Ben Webster - Atmosphere for Lovers and Thieves
Ben Webster (tenor saxophone) [click here to see more vinyl featuring Ben Webster]
Kenny Drew (piano) [click here to see more vinyl featuring Kenny Drew]
Niels-Henning Orsted Pederson (bass) [click here to see more vinyl featuring Niels Henning Orsted Pedersen]
Arnved Meyer (trumpet), John Darville (trombone), Ole Kongsted (tenor saxophone), Niels Jorgen Stein (piano), Henrik Hartmann (bass), Hans Nymand (drums), Alex Riel (bass : A1, B4), Hugo Rasmussen (bass : B2)
Written by Duke Ellington (A1), Carmichael (A2), Haggard (A3), Burke (A3), Kosma (A4), Cole Porter (B1), Rodgers (B2), Kern (B3), Harbach (B3), Mancini (B3), Mercer (B3)
1 LP, standard sleeve
Original analog Master tape : YES
Heavy Press : 180g
Record color : black
Speed : 33 RPM
Size : 12'’
Record Press : Pallas
Label : Pure Pleasure Records
Original Label : Black Lion
Recorded in 1965 at Metronome Studios, Copenhagen (a): 5th September, (b) 13th September, (c) 15th September, (d) 21st September
Recording engineer: Birger Svan
Produced by Alan Bates
Originally released in 1966
Re-mastering by: Sean Magee at Abbey Road Studios.
Reissued in 2007
Side A :
Side B :
"Ben is still a whale of a tenor player, his approach for the ballads being as poignant and lyrical as ever. On such romantic tunes as My Romance and What's New that breathy tone and broad-beamed phrasing are well in evidence, whilst the underlying humour and swing are more to the fore in the more muscular Easy To Love. Autumn Leaves is great Webster. The tempo is exactly right and Ben is in the groove from the start. The pianist is a long way away from Ben's beloved stride men, but he swings gently and forms nice background patterns for the tenor player's improvisations. The bass has been somewhat heavily recorded, but his drive is admirable nevertheless.
Stardust, a lovely tune but sometime a drag for jazz improvisation, shows that Ben is a real master of flowing, keenly phrased ballad construction. Yesterdays is played so close to the microphone that momentarily I suspected a gas leak. But Ben always has that aerated vibrato well under control, and never overdoes what has throughout the years become something of a mannerism in his playing.
The best track, by far, is Duke's Blue Light (later Transbluency), where if ever a man sang the blues on his instrument, this is it. Ben's solo choruses are peerlessly constructed, and the final one is a real cry from the heart. Meyer's band give him such excellent support that one could wish more were heard from them. There is a splendid trombone chorus from Darville, the pianist plays most sympathetically, and the ensembles sound full and warm. But mostly this is Ben in his most devastatingly romantic mood. The tunes are, by-and-large, well worth doing, and anyway Ben makes them sound that way. Nothing ever rags, the pulse is always strong and the accompaniments well suited to Webster’s lustrous, lusty blowing.
Black Lion are to be congratulated on presentation- good sleeve notes, gay covers and good stereo reproduction." Review by Sinclair Traill in Jazz Journal June 1971
Allmusic : 3 / 5