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).
Yesterdays
Ben Webster Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Yesterdays
Days I knew as happy sweet
Sequestered days
Olden days
Golden days
Days of mad romance and love
Then gay youth was mine
Joyous free and flaming life
Forsooth was mine
Sad am I
Glad am I
For today I'm dreaming of
Of yesterdays
Then gay youth was mine
The truth was mine
Sad am I
Glad am I
For today I'm dreaming of
Of yesterdays
The song "Yesterdays" by Ben Webster is a melancholic ballad that reflects on the fleeting nature of youth and love. The song begins by referring to the "yesterdays" that were once filled with happiness and sweetness, but are now secluded in memory. The repetition of "yesterdays" emphasizes the theme of nostalgia and the longing for the past. The reference to "olden days, golden days" evokes a sense of lost innocence and longing for a time that can never be recaptured.
The song continues with a description of the joys of past romance and love. The use of the word "mad" suggests a passionate intensity that is now absent. The shift to the past tense in the second stanza emphasizes the distance between the present and the past. The line "joyous free and flaming life" suggests a wild abandon that is no longer possible. The use of the archaic "forsooth" further emphasizes the distance between past and present.
The last two stanzas express a sense of longing for the past. The repetition of "then gay youth was mine, and truth was mine" emphasizes the idea that youth and truth are now lost. The final line "for today I'm dreaming of yesterdays" expresses a sense of regret and longing for a time that can never be regained.
Line by Line Meaning
Yesterdays
Reflecting on past days
Yesterdays
Lost and gone days
Days I knew as happy sweet
Days that were once filled with happiness
Sequestered days
Days that were isolated and hidden away
Olden days
Days from long ago
Golden days
Days that were perfect and cherished
Days of mad romance and love
Days filled with intense love and passion
Then gay youth was mine
I was once young and carefree
And truth was mine
I knew the truth about life and love
Joyous free and flaming life
Life was exciting and full of energy
Forsooth was mine
Indeed, life was once mine
Sad am I
I am now filled with sadness
Glad am I
But despite this, I am still grateful
For today I'm dreaming of
Because today I am longing for
Of yesterdays
Those cherished days of the past
Then gay youth was mine
When I was once young and carefree
The truth was mine
And I knew the truth about life and love
Sad am I
Although I am now filled with sadness
Glad am I
I still remain grateful for what those days brought me
For today I'm dreaming of
Because today I am longing for
Of yesterdays
Those precious days of the past
Lyrics © BMG Rights Management, Universal Music Publishing Group, Sony/ATV Music Publishing LLC
Written by: JEROME KERN, OTTO HARBACH
Lyrics Licensed & Provided by LyricFind
Frida Berenstein
Maravilhoso! Ben Webster é insubstituível, e torna a musica mais sensual e enriquecida.
Labradorite Dorée
J'adore, je ne connaissais pas, merci !!! ♥
Rick Artdefoix
Ben Webster playing Ballads that is to say Webster at his best, possibly, for he excelled at it. He had that deep, beautiful saxo sound and with it he got lots of followers all through the world. Think he was already known for having played with Billie Holiday, but his collaborations with Coleman, Oscar Peterson or Jim Hall made him famous, too. "Gone with the Wind", "Stormy Weather", "Time after Time" and so many other classic standards of the American songbook have great renditions through his distinctive saxo. The cds he recorded with Niels Henning count for me as some of the best he ever did. No doubt to hear him is an easy way to become a Jazz music lover.
fogdust
🎹🎹🎹🎹🎷🎷🎷🎷
60otaku4
Je vous en prie Elfaih-san!! Otaku4 (*^_^)/