Three Classic Albums Plus (Blue Saxophones / Soulville / The Soul Of Ben Webster) [Box set]

After learning piano and violin at an early age, Ben Webster took up the tenor sax under the tutelage of Lester Young's father, also playing with Lester in the family band. After hearing Coleman Hawkins,Ben decided his was the sound he would try to follow rather than Young's. After stints with the bands of Benny Moten and Fletcher Henderson in the 1930's, Ben found his true style with the Duke Ellington Orchestra between 1940-43. Until that time he had been totally under the spell of Coleman Hawkins's technique and expression. With Ellington, his own individuality developed reaching full maturity with a superlative series of albums in the mid-1950's, some represented on this remastered Avid collection with original liner notes and excellent sound quality.

BLUE SAXOPHONES:October 16th,1957. This album pits Webster against his former mentor Coleman Hawkins on some relaxed blues and ballads. The rhythm section is superb. Oscar Peterson (p),Herb Ellis (guitar),Ray Brown (b) and Alvin Stoller (d). The resulting tracks are outstanding and the pairing of Hawkins and Webster incomparable. Whether it be blues ('Yolande') or ballads ('It Never Entered My Mind', 'Tangerine', 'Prisoner Of Love') the two horns seem to have a mutual repect and feeling yet some sort of rivalry as to who can produce the toughest or the most sentimental tone.(The harmony between the two on 'La Rosita' is exquisite). Perhaps Hawkins has the more attacking,angrier sound, whilst Webster with his breathy vibrato the more rhapsodic style. With both players in such fine form producing great music ('It Never Entered My Mind' is especially moving') it doesn't really matter. Outstanding rhythm section and liner notes by Nat Hentoff. A classic.

SOULVILLE: October 15th,1957. Recorded the day before 'Blue' with same personnel apart from borrowing Gerry Mulligan's drummer Stan Levey. These numbers are as good an example of Ben Webster's versatility, delicacy, and mastery of the tenor sax that appear on record. His touch and tone changes are instinctive varying the feeling and expression of each song. He can switch from a gruff gutsy intonation with characteristic growls to the most sensitive, sentimental and warm sound effortlessly. Webster has a way with ballads immediately distinctive (Johnny Hodges has the same individuality), heard here on 'Time On My Hands', 'Where Are You' and 'Ill Wind'. There are times when he appears to be putting his last gasp of breath through the reed. Extremely poignant. 'Lover Come Back To Me', 'Late Date' are taken mid-tempo with and 'Makin' Whoopee' are expressive in their seemingly simplistic ways. Exemplary accompaniment and liner notes from Nat Hentoff. Not to be missed. As reviewer Steve Voce once remarked "If you don't like this one you should see a doctor".

THE SOUL OF BEN WEBSTER: July 1958. Art Farmer (t), Harold Ashby (ts), Jimmy Jones (p), Mundell Lowe (g),Milt Hinton(b),Dave Bailey (d). Five numbers penned by Webster apparently after partying the night before recording. 'Fajista' is taken at fast tempo with brief solos until Webster enters the fray. Art Farmer had never played with Webster before and this was Ashby's first Jazz recording (Webster generally taking all his solos,later, after Ashby's efforts). Two other multi-chorus blues operations are included: 'Charlotte's Piccolo' (named after Hinton's daughter) and 'Ash' after Ashby. On the former the group members solo sequentially. On the latter Mundell Lowe has a prominent solo (somewhat Charlie Christian-like). One can only speculate the origins of 'Coal Train', a fast standard ensemble piece. Webster performs in exemplary style and stands out from the other members (some camaraderie with the similar style of Ashby), and some of the acompaniment is good without being special(Hinton does drive with an urgency). The standout numbers are not surprisingly 'When I Fall In Love' and Strayhorn's 'Chelsea Bridge' where the other two horns drop out. Webster asserts himself with characteristic breathy romanticism and emphatic vibrato. Liner notes by Benny Green. Later released under same title on Verve with a Harry Edison and a Johnny Hodges original LP release in a 2CD format.

SOPHISTICATED LADY: March 1954. Webster with strings. He is completely at ease in this setting, skating and gliding over seven standards backed by a thin-sounding orchestra. Ellington's 'All Too Soon' and 'Sophisticated Lady' are taken with authority along with the Gershwins' 'Love Is Here To Stay',Rodgers and Hart's 'My Funny Valentine' and Webster's own 'Love's Away'. Strings mostly arranged by Ralph Burns.Teddy Wilson on piano. An ideal setting for Ben Webster. Later part of a Verve 2CD release 'Music For Loving'.
This compilation is essential. Ben Webster fans will probably have most if not all the albums in one form or another, but for anyone interested in jazz at the highest level these are indispensable.

Three albums are reproduced here in full. "Soulville" was recorded in LA on 15th October 1957 for the Verve label by the Ben Webster Quintet, in effect the Oscar Peterson Trio plus drummer Stan Levey. The following day Ben teamed up with his idol Coleman Hawkins, with the same backing but for Alvin Stoller on drums, which session was released originally as part of a 2-LP set entitled "Tenor Giants", but was issued separately in the UK two years later as "Blue Saxophones".

"The Soul of Ben Webster" also has a more complex origin, having started out as one of a trio of LPs (Harry "Sweets" Edison and Johnny Hodges being the leads on the other two) which was subsequently reissued as a 2-CD set. My understanding is that Webster starred on the first session, which would mean the recordings date from March 1957, not July 1958 as shown. Finally, the filler is seven of the ten tracks from the 1954 album "Sophisticated Lady" (the remainder being Do Nothin' Till You Hear From Me, Prelude to a Kiss and Come Rain or Come Shine), which features a quintet with strings on the first three tracks, and a quartet on the remainder.

By the mid-fifties Webster had settled on slow to medium-tempo ballads as his forte, and this compilation provides ample evidence of that preference. These albums, in particular "Soulville" and "The Soul of Ben Webster" were well received when first issued. It's worth recalling that in 1961, reviewing the HMV issue of "Soul", Philip Larkin wrote "There is some danger that the tenor sax may become the club bore of jazz, droning on in front of a docile rhythm section for track after track", before noting the album as an exception. There's no indication of it, but the whole compilation is in stereo. The sound quality is excellent, and this should be an essential purchase for lovers of mellow jazz.

Laid back and gentle music to keep us sane in this insane world. Music to dream by and relish, played to perfection by talented musicians, worth so much more than the paltry price. I hope one day my grandsons will thrill to this collection as I have done.

Grendad