BEN WEBSTER
(March 27, 1909 – September 20, 1973)
Sometimes called "The Brute" or "Frog," Ben Webster was an influential American jazz tenor saxophonist. Webster, born in Kansas City, Missouri, was considered one of the three most important "swing tenors" along with Coleman Hawkins and Lester Young. Known affectionately as "The Brute", Webster had a tough, raspy, and brutal tone on stomps (with his own distinctive growls) yet on ballads he would turn into a pussy cat and play with warmth and sentiment.
Benjamin Francis Webster was born in Kansas City, Missouri, which was a major hub among touring jazz musicians in the first half of the 20th century. He studied violin in school, and also played piano. He was working as a pianist in Amarillo Texas in 1929 when saxophonist Budd Johnson gave him his first lesson on the saxophone. Webster furthered his study of the saxophone with Willis Handy Young, Lester Young’s father.
Webster moved between Texas, Missouri, and New York over the next few years, playing in bands led by Blanche Calloway, Bennie Moten, Teddy Wilson, and Andy Kirk. He cut his teeth as a featured soloist, and was hired by Fletcher Henderson in 1934. With Henderson, he played some of the most innovative and challenging big band music around at the time.
Playing with Duke Ellington's orchestra for the first time in 1935, by 1940 Ben Webster had become its first major tenor soloist. He credited Johnny Hodges, Ellington's alto soloist, as a major influence on his playing. During the next three years he was on many famous recordings, including "Cotton Tail" and "All Too Soon"; his contribution (together with that of bassist Jimmy Blanton) was so important that Ellington's orchestra during that period is known as the Blanton–Webster band. Webster left the band in 1943 after an angry altercation, during which he allegedly cut up one of Ellington's suits.
Playing with Duke Ellington's orchestra for the first time in 1935, by 1940 Ben Webster had become its first major tenor soloist. He credited Johnny Hodges, Ellington's alto soloist, as a major influence on his playing. During the next three years he was on many famous recordings, including "Cotton Tail" and "All Too Soon"; his contribution (together with that of bassist Jimmy Blanton) was so important that Ellington's orchestra during that period is known as the Blanton–Webster band. Webster left the band in 1943 after an angry altercation, during which he allegedly cut up one of Ellington's suits.
After leaving Ellington in 1943, Webster worked on 52nd Street in New York City; recorded frequently as both a leader and a sideman; had short periods with Raymond Scott, John Kirby, and Sid Catlett, as well as with Jay McShann's band, which also featured blues shouter Jimmy Witherspoon. In 1948, he returned briefly to the Ellington orchestra for a few months.
In 1953, he recorded King of the Tenors with pianist Oscar Peterson, who would be an important collaborator for Webster throughout the decade. Along with Peterson, trumpeter Harry 'Sweets' Edison and others he was by now touring and recording with Norman Granz's Jazz at the Philharmonic organization. Coleman Hawkins Encounters Ben Webster with fellow tenor saxophonist Coleman Hawkins was recorded on December 16, 1957 along with Peterson, Herb Ellis (guitar), Ray Brown (bass), and Alvin Stoller (drums). The Hawkins and Webster recording is a jazz classic, the coming together of two giants of the tenor saxophone, who had first met back in Kansas City. In 1956, he recorded a classic set with pianist Art Tatum, supported by bassist Red Callender and drummer Bill Douglass.
In 1953, he recorded King of the Tenors with pianist Oscar Peterson, who would be an important collaborator for Webster throughout the decade. Along with Peterson, trumpeter Harry 'Sweets' Edison and others he was by now touring and recording with Norman Granz's Jazz at the Philharmonic organization. Coleman Hawkins Encounters Ben Webster with fellow tenor saxophonist Coleman Hawkins was recorded on December 16, 1957 along with Peterson, Herb Ellis (guitar), Ray Brown (bass), and Alvin Stoller (drums). The Hawkins and Webster recording is a jazz classic, the coming together of two giants of the tenor saxophone, who had first met back in Kansas City. In 1956, he recorded a classic set with pianist Art Tatum, supported by bassist Red Callender and drummer Bill Douglass.
Webster generally worked steadily but in 1964, he moved permanently to join other American jazz musicians in Europe, where he played when he pleased during his last decade. He lived in London for one year, followed by four years in Amsterdam and made his last home in Copenhagen in 1969. In 1971, Webster reunited with Duke Ellington and his big band for a couple of shows at the Tivoli Gardens in Denmark and he recorded "live" in France with Earl Hines. He also recorded or performed with Buck Clayton, Bill Coleman and Teddy Wilson.
Webster suffered a cerebral hemorrhage in Amsterdam, Holland in September 1973, following a performance at the Twee Spieghels in Leiden, and died on the 20th. His body was cremated in Copenhagen and his ashes were buried in the Assistens Cemetery in the Nørrebro section of the city. Although not all that flexible or modern, remaining rooted in the blues and swing-era ballads, Webster had established himself as one of the most important musicians in jazz history. He could swing with the best and his tone was a later influence on such diverse players as Archie Shepp, Lew Tabackin, Scott Hamilton, David Murray, and Bennie Wallace.
Webster suffered a cerebral hemorrhage in Amsterdam, Holland in September 1973, following a performance at the Twee Spieghels in Leiden, and died on the 20th. His body was cremated in Copenhagen and his ashes were buried in the Assistens Cemetery in the Nørrebro section of the city. Although not all that flexible or modern, remaining rooted in the blues and swing-era ballads, Webster had established himself as one of the most important musicians in jazz history. He could swing with the best and his tone was a later influence on such diverse players as Archie Shepp, Lew Tabackin, Scott Hamilton, David Murray, and Bennie Wallace.
After Webster's death, Billy Moore, Jr. created The Ben Webster Foundation, together with the trustee of Webster's estate. Since Webster's only legal heir, Harley Robinson in Los Angeles, gladly assigned his rights to the it, The Ben Webster Foundation was confirmed by The Queen of Denmark's Seal in 1976. In the Foundation's trust deed, one of the initial paragraphs reads: "to support the dissemination of jazz in Denmark".
The Foundation channels Webster's annual royalties to musicians, both in Denmark and the U.S. An annual “Ben Webster Prize” is awarded to a young outstanding musician. The prize is not large, but considered highly prestigious. Over the years, several American musicians have visited Denmark with the help of the Foundation, and concerts, a few recordings, and other jazz-related events have been supported.
The Foundation channels Webster's annual royalties to musicians, both in Denmark and the U.S. An annual “Ben Webster Prize” is awarded to a young outstanding musician. The prize is not large, but considered highly prestigious. Over the years, several American musicians have visited Denmark with the help of the Foundation, and concerts, a few recordings, and other jazz-related events have been supported.
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