Just Jazz; Ben Webster On Tenor: 1950s, Pt. 2

Transcript

You You You You

You You You

You You You You You You You You You You It's a fun Swingers, right? Very stylish cars too from Harry Edison on Chopper. So fine and mute. And that nice lift that Ben gave it was just a bit of extra push and the rhythm section responding to it on his re-entrance for his second solo, Lovely. Penny is from heaven for you and me, kid. Arthur Johnston and Johnny Burke solely everybody does that too. I mean that did three times about three different groups last week. 1953, the septet date. When we heard a couple of things from it's not a fact with the Perry and Benny Carter and Ben. This one for Harry for sweets and Ben and that powerful

rhythm section. Oscar Peterson, Herbella's, Ray Brown and Alvin Stola. The only originally inaugural grand later on for long out of the catalog King for tennis, Ben Webster, Penny's, Cutta Dukeish. Particularly in that last half, Ben utilising some of the same phrases and

matter factor very close to his original solo on the Ellington recording of 1940. All too soon we had depart. The moment you had touched my heart and with you went my dream. Oh all right, session with strings. You could plainly hear a small string contingent. It was done in 1954. Just one read, Tony Scott. Still known as Anthony Shaka in those days at least. Ben of course, Billy Strayhorn on piano and Billy responsible for the arrangement and well more or less conducting. George DeVay on bass, Louis Beltson on drums. Another personnel on that? No, that's all. The old set's fisticated lady,

which closed out our part one, didn't it? Duke's pretty bad. It's been picked up, done more often, I think fairly recently, didn't it? It was, oh say in the 50s, Ella does it, all too soon. Ben Webster, beautiful balladier. Yes, to blow anybody's breeze. Oh, that beauty by Harold Arlen, his music, Ted Cullen's lyric,

Il Wind, lovely, caressing, phrasing of the melody by Ben. Yeah, the Oscar Peterson rhythm team, Oscar's piano, self-tasteful and support. There's an accompanist, Ray Brown's bass, his beautiful big sound, Herb Ellis's guitar, and Stan Levy's drums, cast now for Ben's tender saxophonist, the set, Solville, Verve, recorded in L.A. in 1957, it was, all too soon from Duke. One of those cosmic questions I'll stick to you by Ben. Yeah, I'll stick to you by Ben, I'll stick to you by Ben, I'll stick to you by Ben.

Yeah, I'll stick to you by Ben, I'll stick to you by Ben, I'll stick to you by Ben. Yeah, I'll stick to you by Ben, I'll stick to you by Ben. Yeah, I'll stick to you by Ben, I'll stick to you by Ben.

Yeah, I'll stick to you by Ben, I'll stick to you by Ben. Yeah, I'll stick to you by Ben, I'll stick to you by Ben. Yeah, I'll stick to you by Ben, I'll stick to you by Ben.

Yeah, I'll stick to you by Ben, I'll stick to you by Ben. Yeah, I'll stick to you by Ben, I'll stick to you by Ben. Yeah, I'll stick to you by Ben.

Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben.

Yeah, I'll stick to you by Ben. Yeah, they got a groove going there, a beautiful medium tempo, strong swing, enough tension, but very relaxed.

Ben in fine form, and that rhythm section, the later edition of the Ask a Peterson trio. They'd think Ben on drums instead of guitar. Yeah, lovely set, in LA in 1959, Ben Webster meets Ask a Peterson. This can't be loved because I feel so swell, rod doesn't hurt.

Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben.

Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben.

Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben.

Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben.

Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben.

Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben.

Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben.

Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben. Yeah, I'll stick to you by Ben. Ben's own little rigth on the way in for a cast in an aft she went.

Very improv all the way. Improvo of the way. Improvo of the way. Improvo of all the way. Improvo of all the way. Improvo of all the way. Improvo of all the way. Improvo of all the way. Improvo of all the way. Improvo of all the way. Improvo of all the way. Improvo of all the way. ImpROvo of all the way. Improvo of all the way. Improvo of all the way. Improvo of all the way. Plus drums, Barney Kessel was the guitarist here. He had himself a couple of chorus, Down Home style, and he's from that country. There's no Oklahoma. Ray Brown's powerful bass, and J.C. heard on drums, and Oscar, on piano. King of the Tenders, no reverse set. Bounds, blues. I saw several blues on part one, but I think that's the only one we've got here. On this one. That immense tone, that easy swing and stride. A great maturity.

He's a confidence and authority. A timeless style, truly. Bounds, blues. Bounds, blues. Bounds, blues. Bounds, blues.

Bounds, blues. Bounds, blues. Bounds, blues. Bounds, blues.

Bounds, blues. Bounds, blues. Bounds, blues. Let's shout.

Bounds, blues. Bounds, blues. Bounds, blues. Bounds, blues.

Bounds, blues. Bounds, blues. Bands, blues.

Bounds, blues. Bounds, blues. Bounds, blues.

Bounds, blues. Bounds, blues. Bounds, blues. Bounds, blues.

Bounds, blues. Bounds, blues. Bounds, blues.

Bounds, blues. Bounds, blues. Bounds, blues. Bounds, blues.

Bounds, blues. Bounds, blues. Bounds, blues.

Bounds, blues. Bounds, blues.

Transcript

Transcript

Series: Just Jazz

Episode: Ben Webster On Tenor: 1950s, Pt. 2

Producing Organization: WRVR (Radio station: New York, N.Y.)

Contributing Organization: The Riverside Church (New York, New York)

AAPB ID: cpb-aacip-528-d50ft8fp3x

If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip-528-d50ft8fp3x).

Description

Credits: Producing Organization: WRVR (Radio station: New York, N.Y.)

AAPB Contributor Holdings: The Riverside Church
Identifier: cpb-aacip-bc1dafb2a8d (Filename)
Format: 1/4 inch audio tape
Generation: Master; The Riverside Church
Identifier: cpb-aacip-77062bc61d9 (unknown)
Format: audio/mpeg
Generation: Proxy
Duration: 02:13:59.352

Citations: Chicago: “Just Jazz; Ben Webster On Tenor: 1950s, Pt. 2,” 1969-02-28, The Riverside Church , American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed August 2, 2025, http://americanarchive.org/catalog/cpb-aacip-528-d50ft8fp3x.; MLA: “Just Jazz; Ben Webster On Tenor: 1950s, Pt. 2.” 1969-02-28. The Riverside Church , American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. August 2, 2025. <http://americanarchive.org/catalog/cpb-aacip-528-d50ft8fp3x>.; APA: Just Jazz; Ben Webster On Tenor: 1950s, Pt. 2. Boston, MA: The Riverside Church , American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-528-d50ft8fp3x