Someone to Watch Over Me: The Life and Music of Ben Webster by Frank Buchmann-Moller
By Frank Buchmann-Moller
For a part century, Ben Webster, one of many "big 3" of swing tenors-along with Coleman Hawkins and Lester Young-was one of many best-known and most well-liked saxophonists.Early in his profession, Webster labored with a number of the maximum orchestras of the time, together with these led through Willie Bryant, Cab Calloway, Benny Carter, Fletcher Henderson, Andy Kirk, Bennie Moten, and Teddy Wilson. In 1940 Webster grew to become Duke Ellington's first significant tenor soloist, and through the following 3 years he performed on many well-known recordings, together with "Cotton Tail."Someone to monitor Over Me tells, for the 1st time, the full tale of Ben Webster's fabulous and afflicted profession. For this finished learn of Webster, writer Frank B?chmann-M?ller interviewed greater than fifty humans within the usa and Europe, and he comprises a variety of translated excerpts from ecu periodicals and newspapers, none formerly on hand in English. additionally, the writer reports each identified Webster recording and movie, together with many deepest recordings from Webster's domestic assortment no longer on hand to the general public. Exhaustively researched, this can be a a lot wanted and lengthy late learn of the lifestyles and tune of 1 of jazz's most vital artists.
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Additional resources for Someone to Watch Over Me: The Life and Music of Ben Webster (Jazz Perspectives)
Example text
In the beginning of November, after a month at the Cotton Club in Cleveland, followed by a week at Detroit’s Graystone Ballroom, Henderson’s orchestra disbanded. For some reason, the band wasn’t paid in Detroit. Henderson already owed the musicians back pay, and upon their arrival in New York the band resigned collectively. Most of them, including Ben, were recruited by Benny Carter, who had a booking at the Apollo Theatre in the week of November 16, and this was followed by an engagement at the Arcadia Ballroom in Detroit.
At that time as big as his thumb, three for ‹fty cents. So we asked him, Clyde and I called him Mr. Lion, “Will you like a little ‘smile’ [liquor], Mr. ” So we went to a place across the street directly in front of the club, if I remember correctly, where you could get a little smile in the daytime, and we said, “We sure would like to hear you play, Mr. 5 21 From Kansas City to New York At that time, there were many small clubs in Harlem with just a pianist on the payroll, and Ben loved to frequent them, listening and learning as the masters showed off their stride piano skills.
Ben could play pretty, and he had a tone which Coleman had and Lester didn’t have. Lester’s style was sort of new, but we weren’t paying too much attention to his style as we did to how he sounded. It wasn’t what he played, it was how he played it, you see, and Ben actually had the big sound of Coleman Hawkins. Because you must remember then that a reed section was just a tenor and two altos. Then Lester made it sound like three altos. All due respect to Lester Young. Yeah. 4 Guitarist Lawrence Lucie offers an explanation as to why Henderson’s orchestra sounded so good.