Canadian Smooth Jazz Awards

George Benson - It's Uptown
Columbia Records 1965

1 Stormy Weather (Arlen, Koehler)
2 Summertime (Gershwin, Gershwin, Heyward)
3 Ain't That Peculiar (Moore, Robinson, Rogers)
4 Jaguar (Benson)
5 Willow Weep for Me (Ronell)
6 A Foggy Day (Gershwin, Gershwin)
7 Hello Birdie (Benson)
8 Bullfight (Benson)
9 Clockwise (Benson)
10 Eternally (Benson)
11 Myna Bird Blues (Benson)

Originally released on LP by Columbia 1965

Charlie Persip Drums
Mark Wilder Mastering
Don Hunstein Photography
Seth Rothstein Project Director
Howard Fritzson Art Direction
Randall Martin Reissue Design
Clarence Walker Packaging Manager
Stacey Boyle Tape Research
Steven Berkowitz Producer
Didier C. Deutsch Producer
Jimmy Lovelace Drums
Ray Lucas Drums
George Benson Vocals, Main Performer, Liner Notes, Guitar
Ronnie Cuber Sax (Baritone)
Blue Mitchell Trumpet
Lonnie Liston Smith Organ
John Hammond, Jr. Producer

"I was introduced to his "Uptown" record by Stevie Ray Vaughan. It's a great record!" - Eric Johnson

"George Benson fearlessly carries the torch of bebop tradition and vocabulary. In a restless pursuit of pushing the envelope he continues to grow, never looking back. George's foray into pop and R&B reflect the scope of his musical character. His sound transcends his instrument in a way that
always reflects the popular music of the day." - Walle Larsson - Cool FM, Winnipeg

When George Benson was signed to Columbia Records in 1965, he joined an elite group of preeminent artists -- including Count Basie, Billie Holiday, Charlie Christian, Bob Dylan, Aretha Franklin, and Bruce Springsteen -- considered the "discoveries" of the legendary A & R man-producer John Hammond. Hammond's championing of Benson (b. 1943) was hardly surprising, for here was a virtuoso whose guitar flights not only called up the spirit of the great Christian himself, but brilliantly expanded upon that tradition, taking it into the both post-bop and the blues-and-gospel based "soul jazz." Moreover, the handsome Benson was a talented singer with a silky tenor voice (in fact, he'd made his first recordings as a 10-year old vocalist) that could well cross over into the pop and soul markets. Of course, a decade or so after these recordings were made Benson did indeed score big on the pop charts with "This Masquerade" and "On Broadway."

But it was as jazz guitarist extraordinaire that he initially made his mark, and the 16 titles on the newly expanded It's Uptown (including two previously unreleased cuts) and it's follow-up for Columbia, The George Benson Cookbook, had much to do with cementing his reputation. Whatever direction he chose, from the finger-breaking bebop of "Mynah Bird Blues" (one of seven Benson originals herein) to a cover of Marvin Gaye's hit "Ain't That Particular" or a captivating vocal on "A Foggy Day," his music was accessible to one and all. Backed for the most part by his working band of the time, featuring the gifted organist Lonnie Smith, the ripsaw baritone saxophone of Ronnie Cuber (whose sound gave the ensemble a heavier "bottom" than most organ/guitar units), and drummer Jimmy Lovelace, George Benson served notice that the boundaries of his artistry extended well beyond Uptown.