Genre > Jazz

Sleeved In A Deluxe Tip-On Jacket From Stoughton Printing

Gerry Mulligan Meets Ben Webster was just one of may "meets" albums that Gerry Mulligan appeared on during the period when this classic was recorded — Nov. 3 and Dec. 2, 1959, in Los Angeles. Mulligan and Pepper Adams were the baritone saxophonists during the golden age of modern jazz, both masters of the unwieldy and deep-toned instrument.

History was made here, as was a classic record for the ages. Now, hear Gerry Mulligan Meets Ben Webster in all its sonic glory, courtesy of Analogue Productions and Quality Record Pressings! Mastered and cut to lacquer by Ryan K. Smith at Sterling Sound, working from the original analog tapes, this 33 1/3 edition sounds spectacular, pressed on super-silent 200-gram vinyl by Gary Salstrom and his crew at Quality Record Pressings. Nothing but the best packaging is allowed here either — you'll get a handsome heavyweight tip-on jacket from Stoughton Printing.

Mulligan was an innovator of the west coast cool jazz style who flourished playing with all manner of jazz musicians. The tunes he and Webster recorded are smooth, lush and emotional, driven along by a rhythm section that swings with just the right amount of bop. The result is an album that's included among NPR's "Basic Jazz Record Library."

Let this silky and supple set make its presence known — order your copy of Gerry Mulligan Meets Ben Webster today, and prepare to be enveloped by the sound.

This title is not eligible for discount.

This title is not eligible for discount.

I grew up on late 70s and early 80s R&B and soul music and then aggressively got into hip-hop. Hip hop music was the music that began to expose me to the jazz classics that seldomly became sampled in the art form. I'm grateful for that and I have been an avid collector of jazz music for 15 years now. I buy music randomly and at the spur of the moment and from many artists I have never heard of ... so yes, do own a whole lot of musical garbage! but sometimes I get lucky .. like this album here. This was my first Ben Webster album (of which I now own five) and this one still remains my favorite. This is music for a grown spirit ... it is indeed warm and quiet and lush. Buy this as soon as possible, you'll enjoy it

Musicians:

• Ben Webster (tenor saxophone)
• Armond Kaproff (cello)
• Cecil Figelski (viola
• Lisa Minghetti (violin)
• Don Bagley (bass)
• Donn Trenner (piano)
• Frank Capp (drums)

Recording: 1961 at Radio Recorders Studio, Los Angeles

About Pure Pleasure

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

200-Gram Gatefold 45 RPM Double LP Pressed At Quality Record Pressings

"...Webster's trademark sensual sound is on full display and, of course, he's backed by Montoliu, an outstanding Spanish piano veteran who accompanied all the great jazz artists passing through Europe...This is one of the first releases by Analogue Productions pressed at their new in-house pressing plant Quality Record Pressings, and the record bears a close resemblance in appearance to records from Pallas - beautiful looking and perfectly quiet...The superb 200-gram LP comes in a rice paper sleeve and jacket of heavy cardboard...Highest Recommendation." Recording = 10/10; Music = 8.5/10 - Dennis D. Davis, Hi-Fi+, Issue 81

This recording was made 10 months before Ben Webster's death in 1972. Webster, who had left the United States in 1965 to settle in Europe - first in Copenhagen and then in Amsterdam - was visiting fellow musician and friend Tete Montoliu in Barcelona. Webster and pianist Montoliu went back a ways, having played together regularly in Webster's Copenhagen days. In fact, Montoliu cited Webster and Don Byas as his two chief musical influences. Webster and Montoliu understood each other deeply, and their comfort with on another is palpable in this recording. Their accompaniment of one another is seamless. On board with these two is Montoliu's regular working trio-mates, Eric Peter on bass and Peer Wyboris on drums.

There's no shortage of Webster's trademark breathy, fat tenor tone here. In fact, given the sparse arrangement, that rich, humid, giant sax blooms like on few other recordings. Highlights include "Ben's Blues," "Sweet Georgia Brown," "The Man I Love" and "Don't Blame Me."

This title is not eligible for discount.

This title is not eligible for discount.

This title is not eligible for discount.

Mastered by Bernie Grundman from the Original Analog Master Tapes! Only 2500 Numbered Limited Edition Copies Worldwide!

While it is difficult to single out just one of the musicians, it is easy to distinguish them: Ben (called "The Brute") plays with a raspy, vibrating sound; Coleman (known as "The Bear") is a master of flowing swing; and Budd has an earthy, resonant bluesy sound. The five numbers reflect the jam-like spontaneity of the 1959 session; an Ellington classic by the three in a masterful, inspirational new interpretation; three pieces which are intrinsically and hoc improvisations; and a classical ballad in which Ben Webster breathes warmth and sentiment into his instrument.

This title is not eligible for discount.

The two jazz giants Ben Webster and Harry "Sweets" Edison had long wanted to record an album together, and in 1962, they did. Although associated with two different orchestras (Edison was with Basie and Webster was with Ellington), these two swing kings found that they had a lot in common.

This album features both horn men on three medium tempo blues, "Better Go," "Kitty," and "Did You Call Her Today." Other than this, Webster gets two tenor features, contributing absolutely luscious solos on both "How Long Has This Been Going On," and "My Romance." After listening to these songs, there can be no doubt that Webster is one of the best balladeers jazz has ever produced. Edison gets his moment in the sun too. On the album closer, Sweets plays a wonderful, even fairly modern sounding, rendition of "Embraceable You" using a Harmon mute. The ballads, enhanced by the wonderful harmonic sense of pianist Hank Jones, are the highlight of this release, and show both Webster and Sweets' unbeatable melodic sense.

Ben Webster was considered to be on of the three most important 'swing tenors' along with Coleman Hawkins and Lester Young. Known by some as "The Brute", he had a tough, raspy and brutal tone on stompes but could deliver warmth and sentiment on softer ballads. Trumpeter Harry "Sweets" Edison spent his early childhood in Kentucky where he was introduced to music by his uncle. After moving back to his hometown of Columbus, Ohio at the age of 12, he began playing the trumpet with local bands, eventually landing a spot with the Count Basie Orchestra.

"Tenor-saxophonist Ben Webster and trumpeter Harry "Sweets" Edison, both veterans of the swing era (although associated with different orchestras), had long wanted to record a full album together. The results, a swinging quintet set with pianist Hank Jones, bassist George Duvivier and drummer Clarence Johnston, are quite rewarding. There are two ballad features for the tenor ("How Long Has This Been Going on" and a beautiful version of "My Romance") and one for Edison ("Embraceable You") along with three medium-tempo collaborations. Nothing unexpected occurs but the melodic music is quite enjoyable." - Scott Yanow, Allmusic.com

At a time when some are steering jazz up a rather shallow third stream and others are busy digging up its roots, Webster and Edison are only motivated by the sheer love of playing.

This title is not eligible for discount.

"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.

Musicians:

• Ben Webster (tenor saxophone)
• Ole Kongsted (tenor saxophone)
• Arnved Meyer (trumpet)
• John Darville (trombone)
• Kenny Drew (piano)
• Niels Jorgen Stein (piano)
• Niels-Henning Ørsted Pederson (bass)
• Hugo Rasmussen (bass))
• Alex Riel (drums)
• Hans Nymand (drums)

About Pure Pleasure

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

This title is not eligible for discount.

Los Angeles, California, September 11, 1956