Ben Wolfe Unjust

Ben Harper’s love for the humble lap-steel comes to a bold (and incalculably beautiful) peak with this 15-track instrumental trawl down trails of smoky soul, melancholic Americana and slick, summery folk. It’s downright incredible how much artistic ground the Californian bluesman is able to cover unaccompanied on Winter – the whole LP is just his prized Monteleone lap-steel, inhumanly articulate fretting hands and unfettered love for music as a spoon with which to stir emotion.

In the 1950s, tenor-saxophonist Ben Webster was at the peak of his powers. His musical personality really featured two separate emotions: harsh and tough on the faster pieces and surprisingly warm and tender on the ballads. Webster uses the latter voice throughout this set. On all but four of 20 selections, Ben is backed by a string section arranged by Ralph Burns (except for "Chelsea Bridge" which was arranged by Billy Strayhorn) and, although clarinetists Tony Scott and Jimmy Hamilton and pianists Teddy Wilson and Hank Jones are heard from, the focus is otherwise entirely on the great tenor. The final four numbers, which matches Webster with Wilson in a stringless quartet, also stick to ballads. Music that is both beautiful and creative.

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…

It was like I was moving forward and venturing into places I had never been before. Taking everything I've learned from every other record and kind of setting fire to it all and starting over," Ben Harper says of his new album Bloodline Maintenance. "And I knew the sounds I was hearing in my head were so unorthodox that I had to do most of it myself." The result is a fearless and immensely soulful work largely inspired by the loss of a longtime friend and the lingering influence of a mercurial and charismatic father. Along with guitar and bass, Harper also played the drums including an eclectic assortment of percussions.

It was like I was moving forward and venturing into places I had never been before. Taking everything I've learned from every other record and kind of setting fire to it all and starting over," Ben Harper says of his new album Bloodline Maintenance. "And I knew the sounds I was hearing in my head were so unorthodox that I had to do most of it myself." The result is a fearless and immensely soulful work largely inspired by the loss of a longtime friend and the lingering influence of a mercurial and charismatic father. Along with guitar and bass, Harper also played the drums including an eclectic assortment of percussions.

Creating a distinctive voice and approach on a musical instrument is as difficult as it is rare. Guitarist Ben Monder has long been admired for his personal sound, remarkable command of the guitar, and stylistic versatility. His new recording, Day After Day (a two disc set), provides a look at two distinct sides of his artistic nature, the highly analytical, structural side and the more freely improvisational side, through a series of interpretations of cover material.

Ben Webster was considered one of the "big three" of swing tenors along with Coleman Hawkins (his main influence) and Lester Young. He had a tough, raspy, and brutal tone on stomps (with his own distinctive growls) yet on ballads he would turn into a pussy cat and play with warmth and sentiment. After violin lessons as a child, Webster learned how to play rudimentary piano (his neighbor Pete Johnson taught him to play blues). But after Budd Johnson showed him some basics on the saxophone, Webster played sax in the Young Family Band (which at the time included Lester Young). He had stints with Jap Allen and Blanche Calloway (making his recording debut with the latter) before joining Bennie Moten's Orchestra in time to be one of the stars on a classic session in 1932…