Ben Webster - Live At Pio's
Prix habituel
€35,00
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Ben Webster – tenor saxophone [click here to see more vinyl featuring Ben Webster]
Junior Mance – piano
Bob Cranshaw – bass
Mickey Roker - drums
1LP, standard sleeve
Limited edition
Original analog Master tape : YES
Heavy Press : 180g
Record color : Black
Speed : 33 RPM
Size : 12'’
Stereo
Live
Record Press : unspecified
Label : Pure Pleasure
Original Label : Enja Records
Recorded live on Feb 18, 1964 at Pio's Lodge, Providence, Rhode Island by Tom diPietro
Produced by Horst Weber & Matthias Wincklemann
Remastered by Cicely Baston at Alchemy/Air Mastering
Originally released in 1974
Reissued in 2021
Tracks:
Side A:
- Cookin' For T
- Gone With The Wind
- Sunday
Side B:
- Pennies From Heaven
- How Long Has This Been Going On?
- Sometimes I'm Happy
Reviews:
“Kansas City native Ben Webster had a varied music training. Before becoming an elite tenor saxophonist, he trained on violin and piano. In his early career, he played in bands led by Lester Young, Count Basie, Cab Calloway, Fletcher Henderson and Teddy Wilson. When he joined The Duke Ellington Orchestra in 1940, his jazz presence was elevated. After his volatile tenure with Ellington, Webster recorded as a band leader and sideman with many jazz legends, including Art Tatum, Coleman Hawkins, Oscar Peterson and Gerry Mulligan (to name a few), primarily for the Verve label. Like other contemporaries, Webster moved to Europe, living in England and Denmark. He performed and recorded until his death in 1973. Among the many Ben Webster anecdotal facts was that he played the same saxophone from 1938-1973.
Pure Pleasure Records has released a re-mastered 180-gram vinyl of a Ben Webster club date, Live At Pio’s. Recorded at Pio’s Lodge (Providence, Rhode Island) in 1964, it didn’t see the light of day until 1974, when it was issued on a small German label, Enja Records. Side 1 opens with the up tempo number, “Cookin’ For T”. It is clear that this “classic” quartet (Junior Nance/piano; Bob Cranshaw/double bass; Mickey Roker/drums) is prepared to swing with hard bop grit. Webster’s muscular lead on tenor stretches out the sax tonality, as the capable rhythm section keeps things jumping. Nance percolates on piano and complements double bassist Cranshaw’s solo. Roker’s drumming is lively (including some fills) and fuels the energetic performance. “Gone With The Wind” is more relaxed, but still moves at a jaunty pace. Webster’s tenor is full-bodied and crisp, and Nance executes another articulate run. Webster revisits his 1959 collaboration with Oscar Peterson on “Sunday”. The two soloists engage in numerous hot licks and intuitive jazzy repartee as the quartet races on.
There has always been a tradition in the jazz world to reinvent popular music. “Pennies From Heaven” began as a radio-friendly ditty for Bing Crosby. However, there have been inventive covers from the likes of Dave Brubeck, Stan Getz and Louis Prima. The quartet (this time led by Nance) breezily romps through this version. Webster embraces the last verse with warmth and space. Reaching into The Great American Songbook, “How Long Has This Been Going On?” is a definite change of pace. Webster’s feathery touch distills the palpable melancholy of the tune. It begins as a more structured instrumental, but Nance edgy articulation of right hand notation and sweeping chords lead to a subtle uptick in rhythm. At 6:32, it is the longest track on the album and showcases the dynamics of this combo. The finale “Sometimes I’m Happy” is vampy blues with attitude. The festive resonance is compelling and Webster’s assured runs flow organically.
Pure Pleasure Records has done a credible job in re-mastering Ben Webster – Live At Pio’s to 180-gram vinyl. Despite the unavoidable “flat” mix of a small club, the updated sound is balanced. The pressing has little surface noise and no hisses or pops.” Robbie Gerson, Audiophile Audition, September 2021
“First issued back in the 1980s, now available again on vinyl (mastered by Cicely Baston at Air), this might be called a typical mid-1960s Ben Webster date, this time at a forgotten venue in Rhode Island. Although alarmingly brief even for an LP of the time, the great tenorist manages to squeeze in several favourite themes -‘Sunday’, ‘Gone With The Wind’, ‘How Long Has This Been Going On?‘ etc. – all of them dispatched in quintessential mature Webster manner; ballads ooze, mid-tempos stomp and anything above a lope is dealt with in a series of growly asides. What makes this date notable though is the accompanying trio, a top-flight of younger modernists who, Cranshaw especially, give the venerable frontman support that he appears to thrive on. In some senses, this prefigures the kind of backing Webster was shortly to receive in Europe where notions of his being a cosy mainstreamer were provocatively ignored.
Indeed, the recording date (this issue and the original seem to differ, the old LP maintaining it was taped in 1963) means this is late in Ben's Stateside career, putting him right on the cusp of that majestic, final flowering in the Old World. Like the old tapes from Ronnie Scott's that the late Les Tomkins made available, this, however, isn't quite Webster's best, the indifferent audio quality robbing much from that memorable tone. In summary, if not exactly essential Ben, it makes a pleasant enough listen, especially during these days of tenor saxophones sounding like bone-dry bassoons.” Simon Spillett, Jazz Wise
Ratings :
AllMusic : 4 / 5 ; Discogs : 3.54 / 5 ; Audiophile Audition : 4 / 5