Ben Webster - The Soul of Ben Webster (1995)
BAND/ARTIST: Ben Webster
- Title: The Soul of Ben Webster
- Year Of Release: 1995
- Label: Verve, Polygram Records
- Genre: Jazz, Mainstream Jazz
- Quality: MP3/320 kbps
- Total Time: 2:32:48
- Total Size: 364 MB(+3%)
- WebSite: Album Preview
Tracklist
Disc: 1
1. Fajista
2. Chelsea Bridge
3. Charlotte's Piccolo
4. Coal Train
5. When I Fall In Love
6. Ev's Mad
7. Ash
8. Blues For The Blues
9. Blues For Piney Brown
10. Moonlight In Vermont
11. Taste On The Place
12. Blues For The Blues (Previously Unissued Alternate Take)
Disc: 2
1. Gee, Baby, Ain't I Good To You?
2. Blues For Bill Basie
3. You're Getting To Be A Habit With Me
4. I Didn't Know About You
5. Reelin' And Rockin'
6. Gone With The Wind
7. Honey Hill
8. Blues-A-Plenty
9. Don't Take Your Love From Me
10. Saturday Afternoon Blues
11. Satin Doll
12. Cool Your Motor
13. Reelin' And Rockin' (Previously Unissued Alternate Take)
14. Don't Take Your Love From Me (Previously Unissued Alternate Take)
personnel :
Ben Webster, Harold Ashby - tenor saxophone
Art Farmer - trumpet
Mundell Lowe - guitar
Jimmy Jones - piano
Milt Hinton - bass
Dave Bailey - drums
Although tenor saxophonist Ben Webster gets top billing, this two-CD set actually contains an LP apiece by Webster, trumpeter Harry "Sweets" Edison, and altoist Johnny Hodges. Webster is on all of the recordings, but really only stars on the first date, a septet outing with trumpeter Art Farmer and fellow tenor Harold Ashby. The great tenor is at his best on a beautiful version of "Chelsea Bridge" and "When I Fall in Love." The Edison session is a sextet outing with Webster, the Oscar Peterson Trio, and drummer Alvin Stoller mixing blues and swing standards; Edison's usually muted trumpet is quite effective. The final set puts the focus on altoist Hodges, who sounds beautiful on "Don't Take Your Love from Me," although the many blues performances also give solo space to trumpeter Roy Eldridge (literally explosive on "Honey Hill") and trombonist Vic Dickenson. A total of three previously unissued performances have been added to the program, and all three of these sessions had been long out of print; they add to the legacy of Norman Granz's Verve label, showing that many top swing all-stars were actually at their prime in the 1950s. Recommended.
Disc: 1
1. Fajista
2. Chelsea Bridge
3. Charlotte's Piccolo
4. Coal Train
5. When I Fall In Love
6. Ev's Mad
7. Ash
8. Blues For The Blues
9. Blues For Piney Brown
10. Moonlight In Vermont
11. Taste On The Place
12. Blues For The Blues (Previously Unissued Alternate Take)
Disc: 2
1. Gee, Baby, Ain't I Good To You?
2. Blues For Bill Basie
3. You're Getting To Be A Habit With Me
4. I Didn't Know About You
5. Reelin' And Rockin'
6. Gone With The Wind
7. Honey Hill
8. Blues-A-Plenty
9. Don't Take Your Love From Me
10. Saturday Afternoon Blues
11. Satin Doll
12. Cool Your Motor
13. Reelin' And Rockin' (Previously Unissued Alternate Take)
14. Don't Take Your Love From Me (Previously Unissued Alternate Take)
personnel :
Ben Webster, Harold Ashby - tenor saxophone
Art Farmer - trumpet
Mundell Lowe - guitar
Jimmy Jones - piano
Milt Hinton - bass
Dave Bailey - drums
Although tenor saxophonist Ben Webster gets top billing, this two-CD set actually contains an LP apiece by Webster, trumpeter Harry "Sweets" Edison, and altoist Johnny Hodges. Webster is on all of the recordings, but really only stars on the first date, a septet outing with trumpeter Art Farmer and fellow tenor Harold Ashby. The great tenor is at his best on a beautiful version of "Chelsea Bridge" and "When I Fall in Love." The Edison session is a sextet outing with Webster, the Oscar Peterson Trio, and drummer Alvin Stoller mixing blues and swing standards; Edison's usually muted trumpet is quite effective. The final set puts the focus on altoist Hodges, who sounds beautiful on "Don't Take Your Love from Me," although the many blues performances also give solo space to trumpeter Roy Eldridge (literally explosive on "Honey Hill") and trombonist Vic Dickenson. A total of three previously unissued performances have been added to the program, and all three of these sessions had been long out of print; they add to the legacy of Norman Granz's Verve label, showing that many top swing all-stars were actually at their prime in the 1950s. Recommended.
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