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).
Our Love Is Here To Stay
Ben Webster Lyrics
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Not for a year but ever and a day
The radio and the telephone and the movies that we know
May just be passing fancies and in time may go
But oh, my dear, our love is here to stay
Together we're going a long, long way
In time the Rockies may crumble, Gibraltar may tumble
But our love is here to stay
In time the Rockies may crumble, Gibraltar may tumble
They're only made of clay
But our love is here to stay
The lyrics to Ben Webster's song "Love Is Here to Stay" talk about the eternal and unfading quality of true love. The first line of the song says it all when it declares that our love is here to stay. This line suggests that the love between the two people is not temporary and may not be for just a short while but rather is something that will last forever. The next line shows that the love between the two people has a permanent quality to it. The line "Not for a year but ever and a day" suggests that this love will last for eternity.
The next few lines of the song refer to the things that can come and go in life. The "Radio and the telephone and the movies that we know" may just be temporary distractions in life and are only passing fancies. However, the following line sets the tone for the rest of the song: "But oh, my dear, our love is here to stay." Together, the couple is "going a long, long way" because their love for each other is powerful and will endure through anything life may throw at them.
The last two lines of the song provide a metaphorical ending that suggests that even though things can crumble and fall, love is eternal. When it says "In time the Rockies may crumble, Gibraltar may tumble, they're only made of clay, but our love is here to stay" it suggests that even the most durable and robust things in life can fall apart over time, but the love between the two people will stay strong, unbroken, and limitless.
Line by Line Meaning
It's very clear, our love is here to stay
There is no doubt that our love will endure
Not for a year but ever and a day
Our love will last forever
The radio and the telephone and the movies that we know
The entertainment of our time may change
May just be passing fancies and in time may go
These forms of entertainment are temporary and fleeting
But oh, my dear, our love is here to stay
Our love is permanent and enduring
Together we're going a long, long way
Our love will continue despite any obstacles we may face
In time the Rockies may crumble, Gibraltar may tumble
Even the strongest and most stable landmarks may one day fall
They're only made of clay
These landmarks are only temporary and subject to change
But our love is here to stay
Our love is stronger and will always endure
Lyrics © Peermusic Publishing, Warner Chappell Music, Inc.
Written by: George Gershwin, Ira Gershwin
Lyrics Licensed & Provided by LyricFind