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Page IB Benson and Earl \ George> Kluqh guitar came when he first heard a recording by the legendary Chet Atkins, on which Chet played both melody and chords simultaneously. Klugh went out and bought everything he could fihd by Atkins, learning the po- tential and range of the instru- ment by mimicking what he heard. It was through this pro- cess that Klugh developed his own distinctive finger-picking style, later to be influenced equally by Latin master Laurin- do Almeida. By age fifteen, Klugh was al- ready teaching guitar in a Detroit music store. It was there that Jazz giant YusefT Lateef first heard him and subsequently of- fered him a chance to record. Two years later, as a result of in- sider's word of mouth. Klugh had Joined guitarist George Benson's band, establishing a friendship that would last to this day. Klugh's next move was to Chick Corea's groundbreaking fusion outfit. Return To Forever, as a re- placement for Billy Conners. As an RTF alumnus. Klugh would al- ter make excellent use of his ed- ucation In electronics and rock/ Jazz hybrids. Departing Return To Forever In the early 70a, Klugh returned to Detroit where he began carving out his own stylistic territory, Qrst with a group called Th* Trto and later as a solo, artist oh Blue Note Records. His stint on the label yielded such classic Klugh Li'S as Dream Rone TVu^ finger Painting. Heart String, and the I pivotal Crazy For You, his first gold-selling effort. A switch to Capitol Records In 1979 yielded a series of acclaimed albums that teamed Klugh with re- nowned pianist/composer Bob James. Both One On One and Two Of A Kind are Klugh/James collaborations that stand as high-water marks in modem Jazz performing. One On One went on to gamer a Grammy Award, one of seven Grammy nominations In Klugh's career. The early 80s saw Klugh's crea- tive output undlmlnlshed: aside from such popular and critical success as Low Ride (1983), Wishful Thinking (1984) and a collection of timeless standards renewed by Klugh tilled Night Songs (1984), the guitarist also penned and performed the soundtrack to Marvin & Tlge. a John Cassavettes film that Is only now seeing general release. Touring, jneanwhlle, continued apace, with regular concert sweeps of America every spring Sen-out appearances at major as well as the occasional venues. an foray European Including Into and both at the Japan Europe, ap- exciting performance markets for Mootreaux Jan Festival, preciative Klugh's segued distinctive into an extensive North Amerl- playing. In late 1983. with albums still owed to to Benson has also Capitol, Klugh signed distinguished Warner Bros. Records. "There himself in another creative are- were ears as War- ns olf of the sympathetic lata.^An episode ner Bros, for the kind of Instru- mental music that I waa Inter- featured Bsnson In a m*l** sup- ested in exploring," Klugh porting ids 1 lowed the oppor- explains. They were willing to wait." Two of those & Benson sympathetic Klugh ears belonged to Vice President/ ....Will Hay Live At Ovens AAR of Progressive Music, Tom- my LIPuma, who had worked ex- tensively with Klugh In the past. 70m that George's reputation aa a that year he scored another platinum. context for America's most en- "I'd played with George Benson uniquely talented grew. smash single with a live version note, chord, guitarist Every every every during music form. and given him the title track to Much of Benson7* best music of the Drifters classic, ’On Benson has or song played sung life Stories, which seta Klugh's hla LlYln iMkte al- from that can be found on from another since his debut at four ftBLkM period Broadway.’ yet stage age Intuitive, subtle, nuanced acous- bum. as well as A1 Jarreau, who s satis of star albums ha record- album. Week- has Into platinum-selling gone making up a talent tic a full ed guitar playing against used my song "This Time* as the for CTI, the Oram- end In LA. garnered him a Oram that la as one of the including recognized range of totally electronic ac- title cut for one of his LPs," re- my-nomlnatad White Rshhrt for Best Male R8tB Perfor- my premium gultartst/vocallsts In companiment, Is one of the most veals Breezin', waa Benson's first mance In Livin' Inside Klugh. al- 1978. the Jazz/pop world today. original and adventurous aural bum on Warner Bros. Benson’s 1»79 offer Records Yflur bom. KAIL KLUGH experiments in recent and It memory. material proved to be an auapfetotw Ing, was followed a year later On l-if* his second al- The fact that Klugh began writing by It succeeds brilli- for debut. This Masquerade." the Qin.-lte-.IliB which bum for Warner his Warner Bros, debut, en- Might, Bros. Records, antly. on eight Klugh originals only vocal cut on an otherwise launched two more ten hits, virtuoso tering the studio to cut his debut top acoustic guitarist Earl and two inspired covers. Is a tes- instrumental album, became the the title cut one on for the label. Soda Fountain (number pop Klugh has taken a creative leap tament to this artist's first in music and soul ’Lore symbiotic Shuffle comers and two ysars later had song history to charts) and X forward that at one time, serves to hls Instrument hold the relationship number one spots on Lore.” Oeorge'e Orammy awards notice of a wholly new synthesis the and It's followed now Life Sto- Jazz, pop soul charts. In 1980 Included Best Male R&B of lazz and while continuing Klugh's career began, by hls by pop rtea. a new kind of for a new Brcczlal_went on to earn three Performance. Best R&B Instru- a two-decade tradition of Inven- own best guess, at age three, jazz kind at audience. Grammy awards in 1076, taclud mental Performance and Best tive. accessible and con- when he sat In front of the ■ totally family tog Best Pop Instrumental and Jazz Vocal Performance. Instrumental music. radio In his home town of Detroit temporary Richly textured, cao- Best RAB Instrumental. It re- In a album brilliantly 1985, compilation It's a tradition that has placed and picked out the not a of Ed- cetved and Ufa Starts. mains best executed, tbs selling jazz si of Benson's best love songs ap- at the forefront of a new die "Canadian Sun- Klugh Haywood's la precisely what one might as- humoral tens. entitled Lots set" as It wafted propriately Sonya. generation of Jazz artists, whose across the air- pect from the creative was million was released In the imagina- Inflight Georges U.K., and id Innovation and approach waves. A turning point In hls tion at Bait T«Wmrmrnt* 1978 stylish IQugh: pure, pleasur- selling. follow-up. Later most went to his art has fashioned s love affair with acoustic Immediately triple fresh life-long able and persuasive. .

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