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Saturday Night at The Montmartre ~ Ben Webster | By Eddie Carter

This morning’s subject submitted for your consideration is a delightful live date by tenor saxophonist, Ben Webster. Saturday Night at The Montmartre (Black Lion Records BLP 30155) is the first of three LPs chronicling his quartet’s January 30 performance at the renowned club shortly after Ben moved to Europe. Midnight at The Montmartre and Sunday Morning at The Montmartre (1977) complete the evening’s concert. He’s joined on stage by Kenny Drew on piano, Niels-Henning Ørsted Pedersen on bass, and Alex Riel on drums. My copy used in this report is the 1974 US Stereo release (Black Lion Records BL-302).

The rhythm section begins the evening with a bit of relaxed cooking on the introduction to Our Love Is Here To Stay by George and Ira Gershwin. Ben takes the lead on the theme and swings effortlessly on the first interpretation. Kenny and Niels-Henning are completely at ease in the next two readings. Alex and Ben engage in a delightful conversation preceding the theme’s reprise and finish. The pace slows down for a gorgeous rendition of My Romance by Richard Rodgers and Lorenz Hart. A brief introduction by Kenny opens the way for Ben’s richly toned, emotional expression on the melody. The pianist starts the solos with an enchanting presentation, next Webster gives an incredibly beautiful performance ahead of the song ending quietly.

Blues For Herluf is Ben Webster’s uptempo tribute to Jazzhus Montmartre’s manager, Herluf Kamp-Larsen. Kenny kicks off this tune with a brief introduction that evolves into the foursome’s invigorating theme. Ben opens with a hard-blowing swinger. Kenny tells a vigorously spirited story on the second solo. Niels-Henning goes for a short walk in the third spot and Alex’s drums dance briefly with the leader into the finale. The quartet slows the tempo again to begin Side Two with a very pretty song, Londonderry Air. The trio begins their introduction gracefully, then Webster touches a soft spot in everyone’s heart on the theme and provides a wonderful feeling of peaceful serenity as the song’s only soloist into a lovely finale.

Mack The Knife by Kurt Weill, Mark Blitzstein, and Bertolt Brecht first appeared in The Threepenny Opera (1928). The rhythm section introduces this song at midtempo leading to the collective melody led by Ben who also sparkles on the first reading. Kenny and Niels-Henning contribute something fun on the next two solos. Alex and Ben exchange a few riffs before the conclusion. I Can’t Get Started by Vernon Duke and Ira Gershwin is one of the most beautiful standards in The Great American Songbook. The trio introduces the song leading to a sincerely poignant theme by Webster. Drew speaks to the listener intimately in the opening statement. Webster’s passion for ballad interpretation is abundantly evident in a delicately pretty reading perfectly matched to the trio’s sensuous support.

The Theme by Miles Davis brings this set to a close in rapid fashion. The foursome launches the theme collectively, next Ben, Kenny, Niels-Henning, and Alex give four quick statements ahead of the melody’s reprise and the audience’s approval. Saturday Night at The Montmartre and its companions were produced by Alan Bates, and Birger Svan was the recording engineer. The album’s sound quality is amazing with a breathtaking soundstage placing the listener in a seat among the audience as the quartet performs. If you’re a fan of Ben Webster and like your jazz swinging and soulful, I invite you to check out Saturday Night at The Montmartre on your next search for vinyl treasure. It sets the mood for a great evening of jazz that’s perfect to enjoy with the lights dimmed and your favorite drink as you listen!

~ Midnight at The Montmartre (Black Lion Records BLP 30173), Sunday Morning at The Montmartre (Black Lion Records BLP 30182) – Source: Discogs.com ~ I Can’t Get Started, Mack The Knife, My Romance, Our Love Is Here To Stay – Source: JazzStandards.com © 2022 by Edward Thomas Carter

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