When She’s Gone. She could be his lover… his friend… even his mother. For Benny Turner, who writes and plays only what he deeply feels, there is no more heartfelt essence of the blues than the pain of missing his loved ones. Not long after moving to New Orleans in 1986, Benny met Marva Wright, the Blues Queen of New Orleans. It wasn’t long after joining her band as the bassist that he was also named band leader, a role he held for more than twenty years. Not only did she grow to be a very dear friend, but her family also became his adopted “New Orleans family.” Marva’s passing in 2010 was an enormous loss for the New Orleans music community, and for Benny personally. Recordings that he made with Marva over the years are his cherished treasures today. Track 2, “Pity on This Lovesick Fool,” is a fine showcase of the musical synergy of Marva’s vocals in call-and-response with Benny’s. Six of the songs on this CD (1, 2, 3, 5, 6 and 7) were written and recorded by Benny in the mid ‘90’s and first released on his debut (1997) CD, “Blue and Not So Blue.” Because the CD has been a long-time favorite of mine and was never “officially” released or promoted except off the bandstand by Benny, it has been my goal to get it globally released where it will take its place as one of today’s best blues CDs. Many of the musicians on the recordings were also members of Marva Wright’s band (the BMW’s) who, along with Benny, played and toured together internationally over the years. Despite the minimal promotion and distribution of Benny’s masterpiece, it did capture the attention of the late Andy “Bluesboy” Grigg, producer of Real Blues Magazine. In 1998, “Blue and Not So Blue” was awarded the “Best New Orleans Blues/R&B CD (male artist)” and “Best Production/Independently Released Blues CD” awards from Real Blues Magazine. Andy was a wonderful supporter of Benny’s who is deeply missed. There are some significant items of interest about these re-released original songs from “Blue and Not So Blue.” Being Benny’s debut CD, he very deliberately chose not to use guitar, in tribute to his two favorite guitar players: his late brother Freddie King, and also his (now departed) dear friend and former band mate Mighty Joe Young. Instead, he crafted a special blend of instrumentation, including a showcase of his signature style using powerful bass solos in “So Deep” and “Have You Ever Been So Lonesome.”. The Wolf’s words of wisdom have remained with Benny for all these years, especially this: “If you want to make a name for yourself, you have to be different. You won’t be able to please everyone, so be loyal to your own style and play your a** off for the people you do please.” There was one important exception to the “no guitar” rule, when Mac Rebennack (aka Dr. John) had finished his piano recording on another tune, and stayed in the studio to listen to Benny’s recording of “Because of You.” He said he was inspired to pick up the guitar and play rhythm. Since the iconic Dr. John is best known for his keyboard skills, it was an offer that Benny couldn’t refuse, and so the rhythm guitar on that track is a very special contribution. Benny was able to connect with Dr. John through his drummer, Herman “Roscoe” Ernest. Herman was a great fan and friend to Benny from the very beginning of his time in New Orleans, often stopping in to hear him play at the Old Absinthe House when returning to town from his gigs in Dallas with The Forever Fabulous Chickenhawks. Four blues and R&B classics round out this CD. Growing up in Chicago, Benny had the benefit of learning from the masters, including Muddy Waters. Reconnecting with Muddy’s guitar player, Bob Margolin, in Florida in early 2015 brought back a flood of memories for both musicians, and an instant kinship. A few months later, I watched from the sidelines as Bob invited Benny to the stage to play “Hideaway” with him, and saw a look on Benny’s face that I had never seen before; a look that he was “home” again. When I shared that observation with Bob, he reported similar feelings, saying that “The departed musicians we both knew, and our experiences with the music itself, are a bond.” Thus was the inspiration to have Bob as a very special guest on two songs for this CD, with outstanding results! Benny was immediately captivated by his slide guitar work on Bill Withers’ 1971 hit “Ain’t No Sunshine,” saying that it turned an R&B song into a “killer” blues version. Likewise, Bob’s lead guitar solos on “Reconsider Baby” bring tasty melodies and skillful accents to Lowell Fulson’s blues standard. Recollections of a recording session with Freddie King and Jimmy Rogers for the “Gold Tailed Bird” album inspired Benny’s adaptation of “That’s Alright.” There were some issues with that session, and Freddie called for Benny’s help. He flew him to California to sit in the hotel room “on call” in case he was needed (he wasn’t). The brothers always had each other’s backs. Jimmy Rogers was one of Freddie’s first mentors in Chicago, who taught him how to play with the finger and thumb picks. Benny wanted a very distinct flavor for the lead guitar on this track, staying true to Jimmy’s style, and so he played it himself. He also added an additional verse to close the song. Lastly, the recording of “Black Night” is Benny’s opportunity to share a prized musical time capsule. When he and Freddie used to rush home from school to hear Charles Brown on the 1940's radio show, "In The Groove," he never dreamed of someday having the opportunity to collaborate with one of his musical heroes in the studio. That dream came true in 1997 when he had the honor of recording not one, but two songs featuring Charles Brown on piano. "Black Night" wasn't released with “So Deep” as part of the "Blue and Not So Blue" release because that CD was a collection of Benny’s original music. Instead, it was put into storage at Sound Services Recording Studio in New Orleans, which was flooded during Hurricane Katrina in 2005. Fortunately Marc Hewitt rescued the tape and took it with him when he evacuated to Florida. Misplaced for years afterward, the integrity of the tape was a big concern when it resurfaced, so Benny sought the expertise of Jack Miele at Fudge Studios. Fortunately, Jack was able to capture the entire recording on the first run, because the tape began to disintegrate on the second run. These recordings are very sentimental for Benny because his session with Charles was one of Brown's last, if not THE last, recordings before his death in January 1999. It is also an homage to Benny’s brother Freddie, whose death in 1976 left a void which will never be filled. His change in lyrics from "My brother's in Korea" (Brown's version) to "My brother died and left me" reveals the source of raw emotions responsible for many black nights in Benny’s life. “When She’s Gone” is dedicated to Benny’s mother, Ella Mae (King) Turner, who was born on February 14, the release date. Musical ability runs deep and wide throughout the King family, and it was Ella Mae who gave both Benny and his brother Freddie their very first lessons on the guitar. While Freddie had the time and opportunity to develop his own guitar style, Benny has primarily played bass throughout his career, therefore his guitar picking is still in the original style he learned from his mother. Her soulful singing was the soundtrack of his early childhood. This woman, who raised two legendary blues artists, laid in an unmarked grave in East Texas until 2014, when Benny had a gravestone placed in her honor. It says, simply, “She made a difference.” And for that, we can ALL be grateful! ~Sallie Bengtson