Ben Webster

[Big Beat Steve]

20 hours ago, Late said:

Let us know what you think! (Was the harpsichord necessary?)

Sooo ...@Late: What are YOUR impressions of the presence of the harpsichord on that album, then? 

[Kevin Bresnahan]

43 minutes ago, Big Beat Steve said:

Sooo ...@Late: What are YOUR impressions of the presence of the harpsichord on that album, then? 

It has to be better than this!

 

[Late]

22 hours ago, Big Beat Steve said:

...I do not find that thing that sounds like an amplified harpsichord here (unusual...) all that disturbing. Not necessary but not all that unpleasant....the jazzier licks (at times almost organ-like) that come from the harpsichord here are OK and do not bother me.

I'd echo this sentiment. Not necessary, but not unpleasant. But I do wonder who (Bob Thiele?) thought: "Waitaminute! I know! Let's use harpsichord instead of piano! Yeah! People will go crazy for that! We're gonna have a new jazz hit!" 😜

I wish there were a Ben Webster Impulse! date with Gary McFarland arrangements. And Bill Evans on piano. I think Ben played better—or perhaps was more inspired—when placed in a setting that was harmonically challenging. I could see McFarland pulling that off while still giving Webster room to be himself.

[EKE BBB]

On 3/22/2026 at 10:30 AM, Big Beat Steve said:

Same for the "Ben Webster Meets Don Byas" of which I obtained a SABA original. After having read what's been written about this session in the Don Byas biography I think you cannot help listening to this record with somewhat "different" (or should I say "nuanced" ) ears. 

In his biography of Ben Webster, Frank Büchman-Møller is very dismissive of that disc, qualifying it as "(...)- with the exception of a couple of musical highlights- a disappointment, as neither soloist played up to par, and the rhythm section consisting of Tete Montoliu, Peter Trunk and Al Heath never merge as hoped". Then, Büchman-Møller states that the album demostrates how differently the two saxophonists had developed from the same background, with Coleman Hawkins as the primary reference.

I cannot concur with the first statement, of course. 

[Big Beat Steve]

4 minutes ago, EKE BBB said:

In his biography of Ben Webster, Frank Büchman-Møller is very dismissive of that disc, qualifying it as "(...)- with the exception of a couple of musical highlights- a disappointment, as neither soloist played up to par, and the rhythm section consisting of Tete Montoliu, Peter Trunk and Al Heath never merge as hoped". Then, Büchman-Møller states that the album demostrates how differently the two saxophonists had developed from the same background, with Coleman Hawkins as the primary reference.

I cannot concur with the first statement, of course. 

So Büchmann-Møller did not dwell on the clash of personalities or animosities that seems to have developed between Webster and Byas during that session (as Con Chapman explained in his Byas biography)? It seems easy to imagine that they were not at their top on that occasion, given these problems. Will try to listen to that disc with a "blank sheet" approach anyway. 

@Late: Thanks for your feedback. 

[EKE BBB]

1 minute ago, Big Beat Steve said:

So Büchmann-Møller did not dwell on the clash of personalities or animosities that seems to have developed between Webster and Byas during that session (as Con Chapman explained in his Byas biography)? It seems easy to imagine that they were not at their top on that occasion, given these problems. Will try to listen to that disc with a "blank sheet" approach anyway. 

A perfect disc to listen to with a blank sheet approach is "Sonny Meets Hawk!". I have read somewhat opposed reviews as regards how Sonny Rollins challenged Hawk. 

[Caravan]

2 hours ago, Big Beat Steve said:

So Büchmann-Møller did not dwell on the clash of personalities or animosities that seems to have developed between Webster and Byas during that session (as Con Chapman explained in his Byas biography)? It seems easy to imagine that they were not at their top on that occasion, given these problems. Will try to listen to that disc with a "blank sheet" approach anyway. 

@Late: Thanks for your feedback. 

They were both juiced, which was their 'natural' state at the time (late 1960s). I've seen them many times, on and off stage, both alone and together. Ben became slow (and sentimental), but Don could still play his ass off even when he hardly could stand upright. He drank three double whiskys and smoke a big reefer anyway before playing at all.

[Peter Friedman]

A European friend who ( I believe) was at the Webster/Byas recording session told me that the 2 tenor men were so drunk that the music was way way below an acceptable level.

We should also remember that there are many many many high quality recordings by both Webster and Byas.

[HutchFan]

1 hour ago, Peter Friedman said:

We should also remember that there are many many many high quality recordings by both Webster and Byas.

A salient point, I think.   

[Late]

A valuable Webster release, mentioned earlier on in this thread. I haven't spun it for a while and need to change that.

[Big Beat Steve]

Re- "Ben Webster meets Don Byas" (SABA):

You all sure made it hard for me to listen to this without any preconceived notions based on what's been written on that session. 
So I listened a bit closer now, and as I'm no musician nor a musicologist and not out to dissect such recordings academically, my bottom line is: "No desert island disc but no train wreck either."
To my ears, Don Byas indeed sounds more assertive whereas Ben Webster is more in what has been described as his "coasting" mood. As for their interplay, we know why 2 of the 6 tracks are vehicles for one tenor only and elsewhere their cooperation sounds somewhat loose and disjointed, but not excessively so, at least to me and given the known circumstances. The way they alternate with one being up front and the other in the back has its moments too. Besides, weren't there many late 50s or 60s jazz recordings where anything loose or disorganized or everyone going off into whatever direction was just as likely to be construed by reviewers or listeners as "advanced" or similar, in a sort of "anything goes" state of mind? 
I'm not sure how regularly I'll targetedly revisit this LP; but it is a notable document of a phase in the careers of both of these legends. Warts'n'all.