Ben WEBSTER - King of Tenor 1953

Ben WEBSTER - King of Tenor 1953
1993 Issue.

Jazz

A lot of words aren't needed to describe Ben Webster.. maybe three at best SOULFUL, SWINGING and VERSATILE.  While players to follow put more emphasis on melodic, harmonic and rhythmic explorations, Ben Webster's trademark was his tonal mastery and expressiveness on his instrument... he was one of the few players who was able to change his tone according to what he wanted to say.. he could play lush, sweet, mellow and breathy on one tune... then go full honker style in another.. for this reason, this CD, which definitely showcases a wide scope of elements representing his unique virtuosity is a great listen.

THAT'S ALL, of course can be described as a monumentous moment in Jazz... I can only pray more young tenor hot head will get their hands on this album and remember one thing... WARMTH, feeling and expressiveness are what its really about, not the continuity of notes one is able to play in a single riff. Webster was profound, both melodically and expressively, hence its almost impossible not to listen to this CD repeatedly with awe and respect !
**
By 1953, Ben Webster had carved out his own niche in the world of jazz (and certainly in the world of saxophone). Earlyin his career, the tenor man was under the spell of ColemanHawkins and some critics considered him a mere copy. However, by the '50s, Webster had formed his own idiom. Still showing his roots, Webster nonetheless began to play with more flexible phrasing and a unique breathy tone. Uptempo numbers were intense yet controlled, and his ballad work (probably his greatest asset) was lyrical and more emotional than that of any of his contemporaries.
On KING OF THE TENORS we hear Webster in two different versions of the Oscar Peterson Quartet. The first setting features only one horn (Webster), the second session features legends Harry "Sweets" Edison (trumpet) and Benny Carter (alto sax) in addition to Webster. This reissue includes a previously unreleased version of "Poutin" as well as superb renditions of standard tunes "Tenderly", "Don't Get Around Any More", and the lovely Irish traditional "Danny Boy".
**
This 1953 date matched Webster with such peers as alto saxophonist Benny Carter, trumpeter Harry Edison, and pianist Oscar Peterson for a series of elegant yet soulful and exuberant small group dates. With no cut longer than four and a half minutes, the players didn't have time for excess statements or overkill; they had to quickly get to the heart of the matter in their solos, make their points, and return to the head. The original session has been enlarged by the addition of two previously unissued tracks, plus an alternate version of "That's All" that was later issued as a single. Label head Norman Granz excelled in producing swing-oriented, crisply played mainstream dates. Although this date is more than four decades old, Ben Webster's solos have a freshness and vitality that make them quite relevant to contemporary events.
By Ron Wynn. AMG.
**
Ben Webster- Tenor Sax
Benny Carter- Alto Sax
Harry "Sweets" Edison- Trumpet
Oscar Peterson- Piano
Barney Kessel- Guitar
Herb Ellis- Guitar
Ray Brown- Bass
J. C. Heard- Drums
Alvin Stoller- Drums
**
01. Tenderly 3:05
02. Jive At Six 4:15
03. Don't Get Around Much Any More 3:09
04. That's All (Album Version) 3:50
05. Bounce Blues (Album Version) 4:35
06. Pennies From Heaven 2:52
07. Cotton Tail 3:23
08. Danny Boy 3:40
09. Poutin' 3:59
10. Bounce Blues (1993 King Of Tenors Version) 3:39
11. That's All (Single Version) 2:54
**

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Ben WEBSTER & Tete MONTOLIU - Gentle Ben 1972

Ben WEBSTER & Tete MONTOLIU - Gentle Ben 1972
Recorded at Casino de l'Aliança del Poblenou, Barcelona, on November 28, 1972

Jazz

Rare Spanish import CD. Track Listing 1. Ben's Blues 2. Man I Love, The 3. My Nephew Bent 4. How Long Has This Been Going On 5. Sweet Georgia Brown 6. Don't Blame Me 7. Did You Call 8. Barcelona Shout Album Notes Personnel: Ben Webster (tenor saxophone); Tete Montoliu (piano); Eric Peter (bass); Peer Wyboris (drums). Recorded at Casino De L'Alianca Del Poblenou, Barcelona, Spain on November 28, 1972. Includes liner notes by Carlos Sampayo. Ben Webster was just as much an anomaly as a man as he was a musician. Who would refuse to let Duke Ellington sit down at the piano at his own rehearsal? Who would also secretly try on all of Ellington's best suits, stretching them out in the process? Who would have a chance meeting with Joe Louis and punch him for fun? Ben Webster would. These stunts were not without reprisal--Webster was fired from Ellington's Orchestra, and took a swing from the boxing champ that landed him in the hospital. On GENTLE BEN, we hear him performing with Tete Montoliu's trio in a session recorded just 10 months before the tenor legend's death. One wouldn't know it from the quality of these performances, however. Highlights include his ballad work, especially tunes such as "The Man I Love" and "Don't Blame Me." His smoky tone and legato phrasing are still in full bloom on these selections, while other tunes, such as "Ben's Blues," show that he could still swing hard, even late in his career.
**
This aptly named set was recorded on November 28, 1972 in Barcelona, Spain. Although many of Ben Webster's European sessions suffered when compared to his American ones, this outing is one of the exceptions, due in no small part to the fluid piano work of Tete Montoliu. Supported by a rhythm section of Eric Peter on bass and Peter Wyboris on drums, both Webster and Montoliu have plenty of room to breathe, and the result is a wonderful and pleasant set highlighted by the opening track, "Ben's Blues," and an easy, elegant version of "Sweet Georgia Brown." Webster's trademark breathy tenor sax tone is in full supply here, but the real revelation is Montoliu, who prooves to be a marvelous jazz pianist, making Gentle Ben somewhat of an overlooked gem.
By Steve Leggett. AMG.
**
Ben Webster -Tenor Sax
Tete Montoliu- Piano
Peer Wyboris- Drums
Eric Peter- Bass
**
01.  Ben's Blues    (Webster)  9:04
02.  The Man I Love    (George & Ira Gerswhin)  5:34
03.  My Nephew Bent     (Webster)  5:21
04.  How Long This Has Been Going On   (George & Ira Gerswhin)  8:03
05.  Sweet Georgia Brown   (Bernie-Pinkard-Casey)  6:32
06.  Don't Blame Me   (Fields-Mc.Hugh)  8:00
07.  Did You Call    (Webster)  8:41
08.  Barcelona Shout     (Webster)  4:39
**
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Ben Webster - See You At The Fair 1964

Ben Webster - See You At The Fair 1964

Jazz

Ben Webster's final American recording was one of his greatest. At 55, the tenor saxophonist was still very much in his prime but considered out of style in the U.S. He would soon permanently move to Europe where he was better appreciated. Webster's tone has rarely sounded more beautiful than on "Someone To Watch Over Me" and "Our Love Is Here To Stay".
**
Coleman Hawkins' influence is quite apparent even on such later recordings as this.
However, on ballads such as "Over the Rainbow" and "Stardust" we hear a lush, relaxed approach, one that earned Webster the title of one of the great instrumental balladeers in jazz history. A compelling listen, SEE YOU AT THE FAIR is one of Webster's best later period releases, as well as his last recording made in the United States.
**
Ben Webster- Tenor Sax
Richard Davis- Bass
Osie Johnson- Drums
Hank Jones- Piano
Roger Kellaway- Piano, Harpsichord
**
A1. See You At The Fair 
A2. Over The Rainbow 
A3. Our Love Is Here To Stay 
A4. In A Mellow Tone 
B1. Lullaby Of Jazzland 
B2. Stardust 
B3. Fall Of Love 
B4. While We're Dancing 
B5. Someone To Watch Over Me
**
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Ben WEBSTER & Harry "SWEETS" Edison - Ben & "SWEETS" 1962

Ben WEBSTER & Harry "SWEETS" Edison - Ben & "SWEETS" 1962
Recorded at the Columbia 30th Street Studio, New York, on June 6 & 7, 1962

Jazz

The two jazz giants Ben Webster and Harry "Sweets" Edison had long wanted to record an album together, and in 1962, they did. Although associated with two different orchestras (Edison was with Basie and Webster was with Ellington), these two swing kings found that they had a lot in common.

This album features both horn men on three medium tempo blues, "Better Go," "Kitty," and "Did You Call Her Today." Other than this, Webster gets two tenor features, contributing absolutely luscious solos on both "How Long Has This Been Going On," and "My Romance." After listening to these songs, there can be no doubt that Webster is one of the best balladeers jazz has ever produced. Edison gets his moment in the sun too. On the album closer, Sweets plays a wonderful, even fairly modern sounding, rendition of "Embraceable You" using a Harmon mute. The ballads, enhanced by the wonderful harmonic sense of pianist Hank Jones, are the highlight of this release, and show both Webster and Sweets' unbeatable melodic sense.
**
Tenor-saxophonist Ben Webster and trumpeter Harry "Sweets" Edison, both veterans of the swing era (although associated with different orchestras), had long wanted to record a full album together. The results, a swinging quintet set with pianist Hank Jones, bassist George Duvivier and drummer Clarence Johnston, are quite rewarding. There are two ballad features for the tenor ("How Long Has This Been Going on" and a beautiful version of "My Romance") and one for Edison ("Embraceable You") along with three medium-tempo collaborations. Nothing unexpected occurs but the melodic music is quite enjoyable.
By Scott Yanow, All Music Guide.
**
Ben Webster- (Tenor Sax)
Harry Sweets Edison- (Trumpet)
Hank Jones- (Piano)
George Duvivier- (Bass)
Clarence Johnston- (Drums)
**
01. Better Go (Webster) 8:58
02. How Long Has This Been Going On? (G & I Gershwin) 5:31
03. Kitty (Edison) 7:59
04. My Romance (Rogers, Hart) 4:14
05. Did You Call Her Today? (Webster) 8:54
06. Embraceable You (G & I Gershwin) 4:07
**
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Ben WEBSTER - The Soul of Ben Webster 1958

Ben WEBSTER - The Soul of Ben Webster 1958

Jazz

(The 2 CDs actually contain the tracks from three LPs:
"The Soul Of Ben Webster" by Ben Webster
"Gee, Baby, Ain't I Good To You" by Harry Edison
"Blues-a-Plenty" by Johnny Hodges)

In addition to THE SOUL OF BEN WEBSTER, this compilation includes Harry Edison's GEE, BABY AIN'T I GOOD TO YOU and Johnny Hodges' BLUES A-PLENTY in their entirety.Recorded in Hollywood, California and New York in 1957 and 1958. Originally released as three separate LPs on Verve (8359), (8211) and (6123). Includes liner notes by Francis Davis and original release liner notes by Benny Green and Nat Hentoff.This two-CD set is slightly misnamed. Not only does it feature the tenor stylings of the great Ben Webster, it also contains a full album by trumpeter Harry "Sweets" Edison called GEE, BABY AIN'T I GOOD TO YOU and altoist Johnny Hodges' full LP, BLUES A-PLENTY. Webster appears on Edison's album but does not play on all of Hodges'. In fact, he sits out on five of the eleven Hodges tracks. The music itself is all quite memorable, featuring notables such as trumpeters Art Farmer and Roy Eldridge, pianists Oscar Peterson and Billy Strayhorn, and trombonist Vic Dickenson. Indeed, this album boasts many legends, and with this caliber of musicianship, you can't go wrong. Highlights include Webster's composition, "Ev's Mad" Sweets Edison's "Blues for Bill Basie," and Hodges' "Honey Hill." On the latter, Roy Eldridge reaches into the stratosphere, playing high notes with great precision.
From Muze.
**
Bass - Jimmy Woode (tracks: CD2: 4-14) , Milt Hinton (tracks: CD1: 1-7) , Ray Brown (tracks: CD1: 8-12; CD2: 1-3)
Drums - Alvin Stoller (tracks: CD1: 8-12; CD2: 1-3) , Dave Bailey (tracks: CD1: 1-7) , Sam Woodyard (tracks: CD2: 4-14)
Guitar - Barney Kessel (tracks: CD1: 8, 9, 12; CD2: 1, 3) , Herb Ellis (tracks: CD1: 10, 11; CD2: 2) , Mundell Lowe (tracks: CD1: 1-7)
Piano - Billy Strayhorn (tracks: CD2: 4-14) , Jimmy Jones (3) (tracks: CD1: 1-7) , Oscar Peterson (tracks: CD1: 8-12; CD2: 1-3)
Saxophone [Alto] - Johnny Hodges (tracks: CD2: 4-14)
Saxophone [Tenor] - Ben Webster (tracks: CD1: 2, 5, 8, 9, 10, 11, 12; CD2: 1, 2, 3, 5, 7, 8, 10, 12, 13) , Harold Ashby (tracks: CD1: 1, 3, 4, 6, 7)
Trombone - Vic Dickenson (tracks: CD2: 5, 7, 8, 10, 12, 13)
Trumpet - Art Farmer (tracks: CD1: 1, 3, 4, 6, 7) , Harry Edison (tracks: CD1: 8-12; CD2: 1-3) , Roy Eldridge (tracks: CD2: 5, 7, 8, 10, 12, 13)
**
CD1-01. Fajista 3:40
CD1-02. Chelsea Bridge 3:38
CD1-03. Charlotte's Piccolo 15:29
CD1-04. Coal Train 4:07
CD1-05. When I Fall In Love 4:57
CD1-06. Ev's Mad 4:21
CD1-07. Ash 8:21
CD1-08. Blues For The Blues 4:49
CD1-09. Blues For Piney Brown 7:37
CD1-10. Moonlight In Vermont 3:56
CD1-11. Taste On The Place 7:02
CD1-12. Blues For The Blues (Previously Unissued) 5:52
CD2-01. Gee, Baby, Ain't I Good To You? 3:31
CD2-02. Blues For Bill Basie 9:30
CD2-03. You're Getting To Be A Habit With Me 6:50
CD2-04. I Didn't Know About You 3:31
CD2-05. Reelin' And Rockin' 9:37
CD2-06. Gone With The Wind 3:17
CD2-07. Honey Hill 4:02
CD2-08. Blues-a-Penty 3:21
CD2-09. Don't Take Your Love From Me 3:40
CD2-10. Saturday Afternoon Blues 5:58
CD2-11. Satin Doll 5:01
CD2-12. Cool Your Motor 3:36
CD2-13. Reelin' And Rockin' (Previously Unissued) 9:40
CD2-14. Don't Take Your Love From Me (Previously Unissued) 4:58
**
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Ben WEBSTER & Joe ZAWINUL - Soulmates 1963

Ben WEBSTER & Joe ZAWINUL - Soulmates 1963

Jazz

What initially seems like an unlikely pairing for this session delivers on its unique pedigree with performances that do full justice to tenor legend Ben Webster and to the then up and coming pianist Joe Zawinul . Recorded in 1963 while the pianist was a member of the Cannonball Adderley Sextet , the session came about as a result of Webster 's and Zawinul 's sharing a New York apartment for several months. It's actually billed as Zawinul 's first session as leader and Webster 's last in the U.S. before his move to Europe. The tunes generally keep to mid-tempos, a pace that affords Webster the opportunity to wield the gentler side of his legendary sound. His rich, nuanced tone and magnificent phrasing are superbly in evidence. Listeners only familiar with Zawinul 's soul-jazz side with Adderley and later his pioneering synthesizer work with Weather Report may be surprised at his eloquent playing here in a classic style right out of Tommy Flanagan or Red Garland . The presence of Thad Jones -- a legend in his own right -- on cornet for four tacks is a bonus. With a rhythm section rounded out by the slightly lesser legends of drummer Philly Joe Jones and bassist Sam Jones , alternating with Richard Davis , there isn't one false step on this set. It may tend to the mellower side of things, but that simply means there's more opportunity to luxuriate in Webster 's peerless sound.
By Jim Todd, All Music Guide.
**
Ben Webster- Tenor Sax
Joe Zawinul- Piano
Philly Joe Jones- Drums
Richard Davis- Bass
Sam Jones- Bass
Thad Jones- Cornet
**
01. Too Late Now (Lane, Lerner) 6:26
02. Soulmates (Webster) 6:32
03. Come Sunday (Ellington) 5:10
04. The Governor (Webster) 3:13
05. Frog Legs (Zawinul) 5:29
06. Trav'lin' Light (Mercer, Mundy, Young) 6:08
07. Like Someone in Love (Burke, VanHeusen) 3:45
08. Evol Deklaw Ni (Jones) 5:20
**
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Ben WEBSTER - Ben Webster and Associates 1961

Ben WEBSTER - Ben Webster and Associates 1961
Label: Verve
Recorded at Nola Recording Studio,
New York, on April 9, 1959

Jazz

Ben Webster and Associates is a 1959 session that took full advantage of the long-playing LP format. Highlighted by the 20-minute version of Ellington's "In a Mellow Tone" in which tenor titans Ben Webster, Coleman Hawkins, and Budd Johnson plus trumpeter Roy Eldridge stretch out, not so much in a cutting contest as a laid-back jam session amongst friends. This summit meeting turned out to be a tribute to another tenor master of the same generation, Lester Young, who had died less than four weeks before this session. The chosen rhythm section of Jimmy Jones on piano, Les Spann on guitar, Ray Brown on bass, and Jo Jones on drums equally matches the performance of the featured horns. Also tackled for this session were three Webster originals: "De-Dar," "Young Bean," and "Budd Johnson" and the standard "Time After Time." Unfortunately no bonus tracks are included (if they even exist) but the excellent sound restoration more than makes up for it.
By Al Campbell.AMG.
**
Roy Eldridge (trumpet)
Ben Webster tenor sax)
Coleman Hawkins (tenor sax)
Budd Johnson (tenor sax)
Ray Brown (bass)
Jo Jones (drums)
Les Spann (guitar)
Jimmy Jones (piano)
**
01. In A Mellow Tone 20.16
02. De Dar 4.04
03. Young Bean 6.03
04. Budd Johnson 4.36
05. Time After Time 9.03
**
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Ben WEBSTER - The Holland Sessions 1969-1973

Ben WEBSTER - The Holland Sessions 1969-1973
Label: Blue Note
Audio CD: (9 Jun 2003)

Jazz

The title of this review should suggest 5 stars, but these are big Ben's last years, when the tone was still magnificent but the lungs could no longer delliver proper breath controll and the length... And the international trios playing with him are quite adequate but not more than that.

Even the 1st CD, containing recordings from 1969, have the sense of late Ben, not to speak of the 2nd CD, with songs from 1973, the year of his death.

He was still very good even in 1973 but, alas, no longer great. However, if you like Webster (like I do) you will not make a mistake if you buy it; in the end of the 2nd CD (and 3rd original album) old Ben, instead of an encore, tells the audience "You're young and growing, I'm old and going; have fun while you can!"... And of he went.
By  Nikica Gilic.
**
1-6
1969 January 12 Heemstede/NL BEN WEBSTER with FRANS WIERINGA TRIO “At Ease”
Ben Webster tenor sax
Frans Wieringa piano
Gerard Holdgrefe bass
Tom van Steenderen drums
Recordings for IMPERIAL, Bovema Studios

7-12
1969 May 26 Heemstede/NL BEN WEBSTER – “FOR THE GUV’NOR”
Ben Webster tenor sax
Cees Slinger piano
Jacques Schols bass
John Engels drums
Recordings for IMPERIAL, Producer Joop Visser, Engineer Klaas Leyen.

CD1
01. Benny's Tune 5:26
02. Once in a While 5:38
03. Ben's Blues 6:06
04. Sweet Lorraine 6:09
05. Hymn to Freedom 5:01
06. St Louis Blues 5:50
07. I Got It Bad and That Ain't Good 6:14
08. Drop Me off at Harlem 6:14
09. One for the Guv'nor 6:19
10. Prelude to a Kiss 7:20
11. In a Sentimental Mood 6:47
12. Rockin' in Rhythm 5:22
*
Ben Webster tenor sax
Irv Rochlin piano
Henk Haverhoek bass
Peter Yprna drums

CD2
01. Pennies from Heaven 10:09
02. I Got Rhythm 7:58
03. My Romance 8:12
04. Autumn Leaves 7:46
05. For All We Know 8:50
06. Sunday 6:01
07. Just You, Just Me 7:03
08. How High the Moon 7:03
09. Straight, No Chaser 9:34
10. Short Speech by Ben Webster 0:53
**
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Ben WEBSTER - Soulville 1957 (REPOST)

Ben WEBSTER - Soulville 1957
Label: Verve
Reissued: 2003

Jazz

On this 1957 date, Webster is teamed up with the great Oscar Peterson Quartet. Supporting Webster on each track, this music lays "in the pocket" (as musicians would say) quite well. Much of this is due to drummer Stan Levey's buoyant swing. Webster himself is heard on two simple blues numbers of his own penning including the title track and "Late Date." Other songs include the standards "Lover Come Back To Me," "Where Are You," and "Makin' Whoopee." Perhaps the most riveting tune on SOULVILLE, however, is the beautiful ballad "Time on My Hands."
Indeed, Webster is one of the most brilliant instrumental balladeers jazz has ever produced. No one can get that airy (even sultry) tone quite like Webster. Finally, as an intriguing bonus, we hear Webster perform three tunes in duet with Levey. Intriguingly, Webster plays piano on these tracks! Using an antiquated stride/boogie woogie style, Webster shows that his talent reaches beyond the saxophone.
From CD Universe.
**
The by turns grizzled and vaporous-toned Ben Webster really hit his stride on the Verve label. During a stretch from roughly 1953-1959, the Ellington alumnus showcased his supreme playing with both combos and string sections, swingers and ballads -- and lurking beneath his blustery and hulking sound were solo lines brimming with sophistication and wit. This 1957 date with the Oscar Peterson Trio is one of the highlights of that golden '50s run. After starting off with two bluesy originals -- the slow burning title track and the gutsy 'Late Date' -- Webster gets to the heart of things on five wistful ballads : Here, his exquisitely sly 'Makin' Whoopee' is only outdone by an incredibly nuanced 'Where Are You.' Providing sympathetic counterpoint, Peterson forgoes his usual pyrotechnics for some leisurely compact solos; his cohorts -- guitarist Herb Ellis , bassist Ray Brown , and drummer Stan Levey -- are equally assured and splendid. And ending the set with flair, Webster takes over the piano for three somewhat middling yet still impressive stride and boogie-woogie -styled numbers (these are his only piano recordings). Newcomers shouldn't hesitate to start here. [In addition to the three bonus tracks included with the original CD pressing, Verve 's 2003 reissue featured new liner notes and photographs, updated cover art, and a 24-bit remaster.]
By Stephen Cook, All Music Guide.
**
I accidentally lucked into the music of Ben Webster while sifting through the "W" section of some dusty used record bin years ago. The cover looked cool, with its classic profile shot of an unsmiling, world-weary Webster featured beneath the boldly printed title, Soulville. I impulsively bought the disc, took it home, and a few days later got around to playing it. Whoa! Had I stumbled onto something BIG. From that record on, I no longer thought of jazz as just another category of shopping music. Never before had I heard such soulful, sensual, bluesy sounds, and I haven't since. It was Webster's tough, raspy, growling tone that caught my teenage attention. The album opened with a pair of low-down and dirty blues, "Soulville" and "Late Date," which vividly conjured up romantic mental pictures set in black and white, after-hours clubs and smoke filled bars that I had only seen in old movies. Then I got my first introduction to a Ben Webster ballad. He was a master of the ballad, blowing with a distinctively breathy, warm-toned, soulful and sensitive voice. Like Billie Holiday, Webster could transform a corny ballad into a poignant work of beauty. On the lovely "Time On My Hands" and "Where Are You," Webster plays 10 notes when other sax men might have used 100, but all 10 hit you in your soul. Memorable stuff, especially for an impressionable kid. On this 1957 session, the great tenor-saxophonist met up with Oscar Peterson's group, which included bassist Ray Brown, guitarist Herb Ellis, and drummer Stan Levy. Their playing in support of Webster was incredibly sympathetic, with Peterson having the sense to reduce the quantity of notes he typically would put into his solos (with the exception of his snappy solo on "Late Date"). At the time, I didn't know that Webster was considered one of the "Big Three" of swinging tenors (along with Coleman Hawkins and Lester "Prez" Young). I also didn't know that his timeless playing was somehow considered out-of-style by the time he recorded Soulville. All I knew was that I couldn't stop playing track 6, "Makin' Whoopee," a song so supremely soulful that I still think it puts the classic Ray Charles version to shame. This music spoiled me. I thought all jazz sounded this good. I've spent years trying to track down other artists whose music could move me as profoundly as a Ben Webster ballad. I'm open to suggestions. For those who prefer to save some time, look no further than this album.
By John Ballon. AAJ.
**
Oscar Peterson- Piano (1-7)
Ray Brown- Bass  
Herb Ellis- Guitar
Stan Levey- Drums
Ben Webster- Piano,Tenor Sax  (8-10)
**
01.  Soulville (Webster)  8:03
02.  Late Date (Webster)  7:13
03.  Time on My Hands (Adamson, Gordon, Youmans)  4:16
04.  Lover, Come Back to Me (Hammerstein, Romberg)  8:26
05.  Where Are You? (Adamson, McHugh)  4:41
06.  Makin' Whoopee (Donaldson, Kahn)  4:29
07.  Ill Wind (Arlen, Koehler)  3:30
08.  Who? (Hammerstein, Harbach, Kern)  2:56
09.  Boogie Woogie (Webster)  3:06
10.  Roses of Picardy  (Weatherly, Wood)  2:05
**
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Ben WEBSTER - My Man, Live At The Montmartre 1973

Ben WEBSTER - My Man, Live At The Montmartre 1973
Label: Steeplechase
Audio CD: (May 3, 1994)
Recorded at Jazzhus Montmartre, Copenhagen, on January and April, 1973

Jazz

Just months before his death, the great tenor Ben Webster shows that even with an occasional shortness of breath, he never really declined musically. The six selections (five standards and his "Set Call") are all familiar (one wonders how many times Webster recorded "Sunday") but he still sounds enthusiastic and emotional. Joined by pianist Ole Kock Hansen, bassist Bo Stief and drummer Alex Riel for these appearances at the Montmartre in Copenhagen, Webster's warm ballad renditions and hard-driving romps are as always quite enjoyable to hear.
By Scott Yanow. AMG.
**
Recorded live at Montmartre 1973. The indisputable tenor giant Ben Webster spent his last years in Copenhagen. His appearances at the famed Jazzhus Montmartre in those days greeted by faithful and appreciative audience were the historical moments filled with unique quality of beauty ignited by the last spark of a truly great man.
**
Ben Webster- Tenor Sax
Alex Riel- Drums
Ole Kock Hansen- Piano
Bo Stief- Bass
**
01. Sunday  7:55
02. Willow Weep for Me  8:56
03. Exactly Like You  8:44
04. Old Folks  10:06
05. I Got Rhythm  8:00
06. Set Call  8:06
**
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