Steele yourselves for our sceptred Iles, plus a Frankfurter

[BLUESNIK'S REVOX]

Some rather partial opinions about Ben on these posts - especially from Ian. Time to listen to all the Montmartre sessions with Kenny Drew and NHOP I think and also the 'My Man' session from the same club in 1973 with Ole Kock Hansen, Bo Stief and Alex Riel. He's just remarkable - just as he was in his work with Blanche Calloway, Cab Calloway and Lionel Hampton (pre Ellington). Has Ian actually listened systematically through all this? And then Ben's mid-period work not only with Ellington but all the quintet and sextet sessions with Sweets or the Henderson Reunion band? It's easy to be an armchair critic but Ben was such a major talent almost everything he did was touched with genius.

As I said, I was "late" in coming to Ben Webster. It wasn't the harder edged tone of the (hard bop) saxophonists who first got my attention. The same with Lester. Both of whom I've got to appreciate more and more as I've "matured". The one date that did grab me and I bought at the time was the 1959 LA live Renaissance club session with Mulligan, Rowles, Mel Lewis and Jimmy Witherspoon. Actually, I think a lot of people caught this as "Times getting tougher" became a kind of Brit R&B standard. I think Ben's first instrument was violin? On those ballads he's cello like, it is definitive playing. And I can now hear Webster in those hard bop players who first caught me. Time is a wonderful thing. It's age that's not so cool.

BN.

[Rcartes]

Personally, I prefer Webster's work with Ellington to his later stuff. For me, the stuff recorded by Coleman Hawkins seemed more "of the moment" than Webster yet Webster seems to be a touchstone for so many contemporary players so that you can even draw a line with between him and connect him with the ballad work of a player like David S Ware.

Ian, would you include the wonderful quartet recording with Art Tatum (one of my favourite discs ever) in that?

[Rcartes]

Colin Steele redux

People have been asking after Colin Steele recently; maybe we'll get to hear something.

http://www.bbc.co.uk/programmes/b090tnyt

I was the one who was asking about Colin (http://www.for3.org/forums/showthrea...3-Colin-Steele), and I was delighted to see that he'll be appearing on Jazz Now tonight.

And his new album (mentioned by Alyn earlier) came out in March, I've only just realised. John Fordham reviewed it favourably in the Grauniad (sorry for mentioning the paper, as it seems to upset some of the more reactionary folk here).

And talking of folk, I really cannot stand either folk music or the bloody bagpipes (despite Rufus Harley), but I have to say that I immensely enjoy Colin's style of folk/jazz fusion - and the bagpipes.

Incidentally, John Fordham said that Colin's problems boiled down to an issue with his embouchure, thankfully sorted out with the help of classical trumpeter Mark O'Keefe.

[Rcartes]

Ah, I've just read the Amazon 'Product Description' of Even In the Darkest Places, which says that Colin "was once described as the Sibelius of Scotland." Now that's enough to make even the cat laugh! But actually, if you read on, it contains this really useful information:

"Since the Quintet's last release, Through the Waves (2005), the trumpeter has been through some turbulent times and the story surrounding Even in the Darkest Places is one of determination on Steele's part and the generosity and kindness of strangers on the other. When, in 2011, Colin Steele took the decision to improve his playing technique he could not have foreseen the events to come. Not only did he feel that his range was limited but every time he played, his mouth would get badly cut and was taking longer each time to heal, so he sought the guidance of a highly recommended American trumpeter. The decision proved disastrous as he was persuaded to completely change his trumpet technique and over the following months his muscles became increasingly confused, his throat muscles eventually going into spasm rendering him incapable of playing at all. With his livelihood in the balance he was eventually introduced to Mark O'Keefe, principal trumpet player with the BBC Scottish Symphony Orchestra. Not only did O'Keefe offer his services for free, he also saved Steele's career. When Steele was able to begin playing again, he found himself with very little work - he'd had to cancel all his gigs, as he was literally unable to play - plus he had also accrued a fair amount of debt. Recording a new album was out of the question and had it not been for a fortuitous gig in a pizza restaurant, Even in the Darkest Places would never have seen the light of day. Steele happened to be playing in the restaurant when a fan came up and asked why he hadn't released an album for a while. They got talking and when Steele told him of his recent troubles he offered to help by financing a new recording. The track Robin Song is dedicated to this incredible act of generosity and is something that Steele will be forever thankful for."

[Tenor Freak]

Funny how Ben Webster seems to be a taste acquired with age. Like a fine wine? When I was a lad I wasn't much impressed but as I approach 50 I find his work in whatever setting to be rewarding. I can't fault this performance at all (and Teddy Wilson's playing is pure class too).

[burning dog]

Funny how Ben Webster seems to be a taste acquired with age. Like a fine wine? When I was a lad I wasn't much impressed but as I approach 50 I find his work in whatever setting to be rewarding. I can't fault this performance at all (and Teddy Wilson's playing is pure class too).

When I was 12 he was my favourite tenor player - before the age where you have to appear cool? He's pretty near my favorite player now

with Hank Jones

[BLUESNIK'S REVOX]

That's lovely. I've been playing "Soulville" (Verve LP 1957) to death and especially "Time on my hands" which is so perfect and moving it's almost sculptured. And Oscar Peterson is a superbly supportive pianist. Never thought I'd write that!

BN.

[burning dog]