The bassist fronted his own combo during this period and was part of a houseband at the Lighthouse, a famous LA jazz venue. He also began backing Peggy Lee, the first of his many associations with female vocalists which would include Ella Fitzgerald in the late '50s and Joan Baez in the '70s. Bennett was part of the Jazz At the Philharmonic tour in 1958 and rejoined his former associate Gibbs the following year. In the '50s he also began releasing sides under his own name, an area of creativity he would return to off and on through his career whenever his schedule would permit. His studio activity drew him solidly into the world of pop music, beginning in an era when hitmakers often relied on studio pros to actually play the instruments heard on a record.
The best example in this case would be The Monkees, who had to battle mightily just to be allowed to touch their instruments on record. Bennett is the bassist on many of this group's best records, and also holds down the bottom end on cuts by the Partridge Family. His association with the latter group serves as one link between such bubblegum pop and the unsavory taste of Frank Zappa. Bennett was one of the studio players brought in to realize the Hots Rat project, Zappa's regular band having gotten the heave-ho only weeks before the sessions began.
Bennett also showed up on later Zappa masterworks such as Chunga's Revenge. While Bennett can't rival Zappa in the sheer number of compositions created, he has also been active as a writer and has had material recorded by west coast stalwarts such as Victor Feldman and Tom Scott. ~ Eugene Chadbourne, All Music Guide Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
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