Ben Webster, a.k.a. "The Brute" or "Frog", was considered one of the three most important "swing tenors" along with Coleman Hawkins (his main influence) and Lester Young. Known affectionately as "The Brute", he had a tough, raspy, and brutal tone on stomps (with his own distinctive growls), yet on ballads he played with warmth and sentiment. Stylistically he was also indebted to alto star Johnny Hodges, who, he said, taught him to play his instrument.
Webster learned to play piano and violin at an early age, before learning to play the saxophone. Once Budd Johnson showed him some basics on the saxophone, Webster began to play that instrument in the Young Family Band (which at the time included Lester Young). Webster spent time with quite a few orchestras in the 1930s (including Andy Kirk, Fletcher Henderson in 1934, Benny Carter, Willie Bryant, Cab Calloway, and the short-lived Teddy Wilson big band).
In 1940 Ben Webster became the first major tenor soloist of Duke Ellington's orchestra. During the next three years he was on many famous recordings, including "Cotton Tail" and "All Too Soon." After three productive years of playing with Ellington, Webster left the band in an angry altercation, during which he cut up one of Ellington's suits. After leaving Ellington in 1943, Webster worked on 52nd Street in New York City; recorded frequently as both a leader and a sideman; had short periods with Raymond Scott, John Kirby, and Sid Catlett; and toured with Jazz at the Philharmonic during several seasons in the 1950s.
Webster recorded a classic set with pianist Art Tatum and generally worked steadily, but in 1964 he moved permanently to join other American jazz musicians in Copenhagen, Denmark where he played when he pleased during his last decade. Although not all that flexible, Webster could swing with the best, and his tone was a later influence on such diverse players as Archie Shepp, Lew Tabackin, Scott Hamilton, David Murray, and Bennie Wallace. In 1971 Webster reunited with Duke Ellington and his big band for a couple of shows at the Tivoli Gardens in Denmark
Ben Webster died in Amsterdam, The Netherlands in 1973 and was interred in the Assistens Kirkegård in the Nørrebro section of Copenhagen.
After Webster's death, Billy Moore Jr. created The Ben Webster Foundation, together with the trustee of Webster's estate. Since Webster's only legal heir, Harley Robinson in Los Angeles, gladly assigned his rights to the foundation, The Ben Webster Foundation was confirmed by The Queen of Denmark's Seal in 1976. In the Foundation's trust deed, one of the initial paragraphs reads: "to support the dissemination of jazz in Denmark".
It is a beneficial Foundation, which channels Webster's annual royalties to musicians, both in Denmark and the U.S. An annual Ben Webster Prize is awarded to a young outstanding musician. The prize is not large, but considered highly prestigious. Over the years, several American musicians have visited Denmark with the help of the Foundation, and concerts, a few recordings, and other jazz-related events have been supported.
Webster's private collection of jazz recordings and memorabilia is archived in the jazz collections at the University Library of Southern Denmark, Odense.
Ben Webster has a street named after him in southern Copenhagen, "Ben Websters Vej" (Ben Webster's Street).
Five O'Clock Drag
Ben Webster Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You're up on what's cookin' too
Don'tcha start relaxin', Jackson;
Show what you can do.
The Five O'clock Drag is drivin'!
Just look at those cats arrivin'
Around about five for jivin';
Say, it's a real "hep" treat.
A rhythm that scares an "ickie";
It's givin' the square a mickie,
A touch of Basin Street
First, you start to zag,
And then you zig it,
And then you dig it
Hip! Hip! Hip!
Then you start to shag, and,
As you jig it,
You take a hop a jump,
Or a skip.
Five O'clock Drag is jumpin'
The drummer man's beat is thumpin';
Five O'clock Drag is sumpin'
That really does "all reet."
The Five O'clock Drag is drivin'!
Just look at those cats arrivin'
Around about five for jivin';
Say, it's a real "hep" treat.
The rhythm it blares is tricky,
A rhythm that scares an "ickie";
It's givin' the square a mickie,
A touch of Basin Street
First, you start to zag,
And then you zig it,
And then you dig it
Hip! Hip! Hip!
Then you start to shag, and,
As you jig it,
You take a hop a jump,
Or a skip.
Five O'clock Drag is jumpin'
The drummer man's beat is thumpin';
Five O'clock Drag is sumpin'
That really does "all reet."
The song "Five O'clock Drag" by Ben Webster is an upbeat jazz tune that captures the excitement and energy of the evening rush hour. The lyrics encourage listeners to join in the fun and show their best moves on the dance floor. The first few lines of the song set the tone for the rest of the lyrics, with "hep" slang used throughout. The song is a celebration of the jazz culture, with references to "jivin'" and "Basin Street".
The "Five O'clock Drag" refers to the time of day when people finish work and head to the jazz clubs to unwind. The rhythm of the song is fast-paced and complex, featuring a "tricky" beat that may intimidate some listeners. However, the song encourages everyone to participate and shake off their inhibitions. The lyrics describe various dance steps and movements, such as "zag" and "zig", "shag", "jig", "hop", "jump", and "skip". The song culminates in a cheerful chorus that repeats the phrase "Five O'clock Drag is sumpin' that really does 'all reet'."
Overall, "Five O'clock Drag" is a fun and lively song that captures the spirit of the jazz culture in the mid-20th century. It encourages listeners to let loose and enjoy the music, regardless of their level of skill or experience.
Line by Line Meaning
You're "hep" to what's buzzin', cousin;
You're aware of what's going on and in the know, my friend.
You're up on what's cookin' too
You also know what's happening next.
Don'tcha start relaxin', Jackson;
Don't get too comfortable and show us what you've got.
Show what you can do.
It's time to strut your stuff and show off your moves.
The Five O'clock Drag is drivin'!
The music is starting and it's driving everyone wild!
Just look at those cats arrivin'
Everyone is coming to enjoy the music and dancing.
Around about five for jivin',
Usually starts at 5 pm for the fun dance party.
Say, it's a real "hep" treat.
It's a really cool and exciting experience.
The rhythm it blares is tricky,
The beat is complex and difficult to follow.
A rhythm that scares an "ickie";
It's too much for someone who is not used to it.
It's givin' the square a mickie,
Even people who are not in tune with the music will enjoy this upbeat rhythm.
A touch of Basin Street
The influence of New Orleans jazz is present in this music.
First, you start to zag,
At first, you move in one direction.
And then you zig it,
Then you change direction abruptly.
And then you dig it
Finally, you get into the groove and start really enjoying yourself!
Hip! Hip! Hip!
Let's add some excitement and spirit to the dance floor!
Then you start to shag, and,
You move in a more playful and fun way.
As you jig it,
As you move in this fun and playful way,
You take a hop a jump, or a skip.
You add different types of movements to express yourself.
The drummer man's beat is thumpin';
The drummer is really keeping the rhythm going strong.
Five O'clock Drag is sumpin',
This style of music and dance is really something special.
That really does "all reet."
It's really great and everything is perfect.
Lyrics © Sony/ATV Music Publishing LLC
Written by: DUKE ELLINGTON, HAROLD ADAMSON
Lyrics Licensed & Provided by LyricFind