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Jazz Fusion & Jazz Rock - Released March 24, 1988 | CBS Associated

Distinctions The Qobuz Standard
In Concert -- Carnegie Hall is George Benson's final recording for Creed Taylor's CTI label, and was mostly recorded on one night in 1975. There was some additional recording done at Rudy Van Gelder's studio in 1976, where Taylor replaced the original rhythm section of Wayne Dockery on bass and Marvin Chapell on drums with Will Lee and Steve Gadd, for whatever reason Taylor had at the time. Regardless, this is a solid "live" effort with Benson cooking on all burners, beginning with a monster version of Dave Brubeck's "Take Five," which had been cut on an earlier album and had become a staple in the live set. Organist Ronnie Foster's backing skills here are indispensable, as they keep Benson talking to the other members of the band. The version of "Summertime" here could have been recorded by Phil Spector. The concert version of the tune -- on which Benson takes a vocal -- has been added to with the substitution of the rhythm section and the later addition of a string orchestra in the studio. (Perhaps Taylor understood Benson's crossover appeal; he would cross over into the pop charts on Warner the next year with "This Masquerade.") The crowd dug it, but it's simply OK over the test of time. Hipper is the long snaky groove of Benson's own "Gone," with begins with the steady pulse of Hubert Laws playing a counterpoint foil on flute. The entwining harmonic interplay between the two is gorgeous and goes on for over ten minutes. The band then takes on Freddie Hubbard's "Sky Dive" with real aplomb. The Latin rhythm and slippery guitar by Benson pull the rhythm section up a notch before he begins the head. His funky articulation of fifths and then eighths in his break is mesmerizing. The way Chapell rides the cymbal like a bell is particularly satisfying. The album closes on another Benson original with Laws popping in again. It's called "Octane." Over ten minutes in length, it begins with Benson in full roar before the time signature changes and triples, feeling like a bebop tune more than anything else. Foster keeps it all grounded, but this baby swings so hard it threatens to lift off. In retrospect, listening to this record in the 21st century, it's difficult to imagine Benson making the switch from a classy guitar firebrand to a pop star so quickly. Mosaic Contemporary has brought out a fine remastered edition on CD. © Thom Jurek /TiVo
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Pop/Rock - Released February 23, 1995 | CBS Associated

This little-known CTI recording matches guitarist George Benson and Joe Farrell, a multi-reed player who mostly sticks to flute. Joined by a large rhythm section and sometimes two other flutists (including Eddie Daniels), Benson and Farrell play four originals by session arranger Dave Matthews, plus the standard "Old Devil Moon." This pleasing if not all that memorable instrumental date was recorded right after Benson's Breezin' (and before its release), ending the guitarist's CTI period right before he became a vocal star. © Scott Yanow /TiVo
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Jazz - Released August 22, 1989 | CBS Associated

Released in 1989, this anthology is a generous cross-section of tracks from Benson's CTI period, where he consolidated his jazz/soul guitar credentials just before striking gold with Warner Bros. All of the albums except Benson & Farrell are touched upon with one or two tracks, and CBS is enterprising enough to reach a bit further for "I Remember Wes" (from the anthology CTI Masters Of The Guitar) - an octave-laden theme that soon enough turns into pure Benson - and a gentle solo outtake from Bad Benson, "From Now On." The only "unrepresentative" track per se is the vocal on "Summertime," in the sense that there were hardly any vocal tracks to pick from in the CTI catalogue. © Richard S. Ginell /TiVo