George Benson – Breezin’

The melody leads, the guitar keeps exploring

Breezin’ is easy to approach without being simply constructed. George Benson presents a melody so naturally that his technical fluency may not initially register as virtuosity. A line sings, a brief embellishment changes its emphasis, and the guitar returns to the song. The point is not to advertise instrumental ability at every opportunity. It is to use that ability while preserving an open, inviting musical shape.

Released in 1976, the album marked Benson’s arrival at Warner Bros. It was not the debut of an unknown musician, but a new chapter for an established jazz guitarist. Tommy LiPuma produced the sessions, held from 6 to 8 January at Capitol Studios in Hollywood. Al Schmitt handled recording and mixing. These names belong to the history of a production that carefully balances rhythmic foundation, solo voice and arrangement.

Six songs, six writing perspectives

Bobby Womack wrote the title track, Leon Russell “This Masquerade”, and José Feliciano “Affirmation”. The remaining programme includes Phil Upchurch’s “Six to Four”, Ronnie Foster’s “Lady” and Benson’s own “So This Is Love?”. The album is not unified by one songwriter’s signature. Benson and the ensemble create its continuity through the way they treat this varied material.

Upchurch and Foster are also members of the band, not simply names in the writing credits. Upchurch contributes guitar and bass on part of the programme, while Foster supplies electric keyboard colours. Jorge Dalto adds piano, Stanley Banks bass, Harvey Mason drums and Ralph MacDonald percussion. Claus Ogerman’s arrangements expand the setting. Many musicians are involved, but the production does not make the listener continually count them.

“This Masquerade”: the singer inside the ensemble

“This Masquerade” became the album’s defining vocal performance. Benson’s singing is best heard not as an interruption of his work as a guitarist, but as another means of phrasing. The song provides a clear melodic thread while the group develops an independent flow around it. Jorge Dalto’s piano solo is one of the moments when the recording opens its perspective beyond the featured artist.

The Grammy recognition covered several distinct aspects of the work. “This Masquerade” won Record of the Year; Breezin’ earned Benson the Pop Instrumental Performance award, and Al Schmitt received Best Engineered Album, Non-Classical. Recording, interpretation and engineering are different achievements. Keeping them distinct says more about this production than a general description of a multiply awarded jazz album.

Space for the details

The Mastering Lab provides a pleasing connection between the original release and this edition. Doug Sax mastered the original album; Matthew Lutthans prepared the pressing offered here at the same long-established mastering house. Different people and periods are involved, but the studio’s history connects the releases. On this 45 RPM double LP, “Breezin’” and “Affirmation” each occupy a side of their own.

Beyond Benson’s lead line, Mason’s drums and MacDonald’s percussion are especially rewarding to follow. They create movement without constantly forcing the music forward. Acoustic and electric keyboard sounds, rhythm guitar and solo passages provide further small changes of colour. Breezin’ can therefore be enjoyed both as an apparently effortless succession of melodies and as a carefully organised ensemble recording. The first entrance is immediate; the second offers more to discover each time the record is played.

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Also on SACD: Breezin’

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Series: Acoustic Sounds 40th Anniversary – all 25 albums, recommendations and musicians

Musicians

Personnel checked against album sources.

• George BensonVocals, Guitar
• Jorge DaltoClavinet, Piano
• Ronnie FosterElectric piano, Minimoog
• Phil UpchurchElectric bass, Guitar
• Stanley BanksElectric bass
• Harvey MasonDrums
• Ralph MacDonaldPercussion
• Bennie MaupinFlute
• Claus OgermanConductor