U-Nam & Friends: Weekend in L.A.: A Tribute to George Benson

U-Nam & Friends: Weekend in L.A.: A Tribute to George Benson By Peggy Oliver

It has become a ritual for the musical community to produce tribute projects and many paying homage to influential artists. However, only a few of those aforementioned are of exceptional caliber. Whether it’s their distinctive approach, performance excellence or a special connection with that artist, their tributes pay an even higher compliment towards the one being honored. Two releases in 2012 come to mind; one being the enthralling tribute to Etta James from Etta’s soul sister Leela James and the other belonging to guitarist U-Nam’s perspective of contemporary jazz great, George Benson. The comparisons to Benson for this French native have followed him throughout his journey – all to his creative advantage. His earlier work
as documented on The Early Tapes 94/95 was anchored in those tight acid jazz grooves recorded during studio sessions in Paris at the age of twenty. As a respected musician and producer in Europe and America (i.e. Kool & the Gang and & M.C. Solaar), U-Nam (AKA Emmanuel “U-Nam” Abiteboul) exhibits a high energy level while immersing himself with classic soul of Stax and Motown with inventive flair. U-Nam’s dexterous guitar and notable arrangements earned him three highly regarded contemporary jazz releases starting in 2005 with The Past Builds the Future, Back from The 80’s in 2007 highlighted by The Crusaders’ signature hit, “Street Life,” and Unanimity (2009).

Blessed completely by U-Nam’s hero, U-Nam’s latest, Weekend in L.A., is a striking impression of mostly Benson’s glory hit making days with Warner Brothers during the seventies and eighties. The title track opens with a majestic bang and plenty of fluid soloing by Ronnie Foster on electric piano and a guitar fest with U-Nam and Andreas Oberg. U-Nam’s affection for club beats is demonstrated evidenced by the techno-coated, “Give Me the Night,” a speeded up rendition of Breezin’ backed with “Before You Go” and “On Broadway,” driven by rock and hip-hop piloted rhythms. At eleven minutes, “This Masquerade” could have keeled over from sluggishness. Yet U-Nam strategically sets the pace with Tim Owens’ gospel soul vocals, shifting gears to a juicy electric piano solo from George Duke, an on-point, well-executed rap from Jeff Lacey, then capped by Phil Perry’s exhilarating tenor. Paul Jackson adds his guitar on “Shiver,” a slightly unusual hybrid of smooth jazz and electro funk. A lesser known Benson piece which he collaborated with drummer Tony Williams, “Hip Skip,” rides on a synthesizer-based fusion funk.

The only real sour note on Weekend in L.A. is where U-Nam’s sonic experimentation on “Nature Boy” collapses as instruments and vocals compete against one another, despite the usually sound vocals of Stokley Williams. Thankfully, those moments are few as U-Nam blesses Benson back with a genuine tribute that fans of these jazz guitar geniuses will surely appreciate.

Four and a half out of five stars.

Peggy Oliver
The Urban Music Scene