A1 	Better Go 	8:59
A2 	How Long Has This Been Going On 	5:30
A3 	Kitty 	7:59
B1 	My Romance 	4:11
B2 	Did You Call Her Today 	8:53
B3 	Embraceable You 	4:07

Bass – George Duvivier
Drums – Clarence Johnston
Piano – Hank Jones
Tenor Saxophone – Ben Webster
Trumpet – "Sweets" Edison

Tenor saxophonist Ben Webster and trumpeter Harry "Sweets" Edison, both veterans of the swing era (although associated with different orchestras), had long wanted to record a full album together. The results, a swinging quintet set with pianist Hank Jones, bassist George Duvivier, and drummer Clarence Johnston, are quite rewarding. There are two ballad features for the tenor ("How Long Has This Been Going On" and a beautiful version of "My Romance") and one for Edison ("Embraceable You"), along with three medium-tempo collaborations. Nothing unexpected occurs but the melodic music is quite enjoyable. ---Scott Yanow, ALlMusic Review

The title track, "Better Go" reminds me a whole lot that this CD sets up a lot like "Buck and Buddy - Blowin' the Blues"; but then comes Ben Webster swooping in on "How Long Has This Been Going On" and I'm immediately reminded how much better of a CD this is - no disrespect to Buck (one of my all-time favorites) or Buddy. But, my God, what a beautiful pair Webster and Edison make! 'Sweets' rips up the opener and right away shows that he is in top form, with George Duvivier laying the 4/4 down. "Kitty", track three, has Hank Jones comp-ing nicely over Edison, then "the Brute" blows 'em away...leaving Hank to do the best he can. "My Romance" finds Webster romantic, indeed, and I can almost hear the string orchestra on "Ballads" in the back of my head. Just beautiful. Jones opens "Did You Call Her Today" with a nice Duke/Count double tribute, and 'Sweets' rides over the "Mellowtone-like" composition first, besting Ben this time, but not by much. Jones then gets off his best solo of the session, again comp-ing nicely to the finish. 'Sweets' closes out with the ballad "Embracable You". Clarence Johnston deserves a mention on drums due to perfect backing on everything, especially this one - he comes in halfway through and doesn't disturb 'Sweets' one bit. All in all, a real All-Star date for a real All-Star pair. ---amazon.com

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A1 - The Preacher
A2 - Straight, No Chaser
B3 - Work Song
B4 - John Brown's Body
C1 - I Got It Bad (and That Ain't Good)
C2 - Drop Me Off at Harlem
C3 - One for the Guv'nor
D4 - Prelude to a Kiss
D5 - Rockin' In Rhythm
D6 - In a Sentimental Mood

Personnel:
Ben Webster (tenor sax) 
Cees Slinger (piano) 
Jacques Schols (bass)
 John Engels (drums)
Heemstede, Holland, May 26, 1969

Ben Webster (tenor sax) 
Kenny Drew, Frans Wieringa (piano) 
Niels-Henning Orsted Pedersen (bass) 
Makaya Ntshoko or Donald McKyre (drums)
Copenhagen, Denmark, October 29, 1969

The most widely available recordings (other than the Black Lions) from Ben Webster's European period, this double LP gives the veteran tenor-saxophonist an opportunity to stretch out on five Ellington songs (plus his original "One for the Guv'nor") with a trio led by pianist Cees Slinger in addition to performing four fairly basic numbers ("The Preacher," "Straight No Chaser," "Work Song" and "John Brown's Body") with an unusual quartet featuring both Kenny Drew and Frans Wieringa on pianos. Throughout Webster sounds quite relaxed, warm and swinging. He no longer had to prove himself and he clearly enjoyed himself on these performances. ---Scott Yanow, Rovi

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01 Autumn Leaves
02 Stardust
03 What's New
04 Easy To Love
05 Yesterdays
06 Blue Light
07 My Romance
08 Days Of Wine And Roses

Ben Webster – tenor sax
Kenny Drew – piano
Niels Henning Orsted Perdersen – bass
Axel Riel – drums
Add Arnved Meyer Band tracks 6-8

Copenhagen, February 6, 1965

I happened to find 2 Ben Webster albums lately in the second hand vinyl department ("Blue Light" and "Gerry Mulligan meets Ben Webster") and because his name rang a bell I bought them both... Man, am I pleasantly surprised!!! That sound! Sweet and light but also hoarse and raw... I'm completely addicted! ---Freek, forums.allaboutjazz.com

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CD1
01 	Fajista 	3:40 	
02 	Chelsea Bridge 	3:38 	
03 	Charlotte's Piccolo 	15:29 	
04 	Coal Train 	4:07 	
05 	When I Fall In Love 	4:57 	
06 	Ev's Mad 	4:21 	
07 	Ash 	8:21 	
08 	Blues For The Blues 	4:49 	
09 	Blues For Piney Brown 	7:37 	
10 	Moonlight In Vermont 	3:56 	
11 	Taste On The Place 	7:02 	
12 	Blues For The Blues (Previously Unissued) 	5:52 	

CD2
01 	Gee, Baby, Ain't I Good To You? 	3:31 	
02 	Blues For Bill Basie 	9:30 	
03 	You're Getting To Be A Habit With Me 	6:50 	
04 	I Didn't Know About You 	3:31 	
05 	Reelin' And Rockin' 	9:37 	
06 	Gone With The Wind 	3:17 	
07 	Honey Hill 	4:02 	
08 	Blues-a-Penty 	3:21 	
09 	Don't Take Your Love From Me 	3:40 	
10 	Saturday Afternoon Blues 	5:58 	
11 	Satin Doll 	5:01 	
12 	Cool Your Motor 	3:36 	
13 	Reelin' And Rockin' (Previously Unissued) 	9:40 	
14 	Don't Take Your Love From Me (Previously Unissued) 	4:58 	

Personnel: 
Ben Webster (tenor saxophone); 
Johnny Hodges (alto saxophone); 
Harold Ashby (tenor saxophone); 
Harry "Sweets" Edison, Art Farmer, Roy Eldridge (trumpet); 
Vic Dickenson (trombone); 
Oscar Peterson, Jimmy Jones, Billy Strayhorn (piano); 
Mundell Lowe, Barney Kessel, Herb Ellis (guitar); 
Milt Hinton, Ray Brown, Jimmy Woode (bass); 
Dave Bailey, Alvin Stoller, Sam Woodyard (drums).

Although tenor saxophonist Ben Webster gets top billing, this two-CD set actually contains an LP apiece by Webster, trumpeter Harry "Sweets" Edison, and altoist Johnny Hodges. Webster is on all of the recordings, but really only stars on the first date, a septet outing with trumpeter Art Farmer and fellow tenor Harold Ashby. The great tenor is at his best on a beautiful version of "Chelsea Bridge" and "When I Fall in Love." The Edison session is a sextet outing with Webster, the Oscar Peterson Trio, and drummer Alvin Stoller mixing blues and swing standards; Edison's usually muted trumpet is quite effective. The final set puts the focus on altoist Hodges, who sounds beautiful on "Don't Take Your Love from Me," although the many blues performances also give solo space to trumpeter Roy Eldridge (literally explosive on "Honey Hill") and trombonist Vic Dickenson. A total of three previously unissued performances have been added to the program, and all three of these sessions had been long out of print; they add to the legacy of Norman Granz's Verve label, showing that many top swing all-stars were actually at their prime in the 1950s. Recommended. ---Scott Yanow, Rovi

This two-CD set is slightly misnamed. Not only does it feature the tenor stylings of the great Ben Webster, it also contains a full album by trumpeter Harry "Sweets" Edison called GEE, BABY AIN'T I GOOD TO YOU and altoist Johnny Hodges' full LP, BLUES A-PLENTY. Webster appears on Edison's album but does not play on all of Hodges'. In fact, he sits out on five of the eleven Hodges tracks.

The music itself is all quite memorable, featuring notables such as trumpeters Art Farmer and Roy Eldridge, pianists Oscar Peterson and Billy Strayhorn, and trombonist Vic Dickenson. Indeed, this album boasts many legends, and with this caliber of musicianship, you can't go wrong. Highlights include Webster's composition, "Ev's Mad" Sweets Edison's "Blues for Bill Basie," and Hodges' "Honey Hill." On the latter, Roy Eldridge reaches into the stratosphere, playing high notes with great precision. --- vervemusicgroup.com

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1 	Pound Cake	5:00
2 	Moonglow	5:08
3 	Satin Doll	4:53
4 	For Max	6:24
5 	But Not For Me (take 3)
6 	But Not For Me (take 4)	4:01
7 	For All We Know	5:30
8 	Sunday	4:45
9 	Bill Coleman	6:16

Bass – Ron Rae
Drums – Lennie Hastings
Guitar – Jim Douglas
Piano – Fred Hunt
Tenor Saxophone – Ben Webster
Trumpet, Flugelhorn, Vocals – Bill Coleman

The U.S. jazz scene of the late '60s was dominated by such disparate artists as Miles Davis, John Coltrane, Ornette Coleman, Bill Evans, Stan Getz, Dave Brubeck, and others. The swing players from the '30s and '40s were out of vogue in America, but in Europe audiences still flocked to see them; hence this recording session features a British rhythm section backing tenor legend Ben Webster and trumpeter and singer Bill Coleman.

While this music has no surprises, it's delightful in its relaxed swing and joyous delivery. Webster and Coleman play well off each other and the band supports the two horn men with real panache. In particular, the Django Reinhardt-esque guitar playing of Jim Douglas adds a European flair to the proceedings. Highlights include the upbeat "But Not For Me" and the delicate ballad, "For All We Know." ---allmusic.com

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01. All Too Soon
02. Love Is Here To Stay
03. It Happens To Be Me
04. My Funny Valentine
05. You're Mine You
06. Do Nothin' Till You Hear From Me
07. Prelude To A Kiss
08. Come Rain Or Come Shine
09. Sophisticated Lady
10. Love's Away

Ben Webster (tenor saxophone) 
Ralph Burns (arramger, conductor)
Tony Scott (clarinet)
Jimmy Hamilton (clarinet)
Danny Bank (clarinet, flute, bass clarinet) 
Billy Strayhorn (piano, conductor)
Teddy Wilson (piano)
George Duvivier (bass)
Louie Bellson (drums)
The Duke Ellington Orchestra

There were at least three good reasons for recording these ten numbers: – as a trained violinist Ben Webster was more than predestined for jazz and string numbers. - secondly, without the meaty background of Duke Ellington’s Orchestra he could endow the ballads new tonal hues; - and thirdly there was the excellent arranger Ralph Burns who here - far removed from earning his daily bread with Woody Hermann - ensured that sheets of music brimming over with brilliant arrangements were to be found on the music stands of the soloist Ben Webster and the string players. All the numbers are romantic ballads penned by Johnny Mercer, Harold Arlen, George Gershwin, Duke Ellington and Billy Strayhorn. Although the tempo is slow and the strings provide a thick carpet of sound, there is nothing here that could possibly be described as 'schmaltzy'. And this means that both jazz fans and romantic hearts will enjoy and praise this disc. Happily, the technical state of the 1954 recording tapes in the Verve archive is excellent so that the listener can experience and enjoy to the full the relaxed atmosphere of Norman Granz’s recording studio If you’ve never heard any of these numbers, then you should place the needle on "Do Nothin’ Till You Hear From Me" or "Sophisticated Lady". All other listeners will know that every single minute of this disc is pure magic! --- litediffusion.com

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1 Randle's Island (Webster) 3:14
2 Old Folks (Hill, Robinson) 2:54
3 King's Riff (Turner) 3:13
4 You're My Thrill (Clare, Gorney) 3:10
5 Hoot (Richards) 2:29
6 Pouting (Webster) 2:54
7 The Iron Man (Richards) 3:01
8 Cotton Tail (Ellington) 3:23
9 Danny Boy (Traditional) 3:39
10 Bounce Blues (Webster) 4:33
11 That's All (Bradnt, Haymes) 3:51
12 Pennies from Heaven (Burke, Johnson) 2:52
13 Tenderly (Gross, Lawrence) 3:04
14 Jive at Six (Edison) 4:12
15 Don't Get Around Much Anymore (Ellington, Russell) 3:09
16 Love's Away (Webster) 3:22
17 You're Mine, You (Green, Heyman) 3:10
18 My Funny Valentine (Hart, Rodgers) 3:25
19 Sophisticated Lady (Ellington, Mills, Parish) 3:07
20 Almost Like Being in Love (Lerner, Loewe) 4:02

Louie Bellson - Drums
Eddie Bert - Trombone
Ray Brown - Bass
Sidney Brown - Sax (Baritone)
George Duvivier - Bass
Don Elliott - Trumpet
Maynard Ferguson - Trumpet
Milt Hinton - Bass
George Jenkins - Drums
Jo Jones - Drums
Barney Kessel - Guitar
John Kirby - Bass
Antonio Gonzalez - Padilla
Oscar Peterson - Piano
Johnny Richards - Arranger, Conductor
Alvin Stoller - Drums
Billy Strayhorn - Piano
Billy Taylor -Piano
Ben Webster - Sax (Tenor)
Gerry Wiggins – Piano

Tenor saxophonist Ben Webster was incredibly active as both leader and sideman during the first half of the 1950s. Released in 1995 and reissued in 2004, Blue Moon's Bounce Blues paints a colorful portrait of this Ellington alumnus with 20 superb recordings cut under the supervision of producer Norman Granz between December 1951 and May 1954. A cousin to an identically titled collection released in 2002 by Past Perfect, Blue Moon's Bounce Blues covers almost the same ground as 1953-1954, a Classics Chronological series compilation that appeared in 2008, the difference being that Blue Moon chucked a few string orchestra-sweetened tracks in favor of material from an earlier sextet session that finds young trumpeter Maynard Ferguson moonlighting under the name of Tiger Brown. In addition to three titles that have Webster backed by the Johnny Richards Orchestra, he is heard leading four-, five-, six-, and seven-piece bands containing some of the strongest players in the entire Mercury/Clef/Norgran/Verve catalog. While listening to 20 glowing examples of early-'50s straight-ahead jazz at its very finest, one might reflect upon the fact that in and among these sessions Webster stayed busy hopping from label to label while backing vocalists as diverse as Little Esther Phillips, Dinah Washington, Dossie Terry, Dorothy Ellis, Tony Martin, the Ravens, the Du Droppers, and Clyde McPhatter and the Drifters; he also passed the time by sitting in with Pete "Guitar" Lewis, Slim Gaillard, Johnny Hodges, Benny Carter, Count Basie, Gene Krupa, Marshall Royal, and the MJQ, all the while periodically participating in Norman Granz's all-star Jam Sessions and Jazz at the Philharmonic shows. Webster even showed up in the soundtrack of Clash by Night, a film noir classic (its title inspired by a line from Matthew Arnold's poem Dover Beach) directed by Fritz Lang. All of which explains why throughout this collection Ben Webster comes across as sensuous, worldly, experienced, powerful, seasoned, well-oiled, and capable of handling just about anything. ---arwulf arwulf, Rovi

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01. Our Love Is Here To Stay 
02. My Romance	
03. Blues For 
04. Londonderry Air
05. Mack The Knife 
06. I Can't Get Started
07. The Theme 
08. Friskin' The Frog
09. Stormy Weather 
10. Teach Me Tonight

Ben Webster – alto sax
Kenny Drew – piano
Niels-Henning Ørsted Pedersen – bass
Alex Riel - drums

Recorded around a month after the veteran tenor Ben Webster moved to Europe, this high-quality set with pianist Kenny Drew, bassist Niels Pederson, and drummer Alex Riel features Webster stretching out on the traditional "Londonderry Air," two originals, and seven familiar but fresh standards. Webster, although neglected in the U.S., was still in peak form in the mid-'60s, as this and his other Black Lion sets covering the period show. ---Scott Yanow, Rovi

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