{"id":282876,"date":"2025-02-21T00:00:00","date_gmt":"2025-02-20T23:00:00","guid":{"rendered":"https:\/\/wpguerssen-test.odoo.rgbconsulting.com\/product\/soulville\/"},"modified":"2025-04-15T13:59:44","modified_gmt":"2025-04-15T11:59:44","slug":"soulville","status":"publish","type":"product","link":"https:\/\/wpguerssen-test.odoo.rgbconsulting.com\/es\/producto\/soulville\/","title":{"rendered":"Soulville"},"content":{"rendered":"

Webster, realmente acert\u00f3 en el sello Verve. Durante un per\u00edodo comprendido aproximadamente entre 1953 y 1959, el alumno de Ellington mostr\u00f3 su interpretaci\u00f3n suprema tanto con combos como con secciones de cuerdas, swingers y baladas, y acechando debajo de su sonido tempestuoso y descomunal hab\u00eda l\u00edneas solistas rebosantes de sofisticaci\u00f3n e ingenio. Esta cita de 1957 con el Oscar Peterson Trio es uno de los aspectos m\u00e1s destacados de esa carrera dorada de los a\u00f1os 50. Despu\u00e9s de comenzar con dos originales de blues (la lenta canci\u00f3n principal y el atrevido \u00abLate Date\u00bb), Webster llega al meollo de las cosas en cinco baladas melanc\u00f3licas: aqu\u00ed, su exquisitamente astuto \u00abMakin’ Whoopee\u00bb s\u00f3lo es superado por un incre\u00edblemente matizado \u00abWhere Are You\u00bb. Al proporcionar un contrapunto simp\u00e1tico, Peterson renuncia a su pirotecnia habitual por algunos solos compactos y pausados; sus compa\u00f1eros (el guitarrista Herb Ellis, el bajista Ray Brown y el baterista Stan Levey) son igualmente seguros y espl\u00e9ndidos. Y terminando el set con estilo, Webster se hace cargo del piano para tres n\u00fameros de estilo algo mediocre pero a\u00fan impresionante con estilo boogie-woogie (estas son sus \u00fanicas grabaciones para piano). Los reci\u00e9n llegados no deber\u00edan dudar en empezar aqu\u00ed. ~ Stephen Cook<\/p>\n","protected":false},"excerpt":{"rendered":"

Webster, realmente acert\u00f3 en el sello Verve. Durante un per\u00edodo comprendido aproximadamente entre 1953 y 1959, el alumno de Ellington mostr\u00f3 su interpretaci\u00f3n (...)<\/a>","protected":false},"featured_media":282856,"template":"","meta":{"_acf_changed":false},"product_brand":[],"product_cat":[23227],"product_tag":[24189],"class_list":{"0":"post-282876","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-jazz-es","7":"product_tag-recien-llegadas","8":"pa_artist-webster-ben","9":"pa_format-lp-es","10":"pa_gender-jazz","11":"pa_label-waxtime","12":"pa_location-north-america-es","13":"pa_other-filters-vinyl-only-es","15":"first","16":"instock","17":"taxable","18":"shipping-taxable","19":"purchasable","20":"product-type-simple"},"acf":[],"yoast_head":"\nWEBSTER, Ben - Soulville - (LP) | Guerssen<\/title>\n<meta name=\"description\" content=\"The by turns grizzled and vaporous-toned Webster really hit his stride on the Verve label. During a stretch from roughly 1953-1959, the Ellington alumnus showcased his supreme playing with both combos and string sections, swingers and ballads -- and lurking beneath his blustery and hulking sound were solo lines brimming with sophistication and wit. This 1957 date with the Oscar Peterson Trio is one of the highlights of that golden '50s run. After starting off with two bluesy originals -- the slow burning title track and gutsy "Late Date" -- Webster gets to the heart of things on five wistful ballads: Here, his exquisitely sly "Makin' Whoopee" is only outdone by an incredibly nuanced "Where Are You." Providing sympathetic counterpoint, Peterson forgoes his usual pyrotechnics for some leisurely compact solos; his cohorts -- guitarist Herb Ellis, bassist Ray Brown, and drummer Stan Levey -- are equally assured and splendid. And ending the set with flair, Webster takes over the piano for three somewhat middling yet still impressive stride and boogie-woogie-styled numbers (these are his only piano recordings). Newcomers shouldn't hesitate to start here. ~ Stephen Cook\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/wpguerssen-test.odoo.rgbconsulting.com\/es\/producto\/soulville\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"WEBSTER, Ben - Soulville - (LP) | Guerssen\" \/>\n<meta property=\"og:description\" content=\"The by turns grizzled and vaporous-toned Webster really hit his stride on the Verve label. During a stretch from roughly 1953-1959, the Ellington alumnus showcased his supreme playing with both combos and string sections, swingers and ballads -- and lurking beneath his blustery and hulking sound were solo lines brimming with sophistication and wit. This 1957 date with the Oscar Peterson Trio is one of the highlights of that golden '50s run. After starting off with two bluesy originals -- the slow burning title track and gutsy "Late Date" -- Webster gets to the heart of things on five wistful ballads: Here, his exquisitely sly "Makin' Whoopee" is only outdone by an incredibly nuanced "Where Are You." Providing sympathetic counterpoint, Peterson forgoes his usual pyrotechnics for some leisurely compact solos; his cohorts -- guitarist Herb Ellis, bassist Ray Brown, and drummer Stan Levey -- are equally assured and splendid. And ending the set with flair, Webster takes over the piano for three somewhat middling yet still impressive stride and boogie-woogie-styled numbers (these are his only piano recordings). Newcomers shouldn't hesitate to start here. ~ Stephen Cook\" \/>\n<meta property=\"og:url\" content=\"https:\/\/wpguerssen-test.odoo.rgbconsulting.com\/es\/producto\/soulville\/\" \/>\n<meta property=\"og:site_name\" content=\"Guerssen records\" \/>\n<meta property=\"article:modified_time\" content=\"2025-04-15T11:59:44+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/wpguerssen-test.odoo.rgbconsulting.com\/wp-content\/uploads\/2025\/02\/49784.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"600\" \/>\n\t<meta property=\"og:image:height\" content=\"603\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:title\" content=\"WEBSTER, Ben - Soulville - (LP) | Guerssen\" \/>\n<meta name=\"twitter:label1\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data1\" content=\"1 minuto\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/wpguerssen-test.odoo.rgbconsulting.com\/es\/producto\/soulville\/\",\"url\":\"https:\/\/wpguerssen-test.odoo.rgbconsulting.com\/es\/producto\/soulville\/\",\"name\":\"WEBSTER, Ben - Soulville - (LP) | Guerssen\",\"isPartOf\":{\"@id\":\"https:\/\/wpguerssen-test.odoo.rgbconsulting.com\/es\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/wpguerssen-test.odoo.rgbconsulting.com\/es\/producto\/soulville\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/wpguerssen-test.odoo.rgbconsulting.com\/es\/producto\/soulville\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/wpguerssen-test.odoo.rgbconsulting.com\/wp-content\/uploads\/2025\/02\/49784.jpg\",\"datePublished\":\"2025-02-20T23:00:00+00:00\",\"dateModified\":\"2025-04-15T11:59:44+00:00\",\"description\":\"The by turns grizzled and vaporous-toned Webster really hit his stride on the Verve label. During a stretch from roughly 1953-1959, the Ellington alumnus showcased his supreme playing with both combos and string sections, swingers and ballads -- and lurking beneath his blustery and hulking sound were solo lines brimming with sophistication and wit. This 1957 date with the Oscar Peterson Trio is one of the highlights of that golden '50s run. After starting off with two bluesy originals -- the slow burning title track and gutsy \\\"Late Date\\\" -- Webster gets to the heart of things on five wistful ballads: Here, his exquisitely sly \\\"Makin' Whoopee\\\" is only outdone by an incredibly nuanced \\\"Where Are You.\\\" Providing sympathetic counterpoint, Peterson forgoes his usual pyrotechnics for some leisurely compact solos; his cohorts -- guitarist Herb Ellis, bassist Ray Brown, and drummer Stan Levey -- are equally assured and splendid. And ending the set with flair, Webster takes over the piano for three somewhat middling yet still impressive stride and boogie-woogie-styled numbers (these are his only piano recordings). 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