Ben Webster

   
Artist: Ben Webster

   Genre(s): 
Jazz
   Other
   

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Discography:


   
 Stormy Weather

   Year: 1988   
Tracks: 10


   
 Plays Duke Ellington

   Year: 1967   
Tracks: 9


   
 Big Ben Time!

   Year: 1967   
Tracks: 10


   
 Ben Webster Meets Bill Coleman

   Year: 1967   
Tracks: 9


   
 There Is No Greater Love

   Year: 1965   
Tracks: 8


   
 Gone With The Wind

   Year: 1965   
Tracks: 11


   
 See You At The Fair

   Year: 1964   
Tracks: 12


   
 The Warm Moods

   Year: 1960   
Tracks: 12


   
 At The Renaissance

   Year: 1960   
Tracks: 7


   
 Ben Webster Meets Oscar Peterson

   Year: 1959   
Tracks: 31


   
 The Soul of Ben Webster CD2

   Year: 1958   
Tracks: 14


   
 The Soul of Ben Webster CD1

   Year: 1958   
Tracks: 12


   
 The Soul Of Ben Webster Cd 2

   Year: 1958   
Tracks: 14


   
 The Soul Of Ben Webster Cd 1

   Year: 1958   
Tracks: 12


   
 Ben Webser and Associates

   Year: 1956   
Tracks: 5


   
 Art Tatum Meets Ben Webster

   Year: 1956   
Tracks: 10


   
 Music for Loving Disc 1

   Year: 1954   
Tracks: 18


   
 Music for Loving CD2

   Year: 1953   
Tracks: 20


   
 Music for Loving CD1

   Year: 1953   
Tracks: 18


   
 King of Tenors

   Year: 1953   
Tracks: 11


   
 Jazz Round Midnight

   Year: 1950   
Tracks: 15


   
 Cadillac Slim [CD 2]

   Year: 1950   
Tracks: 17


   
 Cadillac Slim [CD 1]

   Year: 1950   
Tracks: 15


   
 Jazz Masters 43

   Year:    
Tracks: 15


   
 Jazz Masters

   Year:    
Tracks: 16

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Ben Webster was considered one of the "prominent triad" of swing tenors along with Coleman Hawkins (his chief influence) and Lester Young. He had a tough, scratchy, and fell tone on stomps (with his have distinctive growls) yet on ballads he would turn into a kitty-cat cat and play with warmth and sentiment. After violin lessons as a child, Webster erudite how to play underlying forte-piano (his neighbor Pete Johnson taught him to play megrims). But subsequently Budd Johnson showed him some fundamental principle on the saxophone, Webster played saxophone in the Young Family Band (which at the time included Lester Young). He had stints with Jap Allen and Blanche Calloway (devising his transcription debut with the latter) in front connection Bennie Moten's Orchestra in time to be one of the stars on a definitive session in 1932. Webster exhausted time with rather a few orchestras in the thirties (including Andy Kirk, Fletcher Henderson in 1934, Benny Carter, Willie Bryant, Cab Calloway, and the ephemeral Teddy Wilson big striation).


In 1940 (later on short stints in 1935 and 1936), Ben Webster became Duke Ellington's first major tenor voice soloist. During the following three old age he was on many far-famed recordings, including "Cotton Tail" (which in addition to his memorable solo had a sax ensemble ordered by Webster) and "All Too Soon." After departure Ellington in 1943 (he would render for a time in 1948-1949), Webster worked on 52nd Street; recorded oftentimes as both a leader and a sideman; had unforesightful 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 decennium, Webster's do work on ballads became quite popular and Norman Granz recorded him on many memorable sessions. Webster recorded a classic set with Art Tatum and in general worked steadily, just in 1964 he affected permanently to Copenhagen where he played when he pleased during his last decade. Although non all that flexible, Webster could swing with the best and his tone of voice was a later influence on such various players as Archie Shepp, Lew Tabackin, Scott Hamilton, and Bennie Wallace.





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