{"id":5884,"date":"2023-05-14T00:01:04","date_gmt":"2023-05-14T05:01:04","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=5884"},"modified":"2023-05-17T10:20:30","modified_gmt":"2023-05-17T15:20:30","slug":"opportunity-special-george-benson","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/opportunity-special-george-benson\/","title":{"rendered":"Opportunity to Make Something Special: A Conversation with George Benson"},"content":{"rendered":"\n

To many, George Benson needs little introduction. During his career thus far, the guitarist-vocalist has been nominated for twenty-five Grammy Awards, winning ten. He has a star on the Hollywood Walk of Fame. And in 2009, the National Endowment of the Arts awarded them one of the highest recognitions: the title of Jazz Master. Much of Benson\u2019s success comes from his unfaltering ability to find where improvised music and popular music cross-pollinate.<\/p>\n\n\n\n

Benson\u2019s jazz bona-fides are well-established. A child prodigy influenced by Charlie Parker, and Charlie Christian, Grant Green, Benson\u2019s first major opportunity as a professional musician came as a four-year stint with organist Jack McDuff, who was also featured on Benson\u2019s debut as a leader, The New Boss Guitar of George Benson <\/em>(Prestige, 1964). Subsequent records – It\u2019s Uptown <\/em>(1966) and The George Benson Cookbook <\/em>(Columbia, 1967) – found Benson continuing to travel the soul jazz trajectory with Lonnie Smith and Ronnie Cuber. His late 60s output found him alongside Clark Terry, Joe Henderson, Herbie Hancock, Hubert Laws, Ron Carter, and Bob James. Benson also briefly recorded with Miles Davis. <\/p>\n\n\n\n

But even with recordings more comfortably within the jazz idiom, Benson has shown a propensity to pay homage to more popular sensibilities. This interest in pop music goes back to Benson\u2019s childhood. At age ten, he recorded his first single, \u201cShe Makes Me Mad\u201d (Groove, 1954), a track that fits comfortably with R&B music of the era. And even in Benson\u2019s more purely jazz-focused years, it was not uncommon for him to cover a song by Smokey Robinson, Aretha Franklin, or the Monkees. Benson\u2019s work for Creed Taylor\u2019s CTI Records during the first half of the 1970s further fused jazz with R&B and pop. Benson also later appeared on Stevie Wonder\u2019s landmark Songs in the Key of Life <\/em>(Tamla, 1976). <\/p>\n\n\n\n

However, Benson\u2019s blurring of lines between pop and jazz hit its apex with Breezin<\/em>\u2019 (Warner Bros., 1976). Claus Ogerman\u2019s lush string arrangements provide a rich backdrop to showcase the cross-functionality of musical genres. Benson\u2019s gentle guitar and soothing vocals formed the basis for what many say is an early \u201csmooth jazz\u201d masterpiece. Some have even argued it is one of the finest recordings of the decade. Breezin<\/em>\u2019 was alsoz wildly successful financially, topping jazz, pop, and R&B charts. It became certified triple platinum, nearly unheard of for a jazz record. <\/p>\n\n\n\n

Of course, some critics have been less than receptive of Breezin<\/em>\u2019. As one example, in The Village Voice, <\/em>the misguided Robert Christgau gave the album a paltry C. But some of the more purist objections have not seemingly deterred Benson in his cross-stylistic endeavors. His post-Breezin<\/em>\u2019 career has included tunes like \u201cTurn Your Love Around\u201d [The George Benson Collection<\/em> (Warner Bros., 1981)], which, though catchy, displays substance often missing on mainstream radio. The ensuing four decades saw collaborations with Earl Klugh, Al Jarreau, and the Basie Big Band. It also brought tributes to Nat King Cole, Fats Domino, and Chuck Berry. Regardless of his surroundings, one senses an artist focused on a continued search for something beautiful regardless of labels\u2026<\/p>\n\n\n\n

We sat down with Benson before his June 2nd performance at the New Jersey Performing Arts Center (NJPAC); his sole East Coast US concert of Summer 2023.<\/p>\n\n\n\n

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PostGenre: I try not to get too personal in interviews, but my mom used to dance around the house with me as a baby to your music all the time. And now that I have a child, I find myself doing the same with him.  <\/strong><\/p>\n\n\n\n

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George Benson: Man, that is such a beautiful thing. Wherever we go, our concerts are still packed with people of all different ages, from 2 to 92. We remind them of the best periods of their lives. My music reminds a lot of people of happy times in their life, regardless of whether they are old or young. I\u2019ve had an incredibly unique career. It’s a phenomenon, actually, because I never expected anything like it. All I do is play music for people and hope they are happy they came to my show that particular night. And, as long as I’m out on the road, it’s not over.<\/p>\n<\/blockquote>\n\n\n\n

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