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| Centennial Celebration |
| Ben Webster |
| első megjelenés éve: 2009 |
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| (2009)
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CD |
| 3.726 Ft
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| 1. | Like Someone in Love
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| 2. | My One and Only Love
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| 3. | Soulmates
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| 4. | All the Things You Are
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| 5. | Lula
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| 6. | Travelin' Light
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| 7. | Have You Met Miss Jones?
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| 8. | Caravan [Live]
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| 9. | Georgia on My Mind [Live]
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Jazz
Ben Webster - Sax (Tenor)
Art Tatum - Piano
Ashley Kahn - Liner Notes
Barney Bigard - Clarinet
Chris Clough Project Assistant
Dave Barbour Guitar
Evelyn Haddad Project Assistant
Frank Butler Drums
Howard Holzer Engineer
Jim Hall Guitar
Jimmy Hole Design
Jimmy Rowles Piano
Joe Tarantino Mastering
Joe Zawinul Piano
Larissa Collins Art Direction
Leonard Feather Supervisor
Leroy Vinnegar Bass
Lester Koenig Producer
Mel Lewis Drums
Nick Phillips Compilation Producer
Norman Granz Producer
Orrin Keepnews Producer
Philly Joe Jones Drums
Ray Fowler Engineer
Red Callender Bass
Red Mitchell Bass
Richard Davis Bass
Rikka Arnold Editorial
Shorty Sherock Trumpet
Val Valentin Engineer
It's become chapter and verse in jazz liturgy: the Adoration of the Tenor one might call it. It's the story of three jazz kings - Coleman Hawkins, Lester Young, and Ben Webster - whose distinct approaches to the tenor saxophone first ushered the instrument to its primary position on the jazz frontline. And the legend lives on; the style each of these pioneers crafted still resonates and weighs heavy on the sound of jazz today.
One hundred years after his birth, Ben Webster remains one of the weightiest of them all. One can still hear the signature elements of his influence: That breathy phrasing. That lilting devotion to melody. That unmistakable tone, so reverberant and roomy. So airy and large.
Not for nothing was one of Webster's first albums named The Big Tenor. In a heyday that lasted from the late '30s through the '60s, his sound was one of the most romantic and instantly familiar in jazz. In his hands, upbeat tunes became giddy, breathless romps and ballads became whispered expressions of intimacy and anticipation. His sound predicted legions of soul-jazz tenor stylists; The Soul of Ben Webster was another early title.
From the late '50s into the '60s, Webster maintained a free agent status, recording for a number of labels until 1964 when he relocated in Copenhagen - another American jazzman preferring the relatively racist-free comfort of Denmark. There he lived out the remainder of his days playing when and where he chose.
Culled from albums released by a number of labels during Webster's last few years as a U.S. resident, Centennial Celebration reveals his musical resilience and enduring popularity with the leading jazz producers of the day.
The centennial of Ben Webster's birth occurred in 2009 and producer Nick Phillips mined the vaults of various Concord-owned labels, including Pablo, Riverside, Contemporary, and Prestige/Swingville, to create this compilation featuring the late tenor saxophonist. One of the three giants of his instrument during the 1930s and 1940s (along with Coleman Hawkins and Lester Young), Webster was still very much at the top of his game when these sessions were recorded. When he took part in the series of small-group dates with Art Tatum, he refused to be intimidated by the pianist's intricate flourishes, simply delivering majestic solos in "My One and Only Love," "All the Things You Are," and "Have You Met Miss Jones." He's very comfortable with old friends Benny Carter and Barney Bigard in an easygoing setting of Carter's "Lula." The two live tracks, "Caravan" and "Georgia on My Mind" taken from At the Renaissance, also find Webster in an inspired mood, supported by a rhythm section including pianist Jimmy Rowles and guitarist Jim Hall. But the most overlooked material is from his meeting with Austrian pianist Joe Zawinul, who was also Webster's roommate at the time, which is highlighted by the richly textured "Travelin' Light." Most Ben Webster fans likely already own all of the individual albums from which this was assembled, but for everyone else, this is an excellent introduction to the tenor saxophonist. ~ Ken Dryden, 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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