Benjamin Francis Webster (March 27, 1909 – September 20, 1973) was an American jazz tenor saxophonist. He performed in the United States and Europe and made many recordings with Duke Ellington, Billie Holiday, Johnny Hodges, and others.

A native of Kansas City, Missouri, he studied violin, learned how to play blues on the piano from Pete Johnson, and received saxophone lessons from Budd Johnson. Webster played with Lester Young in the Young Family Band. He recorded with Blanche Calloway and became a member of the Bennie Moten Orchestra with Count Basie, Hot Lips Page, and Walter Page. During the 1930s, Webster played in bands led by Willie Bryant, Benny Carter, Cab Calloway, Fletcher Henderson, Andy Kirk, and Teddy Wilson.

Webster was a soloist with the Duke Ellington Orchestra starting in 1940, appearing on "Cotton Tail". He considered Johnny Hodges, an alto saxophonist in the Ellington Orchestra, a major influence on his playing. Gunther Schuller wrote in 1989, that Hodges' influence pushed him away from his original inspiration by Coleman Hawkins. Webster became close to Jimmy Blanton and Billy Strayhorn, the other two newcomers to Ellington's orbit.

Webster's personality, however, proved difficult for most members of the orchestra and for Ellington. It was not possible, according to Mercer Ellington, for his father and the saxophonist to be in the same room without an argument developing. Webster cried when he heard Blanton had died, but as baritone player Harry Carney recalled, "After he had a drink or two, he'd change". Webster left the band in 1943. Reportedly, he cut one of Ellington's sports jackets with a razor as one of his last acts as a member of the Ellington orchestra. Clark Terry said the departure was because Webster slapped Ellington.

Webster worked on 52nd Street in New York City, where he recorded frequently as a leader and sideman. During this time he worked with Raymond Scott, John Kirby, Bill DeArango, Sid Catlett, Jay McShann, and Jimmy Witherspoon. For a few months in 1948, he returned briefly to Ellington's orchestra.

In 1953, he recorded The Consummate Artistry of Ben Webster (now known as King of the Tenors) with pianist Oscar Peterson, who would be an important collaborator with Webster throughout the decade in his recordings for the various labels of Norman Granz. Along with Peterson, trumpeter Harry "Sweets" Edison and others, he was touring and recording with Granz's Jazz at the Philharmonic package. In 1956, he recorded an album with pianist Art Tatum, supported by bassist Red Callender and drummer Bill Douglass. Coleman Hawkins Encounters Ben Webster with fellow tenor saxophonist Coleman Hawkins was recorded on December 16, 1957, along with Peterson, Herb Ellis (guitar), Ray Brown (bass), and Alvin Stoller (drums). The Hawkins and Webster recording saw the coming together of two giants of the tenor saxophone, who had first met back in Kansas City.

In the late 1950s, he formed a quintet with Gerry Mulligan and played frequently at a club in Los Angeles called Renaissance. It was there that the Webster-Mulligan group backed up blues singer Jimmy Witherspoon on an album recorded live for the Hi-Fi Jazz label. That same year, 1959, the quintet, with pianist Jimmy Rowles, bassist Leroy Vinnegar, and drummer Mel Lewis, also recorded Gerry Mulligan Meets Ben Webster for Verve Records.

Webster worked steadily, but in late 1964 he moved to Europe, working with other expatriate American jazz musicians and local musicians. He played when he pleased during his last decade. He lived in London and several locations in Scandinavia for one year, followed by three years in Amsterdam, and made his last home in Copenhagen in 1969. Webster appeared as a sax player in a low-rent cabaret club in the 1970 Danish blue film titled Quiet Days in Clichy. In 1971, Webster reunited with Duke Ellington and his orchestra for a couple of shows at the Tivoli Gardens in Copenhagen; he also recorded "live" in France with Earl Hines. He also recorded or performed with Buck Clayton, Bill Coleman and Teddy Wilson.