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| Storyville Ben Webster |
| Ben Webster |
| első megjelenés éve: 2006 |
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| (2006)
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CD |
| 4.201 Ft
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| 1. | Johnny Come Lately
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| 2. | You'd Be So Nice to Come Home To
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| 3. | Stompy Jones
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| 4. | Cotton Tail
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| 5. | Going Home
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| 6. | Come Sunday
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| 7. | Our Blues
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| 8. | I Got It Bad and That Ain't Good
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| 9. | C Jam Blues
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| 10. | Stardust [Live]
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| 11. | In a Mellotone [Live]
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| 12. | Sunday
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| 13. | Old Folks
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Jazz
Ben Webster - Sax (Tenor)
Aage Bertelsen - Strings
Albert "Tootie" Heath - Drums
Allan Botschinsky - Trumpet
Anders Stefansen - Producer
Anton Kontra - Strings
Axel Windfel - Trombone
Bent Juul Nielsen - Reeds
Bent Schjærff - Piano
Bjarne Rostvold - Drums
Borge Madsen - Strings
Dexter Gordon - Reeds, Sax (Tenor)
Erling Christensen - Strings
Finn Ziegler - Strings
Hans Nielsen - Engineer
Holger Bjerre - Strings
Hugo Rasmussen - Bass
Jan Persson - Photography
Jesper Thilo - Reeds
Kurt J. Jensen - Strings
Makaya Ntsoko
Mogens Holm Larsen - Strings
Niels Jorgen Steen - Director
Niels-Henning Orsted Pedersen - Bass
Ole Kock Hansen - Piano
Ole Kurt Jensen - Trombone
Ole Molin - Guitar
Ole Streenberg - Drums
Ove Winther - Strings
Palle Bolvig - Trumpet
Palle Mikkelborg - Trumpet
Pearce Marchbank - Design
Per Espersen - Trombone
Per Ludolph - Strings
Perry Knudsen - Trumpet
Sahib Shihab - Reeds
Stanley Carlson - Strings
The Mike Hennessey Chastet - Liner Notes
Torolf Molgaard - Trombone
Uffe Karskov - Reeds
This 13-cut set in the Storyville Masters of Jazz series is a showcase of Ben Webster at the very end of his career, from 1967-1970 recorded in Europe. There are a number of stellar players on Storyville Ben Webster, including Dexter Gordon, Palle Mikkelborg, Tootie Heath, and of course, a slew of European sessions players who are truly the cream of the crop. Webster is featured in numerous settings from trio, quartet, quintet, and larger, to units where he is backed by a small string section. Of all the swing and bop era saxophonists, Charlie Parker included, no one blew over string sections like Webster. His lyricism is so utterly tender and understated that he literally trounces all other players who did sessions like this. Check cuts like "Come Sunday" or the other ballads here, such as "Old Folks," "In a Mellotone," and "Going Home." This set is one of those special cases where a recording makes the case that a truly seasoned veteran goes out at the top of his game, rather than in decline.
--- Thom Jurek, All Music Guide
Ben Webster
Active Decades: '30s, '40s, '50s, '60s and '70s
Born: Mar 27, 1909 in Kansas City, MO
Died: Sep 20, 1973 in Amsterdam, The Netherlands
Genre: Jazz
Styles: Swing, Mainstream Jazz, Traditional Pop
Ben Webster was considered one of the "big three" of swing tenors along with Coleman Hawkins (his main influence) and Lester Young. He had a tough, raspy, and brutal tone on stomps (with his own distinctive growls) yet on ballads he would turn into a pussy cat and play with warmth and sentiment. After violin lessons as a child, Webster learned how to play rudimentary piano (his neighbor Pete Johnson taught him to play blues). But after Budd Johnson showed him some basics on the saxophone, Webster played sax in the Young Family Band (which at the time included Lester Young). He had stints with Jap Allen and Blanche Calloway (making his recording debut with the latter) before joining Bennie Moten's Orchestra in time to be one of the stars on a classic session in 1932. Webster spent time with quite a few orchestras in the 1930s (including Andy Kirk, Fletcher Henderson in 1934, Benny Carter, Willie Bryant, Cab Calloway, and the short-lived Teddy Wilson big band).
In 1940 (after short stints in 1935 and 1936), Ben Webster became Duke Ellington's first major tenor soloist. During the next three years he was on many famous recordings, including "Cotton Tail" (which in addition to his memorable solo had a saxophone ensemble arranged by Webster) and "All Too Soon." After leaving Ellington in 1943 (he would return for a time in 1948-1949), Webster worked on 52nd Street; recorded frequently as both a leader and a sideman; had short periods with Raymond Scott, John Kirby, and Sid Catlett; and toured with Jazz at the Philharmonic during several seasons in the 1950s. Although his sound was considered out-of-style by that decade, Webster's work on ballads became quite popular and Norman Granz recorded him on many memorable sessions. Webster recorded a classic set with Art Tatum and generally worked steadily, but in 1964 he moved permanently to Copenhagen where he played when he pleased during his last decade. Although not all that flexible, Webster could swing with the best and his tone was a later influence on such diverse players as Archie Shepp, Lew Tabackin, Scott Hamilton, and Bennie Wallace.
---Scott Yanow, All Music Guide |
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