Album Review: The Ben Webster Quintet — Soulville
The folks at Vinyl Me Please have struck gold once again. The mail-order subscription label has carved a unique niche in the music marketplace with its carefully-chosen and -curated monthly LP releases, and its latest offering – The Ben Webster Quintet‘s 1957 Soulville – continues the label’s trend of exquisite reissues.
Tenor saxophonist Webster had played with Duke Ellington for many years, but by the time of this album – the fourth under his own name – Webster had made a name for himself as a soloist and bandleader in his own right. With a who’s-who band that featured Oscar Peterson on piano, bassist Ray Brown, Stan Levey on drums, and guitarist Herb Ellis, Soulville is peak Webster. The songs vary from understated, bluesy workouts to more uptempo cuts, and throughout, everyone takes his turn at soloing.
The aptly-named title track is cool and understated, built around a blues framework. “Late Night” is a blues as well, but a much more sexy, uptempo one that swings. The romantic “Time on My Hands” features some exquisitely expressive sax work from Webster. “Where Are You” is skillful, subdued, late-night minimalistic jazz. The familiar “Makin’ Whoopee” is given a suitably playful reading by Webster, with solid support from is band mates.
A 2003 reissue of Soulville (on another label) appended the set with three bonus tracks that featured Webster on (sprightly if loose-limbed) piano; one of those cuts (“Boogie Woogie”) is included on the Vinyl Me Please reissue; other than that, it’s a straight reissue of the original Verve LP. It’s noteworthy (and odd) that the new LP doesn’t have a paper label; instead, the Verve logo and other info that would have been printed is instead tooled directly into the black vinyl.
The heavy-gauge LP comes in a deluxe paper sleeve, and – as with all Vinyl Me Please reissues – includes a poster featuring new artwork, and an overleaf sleeve that features brief notes from VMP’s Tyler Barstow. And as ever, the overleaf includes a recipe for a cocktail that Barstow believes well-matched to the music; in this case it’s a very old-school Gin and Tonic. I can vouch for its successful pairing with Ben Webster’s Soulville.
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About the Author
Bill Kopp
With a background in marketing and advertising, Bill Kopp got his professional start writing for Trouser Press. After a stint as Editor-in-chief for a national music magazine, Bill launched Musoscribe in 2009, and has published new content every business day since then (and every single day since 2018). The 4000-plus interviews, essays, and reviews on Musoscribe reflect Bill's keen interest in American musical forms, most notably rock, jazz, and soul. His work features a special emphasis on reissues and vinyl. Bill's work also appears in many other outlets both online and in print. He regularly hosts lecture/discussions on artists and albums of historical importance (including monthly events Music to Your Ears and Music Movie Mondays), and is a frequent guest on music-focused radio programs and podcasts. In Spring 2023 he is co-teaching a history of Rock 'n' Roll at UNC Asheville's College for Seniors. He also researches and authors liner notes for album reissues -- more than 30 to date -- and co-produced a reissue of jazz legend Julian "Cannonball" Adderley's final album. His first book, Reinventing Pink Floyd: From Syd Barrett to The Dark Side of the Moon was published by Rowman & Littlefield in 2018, and in paperback in 2019. His second book, Disturbing the Peace: 415 Records and the Rise of New Wave, was published in 2021 by HoZac Books. His third book, What's the Big Idea: 40 Great Concept Albums will be published in 2024. Read even more about him here.