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| Complete 1953 Leader Studio Sessions |
| Ben Webster |
| első megjelenés éve: 2003 |
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| (2003)
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CD |
| 3.855 Ft
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| 1. | That's All
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| 2. | Pennies from Heaven
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| 3. | Tenderly
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| 4. | Jive at Six
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| 5. | Don't Get Around Much Anymore
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| 6. | Poutin'
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| 7. | Cotton Tail
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| 8. | Danny Boy
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| 9. | Bounce Blues
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| 10. | That's All [*]
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| 11. | Bounce Blues [Alternate Take][*]
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| 12. | Hoot [*]
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| 13. | Poutin' [*]
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| 14. | The Iron Man [*]
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| 15. | The Iron Man [6 Alternate Take][*]
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Jazz
Ben Webster - Sax (Tenor)
Alvin Stoller - Drums
Barney Kessel - Guitar, Guest Appearance
Benny Carter - Guest Appearance, Sax (Alto)
Billy Taylor - Piano
Don Elliott - Trumpet, Mellophonium
Eddie Bert - Trombone
Eric Mills - Liner Notes
Harry "Sweets" Edison Guest Appearance, Trumpet
Herb Ellis Guitar
J.C. Heard Drums
J.G. Calvados Preparation, Editing
Jo Jones Drums
Milt Hinton Bass
Oscar Peterson Piano, Guest Appearance
Ray Brown Bass
Sidney Brown Sax (Baritone)
Feat. the complete 1953 Studio Sessions with Webster as a leader for Verve & Mercury . Includes 3 dates feat: Sweets Edison, B. Carter, O. Peterson, R. Brown, B.Kessel, M. Hinton, Jo Jones & others. Great recordings of outstanding standards such as That s All, Tenderly, Dont Get Around Much Anymore, Cotton Tail … among others. Bonus Tracks. Meticulous Audio Restoration.
One has to wonder if Ben Webster ever led a bad session, or hell, even played on one. Webster, while recognized by jazz aficionados as a master improviser and technician, is hardly a household name, despite the fact that of all the Ellington tenor alumni, he was the most consistent in his output as a leader. As for this volume, the licenses on this material are all held by Verve and Mercury despite the fact that the first of these, under the moniker Ben Webster and "His Orchestra," was issued on the Norgran label in December of 1953. The band on these six selections -- all standards, including "Pennies From Heaven," and "Don't Get Around Much Anymore" -- included Harry "Sweets" Edison, Benny Carter in the alto chair, Ray Brown, Herb Ellis, and Oscar Peterson, in an uncharacteristically spare and tasteful performance. The second recording date, which was issued on the Clef label seven months prior to the first, included Ellington's "Cotton Tail," and Webster's own "Poutin'," and was played by a quintet that included Barney Kessel and J.C. Heard. This is Webster at his hard yet smooth swinging best. Heard's pulse is so bright and airy it's infectious. The last session here was the first one recorded, in January of 1953, in typical -- and confounding -- Jazz Factory fashion: the entire disc is presented in reverse order. Webster is showcased in an orchestra setting, of which he was co-leader with Johnny Richards. But it is his interactions with the stellar rhythm section of Billy Taylor, bassist Milt Hinton, and drummer Jo Jones on Richards' "Hoot," and "Iron Man," that are so remarkable. This is essential Webster, full on and in full possession of the powers that made him such a singular and necessary talent. ~ 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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