LOS ANGELES – Grammy® Award-winning jazz guitarist-vocalist George Benson will release a long-lost orchestral album this summer, his first since returning to Warner Music Group earlier this year. Dreams Do Come True: When George Benson Meets Robert Farnon will be available on June 14 from Rhino on CD and LP, as well as digital and streaming platforms. Pre-order HERE.

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.

Goodies is the sixth album by jazz guitarist George Benson recorded in 1968 and released on the Verve label.

George Benson's place as one of the greatest and most successful guitarists in the history of jazz is secure, but what's easy to forget sometimes is that he began his career as a vocalist, and if this release, a tribute to Nat King Cole, comes as any kind of surprise, it shouldn't. Benson's and Cole's careers are remarkably similar, both becoming known first as instrumentalists, Cole as a pianist, and Benson, of course, as a guitarist, with both eventually easing into the pop mainstream because of their voices. Cole was a one of a kind vocalist, of course, and even Benson wouldn't claim to equal him as a singer, but Benson has a similarly soothing and lush tenor voice that more than holds its own on these familiar songs.

George Benson Simply one of the greatest guitarists in jazz history, George Benson is an amazingly versatile musician whose adept skills find him crossing easily between straight-ahead jazz, smooth jazz, and contemporary R&B. Blessed with supreme taste, a beautiful, rounded guitar tone, terrific speed, a marvelous sense of logic in building solos, and, as always, an unquenchable urge to swing, Benson's inspirations may have been Charlie Christian and Wes Montgomery, but his style is completely his own. Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around, supportive to soloists and a dangerous swinger, particularly in a soul-jazz format; skills he first garnered attention for as a member of Brother Jack McDuff's band in the early '60s. Benson can also sing in a lush, soulful tenor with mannerisms similar to those of Stevie Wonder and Donny Hathaway. In a sense, he is the guitar-playing equivalent of Nat King Cole, a fantastic instrumentalist whose smooth way with a pop vocal helped solidify his prowess in the marketplace. It is this combination of singing and guitar playing that has garnered him numerous accolades and chart success, including most notably his 1976 breakthrough Breezin', which topped the pop, R&B, and jazz charts and took home Grammy Awards for Best Pop Instrumental Performance and Record of the Year.

George Benson's two-disc Anthology from Rhino ultimately manages to encapsulate Benson's career. These 32 tracks not only highlight the obligatory vocal pop hits "Turn Your Love Around," "Give Me the Night," and "On Broadway," but dish out a heavy dose of his early jazz recordings that followed in the footsteps of Wes Montgomery, and his many appearances throughout the years with Brother Jack Mcduff, Lonnie Smith, Hubert Laws, Aretha Franklin, Jimmy Smith, Earl Klugh, and the Count Basie Orchestra. If you're only accustomed to Benson's pop/jazz crossover work, check out this definitive overview.

Miles in the Sky reflects the intriguing curiosities and rainbow possibilities suggested by the album cover. Miles Davis’ fifth and final album with his classic second quintet is kaleidoscopic in sound, forward-looking in structure, and contextually grounded in approach. As the legendary leader’s first venture into what would become fusion, it’s historical for containing the premier appearances of electric piano, bass, and guitar on a Davis effort. Laden with rich textures and style-bridging elements, Mobile Fidelity’s SACD brings the aural magic into focus. Mastered from the original master tapes, this collectable audiophile version of Miles in the Sky joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity.

Simply one of the greatest guitarists in jazz history, George Benson is an amazingly versatile musician, whose adept skills find him crossing easily between straight-ahead jazz, smooth jazz, and contemporary R&B. Blessed with supreme taste, a beautiful, rounded guitar tone, terrific speed, a marvelous sense of logic in building solos, and, always, an unquenchable urge to swing, Benson's inspirations may have been Charlie Christian and Wes Montgomery, but his style is completely his own. Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around, supportive to soloists and a dangerous swinger, particularly in a soul-jazz format.

44 original recordings from iconic Brazilian artists and American jazz & pop legends: Antonio Carlos Jobim, Stan Getz, Astrud Gilberto, João Gilberto, Flora Purim, Nacho Méndez, Dave Brubeck, Charlie Byrd, George Benson, Sarah Vaughan, Miles Davis, Dextor Gordon, George Duke, and many many more… 3CDs, housed in a fold out card digipack case.

The R&B elements get stronger, the sound and mix are more attuned to the dancefloor, yet this brings out the best in George Benson's funky side. Thanks in part to the more rigid beat, Benson pares down his style to its rhythmic essentials, refusing to spray notes all over the place at random, and as a result, the record cooks and dances. His treatment of Vince Guaraldi's "Cast Your Fate to the Wind," hugely complemented by Joe Farrell's wistfully prancing flute, is a mini-masterpiece in the use of space, of hitting exactly the right stabbing note right in the pocket. Again, Creed Taylor turns to a James Brown alumnus, David Matthews, for arrangements, and he discreetly and wisely stays out of Bad George's way. Buy this one for "Cast Your Fate," but there is plenty more to savor here.

It had been nine years since organist Jimmy Smith recorded for a major label when Bruce Lundvall approached him to make an album for Elektra Musician. Smith plays some unusual material (including Lionel Richie's "Endless Love" and the "Theme from M.A.S.H.") on this recording but swings everything and has a particularly strong supporting cast guitarist George Benson, Stanley Turrentine on tenor, bassist Ron Carter and drummer Grady Tate. A fine comeback date.

Just three weeks after the U.S. release of the Beatles' swan song, Abbey Road, Creed Taylor ushered George Benson into the studio to begin a remarkably successful pop-jazz translation of the record (complete with a parody of the famous cover, showing Benson with guitar crossing an Eastern urban street). It is a lyrical album, with a hint of the mystery and a lot of the cohesive concept of the Beatles' original despite the scrambled order of the tunes. Benson is given some room to stretch out on guitar, sometimes in a bluesy groove, and there are more samples of his honeyed vocals than ever before (oddly, his voice would not be heard again by record-buyers until he signed with Warner Bros.). Don Sebesky's arrangements roam freely from baroque strings to a full-throated big band, and Freddie Hubbard, Sonny Fortune, and Hubert Laws get some worthy solo space…

The 2013 compilation Verve Ultimate Cool: George Benson brings together tracks recorded by the influential jazz guitarist in the '60s and '70s. These are largely groove-oriented cuts that showcase Benson's knack for R&B-influenced jazz improvisation. Here we get such songs as his live version of "Breezin'," a supremely funky "Shape of Things to Come," "Billie's Bounce," and more. Ultimately, Verve Ultimate Cool works as a nice single-disc overview of Benson's soul-jazz period.

With an eye and ear on what was happening on the soul charts - James Brown in particular - Benson made a decided swerve toward R&B on this release. Indeed the JB's Pee Wee Ellis turns up as a big band arranger on three tracks, and he no doubt had a direct influence on the distinct JB groove of one of the non-big-band tunes, "Dance." It should come as no surprise by now that this formidable guitarist has no problem handling any kind of groove, although the mixed rhythm section of Jack DeJohnette, Ron Carter, electric pianist Harold Mabern, and percussionist Mobutu sometimes sends mixed messages. Earl Klugh has a few tasty moments on his own, and there are some reconnaissance flights back to the jazz side of George, which he handles with his usual confident aplomb.

Trying to shake things up, producer Creed Taylor brought in arranger Marty Sheller from Mongo Santamaria's Afro-Cuban band, reduced the sizes of the servings (no track is longer than 3:50), cranked up the decibels to a raucous level, and presented Benson in what he hoped would be a radio-friendly setting. The wonder is that Benson manages to transcend the blasting Latin-percussion-spiced production, the tight time limits, and all with often brilliantly tasty guitar fills and brief solos in many styles and three reverb-heavy vocals.