  |
|
|
 |
|
2 x CD |
| 6.861 Ft
|
|
| 1. CD tartalma: |
| 1. | Hollering at the Watkins
|
| 2. | Used to Be Basie
|
| 3. | How Deep Is the Ocean
|
| 4. | Studio Call
|
| 5. | Willow Weep for Me
|
| 6. | Opus 711
|
| 7. | Love Is Here to Stay
|
| 8. | K.M. Blues
|
| 9. | Walkin' with Sweets
|
| 10. | The Night Is Blue
|
| 11. | Easy on the Eyes
|
| 12. | Just a Mood
|
| 13. | Sunrise Blues
|
| |
| 2. CD tartalma: |
| 1. | Blues for the Blues
|
| 2. | Blues for Piney Brown
|
| 3. | Moonlight in Vermont
|
| 4. | Taste on the Place
|
| 5. | Gee, Baby, Ain't I Good to You
|
| 6. | Blues for Bill Basie
|
| 7. | You're Getting to Be a Habit with Me
|
| 8. | Blues for the Blues [Alternate Take]
|
| 9. | Alone Together [*]
|
| 10. | Willow, Weep for Me [*]
|
| 11. | Bidin' My Time [*]
|
| 12. | Makin' Whoopee [*]
|
| 13. | Moon Song [*]
|
| 14. | Louise [*]
|
Jazz
CD1, #1-9: "Sweets"
Recorded: Los Angeles, September 4, 1956
Ben Webster (ts), Harry Edison (tp), Jimmy Rowles (p), Barney Kessel (g), Joe Mondragon (b), Alvin Stoller (d)
CD1, #10-13: "Some of my favorites"
Recorded: Los Angeles, January 18, 1957
Ben Webster (ts), Harry Edison (tp), Jimmy Rowles (p), Red Norno (vib), Bob Carter (b), Bill Douglas (d)
CD2, #1-8: "Gee, baby, ain't I good to you"
Recorded: Los Angeles, March 5, 1957
Ben Webster (ts), Harry Edison (tp), Oscar Peterson (p), Barney Kessel or Herb Ellis (g), Ray Brown (b), Alvin Stoller (d)
CD2, #9-14: "Songs for Hip Lovers"
Recorded: Los Angeles, January 11-12, 1957
Ben Webster (ts), Harry Edison (tp), Jimmy Rowles (p), Barney Kessel (g), Larry Bunker (b), Woody Herman (vcl)
The companion CD in a new pair of Webster / Edison session is this, which features all of the sextet recordings made by the two master musicians in the studio.
This 2-CD set includes two complete LPs: "Sweets" (Clef, 1956) and "Baby, Ain't I Good To You" (1957). As well as these two complete LPs, this exciting release also has all the tunes originally included on two more obscure sessions: Woody Herman's "Songs For Hip Lovers" (1957) and "Dave Garroway's' Some Of My Favourites" (1957).
Although they originally became famous for playing with different big bands (trumpeter Harry "Sweets" Edison with Count Basie and tenor saxophonist Ben Webster with Duke Ellington), the two very distinctive swing stylists recorded together frequently in the late 1950s including with Billie Holiday. The music on this two-CD set is drawn from four different record projects from 1956-1957. A pair of Edison-led records, Sweets and Gee Baby, Ain't I Good to You?, are reissued in full. The two horns are joined on the former set by pianist Jimmy Rowles and guitarist Barney Kessel in the rhythm quartet while the latter has the Oscar Peterson Quartet. Not too surprisingly, the music is strongly influenced by Count Basie and the emphasis is on basic originals along with occasional standards. Also on this two-fer are the four numbers from Dave Garroway's Some of My Favorites LP that feature the two horns with Rowles and vibraphonist Red Norvo, and the six Woody Herman vocals from Songs for Hip Lovers that also have Edison and Webster. While it would also be desirable to acquire the Garroway and Herman sets in full, this is a generous two-fer that has Webster and Edison playing in prime form throughout. Fun and swinging music. ~ Scott Yanow, 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 |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
