All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
Over the years, I've come to be a bit skeptical of the "discovered" or "lost classic" type of record release. You know, the kind where the historical significance is trumpeted and the sound quality is at a subbootleg level. Most of the time, that stuff languished in a vault for a reason all those years. Still, when I heard about Havin' a Good Time, the only known pairing of the great jazz/blues singer and Basie alum Joe Williams with Duke Ellington's legendary tenor saxophonist Ben Webster, I was willing to suspend my disbelief.
Good thing, too, because Havin' a Good Time is the real deal for once. The sound is surprisingly clean and clear; Williams' rich voice jumps right out at you, and the mix is no worse than most live recordings from the early '60s. Williams had a fine band in tow, including drummer Mickey Roker, bassist Bob Cranshaw, and a consistently inspired Junior Mance on piano, for this date recorded on a cold night in Providence 43 years ago. Webster was in town on his own gig and apparently asked if he could sit in; I can only imagine that the band spent scant seconds in deliberation.
The performance offers no profound revelations, perhaps, but a swinging good time from start to finish. Williams and Webster were each among the finest interpreters of blues and ballads on their respective instruments and it is a pleasure to hear them together. Everybody seems to be enjoying themselves on stage, and their pleasure is infectious.
Track Listing: Sittin' Rockin'; Kansas City Blues; River St. Marie; That's All; Alone Together; I'm Through;
Great City; 100 Years; Ain't Misbehavin'; Honeysuckle Rose; Alright, OK; Havin' a Good
Personnel: Joe Williams: vocals; Junior Mance: piano; Mickey Roker: drums; Ben Webster: tenor
saxophone; Bob Cranshaw: bass.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.