Benny Green possesses the history of jazz at his fingertips. Combine mastery of keyboard technique with decades of real world experience playing with no one less than the most celebrated artists of the last half century, and it’s no wonder Green has been hailed as perhaps the most exciting hard-swinging, hard-bop pianist to ever emerge from Art Blakey’s Jazz Messengers.
Benny Green, unconditionally, is the bearer of the torch and guardian of a legacy handed down to him, personally, by his musical mentors. Since emerging under the tutelage of Betty Carter, Art Blakey, Freddie Hubbard and Ray Brown in the early 1980s, Benny Green has become a highly regarded pianist and bandleader. His efforts to expand upon the language of the classical jazz canon have placed him not only among the best interpreters but also among the vanguard of musicians keeping jazz’s evolution going.
Benny’s list of credits, accomplishments, and accolades could literally fill a book. His recordings with the masters form a foundation of jazz education. Some notable highlights include: Beginning his touring life with Betty Carter for four years and realizing a life long dream of becoming a Jazz Messenger; In 1993 Oscar Peterson chose Benny as the first recipient of the City of Toronto’s Glen Gould International Protégé Prize in Music culminating in Oscar & Benny (1998) recorded for Telarc. Appearing on well over one hundred recordings, with legacy artists such as: Betty Carter (including Grammy award winner Look What I Got), Art Blakey & the Jazz Messengers, Freddie Hubbard, Bobby Watson, Milt Jackson, Diana Krall, and he is particularly featured in Ray Brown’s trio series of CD’s for Telarc: Bass Face (1993), Don’t get Sassy (1994), Some of my best friends … (1994), Seven Steps to Heaven (1995), Super Bass (1996) and Live at Sculler’s (1996), to fresh faces like Japan’s young drum virtuouso, Tiger Onitsuka.