Grammy winner and music legend George Benson has lived a guitarist’s dream. Bridging the gap between pop and jazz helped him sell millions of albums and made him a figurehead at the intersections of several genres. Always forward-thinking, he’s now entering a new phase in life, has a new album, and is preparing to host a retreat where everyday players will rub elbows with world-class musicians. He’s also preparing to sell some of his most-cherished guitars.

Your new album, Dreams Do Come True, was recorded in 1989 but never released. What’s the story behind it?
I happened to be with Quincy Jones. We had just finished the Give Me The Night album, which was very successful. I asked Quincy, “Who is the baddest arranger in the world?” It was an off-the-cuff question, but I wanted to know his opinion. He said, “Two names come to mind, but I think you would love Robert Farnon.”

I’d never heard of him. He said, “I think he’s from Canada, but moved to England.” I happened to be going to England to do a concert, and I ran into a guy who was a very good friend of his, and he introduced me. What a meeting it was; he was a very kind and astute gentleman who knew what he was talking about. He was doing some things with the London Symphony Orchestra, and he invited me to a recording session. He then wrote 17 arrangements for me in about three days. When I heard that stuff, I said, “Man, maybe I bit off more than I can chew!” I tried a couple of songs while we were there and said, “No. I’m going to take these arrangements back with me to New York.”

I worked on them for two or three weeks then presented it to the record company and they said, “George, we’re happy with the hits we’re making. We don’t need new ideas!” So, I put it away and I forgot all about it. Since then, Mr. Farnon passed away and that really made me forget all about it until I got a call from a guy in a warehouse who said, “Mr. Benson, we got some stuff here.” I said, “Read me some of the titles.” He said, “Robert Farnon, London.” I said, “Man! Send me that stuff!” He sent it, and I was just as amazed as I was the first time I heard it.

I found a way to transfer it to a digital format and it sounded so good because one of the engineers was great and it was in pristine condition. I had to put it back together and get in touch with Warner Records. They were interested 30-some years later! It took almost two years to finish, and when they heard it, they loved it.

Your voice is velvet on “Pretend.” It’s like you’re channeling Nat King Cole.
Oh, what a great era that was. But we also try to mix things up. That’s my goal when I record. I say, “Well, they might not like this tune, but maybe they’ll like the next one or the one after that.” That’s my idea. When I make records, I make it as if I was the listener; “Man, this is getting boring. Let me hear something else.” “Okay, this is better!” “Oh, this third one is interesting! Let me check it out!” That’s what I think about when I’m recording.

Your music has always been accessible. There’s no jazz snobbery or self-indulgence. You invite people to the party.
I like the words you use. Bring ’em to the party. That party thing is why people go out and why they do things. They’re looking for the energy. They’re looking for something that gives life that spice. Something that they didn’t do yesterday. Something they were looking forward to, and now it’s here. Let’s jam!

They already know I can play… I hope they know by now. If I weren’t able, it would be purely evident by now and I would be working in a jewelry store somewhere (laughs). People expect something else. The people who come to my music are diverse. It’s not all the same vibe or people. Here’s what I tell all my jazz fans – the guy who comes to my shows might bring a girlfriend who might not care about jazz. It would be safe to say she’s looking to hear something more on the romantic side. I think that’s why my records are so successful, because I never forget that part.

I’m happy for the guy looking for some adventure. I’d say, “Hey man, have you heard this?” Bam! “Well, you should try this!” Pow! I like that, too, because it gives life the spice that it needs to keep you going.

When you headlined at the Hollywood Bowl, people of every race, creed, color, and age were dancing in the aisles.
That’s the way it was when I got to Europe. When I played London, the whole house stood up from the first song and never sat down. Even though they had very comfortable seats and the place was packed, when I played dance tunes or a love song, they loved it and were glad they came.

How intense was the ridicule in the ’70s between being respected as a serious jazz guitarist versus being popular among mainstream audiences?
I’ve faced years of controversy about what I do. But as I look back, the thing that affected my life in a big way was when I joined Jack McDuff’s band. I was 19 years old. I sat in with him the night before and he said, “Man, I like the way you play. You think you might like to join my band?” I said, “Oh, Mr. McDuff, I’m not ready for that. I’m a singer here in Pittsburgh, not a guitar player.” He said, “I don’t want no singin’ in my band! I don’t like singers! They take too much attention away from the musicianship!”

Somehow, I left town with him the next day. He called ahead and said, “I found this kid and I’m bringing him to New York!” I thought, “Wow, man. I’m really biting off a lot here!” But when he heard me play, he fired me the next night. He said, “I don’t think you’re going to make it with the band. But when we get to New York, I got a gig you’re gonna love.”

When we got to New York, he was thinking about putting me with a popular band called the Willis Jackson Band. But in Willis’ band, they had a new kid – Pat Martino, who at 17 was the best guitarist I’d ever heard in my life! I said, “One thing I know for certain: I won’t be taking his place!” (laughs)

The good thing that happened after all that craziness was the weeks it took to get back to New York from gigs in the Midwest. Jack McDuff’s manager heard the new band with me in it and said to McDuff, “Did I hear you say you were going to fire this kid?” McDuff said, “Yeah, why?” He said, “You can’t fire him. The band sounds better with him in it. I suggest we go into the studio and make a record.”

That was the beginning of a new career for me. From that time on, I was struggling to play something decent. Jack demurred and stayed on my back about everything I did – criticized me for everything. He kept on me doing something that I’d never thought I’d do – practice every day! I practiced and practiced, and got into the habit. Every day. That’s what made the difference. I made so much progress in two years that people started calling me a guitar player, and I got used to it.

They didn’t know I sang because Jack said it was a no-no. “Don’t open your mouth!” (laughs) So, I became known as a guitar player. If Jack gave you a solo and it was mostly blues, he’d give you 12 bars. If that first 12 bars was good, he’d allow you to play another 12. If that first 12 fell apart, he would say, “Alright… Saxophone!” It was like that the whole time I was with him.

I learned to strike up hot solos very fast because I had that mentality. If you ain’t playin’ good, ’bye! In New York, that became important because people would call me into the studio as a side man. All my solos were interesting to them because all the songs were three minutes and under. So, I became very popular and made a lot of interesting records with a lot of great people.

Speaking of education, you’re hosting a musician’s retreat in January.
There are some great cats on this retreat. I used to see most of those guys now and then, and they’re all top-flight guitar players. And the guys I don’t know as well, I’m certain they’re the best the world has to offer. It’s going to be great to see them all in one place. Usually, I’ll see one guy in Europe, one guy in this country or another guy in that country. I’d see two or three of them in the United States or Australia. Now, they’ll be up here with me in my territory. Lots of sunshine and beauty everywhere, and a few mountains here and there. There will be lots of space, and I expect this will be quite an event.

It’s called Breezin’ With The Stars, January 3 to 6 at the Wigwam Resort, in Phoenix. The list of instructors is mind-blowing – John Scofield, Tommy Emmanuel, Andy Timmons, Stanley Jordan, Isaiah Sharkey, and Rick Beato. Steve Lukather will be there. You’ve worked with him before.

Steve is a great guy and a great guitar player. He brought me a smash with “Turn Your Love Around.” We went around over that song, but wound up putting it on tape. When he heard it back, he said, “Uh, well, maybe (laughs).” But there was no “maybe” in it. That song went straight to the top of the charts. I said, “I’ve been trying to tell you, man! This is a great song!”

Lee Ritenour will also be there. He’s a big fan of yours.
What people don’t know is that at the beginning of “Give Me The Night,” Lee is playing one of the octave parts. I wondered why Quincy Jones called him. I couldn’t imagine him just being a side man on something. Lee is a monster, and Quincy used him because he didn’t particularly like my jazz-guitar sound. He wanted to get me out of the jazz routine. So, he had Lee tune me into a medium sound – something between rock and pop guitar. That’s why that record sounded the way it did – because of Lee Ritenour’s influence.

Is there an overview of what you’re trying to accomplish at the retreat?
I’ve never done anything like it, but it reminds me of something I was getting ready to do before Breezin’ came out. Howard Roberts came to one of my club dates and we talked about starting a camp in Portland. We were going to invite people from all over the world – like Kenny Burrell, Barney Kessel, and whoever was well-known at that time. I knew a lot of guitar players. It was a great idea, but never got off the ground because of Breezin’. I didn’t need the money anymore (laughs).

But this is a continuation of that idea, but better. The quality of the musicianship is just as good, but they’re more well-known, so we’re in a good position.

Will you participate in the sessions?
Whenever I can, I will, because I want to learn something, too (laughs)! I never shut my ears down, and [I always hear] something off the cuff or off the left side that I don’t expect to affect me. It makes me go home, pick up my guitar, and say, “How come I didn’t think of that?” I always add things to everything I learn. That’s the way I think. I’m not an educated musician; I’ve been to music schools, not as a student, but as a guest. I’ve sat in on classes and met some very astute musicians. I’ve learned to listen, and this is the time to keep that going and get some new ideas.

You’re an intuitive player rather than being a theory encyclopedia. Has that created a challenge communicating with musicians who are more analytical about music theory?
I’ve had invitations to teach at a few of the top music schools. I tell them, “Man, I can’t teach guitar. I play mostly by ear.” I have an understanding of simple harmony and theory, but I’m not educated; I don’t know how to use where or what. I know what sounds good to me, and I know how to get it.

You’re selling some of your guitars on Reverb.
A lot of guitars, and one of them is the Breezin’ guitar, which is unique. It’s the Gibson Johnny Smith that I bought on a whim, took to L.A., and the first time I played it was on that album. The first song I used it on was “Affirmation.” Everybody was so knocked out. I used a Polytone amplifier and had never played with that amp before. All the guitar players knew me for one sound that was going on with all the CTI records I made, but this had an excellent mellow sound with resonance and sustain, so it became very special.

What are some other notables you’ll be selling?
I have a D’Aquisto from 1980 that’s a fantastic instrument, and a lot of guitars I took on the road. There’s an Ibanez GB20 prototype, a lot of Ibanez GB10s that I designed over the years. Ibanez would send me things to wow me with their skills, and they have quite a bit of skill. They make guitars that last and don’t break down, and that’s why I signed with them. I used to drop guitars on the floor. You couldn’t pick up most guitars and play them, but you could with an Ibanez, and wouldn’t even have to tune it. You could pick it up and play!

Which guitar are you playing most right now?
I’m playing an old GB10 – one that Reverb will be selling. It’s been on the road for 20 years, but they’ll fix it up and make it look decent – but not too much! One time, I had a Wes Montgomery guitar with bullet holes in it! So, I had somebody fix it up, and everybody said, “Man, I wish you’d left the bullet holes in it (laughs).” Just to prove how old it is and what it had been through. So, I learned to not fix it up too much. Just make it workable and let ’em see the years and the wear on the guitar.

What’s your favorite amplifier right now?
The Fender Twin has always been my favorite amp. You can’t get the Polytone 104 anymore, and that was a great recording amp, but not a live amp. The Twin is versatile and always present. You can get any kind of sound out of it. If you don’t watch it, it’ll take over the show with all that high-end comin’ outta there, and all that presence. But it does it cleanly, and that’s the part I like.

Beyond the retreat, what’s on your calendar?
When I was putting together Dreams Do Come True, I found other stuff – tapes from my old house in the Bronx. I listened to some of them and said, “Man! I don’t think I was proficient at that time, but the music was there. Tasty stuff! So, I’m going through that now and seeing what’s usable. This is all the trio and quartet stuff I recorded in my garage between 1968 and ’75. The bands I had back then were magnificent.

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This article originally appeared in VG’s December 2024 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.