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).
Where or When
Ben Webster Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
We looked at each other in the same way then
But I can't remember where or when
The clothes you're wearing are the clothes you wore
The smile you are smiling you were smiling then
But I can't remember where or when
Seem to be happening again
And so it seems that we have met before
And laughed before, and loved before
But who knows where or when
The lyrics of Ben Webster's Where or When poetically express the feeling of déjà vu – a sense of having experienced something before, despite not knowing exactly where or when. The opening lines create a sense of familiarity, as if the singer has had a similar conversation with the person they are addressing. The repetition of "where or when" underscores the mystery and confusion of the singer's memory.
The second and third stanzas focus on physical details – the clothes and smile of the other person – that suggest a connection to the past. The phrase "seem to be happening again" could refer to a physical meeting, or to a mental reliving of a past experience. The final stanza brings the idea of déjà vu full circle, with the singer acknowledging that they may have met, laughed, and loved before in an earlier time, but cannot confirm the details.
Overall, the song evokes a wistful sense of nostalgia and the fleeting nature of memory. The repeated refrain of "where or when" emphasizes the importance of time and place in shaping our experiences and relationships.
Line by Line Meaning
It seems we stood and talked like this before
This conversation feels like a déjà vu.
We looked at each other in the same way then
The way we're looking at each other now, we've done it before.
But I can't remember where or when
I don't recall the time or place when this happened before.
The clothes you're wearing are the clothes you wore
Your outfit is familiar because you wore the same thing before.
The smile you are smiling you were smiling then
Your smile looks familiar because you smiled the exact same way before.
Some things that happened for the first time
Certain events that occurred for the very first time
Seem to be happening again
appear to be recurring now.
And so it seems that we have met before
It feels like we've already met each other.
And laughed before, and loved before
And not just met, but we've also shared moments of joy, and even love.
But who knows where or when
But neither of us can seem to recollect exactly when this had occurred
Lyrics © Warner/Chappell Music, Inc., CONCORD MUSIC PUBLISHING LLC
Written by: Lorenz Hart, Richard Rodgers
Lyrics Licensed & Provided by LyricFind
Ian Beddowes
This is one of my favourite albums of all time. I keep returning ito it. Art Tatum and Ben Webster are both very lyrical, but while Tatium played many notes, Wester played few making a gorgeous blend.
Phil Pryor
This is pure love, fresh food and good drinking, clean air, stunning views, wonderful company, meaningful dialogue, interesting conversation, direction and purpose and vision BUT it is just wonderful and timeless great art, so beautiful it scares and pleases.
Dems1648
Well said.
Paul Ostroff
The finest pianist ever and one of the finest sax players of our time.TY gullivior for posting.
gerard rimmer
I feel so part of this tune it’s like perfection
SR SR
A wonderful group of jazz muscians, their great together, thanks for uploading
Andreas Hasenfratz
What a gift for us, strongly thanks!!
Jean Loup Knecht
Love it!
R. Organizer
I remember dancing to this song at my fraternity in the 1960s by a singing group. I didn't know who Art Tatum was then or Ben Webster, but I got hooked on jazz after graduating, and Tatum and many other jazz greats became my favorites.
Torbjörn Brunzell
Smooth music..elegant to perfection..