VA - Membran Music's Jazz Ballads Series Vol. 1-5 (10 CD, 2004) [FLAC+320]

 A CD sets with the most beautiful ballads in the history of jazz.

Lyrical, imaginative, sensuous and melodic jewels from the art of music.

Precisely for those people who have maintained their taste for lasting musical values.

Jazz in its most gentle form.

Irrestible...

Jazz Ballads 1: Chet Baker & Gerry Mulligan
Jazz Ballads 2: Ben Webster
Jazz Ballads 3: Lester Young
Jazz Ballads 4: Clifford Brown & Sonny Rollins
Jazz Ballads 5: Don Byas

Verve Jazz Masters series Vol. 41-50

 Jazz Masters is a series of mainly single artist compilations released by Polygram/Verve between 1994 and 1996. The compilations collect material that was originally released on Verve or on one of the labels that became part of the Polygram group. The 20th and 60th releases in the series were various artist collections.

VJM 41 - Tal Farlow

VJM 42 - Sarah Vaughan - The Jazz Sides

VJM 43 - Ben Webster

VJM 44 - Clifford Brown And Max Roach

VJM 45 - Kenny Burrell

VJM 46 - Ella Fitzgerald - The Jazz Sides

VJM 47 - Billie Holiday Sings Standards

VJM 48 - Oliver Nelson

VJM 49 - Anita O'Day

VJM 50 - Sonny Stitt

 

The Complete Gerry Mulligan Meets Ben Webster Sessions (2 CD, 1997/FLAC)

 Although an earlier CD added five previously unissued tracks to the original LP Gerry Mulligan Meets Ben Webster, this Verve Master Edition two-CD set adds just about everything else recorded during the two sessions that produced the original record, and also features 20-bit sound. 

Even though Gerry Mulligan was outspoken against issuing material omitted from his original recordings, it is a treat to hear how the songs evolved in the studio. Webster and Mulligan seem mutually inspired throughout the sessions, and strong performances by pianist Jimmy Rowles, bassist Leroy Vinnegar, and drummer Mel Lewis are of considerable help. The music is presented in the order in which it was recorded, with each CD devoted to a separate session. In both cases it is clear that the initial takes of music from the Ellington songbook ("In a Mellotone" and "Chelsea Bridge") are more focused than the follow-up versions. They only needed one try to nail "What Is This Thing Called Love?" (also left off the LP), in an understated setting that shows off their beautiful interplay. Their barely disguised reworking of "I Got Rhythm," called "Who's Got Rhythm," was likely an effortless performance, though Webster seems to briefly laugh in the middle of his solo. Webster's swinging "Fajista" opens the second date, followed by two takes of Mulligan's beautiful ballad "Tell Me When." Webster's "Blues in B-Flat" is another fine swinger inexplicably left off the LP, and Rowles kicks off the oldie "Sunday" with a brief stride piano introduction (something Webster played himself but rarely in a recording studio). Fans on a budget can probably make due with the earlier CD reissue but serious fans of Mulligan and/or Webster should invest in this very rewarding set instead. 

• Ben Webster - tenor saxophone
• Gerry Mulligan - baritone saxophone
• Jimmie Rowles - piano
• Leroy Vinnegar - bass
• Mel Lewis - drums

Recorded November and December, 1959

Ben Webster & Johnny Hodges - The Complete 1960 Sextet Jazz Cellar Session (2011,FLAC)

 

This 1960 set is said to be the only recording session on which Ben Webster and Johnny Hodges were the only two horn players. At least, that applies to the first dozen tracks. The last five come from an octet session recorded a year later. The first twelve were recorded at the Jazz Cellar in San Francisco; the last five were recorded somewhere in Los Angeles.

The line-up gives Webster and Hodges the chance to show their paces without much interference. In fact they had played together in the Duke Ellington Orchestra for various periods from 1935 onwards, so they knew one another closely, and their empathy comes through on these sides. You might say that Hodges is to the alto sax what Ben Webster is to the tenor. Their distinctive saxophones blend well together, even though they have slightly different styles. They both actually have a sweet legato style of playing, although Webster can get gruff and growly when he wants to. Their main similarity is that they both aim for (and achieve) mellowness of tone - and they can both swing with the greatest of ease. The staccato single notes of guitarist Herb Ellis contrast nicely with the saxists' predominantly smooth mode.