![]() ![]() And on bass, my brother Stanley Banks, who is still in my band today. Ronnie Foster and Jorge Dalto on keys livened things up. The great percussionist, Ralph McDonald, the best wah-wah guitar player, Phil Upchurdch, and the baddest drummer, Harry Mason. So, I hired a new batch of musicians for the studio. I also admired the instrumentation he was using. So, I started looking him up and listening to his music, and I liked his personality. I heard this popular cat, Peter Frampton, had talked about me in an article mentioning I was one of his favorite artists. One of the main reasons why Breezin' was important to me was the way in which I was influenced to record it. What do you recall of the mood and atmosphere in the recording studio while making the record? It was popular enough to take the #1 spot on the Billboard 200 away from "Frampton Comes Alive" for two weeks in a row that summer. debut, and the inspirations that made BREEZIN' such a timeless classic.īREEZIN' is one of the definitive albums of 1976. We recently had an opportunity to chat with George Benson about his auspicious Warner Bros. The sound of Benson's distinctively smooth, clean guitar tones on the title track and hit single, "This Masquerade," echoed across backyard BBQs, parks and beaches across America as the country celebrated its bicentennial. Listen to I Hear You Knocking or Memphis, Tennessee to hear a jazzman’s take on the fathers of rock.In the summer of 1976, George Benson's BREEZIN' album reigned atop the Billboard 200 for two weeks straight as the heat of July simmered into the early days of August. Here, George returns to his early influences with versions of Fats Domino, Chuck Berry and others. Produced by Quincy Jones, Give Me the Night won three Grammys and dropped another hit with its title track that scored in discos worldwide.īenson sailed on to great heights before things wound down a bit in the 21st century, His tribute to Nat King Cole in 2013 was a natural fit for the crooner in him, but our final pick here is 2019’s Walking to New Orleans. This Masquerade, composed by Bobby Womack and Leon Russell, brings Benson’s vocals upfront, helping to push the LP to triple platinum and a Grammy nomination for album of the year. He rolls out cool melodies and fast, fluent licks with a bright and clear sound. With Breezin’, George Benson hits his instrumental stride. With the aid of producer Creed Taylor and an orchestra in the tradition of Montgomery, George spins on the Fab Four alongside the likes of Herbie Hancock, Bob James, Ron Carter, Freddie Hubbard and Ray Barretto. Check out the take of Donny Hathaway and Gene McDaniels’ evocative When Love Has Grown.Ī few years after Wes Montgomery’s A Day in the Life, Benson followed with his own interpretation of The Beatles songbook. The title track says it all, a physical romp showing off Benson’s soul-jazz stylings in a funky setting with an all-star backup band, including the introduction of Earl Klugh on second guitar. By 1973, Body Talk shone the spotlight onto this still emerging talent in six lingering cuts. George Benson began his recording career in 1964. But if you’re looking for an entry into his repertoire, these are five fine examples of Benson’s exemplary ability to cultivate crossover appeal while still honouring the spirit of jazz. With a career as vast and deep as George Benson’s, narrowing it down to five essential recordings is just scratching the surface. Word of this virtuosity spread, and soon he was offered the chance to record. Benson’s own path to fame involved gruelling nights on the road away from his hometown of Pittsburgh. ![]() Each took their blues-infused jazz to sophisticated new heights. There’s a direct line from Charlie Christian through Wes Montgomery to George Benson. Pictures from his youth show George Benson holding the instrument like a lad who was born to play. It was then that two love affairs were born: Tom Collier became George’s stepfather and first musical mentor, and young George Benson fell hard for the guitar. As soon as the man left the room, George ran to the instrument. One day, a man came calling and told George not to touch the guitar he’d brought to serenade the boy’s mother. Growing up with a single mother, the young George knew he loved music but couldn’t warm up to the old piano in their living room. Looking back to his earliest days, Benson seemed destined for greatness as a child prodigy. George Benson first made it to the top of the pops in the 1970s, scoring multiplatinum with his smooth singing and superb musicianship. By Danny Marks George Benson Austin Hargrave These five albums show his exemplary ability to cultivate crossover appeal while still honouring the spirit of jazz. George Benson was born to play the guitar. ![]()
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