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George Garzone: Sax In The City
by Jim Worsley
George Garzone is not the mayor of the city of Boston. If he was appointed to a position it would more likely be king. He is, at the very least, the toast of the town. This isn't news. King George has reigned with a firm grasp of his mighty tenor saxophone for close to half a ...
Kevin Sun: The Sustain of Memory
by Dan McClenaghan
Ambition is good. Saxophonist Kevin Sun has it. He proves it by releasing--before attaining his thirtieth birthday--The Sustain of Memory, a cinematic two-disc set of atmospheric avant-garde music in trio, quartet and quintet settings, which maintains a start-to-finish focus of an expansive artistic vision. “I've always been drawn to sprawling, encyclopedic or maximalist works ...
Take Five with K Quintet
by AAJ Staff
Meet K Quintet K Quintet is led by world-renowned Russian dancer Ksenia Parkhatskaya on vocals and Irish musician-composer David Duffy on bass. Citing influences such as Oscar Peterson, Red Garland, and Ben Webster, standards by the likes of Duke Ellington, Richard Rodgers & Henry Mancini are subtly mixed with original 'classic' compositions, written by ...
Art Tatum and Ben Webster
For me, jazz is divided between those who recorded with Art Tatum and those who didn't. Tatum remains king of the jazz piano—a briskly shaken cocktail of unrivaled technique, impeccable taste and a staggering ability to make you fall in love whatever song he's playing. Every one of his recordings is a gem, exhibiting daring, speed ...
8 Clips: Boss Tenors
Boss tenors take charge. I don't know how else to put it. When a boss tenor plays a ballad, a mid-tempo tune or a barn-burner, the saxophone's sound is assertive and commanding, with a deep, forceful push in the lower register and a bluesy wail up top. Let me illustrate with eight clips: Here's Ben Webster ...
Results for pages tagged "ben webster"...
Ben Webster
Born:
Ben Webster was considered one of the "big three" of swing tenors along with Coleman Hawkins (his main influence) and Lester Young. He had a tough, raspy, and brutal tone on stomps (with his own distinctive growls) yet on ballads he would turn into a pussy cat and play with warmth and sentiment. After violin lessons as a child, Webster learned how to play rudimentary piano (his neighbor Pete Johnson taught him to play blues). But after Budd Johnson showed him some basics on the saxophone, Webster played sax in the Young Family Band (which at the time included Lester Young). He had stints with Jap Allen and Blanche Calloway (making his recording debut with the latter) before joining Bennie Moten's Orchestra in time to be one of the stars on a classic session in 1932. Webster spent time with quite a few orchestras in the 1930s (including Andy Kirk, Fletcher Henderson in 1934, Benny Carter, Willie Bryant, Cab Calloway, and the short-lived Teddy Wilson big band). In 1940 (after short stints in 1935 and 1936), Ben Webster became Duke Ellington's first major tenor soloist
Newk, Dave (And Paul), Fats & More
by Marc Cohn
Have you gotten used to writing or typing 2020 yet? I'm getting there just from filling out Gift and Messages paperwork and metadata! But let's get to the music, starting with a few 21st century tunes from Orrin Evans (putting the street beat to Ornette), trumpeter John McNeil and Russian saxophonist Makar Kashitsyn. Then Bobby Broom ...
Ben Webster's First Concert in Denmark
By Ben Webster
Label: Storyville Records
Released: 2019
Track listing: In A Mellotone (rehearsal); Pennies From Heaven; Blues In B-Flat; My Romance; In A Mellotone; Over The Rainbow; Cotton Tail.
Mike Murley: Taking Flight
by Don Phipps
Mike Murley's Taking Flight is a candlelight romance of well-chosen covers and two original compositions. At times, Murley's sax sound is slightly reminiscent of Ben Webster while, when he plays ballads, one can hear echoes of John Coltrane. In short, his sound is sweet and warm. Combining this sound with the elegant contributions of his bandmates ...
Vilnius Jazz 2019
by Ian Patterson
Vilnius Jazz 2019 Russian Drama Theatre Vilnius, Lithuania October 16-20, 2019 Is a jazz festival primarily about entertainment, or is it meant to challenge the expectations of its audience? Does programming risk mean financial suicide? What responsibility does a festival have to promote young, emerging talent? What place do women ...
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