Half A Century After Its Release, George Benson’s Breezin’ Remains One Of The Most Successful Jazz Albums Ever Recorded And A Defining Moment In The Guitarist’s Career
by Paul Cashmere
Fifty years after its release, George Benson’s Breezin’ remains one of the most influential crossover albums in modern jazz history. Issued in 1976, the record transformed Benson from a respected jazz guitarist into a global star and delivered one of the best-selling jazz albums ever released.
Breezin’ was the fifteenth studio album for George Benson, but it marked a pivotal change in direction. It was his first album for Warner Bros. Records and introduced Benson to a much broader audience than his earlier work for CTI and other jazz-focused labels. With a polished production, lush arrangements and a balance between instrumental jazz and accessible pop and soul elements, the album would redefine Benson’s career trajectory.
The record arrived at a moment when jazz musicians were experimenting with broader commercial sounds. In Benson’s case, the shift proved historic. Breezin’ topped the Billboard Jazz Albums chart and went all the way to number one on both the Billboard Pop and R&B album charts, a rare achievement for a jazz guitarist.
The album’s commercial impact was enormous. In the United States it was eventually certified triple platinum for sales exceeding three million copies, while international certifications followed in countries including Australia and the United Kingdom. Its success helped establish Benson as a major crossover artist during the late 1970s and into the 1980s.
At the centre of the album was Benson’s fluid guitar work, already well respected within jazz circles. Born in Pittsburgh in 1943, Benson had been performing professionally since childhood and had built a formidable reputation through the 1960s with albums that blended bebop, soul jazz and rhythm and blues influences. By the time Breezin’ arrived, his technique and melodic sense were already widely admired among musicians.
The album’s title track, Breezin’, became an instrumental signature for Benson. Written by Bobby Womack, the relaxed groove and melodic guitar lines turned the track into a jazz fusion standard and a favourite on radio formats that bridged jazz and adult contemporary audiences.
The album’s biggest commercial single, however, was This Masquerade. Written by Leon Russell, Benson’s recording introduced a vocal performance that highlighted another side of his artistry. The track climbed into the Top Ten on both the pop and R&B charts and became one of the defining songs of Benson’s catalogue.
At the 19th Annual Grammy Awards the album received major recognition. Breezin’ earned the Grammy for Best Pop Instrumental Performance for Benson, while legendary engineer Al Schmitt won Best Engineered Album, Non-Classical for his work on the project. The album itself was nominated for Album Of The Year, a remarkable achievement for a jazz release in a field traditionally dominated by pop and rock artists.
This Masquerade added further accolades. The track won Record Of The Year and was nominated for Song Of The Year for composer Leon Russell. Benson also received a nomination for Best Pop Vocal Performance, Male.
Behind the scenes, Breezin’ benefited from a remarkable team of musicians and producers. Tommy LiPuma, who would become one of Benson’s most important collaborators, produced the album. LiPuma’s approach helped refine Benson’s sound into a sophisticated mix of jazz musicianship and mainstream appeal.
The arrangements were crafted by Claus Ogerman, whose orchestral style added elegance and depth to the recordings. Ogerman’s work gave the album its distinctive warmth, shaping the atmosphere that runs through tracks such as Affirmation and Lady.
The musicians supporting Benson were equally accomplished. Pianist Jorge Dalto, keyboardist Ronnie Foster, guitarist Phil Upchurch, bassist Stanley Banks, drummer Harvey Mason and percussionist Ralph MacDonald formed the core ensemble. Their performances gave the album a smooth but highly skilled foundation that allowed Benson’s guitar to remain the focal point.
The sessions were recorded and mixed by Al Schmitt, whose engineering career would later include work with artists across jazz, pop and classical music. Schmitt’s clean, balanced sound played a key role in the album’s clarity and radio appeal.
The track selection also reflected Benson’s broad musical influences. Alongside the Womack and Russell compositions were songs by José Feliciano, Ronnie Foster and Phil Upchurch, as well as Benson’s own So This Is Love?. Together they created a collection that moved comfortably between instrumental jazz, soul and pop.
In the decades since its release, Breezin’ has maintained a strong reputation among jazz listeners and musicians. It is frequently cited as one of the albums that expanded the audience for jazz during the 1970s, introducing many listeners to the genre through Benson’s melodic guitar style.
For George Benson, the album launched the most commercially successful era of his career. In the years that followed he would continue to blend jazz with pop and soul, producing hits such as Give Me The Night and building a catalogue that reached audiences far beyond traditional jazz circles.
Half a century after its debut, Breezin’ remains a landmark recording. Its mix of virtuoso guitar playing, elegant production and crossover appeal secured its place as one of the defining jazz albums of the 1970s and a cornerstone in the enduring career of George Benson.
Tracklisting
Side One
Breezin’, Bobby Womack
This Masquerade
Six To Four
Side Two
Affirmation
So This Is Love?
Lady
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