Artist: Gerry Mulligan

Old time, modern, 2009-11-14
Gerry Mulligan Meets Ben Webster, Verve 841 661-2, is one of a few vinyl LPs that I have replaced with a CD. Well worth the expense even if only for the additional 33 minutes of new music that it contains - extra tunes not alternative takes.This album was recorded in December 1959 and the rhythm section is Jimmy Rowles, Leroy Vinnegar and Mel Lewis. Rowles has a less abrasive style than Peterson (who seemed to appear on most of the Norman Grantz records in this era)and helps to create an even more relaxed atmosphere. From his arrival on the jazz scene in 1954 Vinnegar became the rock on which many outstanding rhythm sections have been founded. Although mainly associated with big bands, like Kenton and his collaboration with Thad Jones, Mel Lewis fits in well on this session. The original LP introduced me to the lovely Strayhorn tune Chelsea Bridge, which features Webster at his typical breathy best. Apart from one standard tune the rest were Mulligan originals. The additional tracks on the CD start with a glorious version of Ellington's In A Mellow Tone. Again there is one standard but this time the 3 originals are by Webster. So all in all a nicely balanced program with wonderful interplay and blending of the 2 horns and marvellous solos by everyone.

Artist: Oscar Peterson, Ben Webster

Ben Webster's tenor saxophone is one of the utterly distinctive and inimitable sounds in jazz and in 1959, when this set was recorded, it had reached its full breathy, melting ripeness. It was more than an instrumental tone; it was a voice, with all the variety of nuance that the human voice can command. He applies it here to seven classic American songs, well-known melodies which he explores with the ease and relaxation of long familiarity. Only Sinatra's own version could equal Webster's exposition of "In The Wee Small Hours Of the Morning", while Ray Noble's "The Touch Of Your Lips" was never so well served, either before or since. Most of the pieces are taken either as slow ballads or at an easy, mid-tempo lope, the one exception being "Sunday", which swings out with a will. Oscar Peterson is so celebrated as a virtuoso pianist that his virtues as an accompanist are rarely noticed, but he is one of the most supportive partners any soloist could desire. Along with Ray Brown and Ed Thigpen, his regular bass-and-drums team of the time, he provides the perfect setting for Webster. Altogether, this is a golden set from a golden era. --Dave Gelly
Caught In The Web., 2010-02-04
A great album to sit back and relax to - if that's what your hoping for. Recorded late in 1959, this is the fourth collaboration between the two legends. The quartet consists of Webster on tenor sax, Peterson on piano, Ray Brown on bass, and Ed Thigpen on drums; all combining to create that smoky club atmosphere. It is Ben Webster's seductive playing that lends it that feeling, the timbre of his sax is incredibly tender and sophisticated. Leisurely making his way through luscious tracks like: When Your Lover Has Gone, and, In The Wee, Small Hours Of The Morning. Not forgetting the rest of the ensemble (or tracks), all of which add to the silkiness that runs through the album.
The album is generally made up of slower pieces, exceptions being: Sunday, and This Cant Be Love. Other songs include: The Touch Of Your Lips, Bye-bye Blackbird, and, How Deep Is The Ocean. So do your ears a favour, indulge in the sonority of Webster's sax.

Artist: Ben Webster

The soul of Ben Webster, 2009-10-27
A CD that features Ben Webster, Harry Edison and Johnny Hodges has got to be worth a listen, and this is the case here. This CD contains 3 long playing records, so to get all 3 on this double CD is a bargain. The music is superb, mainstream jazz at its best. My suggestion is if this is your type of jazz, buy it.

Artist: Coleman Hawkins

Very enjoyable, 2009-12-17
The Genius of Coleman Hawkins is one of those albums that makes you feel good; leaves you with a smile and warm glow inside. It's generally undemanding, in a way that jazz so often isn't, but I mean that in a good way. You can enjoy this for what it is - a relaxed session between Hawkins and Oscar Peterson and his trio, which represents an aspect of jazz that feels like it's from another time.

There are, perhaps, a few too many slow numbers which gives the album an overall bias towards ballads, but depending on your mood, that's probably not a bad thing. The discreet but swinging accompaniment from Peterson and friends reminds the listener once again of the huge talents Oscar Peterson had not just as a solo artist, but also as a sensitive sideman, willing to let the star shine when the occasion demanded. Hawkins sounds on fine form, his characteristic yakety sax vibrato on display perhaps a little too often, but generally it all works well.

The Verve Master Editions releases of their jazz classics are something of a mixed blessing. On the plus side, you get detailed liner notes and decent sound quality from the re-mastering; the downside - too much repeat or out-take material that detracts from the sense of mood and occasion from the original recordings. A few extra tracks here - and some mono takes of stereo material -really don't add that much to a mix that's enjoyable enough to stand on its own. Nevertheless, a fine album.

Artist: Lester Young

The 40 tracks on these two discs include everything Lester Young recorded for the Aladdin Company in the 1940s. The opening trio titles with Young backed by Nat King Cole and bass player Red Callender date from 1942, the remainder from late 1945 to early 1948. Despite critical opinion that the US Army had robbed Young of his true musical talent during his military service, his playing is of a very high level here, especially so on the quintet dates with pianists Joe Albany and Dodo Marmarosa. In fact his version of "These Foolish Things" from the Marmarosa session is as great an improvisation as he ever created in his playing career. There are plenty of indications that Young was intrigued by the new wave then sweeping through jazz. Beboppers such as Marmarosa, Albany, Argonne Thornton and Gene DiNovi play piano on various sessions while trumpeter Howard McGhee and drummers Roy Haynes and Tiny Kahn are also present on some dates. For the sake of completeness the session under vocalist Helen Humes' name has been included on the strength of Young's presence in the backing group. The rare "Riffin' Without Helen" instrumental has also been included. --Steve Voce<...