The success of Weekend in L.A. no doubt prompted producer Tommy LiPuma and Warner Bros. to give George Benson another double album (now on one CD) – and this, like its three Warner predecessors, also went Top Ten. It is also, alas, slicker, more romantic in mood, and more bound by perceptions of formula than the others, fussed over in three different studios in earnest search of another hit single (the dance-tempo cover of L.T.D.'s "Love Ballad"). Most of the touring band, including Ronnie Foster, Ralph MacDonald and Phil Upchurch, is back, and Claus Ogerman's soft symphonic touch provides most of the backdrops, with Mike Mainieri supplying the orchestra on three tracks. Even at this point, the great guitarist is still given much room to burn – the balance between instrumentals and vocals remains close – and Benson comes up with some tasty stuff when the rhythm section pushes him on "Nassau Day" and "You're Never Too Far from Me." Ultimately there is just enough jazz content amid the velvet soul to keep guitar buffs interested.
George Benson may have changed labels with That's Right, but he didn't change his approach. Like his other '90s albums, That's Right is jazz-inflected quiet-storm soul. It's quietly funky and always grooving, whether he's playing a light uptempo number or a silky ballad. As always, Benson's tone is smooth and supple – it's a pleasure to hear him play, even if the material he has selected doesn't always showcase his ample skills. In fact, the unevenness in material is the very thing that keeps That's Right from being on par with Benson's early '80s contemporary soul records…
Some but not all of guitarist George Benson's 1966-1967 Columbia sides are included on this double LP originally released in 1976 – plus some unreleased songs and other tunes that he recorded under organist Lonnie Smith's name. Fitting into the soul-jazz/hard bop idiom, Benson is mostly heard in a quartet with organist Smith, baritonist Ronnie Cuber, and drummer Jimmy Lovelace, although some selections add horns (including trumpeter Blue Mitchell) and more players in the rhythm section. At this point, Benson was still heavily influenced by Wes Montgomery and Charlie Christian, but he already had his own approach. The majority of the songs are basic originals by Benson or Smith, and the emphasis is on soulful swinging. Fine music.
Reissue with the latest remastering. Comes with liner notes. While the phenomenal success of George Benson’s Breezin’ (1976) album may have fattened his wallet; it led the guitarist down a path that dismayed jazz critics worldwide. Indeed, the bulk of Benson’s albums over the past 20 years have featured considerably less jazz and, unfortunately, more pop. Not so with The George Benson Cookbook (1966). This sizzling CD features the then young, hotshot string-picker on 14 swingin’ bebop/soul-jazz tracks. Benson kicks things off in rapid fashion with the aptly titled, "The Cooker." Not only does this track feature blazing licks from Benson, but baritone saxophonist Ronnie Cuber and organist Lonnie Smith also weigh in with tasty solos.
Reissue with the latest remastering. Comes with liner notes. George Benson's first LP for Columbia – a hard, heavy, soul jazz slammer that bears no resemblance to his overproduced work of the 70s! The album's a real cooker – recorded hot on the heels of Benson's classic work on Prestige with the Jack McDuff group, and sounding a lot like McDuff's hard wailing organ jazz of the same time. George is working with a group that features a young Lonnie Smith on organ, plus Blue Mitchell on trumpet, Ronnie Cuber on sax, and Charlie Persip on drums – all tightly coming together, and jamming hard on the album's short cooking tracks. Tracks include "Clockwise", "Jaguar", "Hello Birdie", and "Bullfight". Plus, the CD adds five bonus tracks, including "Sideman", "Minor Chant", and the previously unreleased "J.H. Bossa Nova" and "Clockwise (Alternate Take)".