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| The Two Sides of the Great Tenor: 1932-1951 |
| Ben Webster |
| első megjelenés éve: 1951 |
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| (2005)
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CD |
| 4.670 Ft
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| 1. | New Orleans
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| 2. | Happy as the Day Is Long
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| 3. | Hotter Than 'Ell
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| 4. | Dream Lullaby
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| 5. | Everybody Shuffle
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| 6. | The Voice of Old Man River
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| 7. | Bojangles
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| 8. | All Too Soon
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| 9. | Shine
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| 10. | Just A-Settin' and A-Rockin'
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| 11. | Chelsea Bridge
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| 12. | Honeysuckle Rose
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| 13. | I Surrender Dear
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| 14. | Blue Skies
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| 15. | Kat's Fur
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| 16. | Frog and Mule
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| 17. | Spang
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| 18. | Randle's Island
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| 19. | Old Folks
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| 20. | You're My Thrill
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| 21. | King's Riff
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Jazz / Swing, Mainstream Jazz, Traditional Pop
Ben Webster - Sax (Tenor)
Al Haig Piano
Arnold Adams Guitar
Barney Bigard Clarinet
Ben Smith Saxophone
Benny Morton's All Stars Trombone
Bill DeArango Guitar
Billy Kyle Piano
Billy Strayhorn Piano
Billy Taylor, Jr. Bass
Brick Fleagle Guitar
Buster Bailey Sax (Alto), Clarinet
Clarence Holiday Guitar
Claude Jones Trombone
Cootie Williams Trumpet
Count Basie Piano
Cozy Cole Drums
Dan Minor Trombone
David Booth Drums
Dee Stewart Trumpet
Duke Ellington Piano
Eddie Barefield Sax (Alto), Clarinet
Eddie Durham Trombone
Elmer James Bass
Ernest "Bass" Hill Bass
Fletcher Henderson Piano
Fred Guy Guitar
George Jenkins Drums
George Matthews Trombone
Gerald Wiggins Piano
Glyn Paque Clarinet, Sax (Alto)
Harry Carney Sax (Baritone)
Henry "Red" Allen Trumpet
Hilton Jefferson Sax (Alto), Clarinet
Horace Henderson Piano
Hot Lips Page Trumpet
Irving "Mouse" Randolph Trumpet
Jack Teagarden Trombone
Jack Washington Sax (Alto), Sax (Baritone)
Jimmy Blanton Bass
Joe Keyes Trumpet
John Haughton Trombone
John Kirby Bass
Johnny Guarnieri Piano
Johnny Hodges Sax (Alto)
Johnny Russell Sax (Tenor)
Juan Tizol Trombone
Junior Raglin Bass
Keg Johnson Trombone
Lawrence D. Brown Trombone
Lawrence Lucie Guitar
Leroy Berry Guitar
Maynard Ferguson Trumpet
Oscar Pettiford Bass
Ram Ramirez Piano
Ray Nance Trumpet
Rex Stewart Cornet
Richard Clark Trumpet
Robert Horton Trombone
Russell Procope Sax (Alto), Clarinet
Sam Nanton Trombone
Scott Yanow Track Compilation
Sid Catlett Drums
Sonny Greer Drums
Stanley Payne Sax (Alto)
Wallace Jones Trumpet
Walter Johnson Jr. Drums
Walter Page Bass
Willie Bryant Vocals
Willie McWashington Drums
A tough guy and a sentimentalist wed in one tenor, Ben Webster played with a raspy and assertive approach on up-tempo tunes but purred like a pussycat on ballads. By 1940, he was considered one of the great three tenors in jazz (along with Coleman Hawkins and Lester Young), but he was still relatively unknown to the general public. That all changed when he joined Duke Ellington. The Duke knew how to showcase both sides of the great tenor, and he soon became a major jazz star, still a strong influence on jazz tenors to this day. This definitive compilation contains 21 of Webster's greatest cuts, gathered onto a single CD for the very first time, with remastered sound, detailed notes by Scott Yanow, and rare historic photos.
Tenor saxophonist Ben Webster had a hushed, honeyed horn tone on ballads that could make anyone's heart leap, and his smooth, whispered (and even sometimes slightly slurred) sax lines sounded like nothing so less than one side of an extremely intimate conversation. He could sound down and dirty when he wanted to, though, and was no slouch on up-tempo numbers, where his sax exchanged some of its honey for a touch of raspy roughness. This set includes a little of both, gathering tracks recorded between 1932 and 1951 featuring Webster with the Duke Ellington, Willie Bryant, Bennie Moten, Benny Carter, and Fletcher Henderson orchestras, as well as a handful of quartet tracks with Johnny Guarnieri on piano, Oscar Pettiford on bass, and David Booth on drums. Check out the sheer presence of Webster's horn work on "Old Folks" and the way his sax sweet talks its way through "You're My Thrill." He may not have been the most innovative tenor sax player, but he could talk the talk one hears late at night when nothing else matters and everything's at stake. Simply put, Ben Webster's playing can break your heart and heal it at the same time. ~ Steve Leggett, 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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