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Soulville Import

4.5 out of 5 stars 6 customer reviews

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Product Details

  • Audio CD (Jan. 1 1990)
  • Number of Discs: 1
  • Format: Import
  • Label: Universal Music Group
  • ASIN: B000004765
  • Other Editions: Audio CD  |  LP Record
  • Average Customer Review: 4.5 out of 5 stars 6 customer reviews
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1. Soulville
2. Late Date
3. Time On My Hands
4. Lover Come Back To Me
5. Where Are You
6. Makin' Whoopee
7. Ill Wind
8. Who
9. Boogie-Woogie
10. Roses Of Picardy

Product Description

Product Description

Japanese only SHM-CD (Super High Material CD - playable on all CD players) pressing. Universal. 2008.

Le saxophoniste Ben Webster a connu une carrière relativement riche, qui a bâti ses fondations sur de nombreuses collaborations, des orchestres de Bennie Moten ou Fletcher Henderson à Count Basie. La fin des années 50 est une période extrêmement féconde pour l'artiste, qui le voit jouer en compagnie de Coleman Hawkins ("Soulville") ou Oscar Peterson, pour un album essentiel enregistré en 1959. On retrouve sur Soulville le style inimitable de ce souffleur délicat et inspiré. Il savait trouver l'alternance idéale entre séquences musicales intenses et repos plus contemplatifs que démonstratifs. Il connaissait l'utilisation des "gimmicks" comme pas un (en particulier les conclusions de ses solos, par une note soufflée). Soulville correspond aussi à une période durant laquelle le saxophoniste a su s'émanciper de son importante participation au sein de l'orchestre de Duke Ellington pour poursuivre une carrière solo vraiment remarquable, surtout quand on sait à quel point une carrière chez Ellington pouvait "lessiver" la créativité des solistes... --Eric Frank

Customer Reviews

4.5 out of 5 stars
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Top Customer Reviews

Format: Audio CD
Absolutely beautiful music. Webster's tenor sax in his greatest decade. One of his best albums. What more can you ask for? Wonderful support from Oscar Peterson, Ray Brown and company. Ten songs, four gorgeous ballads. The CD has three previously unreleased tracks not included on the original LP of Webster playing a fierce, nerve-jangling boogie-woogie style piano. They're of interest because it's Webster pounding the heck out of the keys but they don't really contribute to the otherwise sumptious beauty of the proceedings. The contents of the original LP is what you'd be buying this for, the first seven songs--Ben Webster at the summit of his art or one of the summits I should say for he attained this level of artistic achievement a number of times throughout the 50s.
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Format: Audio CD
This was the first Ben Webser LP I bought--at a used record store in Berkeley, CA in the early 1970's. I had no idea who Ben Webster was at the time--was just discovering jazz and I liked the album cover. Thirty years later there is not a week that goes by that I don't have Soulville on the turntable or in the CD player of my car. It might not be Ben Webster's best LP (King of the Tenors, maybe?) or his best playing (1939/40 with the Ellington band), but this record has more grit and tender, loving SOUL than any album I've ever owned. Sit back in your favorite chair, pour a snifter of your favorite libation, turn out all the lights, make sure nobody is home and prepare to get kicked right in the guts. One warning--don't play this LP if your wife or girlfriend has just walked out on you--it will bring you to tears. And Stan Levey, by the way, was Charlie Parker's regular drummer after Max Roach left and, along with Roy McCurdy is the best drummer I've heard live on a REGULAR basis. And the rest of the rythym section speaks for itself.
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Format: Audio CD
A fine reissue of this 1957 session featuring Webster (ts, p), along with some of my favorite players: Oscar Peterson (p), Ray Brown (b), and Herb Ellis (g), along with Stan Levey (d) with whom I'm unfamiliar. Apparently Peterson, Brown and Ellis were together as a trio at this time. This CD adds three previously unreleased tracks to the original 7 and clocks in at a healthy 49+ minutes. The three bonus tracks represent the only known studio recordings featuring Webster on piano.
The tracks range from the smokey blues of the title track to more swinging upbeat numbers like "Late Date" (both Webster originals) to more romantic ballads such as "Time on My Hands." Webster's sax is incredibly compelling in all three contexts, and though I'm generally not a ballad fan, I find myself enjoying even the slower numbers. The blues and swing styles grab me more immediately, the ballads after a few listenings and at the right time of the day. Webster's piano on the three bonus tracks is in a sort of sloppy stride and boogie-woogie style, entertainingly not serious.
Herb Ellis' guitar playing ranges from quiet, melodic hollowbody sounds to scratchy, distorted electric blues. I almost wonder if some of the distortion is in the transfer (it sounds like tape saturation or clipping), though the rest of the instruments sound fine, so probably not. It's a great sound, though a bit unusual in this setting. Oscar Peterson's fills and support playing also makes the range with some great blues backings and a few excellent solo excursions. Levey's drumming is adequate, but doesn't really stand out (which maybe it needn't do in this company).
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