American jazz musician, considered one of the most distinctive of his generation, noted for the beauty of his tenor saxophone tone and for his melodic inventiveness.

Webster began playing the violin in childhood and then played piano accompaniments to silent films; after learning to play alto saxophone, he joined the family band led by Lester Young (Young, Lester)'s father. By 1930 he had switched to tenor saxophone, and he quickly became a leading soloist on that instrument. Through the decade he was a fixture in after-hours jam sessions in Kansas City, and he worked briefly in the bands of Fletcher Henderson (Henderson, Fletcher), Benny Carter (Carter, Benny), Cab Calloway (Calloway, Cab), and Teddy Wilson (Wilson, Teddy), among others. Although initially Webster's sound was nearly indistinguishable from that of his idol, Coleman Hawkins (Hawkins, Coleman), he soon began to develop a personal style.

A full-time engagement as the first featured tenor saxophonist with Duke Ellington (Ellington, Duke) (1940–43) brought Webster into his own, and he matured as a soloist and unique musician. He often played raspy, growling solos on up-tempo numbers, yet he displayed a rich, breathy tone on ballads. His melodies were direct, and his sound was immediately recognizable. Recordings of Ellington numbers such as "Cotton Tail," "Chelsea Bridge," "Blue Serge," and "All Too Soon" showcase solos by Webster that are considered classics.

Through most of the 1940s Webster worked in small bands out of New York and Chicago. Heavy drinking (which earned him the nickname “The Brute”) caused him many problems throughout his career, and for a time (1950–52) personal problems kept him off the scene. After this break he resumed his freelance activity, touring and recording with several of the most respected jazz artists. His sessions with Art Tatum (Tatum, Art) in 1956 were particularly important. Webster moved to Europe in 1964 (living first in The Netherlands, later in Denmark); he performed and recorded very actively throughout Europe until his death.

Having established the expressive capabilities of the instrument, Webster had enormous influence on subsequent tenor saxophonists. Representative recordings include Art Tatum–Ben Webster Quartet (1956), Soulville (1957), and Duke's in Bed (1965). A documentary, Ben Webster: The Brute and the Beautiful, was released in 1989.