Time: 52:14
Size: 119.6 MB
Styles: Saxophone jazz
Year: 1951/2012
Art: Front
[4:42] 1. Lester Leaps In
[5:08] 2. I Cover The Waterfront
[5:12] 3. Three Little Words
[3:29] 4. Up N' Adam (1)
[4:09] 5. Neenah (1)
[5:39] 6. Too Marvellous For Words
[4:12] 7. Indiana
[3:44] 8. Up N' Adam (2)
[3:27] 9. I Don't Stand A Ghost Of A Chance With You
[3:21] 10. Neenah
[4:46] 11. Lester Leaps
[4:19] 12. Medley: Up N' Adam / Jumpin' With Symphony Sid
Lester Young was born in Woodville, Mississippi in August 1909, one of six children. His father was leader of a carnival band and together with the family he moved to New Orleans while Lester was still an infant and it was there that his musical career began, first as a drummer and then as a teenage saxophonist.
After the break up of his father's organisation, Young went on to play with Art Bronson, The Original Blue Devils, Bennie Moten and in1933, with the redoubtable King Oliver.Young adopted a new way of playing tenor, rejecting the florid, multi-noted lines favoured by most tenor men of the day; he played few notes and delivered them with far less obvious definition. More significantly he played with a light, somehow transparent tone, a vast contrast to the heavy and breathy sound that was so popular. This was met with some hostility but after a brief stint with Kirk, he joined the Count Basie Orchestra,giving the reed section a totally distinctive sound. He remained with Basie until the end of 1949.
Sessions such as these live dates at Birdland in 1951 have young with fast company and in fine form. He is in the presence of his well-loved Basie colleague Jo Jones and with consummate professionals in the persons of pianist John Lewis and bassist Gene Ramey.
Recording Date: January 6, 1951 - January 20, 1951
After the break up of his father's organisation, Young went on to play with Art Bronson, The Original Blue Devils, Bennie Moten and in1933, with the redoubtable King Oliver.Young adopted a new way of playing tenor, rejecting the florid, multi-noted lines favoured by most tenor men of the day; he played few notes and delivered them with far less obvious definition. More significantly he played with a light, somehow transparent tone, a vast contrast to the heavy and breathy sound that was so popular. This was met with some hostility but after a brief stint with Kirk, he joined the Count Basie Orchestra,giving the reed section a totally distinctive sound. He remained with Basie until the end of 1949.
Sessions such as these live dates at Birdland in 1951 have young with fast company and in fine form. He is in the presence of his well-loved Basie colleague Jo Jones and with consummate professionals in the persons of pianist John Lewis and bassist Gene Ramey.
Recording Date: January 6, 1951 - January 20, 1951
Too Marvellous For Words
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