George Benson Albums (54)
What The Critics Say
By the time George Benson released Love Remembers for Warner in 1993, he had basically accomplished everything a musician could ever dream of: he has played with a who's who of jazz greats, scored big as both a jazz and an R&B artist, won numerous Grammys, and had his name become synonymous with two different radio formats: adult contemporary and smooth jazz. Long the bane of "serious" jazz critics, Benson didn't even need to think about it: he made music that communicated to millions from one record to the next -- the man had a single or album somewhere on the charts ubiquitously from 1975 until the turn of the 20th century! This 12-track set listed a number of fine producers on its roster including Bob James, Stewart Levine, Gary Henry, Jimmy George, and David Gamson, in addition to the man himself . The set begins with the laid-back funky soul of Brian McKnight's "I'll Be Good to You." Benson's voice and Wah Wah Watson's guitar twin intro lines in trademark fashion before gliding right into the sensual lyric. The interesting thing here -- besides the overwhelming infectiousness of the groove -- is what a fine singer Benson had become by this time. With Ndugu Chandler on the kit, William Bryant on the Fender Rhodes, Bill Summers on percussion, and McKnight on backing vocals, the tune is unbeatable as an album opener -- radio listeners thought so, too. "Got to Be There" is a romantic ballad with Benson in the guitar as well as vocal chairs, Melvin Davis holding down the big bank of keys, and Gary Henry handling the programmed loops and percussion samples. It's elegant, graceful and drenched in atmosphere. The old CTI gang gets together again on the Bob James produced instrumental "My Heart Is Dancing" by Omar Hakim. James Benson, Hubert Laws, Richard Tee, Randy Brecker, and Hakim team with relative newcomer Kirk Whalum on saxophone. It's an easy, mysterious groover with hip guitar work and horn charts. Another fine instrumental on the set is Whalum's "Willing to Fight," with James, bassist Will Lee, Hakim, Whalum and especially Benson all in fine form. This one got played like crazy on contemporary jazz radio stations at the time, and despite the dated sound of its production, holds up beautifully as a composition. Benson turns in another inspired vocal performance on "Lovin' on Borrowed Time," a mid-tempo soul tune written by Benson and John F. Hammond. A real surprise is the second from last cut, a cover of Ronnie Foster's "Lost in Love," with Phil Upchurch guesting on rhythm guitar and the composer on keyboards along with Paulinho Da Costa on percussion. A shimmering buckle shiner of a track, its groove is drenched in melody with Foster's keys hovering right around Benson's lead lines with Upchurch painting the backdrop with gorgeous chord fills. Love Remembers is certainly a solid high mark for Benson in the '90s, and anyone interested in Benson's brand of pop will be delighted with it. ~ Thom Jurek, All Music Guide
'Givin' It Up'
Release Date 1/1/2006
Tracks 13
Label Concord Music Group, Inc.
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What The Critics Say
Givin' It Up finds crossover jazz icons guitarist George Benson and vocalist Al Jarreau teaming up for a breezy, enjoyably melodic session that highlights both artists' long careers. Technically a duo album, it is Benson's first since signing with Concord Records. As such, it works as a nice reintroduction to both artists and even finds them reworking the Bobby Womack classic "Breezin'," which Benson originally covered on his 1976 album of the same name. Here listeners get Jarreau adding lyrics and vocals on a version that really evokes the classic '70s jazz-meets-R&B sound that was an original hallmark of smooth jazz. In that sense, Givin' It Up is a true joy for fans of that more organic, song-oriented approach to crossover music, with Benson and Jarreau digging in to such great songs as Seals & Crofts' "Summer Breeze," John Legend's "Ordinary People," and Darryl Hall's "Every Time You Go Away." Also adding some unexpected fun and celebrity sheen to the proceedings is an impromptu appearance by Paul McCartney, who joins in on Sam Cooke's gospel-inflected "Bring It on Home to Me." Throw in appearances by trumpeter Chris Botti, vocalist Patti Austin, pianist Herbie Hancock, and bassist Marcus Miller and Stanley Clarke, and Givin' It Up proves music is always fun with a little help from your friends. ~ Matt Collar, All Music Guide
'Best of George Benson Live'
Release Date 9/27/2005
Tracks 10
Label GRP
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What The Critics Say
Recorded live at Waterfront Hall, Belfast, Ireland, in 2000, these ten tracks are pleasant re-workings of guitarist and vocalist George Benson's jazz-pop hits of the '70s. To his credit, Benson isn't just a human jukebox re-creating well-known songs and sidestepping any spontaneity that derives from a live performance. For instance, his band, which includes keyboardist Joe Sample, gets to stretch out a bit, showing off their improvisational skills on "This Masquerade," "On Broadway," and particularly on Sample's "Deeper Than You Think." Alongside his seven-member group, Benson employs the BBC Big Band and musicians from the Ulster Orchestra who provide a real lushness that enhances the music instead of utilizing the cheesy synthesizer strings that often marred some of his work in the '80s and '90s. Fans of Benson's early sessions for Columbia or A&M may not rush out to purchase this, but those who favor Breezin' will find some pleasant moments here. ~ Al Campbell, All Music Guide
'Two Originals: White Rabbit/Good King Bad'
Release Date 1/1/2005
Tracks 12
Label CTI
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'Jazz After Hours with George Benson'
Release Date 1/1/2005
Tracks 7
Label Performax
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'Golden Legends Live'
Release Date 12/7/2004
Tracks 10
Label St. Clair
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What The Critics Say
No, you're not in Creed Taylor country yet, but you might as well be, for many of the ingredients that would garnish Benson's albums with Taylor are already present in this often enjoyable prototype. The immediate goal was to groom Benson as the next Wes Montgomery (who was about to leave Verve) -- and so he covers hit tunes of the day ("Sunny," "Along Comes Mary," "Groovin'"), playing either with a big band plus voices or a neat quintet anchored by Herbie Hancock, and the sound is contoured to give his guitar a warm mellow ambience. But the eclectic Benson is his own man, as his infectious repeated-interval rhythm trademark tells us on his self-composed title track, and despite Tom McIntosh's mostly lame arrangements, George's work is always tasty and irresistibly melodic. ~ Richard S. Ginell, All Music Guide
