George Benson Plays to All His Strengths

Hearing George Benson in action is a bit like attending a nonstop triple-header: A gifted jazz guitarist, an appealing singer, and a master of fusion, funk and rhythm and blues, he is a multiple-threat performer, offering programs with a smidgen of something for virtually every jazz and jazz-related taste.

On Friday night at the Greek Theatre, Benson was in typically fine form. Wearing a pair of bright red pants topped with a black sequined vest, he was the very model of a stylish pop artist. His impact--in that sense--was enhanced considerably by his brisk delivery of such hits as “Turn Your Love Around,” “Give Me the Night” and his updated rendering of Donnie Hathaway’s “The Ghetto.” He was joined on a few numbers by a pair of players present on his 1976 mega-hit album, “Breezin’ “--keyboardist Ronnie Foster and guitarist Phil Upchurch.

Fans of Benson’s elegant singing style were offered a smooth-toned version of “Beyond the Sea” as well as an on-target impression of Ray Charles doing “Georgia.” And the patience of the few straight-ahead jazzers in the audience was rewarded with a brief, harmonically lush interpretation of “Tenderly.”

Benson moved through the program with the ease of a masterful entertainer. At 57, he has been a star in one or another area of the music business since the mid-’60s, remarkably at ease with each of the multiple styles in his repertoire. But there was no question that his pop persona was dominant in this performance. And the audience in the nearly full house--many of whom passed over Brenda Russell’s opening set, arriving just in time to hear Benson--would probably not have settled for less. Shouting out requests for their favorites--hooting, screaming and whistling--it was a crowd that knew which aspect of the multitalented Benson they intended to experience.

In the process, however, they were largely deprived of the jazz offerings of a player who is arguably one of the best of the post-Wes Montgomery guitarists. It’s hard to argue with the musical choices of an artist who can sell millions of albums by appealing to a pop audience. But, on this concert, Benson revealed in bits and pieces--as he has on most of his recordings--that his jazz skills have not deteriorated. And, recalling some of his stunning work over the years, one can only regret that he did not offer a larger serving of his improvisational magic.

Singer-songwriter Russell opened the evening with a steamy collection of her gospel-tinged vocal stylings. But her most impressive contribution was the consistently high quality of her writing, especially on songs such as “Piano in the Dark,” “Get Here” (a hit for Oleta Adams) and “Please Felipe” (the last with music by Ivan Lins) from her new album, “Paris Rain.”