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| 6.437 Ft
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| 1. | Did You Call Her Today [Take 1]
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| 2. | Did You Call Her Today [Take 2]
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| 3. | Did You Call Her Today [Take 3]
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| 4. | Did You Call Her Today [Take 4]
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| 5. | Did You Call Her Today [Take 5]
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| 6. | Did You Call Her Today [Take 6]
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| 7. | Did You Call Her Today [Take 6]
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| 8. | Did You Call Her Today [Take 7]
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| 9. | Baby, It's Cold Outside [Take 1, 2, and 3]
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| 10. | Baby, It's Cold Outside [Take 4]
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| 11. | Baby, It's Cold Outside [Take 5]
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| 12. | Cotton Tail
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| 13. | Old Folks [Take 1]
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| 14. | Old Folks [Take 2]
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| 15. | Old Folks [Take 3]
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| 16. | Old Folks [Take 4]
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| 17. | Old Folks [Take 5]
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| 18. | Please Don't Talk About Me When I'm Gone
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| 19. | The Song Is Ended
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| 20. | Faberge [Take 1 and 2][*]
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| 21. | Faberge [Take 3][*]
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| 22. | Faberge [Take 4, 5, 6, 7, 8 and 9][*]
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| 23. | Faberge [Take 10][*]
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| 24. | Faberge [Take 11][*]
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| 25. | Faberge [Take 12][*]
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Jazz / Ballads, Vocal Jazz
Ben Webster - Sax (Tenor)
Allan Botschinsky Trumpet
Anders Stefansen Producer
Arne Lamberth Trumpet
Axel Windfel Trombone
Bjarne Rostvold Drums
Danish Radio Jazz Orchestra Performer
David Redfern Photography
Erik Moseholm Producer
Erling Christensen Saxophone
Flemming Madsen Saxophone
Hans Nielsen Remastering
Jesper Thilo Saxophone
Niels Jorgen Steen Conductor
Niels-Henning Orsted Pedersen Bass
Ole Kock Hansen Piano
Ole Kurt Jensen Trombone
Ole Matthiessen Producer
Ole Molin Guitar
Palle Bolvig Trumpet
Palle Mikkelborg Trumpet
Per Espersen Trombone
Perry Knudsen Trumpet
Uffe Karskov Saxophone
For once the record buying public will be able to share the insight of making jazz. Gone are the studio restrictions and the frequent commercialism of live recordings. Here we are close to the creation, as we will ever come. Close to the warm genius of Ben Webster. The last six tracks on this CD are a mystery to everybody. Where and when are they recorded and who is playing with Ben? All we know is that the tape is left in Webster’s belongings marked 'Faberge'! Storyville Records and The Webster Foundation
The Storyville label's No Fool, No Fun is the definitive version of a recording previously released on Spotlite as a dodgy pirate. These 25 tracks contain a complete rehearsal of the great tenor big man Ben Webster, near the end of his life, with the Danish Radio Big Band and singers Matty Peters and Freddy Albeck. Here are numerous takes of all the material used in the concert a couple of days later, including instructions shouted out by Webster attempting to get the band in shape for the performance. Certainly, the fact that multiple takes are stacked one after another and that the flow is often broken up by new arrangements or flubs by part of the band (or simply by Webster changing his mind) will prove challenging listening to anyone who is not a serious student or aficionado of jazz, or a Webster fanatic. For these latter categories, the intimacy, informality, and candor of these performances -- mistakes and all -- present a wonderful way to aurally observe a brilliant jazz mind at work. [The Storyville version of No Fool, No Fun features six bonus alternate takes of "Faberge."] ~ 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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