Ben Webster Quintet - Soulville (Mono)
Prix habituel
€55,00
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Tenor Saxophone – Ben Webster [click here to see more vinyl featuring Ben Webster]
Piano – Oscar Peterson [click here to see more vinyl featuring Oscar Peterson]
Bass – Ray Brown [click here to see other vinyl featuring Ray Brown]
Guitar – Herb Ellis
Drums – Stan Levey
Written by Ben Webster (A1-2), Harold Adamson (A3), Mack Gordon (A3), Vincent Youmans (A3), Oscar Hammerstein II (B1), Sigmund Romberg (B1), Lew Pollack (B2), Lou Davis (B2), Gus Kahn (B3), Walter Donaldson (B3), Harold Arlen (B4), Ted Koehler (B4)
1 LP, Gatefold jacket by Stoughton Printing
Original analog Master tape : YES
Heavy Press : 180g
Record color : black
Speed : 33RPM
Size : 12”
Mono
Studio
Record Press : Quality Record Pressings
Label : Verve Acoustic Sounds Series
Original Label : Verve
Recorded on September 11-12, 1956
Original session produced by Norman Granz
Reissue produced by Chad Kassem
Mastered by Ryan Smith at Sterling Sound
Photography By Phil Stern
Liner Notes by Nat Hentoff
Originally released in 1957
Reissued in January 2024
Tracks:
Side A:
- Soulville
- Late Date
- Time On My Hands
Side B:
- Lover Come Back To Me
- Where Are You
- Makin’ Whoopee
- Ill Wind
Reviews
“The by turns grizzled and vaporous-toned 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 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.' AllMusic Review by Stephen Cook.
'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." John Ballon. All About Jazz.
Ratings :
Discogs : 4.43 / 5 ; AllMusic 5 / 5 ; Encyclopedia of Popular Music : 4 / 4 ; MusicHound : 4 / 5 ; Penguin Guide to Jazz : 4 / 5 ; The Rolling Stone Jazz Record Guide : 5 / 5