Ben Webster • Atmosphere for Lovers and Thieves

 

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.

https://musicians.allaboutjazz.com/benwebster

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Ben Webster fue considerado uno de los "tres grandes" de los tenores de swing junto con Coleman Hawkins (su principal influencia) y Lester Young. Tenía un tono duro, áspero y brutal en los stomps (con sus propios gruñidos distintivos), pero en las baladas se convertía en un gatito y jugaba con calidez y sentimiento.

Después de las lecciones de violín cuando era niño, Webster aprendió a tocar el piano rudimentario (su vecino Pete Johnson le enseñó a tocar blues). Pero después de que Budd Johnson le enseñó algunos fundamentos del saxofón, Webster tocó el saxofón en la Young Family Band (que en ese momento incluía a Lester Young). Estuvo con Jap Allen y Blanche Calloway (haciendo su debut discográfico con esta última) antes de unirse a la Orquesta de Bennie Moten a tiempo para ser una de las estrellas en una sesión clásica en 1932. Webster pasó tiempo con bastantes orquestas en los años 30 (incluyendo Andy Kirk, Fletcher Henderson en 1934, Benny Carter, Willie Bryant, Cab Calloway, y la efímera big band de Teddy Wilson).

En 1940 (después de breves estancias en 1935 y 1936), Ben Webster se convirtió en el primer gran tenor solista de Duke Ellington. Durante los tres años siguientes participó en muchas grabaciones famosas, incluyendo "Cotton Tail" (que además de su memorable solo tenía un conjunto de saxofones arreglado por Webster) y "All Too Soon". Tras abandonar Ellington en 1943 (volvería por un tiempo en 1948-1949), Webster trabajó en la calle 52; grabó con frecuencia como líder y acompañante; pasó breves períodos con Raymond Scott, John Kirby y Sid Catlett; y realizó giras con Jazz en la Filarmónica durante varias temporadas en la década de 1950. Aunque su sonido se consideraba pasado de moda en esa década, el trabajo de Webster en las baladas se hizo bastante popular y Norman Granz lo grabó en muchas sesiones memorables.

Webster grabó un conjunto clásico con Art Tatum y en general trabajó de forma constante, pero en 1964 se trasladó de forma permanente a Copenhague, donde tocó cuando quiso durante su última década. Aunque no era tan flexible, Webster podía moverse con lo mejor y su tono fue una influencia posterior en jugadores tan diversos como Archie Shepp, Lew Tabackin, Scott Hamilton y Bennie Wallace.

https://musicians.allaboutjazz.com/benwebster

Tracks:
A1 - Blue Light (4:26)
A2 - Stardust (3:45)
A3 - What's New (4:26)
A4 - Autumn Leaves (5:15)
B1 - Easy to Love (4:21)
B2 - My Romance (4:44)
B3 - Yesterdays (5:48)
B4 - Days of Wine and Roses (4:20)


Credits:
    Bass – Henrik Hartmann (tracks: A1, B4), Hugo Rasmussen (tracks: B2), Niels-Henning Orsted Pederson (tracks: A2, A3, A4, B1, B3)
    Drums – Alex Riel (tracks: A2, A3, A4, B1, B3), Hans Nymand (tracks: A1, B2, B4)
    Engineer – Birger Svan
    Photography By – David Redfern
    Piano – Kenny Drew (tracks: A2, A3, A4, B1, B3), Niels Jorgen Steen (tracks: A1, B2, B4)
    Producer – Alan Bates
    Sleeve [Sleeve Design] – Hamish & Gustav
    Sleeve Notes – Alun Morgan
    Tenor Saxophone – Ben Webster, Ole Kongsted (tracks: A1, B2, B4)
    Trombone – John Darville (tracks: A1, B2, B4)
    Trumpet – Arnved Meyer


Notes:
Recording dates: September 5,13,15,21; 1965

Label: Polydor ‎– 2460 111, Black Lion Records ‎– BLP 30105
Released: 1971
Genre: Jazz
Style: Contemporary Jazz

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