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| 4.881 Ft
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| 1. | Toby
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| 2. | Moten Swing
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| 3. | The Blue Room
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| 4. | New Orleans
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| 5. | Lafayette
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| 6. | Happy as the Day Is Long
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| 7. | Tea for Two
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| 8. | I'll See You in My Dreams
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| 9. | Early Session Hop
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| 10. | Stormy Weather
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| 11. | Conga Brava
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| 12. | Bojangles
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| 13. | Cotton Tail
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| 14. | Dusk
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| 15. | Sepia Panorama (Night House)
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| 16. | Sidewalks of New York
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| 17. | Just A-Sittin' and A-Rockin'
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| 18. | Poor Bubber
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| 19. | Perdido
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| 20. | C Jam Blues
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| 21. | Basie's Basement
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| 22. | I've Got You Under My Skin
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Jazz / Swing, Traditional Pop
Ben Webster - Sax (Tenor)
Al Mastren Trombone
Allan Reuss Guitar
Allen Eager Sax (Tenor)
Barney Bigard Clarinet
Benny Carter Sax (Alto)
Benny Morton
Bobby Guyer Trumpet
Buster Bailey Clarinet, Sax (Alto)
Cappy Lewis Trumpet
Charlie Christian Guitar
Charlie DiMaggio Sax (Alto)
Chu Berry Sax (Tenor)
Chubby Jackson Bass
Claude Jones Trombone
Cliff Leeman Drums
Clyde Hart Piano
Coleman Hawkins Sax (Tenor)
Colin Brown Compilation Producer
Cootie Williams Trumpet
Count Basie Piano
Cozy Cole Drums
Dan Minor Trombone
Dee Stewart Trumpet
Dick Kane Piano
Dizzy Gillespie Trumpet
Duke Ellington Piano
Duke Ellington & His Orchestra
Ed Kiefer Trombone (Bass)
Eddie Barefield - Clarinet
Eddie Bert Trombone
Eddie Durham Trombone
Elmer James Bass
Fletcher Henderson & His Orchestra
Fred Guy Guitar
Harry Carney Clarinet, Sax (Baritone), Sax (Alto)
Henry "Red" Allen Trumpet
Hilton Jefferson Sax (Alto), Clarinet
Horace Henderson Piano
Hot Lips Page
Hy White Guitar
Irving "Mouse" Randolph Trumpet
Jack Washington Sax (Baritone), Sax (Alto)
Jimmy Blanton Bass
Joe Keyes Trumpet
Joe Tricky Sam Nanton Trombone
John Kirby Bass
Johnny Bothwell Sax (Alto)
Johnny Hodges Clarinet, Sax (Soprano), Sax (Alto)
Juan Tizol Trombone (Valve)
Junior Raglin Bass
Keg Johnson Trombone
Lawrence Brown Trombone
Lawrence Lucie Guitar
Leroy Berry Guitar
Lionel Hampton Vibraphone
Lionel Hampton & His Orchestra
Milt Hinton Bass
Nick Travis Trumpet
Otto Hardwick Sax (Baritone), Sax (Alto)
Pete Mondello Sax (Tenor)
Ralph Burns Piano
Ray Nance Violin, Trumpet
Ray Wetzel Trumpet
Rex Stewart - Cornet
Russell Procope - Sax (Alto)
Russell Smith Trumpet
Skippy de Sair Sax (Baritone)
Sonny Greer Drums
Teddy Wilson - Piano
Tony Watts Liner Notes, Compilation Producer
Vido Musso Clarinet
Wallace Jones Trumpet
Walter Johnson Drums
Walter Page Bass
Wardell Jones Trumpet
Willie McWashington Drums
Woody Herman Clarinet
Woody Herman & His Orchestra
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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