℗ ℗ 2018 2xHD - Storyville Records
 

Ben Webster Plays Duke Ellington

Ben Webster

Available in 192 kHz / 24-bit, 96 kHz / 24-bit AIFF, FLAC and 11.2896 MHz, 2.8224 MHz, 5.6448 MHz DSF / DSD high resolution audio formats

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    • AIFF 192.0 kHz | 24-bit
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1
Perdido
Ben Webster; Teddy Wilson; Niels-Henning Ørsted Pedersen; Makaya Ntsoko
8:39
2
Johnny Come Lately
Ben Webster; Kenny Drew; Niels-Henning Ørsted Pedersen; Albert Tootie Heath
4:47
3
In a Mellow Tone
Ben Webster; Teddy Wilson; Niels-Henning Ørsted Pedersen; Makaya Ntsoko
6:58
4
Cottontail
Ben Webster; Kenny Drew; Niels-Henning Ørsted Pedersen; Albert Tootie Heath
4:56
5
Rockin' in Rhythm
Ben Webster; Ben Webster Orchestra; Niels Jorgen Steen
5:39
6
Things Ain't What They Used to Be
Ben Webster; Ben Webster Orchestra; Ib Glindemann
3:05
7
Stompy Jones
Ben Webster; Ben Webster Orchestra; Niels Jorgen Steen
5:34
8
Cottontail
Ben Webster; Ben Webster Orchestra; Ib Glindemann
3:19
9
Bojangles
Ben Webster; Ben Webster Orchestra; Ray Pitts
4:20
Digital Booklet
Total Playing Time    47:17
For many people Ben Webster is indelibly linked with the name of Duke Ellington. Ben had a long and distinguished career, of which his work with Duke was only a small part, but the crucial exposure just as he reached musical maturity was given by Ellington, and that maturity was hastened by the challenge of playing with Ellington. Yet he also gave a lot to the band and to the continuing Ellington tradition.

In other words, he created the role of the tenor saxophone with Duke. Before he joined for his longest stay (in January 1940), there had been no expectation of significant tenor contributions – despite Ben’s previous brief encounters in 1935 and 1936. But, in far less time than the 3 ½ years he remained, Ben had made the tenor an Ellingtonian voice almost as strong as Johnny Hodges and Harry Carney on alto and baritone. His departure left a huge hole in Duke’s music, which was filled by a series of heavyweight soloists including Al Sears, Jimmy Forrest, Don Byas, Ben again, and the great Paul Gonsalves.
192 kHz / 24-bit, 96 kHz / 24-bit PCM and 11.2896 MHz, 2.8224 MHz, 5.6448 MHz DSD – 2xHD - Storyville Records Studio Masters

Tracks 1-9 – contains high-resolution digital transfers of material originating from an analogue master source

From 2xHD:

In the constant evolution of its proprietary mastering process, 2xHD has progressed to a new phase called 2xHD FUSION, integrating the finest analog, with state-of-the-art digital technology.

The mastering chain consists of a selection of high-end vacuum tube equipment. For the recordings on this album, the original ¼” 15 ips CCIR master tapes were played on a Nagra-T tape recorder, modified with high-end tube playback electronics, wired with OCC silver cable from the playback head direct to a Nick Doshi tube head preamplifier. The Nagra T, with its four direct drive motors, two pinch rollers and a tape tension head, has one of the best transports ever made. A custom-built carbon fiber head block and a head damping electronic system permit 2xHD FUSION to obtain better resolution and 3D imaging.

The resulting signal is then transferred into high resolution formats by recording it in DSD 11.2 MHz using a Merging Technologies’ Horus A to D converter. All analog and digital cables that are used are state of the art. The 2xHD FUSION mastering system is powered by a super capacitor power supply, using a new technology that lowers the digital noise found in the lowest level of the spectrum. A vacuum tube NAGRA HDdac (DSD) is used as a reference digital playback converter in order to A and B with the original analog master tape, permitting the fusion of the warmth of analog with the refinement of digital.

2xHD Mastering: René Laflamme
2xHD Executive Producer: André Perry

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