16 when her mother urged her to participate in an open mic in Philadelphia, and the two of them went on to form Ill Miss Musick together. Now, in 2009, Candi has the support of a whole team of top music industry professionals that includes not only Ariemma, but also, booking agent, publicist, entertainment attorney, and radio and video promoters. Candi has been making in-store appearances at fye music retailers and Mandee, a popular East Coast women’s clothing chain.
        “My mom always tried to guide me, but she never tried to change me,” Candi stresses. “She always wanted me to be myself.”
    Indeed, Candi’s individualistic spirit is alive and well on ILLMissBehavin.♦

Samantha Siva

By Alex Henderson
 
            It's no coincidence that Samantha Siva's second album is titled Identity, for the ambitous project is very much a reflection of the British singer/composer/keyboardist’s thoughts, emotions and outlook on life. Far from the work of a producer's puppet or the product of a musical assembly line, all of the songs on Identity  were inspired by Siva's own experiences and by events in her life. Though Identity  essentially falls into the R&B/pop/urban category, it has a strong jazz influence and reflects an adventurous spirit that sets it apart from many of the urban contemporary releases of the late 1990s.
            “Identity is a very self-defining body of work, both musically and spiritually," asserts the sensuous, Sade-influenced Siva, who was born and raised in Manchester, England but is of Sri Lankan descent and currently lives in New York's Tribeca area. "When I recorded this album, I wanted it to reflect my multicultural outlook on life and who I am as a person--and for that reason, the pictures on the CD cover capture the real me instead of presenting some contrived image. From the pictures to the music to the production, I wanted Identity  to capture me as I really am.  An album should reflect the changes you go through emotionally and spiritually, and I think this album reflects those things."
            Because artistic freedom is something she insists on, Siva was careful to choose producers and musicians who were supportive of her musical vision. Siva did much of the producing herself, with some help from pop-jazz/NAC favorites like pianist/keyboardist David Benoit and guitarist Chielli Minucci. Other in-demand musicians employed on the album include pianist Mario Grigorov, percussionist Brad Dutz and drummer  Poogie Bell.
            "As I see it,” Siva emphasizes, “a producer's job is being supportive of an artist's ideas and helping the artist get those ideas across--not telling the artist what to think. With Identity , I insisted on being in control of the final product, but I also valued the input of David Benoit, Richard Elliot and Al Schmitt, a seven-time Grammy winner. Like myself, David is a pianist--and pianists really touch my heart.  Because I brought in so many people to help me with this album, it was challenging to make sure that it was a cohesive body of work. I  had to be certain that all of the musicians would be supportive of my vision instead of distracting me from it. I’m grateful that the musicians and producers really understood what I wanted to get across."
            From the dusky “Living Alone,” the soulful “If I Never” and the funky "I Can't Stop" to the reflective "Like A Child," the new age-influenced “Millennium” (Identity’s[I] only instrumental) and the haunting “Wilderness,” Identity is an album that, for all its R&B/pop appeal, underscores Siva’s healthy passion for jazz. “Jazz is a defining ingredient of my sound,” she says. “It’s one of the things that makes my music distinctive.”
            The hypnotic “Lullaby,” in fact, combines urban contemporary/quiet storm rhythms with the type of modal piano groove one would have expected McCoy Tyner to provide on one of John Coltrane’s classic 1960s recordings. “‘Lullaby’ has to be my favorite song on this record, and it’s definitely the most organic,” notes Siva, who has enjoyed endorsments from BASF and Yamaha. “With ‘Lullaby,’  I wanted to bring together different elements--the jazz piano, the ethnic new age influence. David Benoit and I just built on each other's ideas.”
            Although all of the songs that Siva wrote for Identity were inspired by her own experiences, she was careful to provide lyrics that others could relate to. “Like A Child,” for example, was inspired by a romantic relationship that Siva had to bring to an end. Siva explains: “‘Like A Child’ describes a woman who has been let down by a guy who tried to impress her with his wealth and lifestyle, but who is child-like and is incapable of satisfying her emotionally. The song isn’t about a woman being bitter, angry or wounded--it’s about walking away from a relationship stronger. If anything, ‘Like A Child’ is sympathetic to the guy.”
            Siva continues: “Nor are any of the other songs on Identity  about anger or bitterness. Some of them are sad, but on the whole, it is a very positive, uplifting album because it’s about growth and about learning from your experiences.  This album really symbolizes a freedom of spirit and is about survival and enjoying your life. It's really a celebration of one's freedom--a song about relying on yourself to find meaning in your life.
            “‘Living Alone' is about finding strength in yourself. Similarly, ‘Wilderness’ is about finding time for yourself, as busy and hectic as your life may be. The wilderness doesn’t have to be a remote area of Alaska; it can be anywhere. You can find your own wilderness--your own space--in Mid-Town Manhattan.”
            Siva’s British upbringing was a source of inspiration for two of the songs on Identity : the evocative “Riding Horses” and an unconventional interpretation of the 16th Century British folk song “Scarborough Fair.” Recording the songs, Siva found herself thinking about the England of 300 and 400 years ago.
            Siva says: “The concept of ‘Riding Horses’ came from 16th Century English folklore, and the song uses horses as a metaphor for love. If you read the poetry and literature from that time, the horse was considered a very powerful and majestic creature--a lot of battles were fought on horseback. So on 'Riding Horses,' I'm saying that love is a very powerful and majestic force--and I'm equating the arrival of love in your life with the way a soldier arrived on horseback in the 16th Century. It's a very dramatic piece.”
            It was in her native Manchester, England that Siva learned to appreciate a variety of music at an early age. Siva began studying classical piano as a child, and she was only seven when she was awarded a full scholarship to the Chethams School of Music. But her classical training didn’t prevent her from absorbing everything from straight-ahead jazz, R&B and hip-hop to folk, rock, world music and new age. As a teen-ager, Siva considered pursuing a career as a classical instrumentalist, but as time went on, singing became more important to her--and she realized that more popular music was her calling.
            After playing piano in various restaurants around Manchester, Siva decided to travel around the world. The singer spent ten months in Sydney, Australia--where she played keyboards in a local heavy metal band--before moving to Los Angeles. In 1992, Siva decided to make New York her home, and it was in 1996 that she released her debut album, Rhythm of the Voices, on her own Genie label.  David Nathan, a well respected R&B critic and contributor to Billboard, exalted the promising debut as “a tour-de-force that heralds the arrival of an artist with an innovative musical approach and a universal lyrical message that is sure to have global appeal.”
            Although Siva is understandably proud of that debut, she is quick to say that she has grown a great deal as an artist since then--and that Identity  is the product of that growth. “The singers that I admire the most--such as Seal, George Michael and Sting--are singers who have well-defined artistic messages,” she stresses. “I really like artists who have their own unique message, and that’s what I strive for myself. With Identity, I feel that I have delivered an album that defines who I am as an artist and as a person--and hopefully, an album that people will dip into time and time again.”♦

Verve Music Group, 2000 (George Benson)

MAD Dragon Records, 2010 (Kuf Knotz) 

Ill Miss Musick, 2009 (Candi Lynn)

Genie Entertainment, 2000 (Samantha Siva)