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Ben and the Boys |
Ben Webster |
első megjelenés éve: 1996 |
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(1996)
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 CD |
3.831 Ft
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1. | Teezol
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2. | The Horn
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3. | Victory Stride
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4. | Body and Soul
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5. | Joshua
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6. | Talk to Me
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7. | Concerto for Cozy
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8. | Nice and Cozy
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9. | Sleep
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10. | Memories of You
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11. | Linger Awhile
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12. | Just a Riff
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13. | Blues on the Delta
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14. | Honeysuckle Rose
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15. | I Surrender Dear
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16. | Blue Skies
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17. | Kat's Fur
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18. | Pick-Up Boys
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19. | My Old Flame
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20. | The Sheik of Araby
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21. | Conversing in Blue
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22. | Limehouse Blues
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Jazz / Swing, Traditional Pop
Ben Webster - Sax (Tenor)
Recorded: Feb 8, 1944-May 3, 1958
This is the second of two Jazz Archives LPs that are comprised of rare Ben Webster performances. The first side has the eight selections recorded in 1944 by a hot quintet that stars the great tenor, trumpeter Hot Lips Page and pianist Clyde Hart; these strong swing sides were also reissued on the Circle label. The flip side has four oddities. Two other numbers are taken from a loose 1945 jam session and are of interest mainly because of the personnel which includes pianist Duke Ellington, violinist Stuff Smith and both Don Byas and Dexter Gordon on tenors (along with Webster). Ben is also heard with an all-star group backing Woody Herman's vocal on "Somebody Loves Me" and jamming "Flying Home" in 1958 with trumpeter Buck Clayton; the latter is taken from a television show. There is a lot of exciting music on this unusual and diverse set. ~ 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 |
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