Lester Young & Harry 'Sweets' Edison - Pres And Sweets

Styles: Saxophone And Trumpet Jazz 
Year: 1955
File: MP3@320K/s
Time: 47:32
Size: 109,5 MB
Art: Front

(7:15)  1. Mean To Me
(5:12)  2. Red Boy Blues
(5:14)  3. Pennies For Heaven
(4:35)  4. That's All
(5:19)  5. One O'clock Jump
(8:24)  6. She's Funny That Way
(5:38)  7. It's The Talk Of The Town
(5:52)  8. I Found A New Baby

This 1955 session could really be termed a reunion date. The tenor saxophonist and trumpeter had worked together in the Count Basie Orchestra , Harry Edison for 17 years and Lester Young for seven of those. Together again, these two jazz giants revive the musical rapport they first developed in the Basie band. 

Young and Edison's approach on this session reflects their tenure with Basie; for example, it was common for Young to solo followed directly by Edison in the Basie days, and they follow that same plan here. The two horn players perform a swinging, rousing version of the Count's legendary "One O'Clock Jump," which features superb solos by pianist Oscar Peterson and drummer Buddy Rich, both legends in their own right. Other highlights on Pres & Sweets include the subtle "Pennies from Heaven" and the lovely ballad, "It's the Talk of the Town," the latter of which displays Herb Ellis' delicate guitar stylings and Pres' beautiful light and airy tone. ~ Rovi Staff https://www.allmusic.com/album/pres-and-sweets-mw0000264791

Personnel: Harry Edison - trumpet; Lester Young - tenor saxophone; Oscar Peterson - piano; Herb Ellis - guitar; Ray Brown - bass; Buddy Rich - drums

Pres And Sweets

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Gene Krupa, Buddy Rich - The Drum Battle

Styles: Jazz, Post Bop
Year: 1999
File: MP3@320K/s
Time: 35:47
Size: 82,7 MB
Art: Front

(0:42)  1. Introduction
(6:46)  2. Idaho
(4:39)  3. Sophisticated Lady
(5:56)  4. Flying Home
(9:04)  5. Drum Boogie
(3:36)  6. The Drum Battle
(5:01)  7. Perdido

This set was initially issued as the 15th instalment in Norman Grantz's Jazz at the Philharmonic series of LPs, EPs, and 45s. As that highly collectible compilation of performances has been out of print since the 1960s, many of the volumes were later issued under the respective artists' name. As the title would imply, Drum Battle: Jazz at the Philharmonic features the artistry of the Gene Krupa Trio with Buddy Rich (drums) sitting in on a few numbers as well as the inimitable jazz scat vocalizations of Ella Fitzgerald on a hot steppin' and definitive "Perdido." Opening the disc is Krupa's trio with Willie Smith (alto sax) and Hank Jones (piano) providing a solid and singularly swinging rhythm section. While Smith drives the band, Krupa is front and center with his antagonistic percussive prodding. "Idaho" is marked with Jones' rollicking post-bop mastery as he trades solos with Smith and can be heard quoting lines from Monk before yielding to Smith. The cover of Duke Ellington's "Sophisticated Lady" sparkles from beginning to end. Jones' opening flourish sets the tenure as Smith settles into a smoky lead, containing some nice syncopation and regal augmentation from Jones. Krupa primarily provides ample rhythm work on the emotive ballad. Smith's diversion into "Stormy Weather" is notable for exemplifying the lyrically improvisational nature of this combo. The tempo is significantly stepped up on a cover of Benny Goodman's "Flying Home," which is full of high-spirited playing and garners a sizable reaction from the audience. 

The lengthy "Drum Boogie" is one of Krupa's signature pieces and is greeted with tremendous enthusiasm. Buddy Rich climbs on board for a one-on-one duel with Krupa, whose styles mesh into a mile-a-minute wash of profound percussion. The duet segues into an inspired and free-form jam on "Perdido," with Fitzgerald belting out her lines with authority, class, and most of all, soul. ~ Lindsay Planer https://www.allmusic.com/album/the-drum-battle-mw0000318913

Personnel:  Gene Krupa – drums; Buddy Rich – drums; Roy Eldridge – trumpet; Charlie Shavers – trumpet; Benny Carter – alto saxophone; Flip Phillips – tenor saxophone; Lester Young – tenor saxophone; Hank Jones – piano; Oscar Peterson – piano; Willie Smith – piano; Barney Kessel – guitar; Ray Brown – double bass; Ella Fitzgerald – vocals

The Drum Battle

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Lester Young - Lester Young Exercise In Swing

Styles: Saxophone Jazz, Swing
Year: 2012
File: MP3@320K/s
Time: 63:08
Size: 147,9 MB
Art: Front

(4:07)  1. I've Found A New Baby (I Found A New Baby)
(4:50)  2. The Man I Love
(4:04)  3. Peg O' My Heart
(4:11)  4. Mean To Me
(3:54)  5. Back To The Land
(4:05)  6. I Cover The Waterfront
(3:08)  7. It's Only A Paper Moon
(4:28)  8. Lester Leaps Again
(3:11)  9. Afternoon On A Basie Ite
(2:56) 10. Three Little Words
(3:08) 11. Sometimes I'm Happy
(4:46) 12. After Theatre Jump
(4:11) 13. Six Cats And A Prince
(3:54) 14. Destnation K.C.
(5:07) 15. Body And Soul
(2:59) 16. Exercise In Swing

While Giants of Jazz might not be considered a very prestigious or comprehensive label, there's no denying that some of their reissue compilations serve jazz lovers as mini-surveys illuminating great moments in swing and bop. One of the best entries in the entire Giants of Jazz catalog is probably the magnificent Bud Freeman's 1928-1939. Similarly wonderful and highly recommended for those who are forever in love with the spirit and sounds of Lester Young, Exercise in Swing is a sublime if chronologically obfuscated sampler of Prez's best recorded performances dating from a slice of time running between the summer of 1942 and the spring of 1946. The album opens with most of the master takes from a trio session produced by Norman Granz in either March or April of 1946; here Prez collaborated with pianist Nat King Cole and drummer Buddy Rich. Without any exaggeration whatsoever let it be said that these tracks (one through six) constitute some of Lester Young's most inspired work and indeed some of the best intimate small group swing ever played in a recording studio. After the famous January 1946 Aladdin recording of "It's Only a Paper Moon" the rest of this compilation dwells mainly upon Young's adventures as a Keynote recording artist. "Sometimes I'm Happy" and "Afternoon of a Basie-ite" come from Prez's first-ever recording date as a leader (not counting a relatively obscure series of sessions co-led with his brother Lee Young). Four other vintage Keynote selections feature the Kansas City Seven, which was essentially a scaled down Count Basie band with Basie billed as "Prince Charming." 

"Three Little Words" was performed by the Kansas City Six, a Commodore jam band that included trumpeter Bill Coleman, trombonist Dicky Wells and pianist Joe Bushkin. This outstanding Lester Young sampler closes with a marvelous 1942 rendering of "Body and Soul" (another daydream for trio involving Cole and bassist Red Callender) and the stimulating "Exercise in Swing," an aerobic romp recorded for the Savoy label on April 18, 1944. Without piling on superlatives let's just say this is a knockout Lester Young disc that you probably need more than you even realize at this moment; ideally it would incite you to obtain this man's complete Keynote, Aladdin, Commodore, Savoy and Verve recordings. ~ arwulf arwulf https://www.allmusic.com/album/exercise-in-swing-mw0000603215

Lester Young Exercise In Swing

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Illinois Jacquet & Lester Young - Battle Of The Saxes

Styles: Saxophone Jazz 
Year: 1955
File: MP3@320K/s
Time: 21:45
Size: 51,6 MB
Art: Front

(2:44)  1. Flying Home
(2:42)  2. Blow Illinois Blow
(2:21)  3. Goofin' Off
(2:28)  4. Illinois Blows The Blues
(2:52)  5. D.B. Blues
(2:25)  6. Lester Blows Again
(2:57)  7. On The Sunny Side Of The Street
(3:11)  8. Jumpin' With Symphony Sid

Illinois Jacquet (Jean-Baptiste Illinois Jacquet, October 31, 1922 - July 22, 2004) is an American jazz tenor saxophonist. The brother of the trumpeter Russell Jacquet and the drummer Linton Jacquet.

Illinois began to perform in 1939 in the orchestra of Milton Larkin. In 1942 he participated in the recording of the hit "Flying Home" with the orchestra Lionel Hampton. In 1993 he played the song "C-Jam Blues", on the lawn near the White House, together with President Bill Clinton at the inauguration of the latter. Collaborated with Arnett Cobb, Dexter Gordon, Cab Calloway, Charles Mingus, Lester Young, Count Basie and many others. Lester Young (27.08.1909 - 15.03.1959) is an American jazz tenor saxophonist and clarinetist. His virtuosic improvisations, which were remarkably smoothly phrased, influenced many saxophonists of the second half of the 20th century.

Personnel:  Illinois Jacquet (saxophone), Lester Young (saxophone)

Battle Of The Saxes

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Various - A Life In Time: The Roy Haynes Story (2 parts)

The litany of names that drummer Roy Haynes has worked with in his half-century long career reads like a history of modern jazz, and includes such undeniable luminaries as Lester Young, Bud Powell, Charlie Parker, Miles Davis, Thelonious Monk, Eric Dolphy, Stan Getz, Jackie McLean, Chick Corea, Alice Coltrane, and John Coltrane, all of whom are represented on this three-disc (there is a fourth DVD disc that adds interviews and videos of live shows) survey of Haynes' musical life and times. Spanning 1949 through 2006, at 37 tracks this set only begins to scratch the surface of what Haynes has contributed to jazz, of course, but it is both an ideal starting point and a capsule survey of those contributions. A must for fans and those in the know, but even the most casual listener will be impressed.

Album: A Life In Time: The Roy Haynes Story Part 1
Bitrate: MP3@320K/s
Time: 86:28
Size: 197.9 MB
Styles: Bop
Year: 2007

[2:26] 1. Lester Young - Ding Dong
[3:00] 2. Bud Powell - Bouncin' With Bud
[3:02] 3. Charlie Parker - My Little Suede Shoes
[2:21] 4. Miles Davis - Morpheus
[2:50] 5. Miles Davis - Down
[2:30] 6. Sonny Rollins - I Know
[4:54] 7. Charlie Parker - I'll Walk Alone
[2:38] 8. Sarah Vaughan - Shulie A Bop
[3:32] 9. Nat Adderley - Two Brothers
[2:38] 10. Sarah Vaughan - How High The Moon
[4:20] 11. Roy Haynes - Reflection
[9:27] 12. Thelonious Monk Quartet - Rhythm A Ning
[3:49] 13. Etta Jones - Don't Go To Strangers
[5:41] 14. Eric Dolphy Quintet - On Green Dolphin Street
[2:28] 15. Stan Getz - I'm Late, I'm Late
[8:44] 16. Oliver Nelson - Stolen Moments
[4:40] 17. Roy Haynes Quartet - Long Wharf
[4:07] 18. Roy Haynes Quartet - Snap Crackle
[9:03] 19. Jackie Mclean - Esoteric
[4:09] 20. John Coltrane Quartet - After The Rain

A Life In Time: The Roy Haynes Story Part 1 mc
A Life In Time: The Roy Haynes Story Part 1 zippy

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Album: A Life In Time: The Roy Haynes Story Part 2
Bitrate: MP3@320K/s
Time: 127:03
Size: 290.8 MB
Styles: Bop
Year: 2007
Art: Front

[ 6:53] 1. Andrew Hill - Black Fire
[ 7:53] 2. Jack Dejohnette - Poppa Daddy And Me
[ 6:27] 3. Chick Corea - Matrix
[11:41] 4. Alice Coltrane - Transfiguration
[ 3:02] 5. Michel Petrucciani - Little Peace In C For U
[ 6:22] 6. Gary Burton - Question And Answer
[17:20] 7. John Coltrane - My Favorite Things
[ 4:35] 8. Roy Haynes - James
[ 4:24] 9. Roy Haynes - Equipoise
[ 7:15] 10. Roy Haynes - After Sunrise
[ 7:01] 11. Roy Haynes - My Heart Belongs To Daddy
[ 5:55] 12. Roy Haynes - Vistalite
[ 6:43] 13. Roy Haynes - Water Children
[ 7:36] 14. Roy Haynes - Brown Skin Girl
[ 8:19] 15. Roy Haynes - Greensleeves
[ 6:53] 16. Roy Haynes & The Fountain Of Youth Band - Hippidy Hop
[ 8:37] 17. Roy Haynes & The Fountain Of Youth Band - Segment

A Life In Time: The Roy Haynes Story Part 2 mc
A Life In Time: The Roy Haynes Story Part 2 zippy

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Lester Young - Collates No. 2

Bitrate: MP3@320K/s
Time: 23:42
Size: 54.3 MB
Styles: Saxophone jazz
Year: 1951/2005
Art: Front

[2:49] 1. A Foggy Day
[2:53] 2. Down 'n' Adam
[3:11] 3. In A Little Spanish Town
[3:14] 4. 'deed I Do
[2:54] 5. Let's Fall In Love
[2:38] 6. Little Pee Blues
[2:55] 7. Thou Swell
[3:04] 8. Jeepers, Creepers

Bass – Gene Ramey, Ray Brown; Drums – Buddy Rich, Jo Jones; Tenor Saxophone – Lester Young.

Lester Young was one of the true jazz giants, a tenor saxophonist who came up with a completely different conception in which to play his horn, floating over bar lines with a light tone rather than adopting Coleman Hawkins' then-dominant forceful approach. A non-conformist, Young (nicknamed "Pres" by Billie Holiday) had the ironic experience in the 1950s of hearing many young tenors try to sound exactly like him.

Although he spent his earliest days near New Orleans, Lester Young lived in Minneapolis by 1920, playing in a legendary family band. He studied violin, trumpet, and drums, starting on alto at age 13. Because he refused to tour in the South, Young left home in 1927 and instead toured with Art Bronson's Bostonians, switching to tenor. He was back with the family band in 1929 and then freelanced for a few years, playing with Walter Page's Blue Devils (1930), Eddie Barefield in 1931, back with the Blue Devils during 1932-1933, and Bennie Moten and King Oliver (both 1933). He was with Count Basie for the first time in 1934 but left to replace Coleman Hawkins with Fletcher Henderson. Unfortunately, it was expected that Young would try to emulate Hawk, and his laid-back sound angered Henderson's sidemen, resulting in Pres not lasting long. After a tour with Andy Kirk and a few brief jobs, Lester Young was back with Basie in 1936, just in time to star with the band as they headed East. Young made history during his years with Basie, not only participating on Count's record dates but starring with Billie Holiday and Teddy Wilson on a series of classic small-group sessions. In addition, on his rare recordings on clarinet with Basie and the Kansas City Six, Young displayed a very original cool sound that almost sounded like altoist Paul Desmond in the 1950s. After leaving Count in 1940, Young's career became a bit aimless, not capitalizing on his fame in the jazz world. He co-led a low-profile band with his brother, drummer Lee Young, in Los Angeles until re-joining Basie in December 1943. Young had a happy nine months back with the band, recorded a memorable quartet session with bassist Slam Stewart, and starred in the short film Jammin' the Blues before he was drafted. His experiences dealing with racism in the military were horrifying, affecting his mental state of mind for the remainder of his life.

Although many critics have written that Lester Young never sounded as good after getting out of the military, despite erratic health he actually was at his prime in the mid- to late-'40s. He toured (and was well paid by Norman Granz) with Jazz at the Philharmonic on and off through the '40s and '50s, made a wonderful series of recordings for Aladdin, and worked steadily as a single. Young also adopted his style well to bebop (which he had helped pave the way for in the 1930s). But mentally he was suffering, building a wall between himself and the outside world, and inventing his own colorful vocabulary. Although many of his recordings in the 1950s were excellent (showing a greater emotional depth than in his earlier days), Young was bothered by the fact that some of his white imitators were making much more money than he was. He drank huge amounts of liquor and nearly stopped eating, with predictable results. 1956's Jazz Giants album found him in peak form as did a well documented engagement in Washington, D.C., with a quartet and a last reunion with Count Basie at the 1957 Newport Jazz Festival. But, for the 1957 telecast The Sound of Jazz, Young mostly played sitting down (although he stole the show with an emotional one-chorus blues solo played to Billie Holiday). After becoming ill in Paris in early 1959, Lester Young came home and essentially drank himself to death. Many decades after his death, Pres is still considered (along with Coleman Hawkins and John Coltrane) one of the three most important tenor saxophonists of all time. ~ bio by Scott Yanow

Collates No. 2                

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Lester Young, Teddy Wilson Quartet - Pres & Teddy

Bitrate: MP3@320K/s
Time: 43:09
Size: 98.8 MB
Styles: Standards, Saxophone jazz
Year: 2010
Art: Front

[5:11] 1. All Of Me
[7:39] 2. Prisoner Of Love
[5:20] 3. Louise
[6:52] 4. Love Me Or Leave Me
[5:12] 5. Taking A Chance On Love
[6:32] 6. Our Love Is Here To Stay
[6:21] 7. Prez Returns

Bass – Gene Ramey; Drums – Jo Jones; Piano – Teddy Wilson; Tenor Saxophone – Lester Young.

Although it has been written much too often that Lester Young declined rapidly from the mid-'40s on, the truth is that when he was healthy, Young played at his very best during the '50s, adding an emotional intensity to his sound that had not been present during the more carefree days of the '30s. This classic session, a reunion with pianist Teddy Wilson and drummer Jo Jones (bassist Gene Ramey completes the quartet), finds the great tenor in particularly expressive form. His rendition of "Prisoner of Love" is quite haunting, the version of "All of Me" is also memorable, and all of the swing standards (which are joined by his original "Pres Returns") are well worth hearing. This date (which has been reissued on CD) was recorded the day after Young's other classic from his late period, Jazz Giants '56. ~Scott Yanow

Pres & Teddy

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Lester Young - The Jazz Giants

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 42:31
Size: 100,9 MB
Art: Front

( 9:35)  1. I Guess I'll Have To Change My Plan
(10:06)  2. I Didn't Know What Time It Was
( 6:54)  3. Gigantic Blues
( 6:49)  4. This Year's Kisses
( 9:06)  5. You Can Depend On Me

Even critics who feel (against the recorded evidence to the contrary) that little of tenor saxophonist Lester Young's postwar playing is at the level of his earlier performances make an exception for this session. Young was clearly inspired by the other musicians (trumpeter Roy Eldridge, trombonist Vic Dickenson, pianist Teddy Wilson, guitarist Freddie Green, bassist Gene Ramey, and drummer Jo Jones), who together made for a very potent band of swing all-stars. The five songs on this album include some memorable renditions of ballads and a fine version of "You Can Depend on Me," but it is the explosive joy of the fiery "Gigantic Blues" that takes honors. This set, a real gem, is highly recommended. ~ Scott Yanow http://www.allmusic.com/album/the-jazz-giants-56-mw0000192693

Personnel: Lester Young (tenor saxophone); Freddie Green, Herb Ellis (guitar); Buddy DeFranco (clarinet); Flip Phillips (tenor saxophone); Dizzy Gillespie, Roy Eldridge (trumpet); Vic Dickenson, Bill Harris (trombone); Oscar Peterson, Teddy Wilson (piano); Jo Jones All Stars , Jo Jones , Louie Bellson (drums).

The Jazz Giants

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Lester Young - Kansas City Swing

Styles: Saxophone And Clarinet Jazz
Year: 1999
File: MP3@320K/s
Time: 71:55
Size: 167,3 MB
Art: Front

(3:01)  1. Way Down Yonder In New Orleans
(3:00)  2. Countless Blues
(2:59)  3. Them There Eyes
(2:53)  4. I Want A Little Girl
(2:57)  5. Pagin' The Devil
(4:12)  6. I Got Rhythm
(4:09)  7. I'm Fer It Too
(3:06)  8. Hello Babe
(3:06)  9. Linger Awhile
(3:14) 10. Just You Just Me
(3:11) 11. I Never Knew
(3:10) 12. Afternoon Of A Basie-ite
(3:07) 13. Sometimes I'm Happy
(4:44) 14. After Theatre Jump
(4:12) 15. Six Cats And A Prince
(4:28) 16. Lester Leaps Again
(3:53) 17. Destination KC
(2:55) 18. Three Little Words
(3:20) 19. Jo-Jo
(2:51) 20. Four O'Clock Drag
(3:18) 21. I Got Rhythm

Lester Young was one of the true jazz giants, a tenor saxophonist who came up with a completely different conception in which to play his horn, floating over bar lines with a light tone rather than adopting Coleman Hawkins' then-dominant forceful approach. A non-conformist, Young (nicknamed "Pres" by Billie Holiday) had the ironic experience in the 1950s of hearing many young tenors try to sound exactly like him. Although he spent his earliest days near New Orleans, Lester Young lived in Minneapolis by 1920, playing in a legendary family band. He studied violin, trumpet, and drums, starting on alto at age 13. Because he refused to tour in the South, Young left home in 1927 and instead toured with Art Bronson's Bostonians, switching to tenor. He was back with the family band in 1929 and then freelanced for a few years, playing with Walter Page's Blue Devils (1930), Eddie Barefield in 1931, back with the Blue Devils during 1932-1933, and Bennie Moten and King Oliver (both 1933). He was with Count Basie for the first time in 1934 but left to replace Coleman Hawkins with Fletcher Henderson. Unfortunately, it was expected that Young would try to emulate Hawk, and his laid-back sound angered Henderson's sidemen, resulting in Pres not lasting long. After a tour with Andy Kirk and a few brief jobs, Lester Young was back with Basie in 1936, just in time to star with the band as they headed East. Young made history during his years with Basie, not only participating on Count's record dates but starring with Billie Holiday and Teddy Wilson on a series of classic small-group sessions. In addition, on his rare recordings on clarinet with Basie and the Kansas City Six, Young displayed a very original cool sound that almost sounded like altoist Paul Desmond in the 1950s. After leaving Count in 1940, Young's career became a bit aimless, not capitalizing on his fame in the jazz world. He co-led a low-profile band with his brother, drummer Lee Young, in Los Angeles until re-joining Basie in December 1943. Young had a happy nine months back with the band, recorded a memorable quartet session with bassist Slam Stewart, and starred in the short film Jammin' the Blues before he was drafted. His experiences dealing with racism in the military were horrifying, affecting his mental state of mind for the remainder of his life.

Although many critics have written that Lester Young never sounded as good after getting out of the military, despite erratic health he actually was at his prime in the mid- to late-'40s. He toured (and was well paid by Norman Granz) with Jazz at the Philharmonic on and off through the '40s and '50s, made a wonderful series of recordings for Aladdin, and worked steadily as a single. Young also adopted his style well to bebop (which he had helped pave the way for in the 1930s). But mentally he was suffering, building a wall between himself and the outside world, and inventing his own colorful vocabulary. Although many of his recordings in the 1950s were excellent (showing a greater emotional depth than in his earlier days), Young was bothered by the fact that some of his white imitators were making much more money than he was. He drank huge amounts of liquor and nearly stopped eating, with predictable results. 1956's Jazz Giants album found him in peak form as did a well documented engagement in Washington, D.C., with a quartet and a last reunion with Count Basie at the 1957 Newport Jazz Festival. But, for the 1957 telecast The Sound of Jazz, Young mostly played sitting down (although he stole the show with an emotional one-chorus blues solo played to Billie Holiday). After becoming ill in Paris in early 1959, Lester Young came home and essentially drank himself to death. Many decades after his death, Pres is still considered (along with Coleman Hawkins and John Coltrane) one of the three most important tenor saxophonists of all time. ~ Scott Yanow http://www.allmusic.com/artist/lester-young-mn0000259529/biography

Personnel:  Tenor Saxophone, Clarinet – Lester Young;   Double Bass – Al Hall, John Simmons, Rodney Richardson , Slam Stewart , Walter Page;  Drums – Jo Jones, Sidney Catlett;  Electric Guitar – Eddie Durham; Guitar – Freddie Green;  Piano – Ellis Larkins, Joe Bushkin, Johnny Guarnieri, Prince Charming;
Trombone – Dickie Wells;  Trumpet – Bill Coleman, Buck Clayton

Kansas City Swing

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Lester Young - Centennial Celebration

Bitrate: MP3@320K/s
Time: 60:30
Size: 138.5 MB
Styles: Bop, Saxophone jazz
Year: 2009
Art: Front

[ 5:24] 1. Jumpin' With Symphony Sid
[ 5:41] 2. Tea For Two
[ 3:32] 3. I Can't Get Started
[ 6:21] 4. Pennies From Heaven
[ 6:11] 5. I'm Confessin' (That I Love You)
[ 7:21] 6. Oh, Lady Be Good
[ 7:00] 7. Just You, Just Me
[11:49] 8. Undecided
[ 2:50] 9. I Cover The Waterfront
[ 4:15] 10. Up 'n' Adam

Lester Young: tenor saxophone: Earl Swope: trombone; Bill Potts: piano; Norman Williams: bass; Jim Lucht: drums; Flip Phillips: tenor saxophone; Roy Eldridge: trumpet; Hank Jones: piano; Ray Brown: bass; Max Roach: drums; Oscar Peterson: piano; Herb Ellis: guitar; Ray Brown: bass; J.C. Heard: drums.

Although he'd lived a scant 50 hard years when he died in 1959, tenor sax giant Lester Willis Young was and remains one of the most vital and influential forces in jazz. He used words as singularly as he played, dubbing Billie Holiday "Lady Day"; theirs was an incomparable musical pairing and she returned the favor, calling him "Prez" for president. Prez proved to be the key link between the early jazz of Louis Armstrong and Coleman Hawkins with the bop of the '40s. Among the legions of players influenced by his playing were Stan Getz, Al Cohn and Zoot Sims.

Sides 1-7 in this Centennial Celebration are from a 1956 Washington, DC gig in a relatively intimate setting as Young swings comfortably with musicians mostly a generation younger than himself. His playing is elegant, eloquent and subtle. Inventiveness and brisk pace on "Tea For Two" transform that chestnut while on "I Can't Get Started" he slows down and plays real pretty. For "Oh Lady, Be Good," a standard from his celebrated days with the '30s Count Basie band, he kicks the tempo up, swinging solidly in tandem with trombonist Earl Swope. Throughout he displays the surprising rhythmic and melodic style for which he was famous. On "Just You, Just Me," Prez ebulliently calls out "beautiful" after a particularly sizzling drum solo from Jim Lucht. The last three sides included are from Jazz at the Philharmonic performances and find Young in company with the likes ofOscar Peterson, Roy Eldridge, Herb Ellis and Max Roach, giants all. The closer is Young's own signature tune, "Lester Leaps In," with the blazing heat of his soloing eliciting cheers and whistles from the audience. ~Andrew Velez

Centennial Celebration

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Lester Young - The Complete Savoy Recordings (2-Disc Set)

When this double-album set was first released, the "two-fer" fad in jazz and blues reissues was not exactly new, but a consensus on what to do with alternate takes had not been reached, if it ever has. Compact discs made the entire situation easier to deal with, as machines could be programmed to play the selections in any order, and the perception of monotony that lingers just under the surface of any alternate-takes collection could be avoided with the click of a button. Back in the vinyl days, the way this set was programmed would have been bad news for anyone who had problems listening to four takes of "Exercise in Swing" in a row -- although obviously, the thing for such a person to do would be avoid buying this collection entirely. All the versions of a given tune are presented right in a row, with an average of three different titles per side. The takes presented would all have been considered usable, so this is not a case of listening to out-of-tune versions or breakdowns. And in the end, this set is much more varied and interesting to listen to than it might appear from a glance at the track list. Hearing the difference in the solos from version to version would be the major draw for the typical jazz fan, and these recordings are totally satisfying from that perspective. Young is a master soloist who never fails to come up with a odd slant on the melody, usually after lulling the listener into a false sense of calm. He is heard with a selection of players that are at the very least pleasant and swinging. The arrangements and brevity of the tracks means things move along quickly; hearing one soloist who is a genius followed by another who simply plays well is part of the fun, as a pure spirit of jazz flows through all the participants. The 1944 tracks were originally issued under the name of Earl Warren and His Orchestra, but it is actually the Count Basie band in disguise. Due to contract hassles, Basie turned the piano bench over to Clyde Hart, and alto saxophonist and amusing vocalist Earl Warren assumed mock leadership. These tracks absolutely defy the idea that listening to different versions of the same songs is dull. For one thing, the charts are complicated, and it will probably take multiple listens until one even gets used to the melodies enough to become bored by them. It is also thrilling to hear this totally tight band whip through these arrangements and the sequences of quick, energized, and clever solos that follow. At the same session, Young cut some tunes with a smaller band that has an exquisitely polished sound. Pianist Johnny Guarnieri plays wonderfully, a bit of Basie here, a touch of Tatum there, a wash of Wilson to wrap it up. Drummer Cozy Cole is tasteful, while Young's masterful phrasing is well-balanced in a horn lineup of trumpet and clarinet. This takes us to side C, which perhaps should have been identified as the third side to avoid the mediocrity associated with a C grade. Because now Basie himself is on the scene in a small band grouping that is some of the best recorded work of all concerned. It is simple material, played without a touch of pomposity. Some of the titles are only done once, such as "Jump Lester Jump," which everyone must have agreed could not possibly have been improved upon. The tunes that are done twice provide a tremendous opportunity to compare happenings. Rhythm-section fanatics can follow the strumming of Freddie Green or the snare drum of Shadow Wilson, because this is all about details. What happens exactly, that makes one version of tune six seconds longer than another? In the case of "Ding Dong," two of the three versions are exactly the same length, to the second, while the third is only a single second longer. The final session jumps ahead to 1949 and presents Young in a combo with several youngsters that went on to greater jazz glory. Roy Haynes, in his early twenties at the time of these recordings, is as delightful as he is on his Alladin sessions with Young, while the bluesy touch of pianist Junior Mance is right up Young's alley. It is sad to say Mance never backed up anyone as good as this again -- but in a way, nobody did. ~Eugene Chadbourne

Album: The Complete Savoy Recordings (Disc 1)
Bitrate: MP3@320K/s
Time: 75:10
Size: 172.1 MB
Styles: Saxophone jazz
Year: 1973/2002

[2:55] 1. These Foolish Things
[3:00] 2. Exercise In Swing (Take 1, Master)
[2:47] 3. Salute To Fats
[3:08] 4. Exercise In Swing (Take 3)
[3:00] 5. Exercise In Swing (Take 4)
[3:20] 6. Salute To Fats (Take 1)
[1:16] 7. Salute To Fats (Take 2)
[2:57] 8. Salute To Fats (Take 3)
[0:56] 9. Salute To Fats (Take 4)
[2:56] 10. Salute To Fats (Take 5, Master)
[2:58] 11. Basie English (Take 1)
[3:00] 12. Basie English (Take 2, Master)
[2:54] 13. Empty Hearted (Take 1, Master)
[3:11] 14. Circus In Rhythm (Take 1, Master)
[3:03] 15. Circus In Rhythm (Take 2)
[2:53] 16. Circus In Rhythm (Take 3)
[2:55] 17. Poor Little Plaything (Take 1, Master)
[3:00] 18. Poor Little Plaything (Take 2)
[2:49] 19. Tush (Take 1)
[2:58] 20. Tush (Take 2, Master)
[3:21] 21. Blue Lester
[3:25] 22. I Don't Stand A Ghost Of A Chance With You (Take 1)
[3:18] 23. I Don't Stand A Ghost Of A Chance With You (Take 2, Master)
[2:51] 24. Back Home In Indiana
[2:55] 25. (Back Home Again In) Indiana (Take 2, Master)
[3:14] 26. Jump Lester Jump

The Complete Savoy Recordings (Disc 1)

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Album: The Complete Savoy Recordings (Disc 2)
itrate: MP3@320K/s
Time: 77:10
Size: 176.7 MB
Styles: Saxophone jazz
Year: 1973/2002
Art: Front

[2:44] 1. Crazy Over Jazz (Take 1)
[2:45] 2. Exercise In Swig
[2:41] 3. Crazy Over J-Z (Take 3, Master)
[2:23] 4. Ding Dong (Take 1)
[2:23] 5. Ding Dong (Take 2)
[2:25] 6. Ding Dong (Take 3, Master)
[2:10] 7. Blues 'n' Bells (Take 1)
[2:20] 8. Blues 'n' Bells (Take 2)
[2:21] 9. Blues 'n' Bells (Take 3, Master)
[2:35] 10. June Bug (Take 1, Master)
[3:08] 11. Neenah
[3:41] 12. Body And Soul
[4:12] 13. Up And Adam
[9:23] 14. Big Eye Blues
[6:16] 15. One O'clock Blues
[4:52] 16. Lester's Mop Mop Blues
[5:31] 17. Pennies From Heaven
[4:13] 18. I Can't Get Started
[7:01] 19. How High The Moon
[3:57] 20. Jumpin' With Symphony Sid

The Complete Savoy Recordings (Disc 2)

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Lester Young - The 'Kansas City Sessions'

Styles: Clarinet And Saxophone Jazz

Year: 1997

File: MP3@320K/s

Time: 67:17

Size: 154,6 MB

Art: Front

(3:02)  1. Way Down Yonder in New Orleans (take 2)

(3:00)  2. Way Down Yonder in New Orleans

(3:03)  3. Countless Blues

(3:01)  4. Countless Blues (take 2)

(3:00)  5. Them There Eyes (take 2)

(3:01)  6. Them There Eyes

(2:56)  7. I Want a Little Girl

(2:57)  8. I Want a Little Girl (take 2)

(2:59)  9. Pagin' the Devil

(2:58) 10. Pagin' the Devil (take 2)

(3:22) 11. Three Little Words (take 2)

(2:54) 12. Three Little Words

(3:20) 13. Jo Jo

(3:18) 14. I Got Rhythm (take 3)

(3:18) 15. I Got Rhythm (take 2)

(3:19) 16. I Got Rhythm

(2:53) 17. Four O'Clock Drag

(2:53) 18. Four O'Clock Drag (take 3)

(3:07) 19. Laughing at Life

(2:54) 20. Good Mornin' Blues

(3:06) 21. I Know That You Know

(2:47) 22. Love Me or Leave Me

This is a CD overflowing with classic performances. The great Lester Young is heard with the 1938 version of the Kansas City Six, a group also including trumpeter Buck Clayton (in prime form), Eddie Durham on electric guitar (where he preceded Charlie Christian) and trombone, the rhythm guitar of Freddie Green, bassist Walter Page, and drummer Jo Jones. The four selections (all of which are joined by an alternate take apiece) are most notable for Young's switching to clarinet on some of the pieces. His clarinet solo on "I Want a Little Girl" sounds eerily like Paul Desmond's alto of 15 years later. These classic cool jazz performances have delightful interplay between the two horns. The second part of the reissue features the 1944 Kansas City Six in which Young (sticking to tenor) and trumpeter Bill Coleman are joined by a three-piece rhythm section and trombonist Dickie Wells. Wells, who takes some very colorful and nearly riotous solos, rarely sounded better, and the four selections are highlighted by three equally rewarding versions of "I Got Rhythm" and two of "Three Little Words." The CD concludes with the four titles by 1938's Kansas City Five, which was essentially the early Kansas City Six without Young. Clayton is once again in top form, and Durham's guitar solos were among the first worthwhile examples of the electric guitar on record. This gem is highly recommended for all jazz collections. ~ Scott Yanow http://www.allmusic.com/album/the-kansas-city-sessions-mw0000087654

Personnel: Lester Young (clarinet, tenor saxophone); Freddie Green (vocals, guitar); Eddie Durham (electric guitar, trombone); Bill Coleman , Buck Clayton (trumpet); Dicky Wells (trombone); Joe Bushkin (piano); Jo Jones (drums).

The Kansas City Sessions

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Sarah Vaughan & Lester Young - One Night Stand: The Town Hall Concert 1947

Styles: Vocal and Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 64:33
Size: 151,2 MB
Art: Front

(3:11)  1. Lester Leaps In
(5:22)  2. Just You, Just Me
(3:50)  3. Jumpin' With Symphony Sid
(6:20)  4. Sunday
(3:47)  5. Don't Blame Me
(1:47)  6. My Kinda Love
(3:36)  7. I Cover The Waterfront
(3:55)  8. A Ghost Of A Chance
(4:53)  9. Lester's Bebop Boogie
(4:56) 10. These Foolish Things
(5:51) 11. Movin' With Lester
(3:33) 12. The Man I Love
(2:52) 13. Time After Time
(2:40) 14. Mean To Me
(4:06) 15. Body And Soul
(3:46) 16. I Cried For You

This 1997 CD has music from a previously unreleased Town Hall concert. The program is split between the Lester Young sextet and Sarah Vaughan with the two principals only coming together on the final song, "I Cried for You." The recording quality is listenable, if not flawless, and it features the two giants at interesting points in their careers. Tenor great Lester Young sounds excellent on his seven features, but his backup group is sometimes a bit shaky, particularly during uncertain moments on "Just You, Just Me" and "Sunday"; bassist Rodney Richardson does not mesh well with the eccentric pianist Sadik Hakim. The young Roy Haynes is fine, although some of his "bombs" are overrecorded, while trumpeter Shorty McConnell comes across as a second-rate Howard McGhee, sincere but streaky. But the reason to acquire this CD is Sarah Vaughan, who at age 23 was already a marvel; what a voice! Very influenced by Dizzy Gillespie and Charlie Parker, Vaughan mostly lays way behind the beat during her ballad-oriented performances, swirling between notes like a first altoist and often settling on very unlikely (and boppish) notes. She gives the impression that she could do anything with her voice, and some of her flights (particularly on "Don't Blame Me," "I Cover the Waterfront" and "Mean to Me") border on the miraculous. ~ Scott Yanow http://www.allmusic.com/album/one-night-stand-the-town-hall-concert-1947-mw0000097698

Personnel: Sarah Vaughan (vocals); Lester Young (tenor saxophone); Shorty McConnell (trumpet); Sadik Hakim, Sammy Benskin (piano); Freddie Lacey (guitar); Rodney Richardson (bass); Roy Haynes (drums).

One Night Stand: The Town Hall Concert 1947

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Count Basie And His Orchestra - Rock-a-Bye Basie [Live in '38 & '39]

Styles: Jazz, Big Band, Swing
Year: 1991
File: MP3@320K/s
Time: 76:40
Size: 177,1 MB
Art: Front

(0:59)  1. One O'Clock Jump (Opening Theme)
(3:00)  2. King Porter Stomp
(3:59)  3. Nagasaki
(4:06)  4. Indiana
(3:01)  5. Doggin' Around
(0:32)  6. One O'Clock Jump (Closing Theme)
(3:54)  7. Haven't Changed A Thing
(2:27)  8. Out The Window
(4:20)  9. Wo-Ta-Ta
(3:27) 10. Love Of My Life
(3:26) 11. John's Idea
(2:59) 12. Yeah Man!
(2:35) 13. Indiana
(3:10) 14. Jump For Me
(4:22) 15. Moten Swing
(3:35) 16. Rock-A-Bye Basie
(4:11) 17. Swingin' The Blues
(2:57) 18. Time Out
(2:09) 19. Roseland Shuffle
(3:01) 20. Don't Worry 'Bout Me
(3:30) 21. Clap Hands! Here Comes Charlie
(2:25) 22. Lousiana
(2:44) 23. Darktown Strutters Ball
(5:39) 24. One O'Clock Jump

These broadcasts (all but one selection from 1938-39) capture Count Basie's orchestra live from the Famous Door. This CD contains 24 performances, a few of which are incomplete or poorly recorded. However, the enthusiastic solos of Lester Young, fellow tenors Herschel Evans and Buddy Tate, trumpeters Buck Clayton and Harry "Sweets" Edison and Basie himself are fresh and creative, and the ensembles are consistently swinging. These are the best pre-World War II live recordings of the Count Basie Orchestra and well worth acquiring. ~ Scott Yanow http://www.allmusic.com/album/rock-a-bye-basie-live-in-38-39-mw0000677896

Rock-a-Bye Basie [Live in '38 & '39]

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Lester Young and The Oscar Peterson Trio - The President Plays

Styles: Saxophone and Piano Jazz
Year: 1959
File: MP3@320K/s
Time: 62:37
Size: 143,9 MB
Art: Front

(5:54)  1. Ad Lib Blues
(7:41)  2. Just You, Just Me
(7:44)  3. Tea For Two
(7:03)  4. Indiana
(3:27)  5. These Foolish Things
(3:40)  6. I Can't Get Started
(3:36)  7. Stardust
(3:27)  8. On The Sunny SIde Of The Street
(3:33)  9. Almost Like Being In Love
(3:22) 10. I Can't Give You Anything But Love
(3:28) 11. There Will Never Be Another You
(3:43) 12. I'm Confessin'
(5:54) 13. (It Takes) Two To Tango

Lester Young was one of the true jazz giants, a tenor saxophonist who came up with a completely different conception in which to play his horn, floating over bar lines with a light tone rather than adopting Coleman Hawkins' then-dominant forceful approach. A non-conformist, Young (nicknamed "Pres" by Billie Holiday) had the ironic experience in the 1950s of hearing many young tenors try to sound exactly like him. Although he spent his earliest days near New Orleans, Lester Young lived in Minneapolis by 1920, playing in a legendary family band. He studied violin, trumpet, and drums, starting on alto at age 13. Because he refused to tour in the South, Young left home in 1927 and instead toured with Art Bronson's Bostonians, switching to tenor. He was back with the family band in 1929 and then freelanced for a few years, playing with Walter Page's Blue Devils (1930), Eddie Barefield in 1931, back with the Blue Devils during 1932-1933, and Bennie Moten and King Oliver (both 1933). 

He was with Count Basie for the first time in 1934 but left to replace Coleman Hawkins with Fletcher Henderson. Unfortunately, it was expected that Young would try to emulate Hawk, and his laid-back sound angered Henderson's sidemen, resulting in Pres not lasting long. After a tour with Andy Kirk and a few brief jobs, Lester Young was back with Basie in 1936, just in time to star with the band as they headed East. Young made history during his years with Basie, not only participating on Count's record dates but starring with Billie Holiday and Teddy Wilson on a series of classic small-group sessions. In addition, on his rare recordings on clarinet with Basie and the Kansas City Six, Young displayed a very original cool sound that almost sounded like altoist Paul Desmond in the 1950s. After leaving Count in 1940, Young's career became a bit aimless, not capitalizing on his fame in the jazz world. He co-led a low-profile band with his brother, drummer Lee Young, in Los Angeles until re-joining Basie in December 1943. Young had a happy nine months back with the band, recorded a memorable quartet session with bassist Slam Stewart, and starred in the short film Jammin' the Blues before he was drafted. 

His experiences dealing with racism in the military were horrifying, affecting his mental state of mind for the remainder of his life. Although many critics have written that Lester Young never sounded as good after getting out of the military, despite erratic health he actually was at his prime in the mid- to late-'40s. He toured (and was well paid by Norman Granz) with Jazz at the Philharmonic on and off through the '40s and '50s, made a wonderful series of recordings for Aladdin, and worked steadily as a single. Young also adopted his style well to bebop (which he had helped pave the way for in the 1930s). But mentally he was suffering, building a wall between himself and the outside world, and inventing his own colorful vocabulary. Although many of his recordings in the 1950s were excellent (showing a greater emotional depth than in his earlier days), Young was bothered by the fact that some of his white imitators were making much more money than he was. He drank huge amounts of liquor and nearly stopped eating, with predictable results. 1956's Jazz Giants album found him in peak form as did a well documented engagement in Washington, D.C., with a quartet and a last reunion with Count Basie at the 1957 Newport Jazz Festival. But, for the 1957 telecast The Sound of Jazz, Young mostly played sitting down (although he stole the show with an emotional one-chorus blues solo played to Billie Holiday). After becoming ill in Paris in early 1959, Lester Young came home and essentially drank himself to death. Many decades after his death, Pres is still considered (along with Coleman Hawkins and John Coltrane) one of the three most important tenor saxophonists of all time. ~ Scott Yanow https://itunes.apple.com/us/artist/lester-young/id121027#fullText

Personnel:  Lester Young (ts, vcl),  Harry 'Sweets' Edison (tp),  Oscar Peterson (p),  Barney Kessel,  Herb Ellis (g),  Ray Brown (b),  J.C. Heard, Louie Bellson (d)

The President Plays

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Teddy Wilson - Moments Like This

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 79:00
Size: 182,0 MB
Art: Front

(3:26)  1. Alone with You
(3:09)  2. Moments Like This
(3:01)  3. I Can't Face the Music
(3:06)  4. Don't Be That Way
(2:57)  5. If I Were You
(3:17)  6. You Go to My Head
(3:12)  7. I'll Dream Tonight
(2:53)  8. Jungle Love
(3:15)  9. Now It Can Be Told
(2:57) 10. Laugh and Call It Love
(2:46) 11. On the Bumpy Road to Love
(2:52) 12. A Tisket A Tasket
(3:06) 13. Everybody's Laughing
(2:48) 14. Here Is Tomorrow Again
(2:42) 15. Say It with a Kiss
(3:12) 16. April in My Heart
(3:03) 17. I'll Never Fail You
(3:11) 18. They Say
(2:56) 19. You're So Desirable
(3:03) 20. You're Gonna See a Lot of Me
(2:48) 21. Hello, My Darling
(2:56) 22. Let's Dream in the Moonlight
(3:09) 23. What Shall I Say
(3:03) 24. It's Easy to Blame the Weather
(3:10) 25. More Than You Know
(2:50) 26. Sugar (That Sugar Baby of Mine

Teddy Wilson had a wonderful gift for musical paraphrase and melodic symmetry. His light-fingered, mellifluous approach to the piano was unparalleled among his peers. Art Tatum was a virtuoso genius, and Earl Hines was a great practitioner of stride piano stylings, but Wilson's subtle and dynamic playing made his brand of swing especially popular among '30s jazz audiences. Moments Like This features classic performances from Chu Berry, Benny Carter, Roy Eldridge, and Ben Webster among others, and many fine vocal selections from Nan Wynn and the great Billie Holiday, including gorgeous renditions of "You Go to My Head," "On the Bumpy Road to Love," "Let's Dream in the Moonlight" and other romantic classics. The band swings with elegance, and Wilson supports each vocalist with the kind of charm and musical insight that few before or after have equaled. http://www.allmusic.com/album/moments-like-this-mw0000080097

Personnel: Teddy Wilson (piano); Billie Holiday (vocals, background vocals); Nan Wynn (vocals); Allan Reuss, Al Casey (guitar); Ernie Powell (clarinet, cornet); Pee Wee Russell (clarinet); Benny Carter (alto saxophone, tenor saxophone); Edgar Sampson, Johnny Hodges, Tab Smith, Nuncio "Toots" Mondello (alto saxophone); Chu Berry, Gene Sedric, Lester Young , Ben Webster, Bud Freeman (tenor saxophone); Harry James, Jonah Jones, Roy Eldridge (trumpet); Bobby Hackett (cornet); Benny Morton, Trummy Young (trombone); Cozy Cole, Jo Jones , Johnny Blowers (drums).

Moments Like This

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Lester Young & Harry 'Sweets' Edison - Going For Myself

Styles: Saxophone And Trumpet Jazz
Year: 1957
File: MP3@320K/s
Time: 75:51
Size: 174,2 MB
Art: Front

( 6:16)  1. Flic
( 5:53)  2. Love Is Here To Stay
(10:05)  3. St. Tropez
( 8:19)  4. Waldorf Blues
( 6:55)  5. Sunday
( 5:20)  6. You're Getting To Be A Habit With Me
( 5:51)  7. Ballad Medley : A Ghost Of A Chance / Cover The Waterfront
( 6:14)  8. Perdido
( 6:55)  9. St. Tropez [alt. take]
( 7:43) 10. You're Getting To Be A Habit With Me [alt. take]
( 6:17) 11. Waldorf Blues

This release presents the complete original Verve LP "Going for Myself" reuniting Lester Young and Harry “Sweets” Edison, one Pres’ last studio albums ever. Backing Pres and Sweets are superb musicians like Oscar Peterson, Louie Bellson and Herb Ellis. Five extra tracks have been added to the contents of the original album, including three alternate takes and two tunes not included on the originally issued set. Lester Young’s final years weren’t easy. His poor health and alcoholism began to limit his talents and even his capacity to play. The sessions included here were two of his last studio dates ever. After the second one, he would only enter the studio on two other occasions: the following day, on February 8, 1958, with Harry Edison again, and with Roy Eldridge added (the results of this session were included on the posthumous album Laughin’ to Keep from Cryin’) and a year later, on March 2, 1959, in Paris, France. Lester would die one week later on March 15, 1959, at the age of 49. The original album contained six tunes (tracks 1-6 of our CD), but more material was recorded on the two sessions, including two new tunes that weren’t issued on Going for Myself (a nice ballad medley and a nearly complete version of “Perdido”) and four alternate takes. To complement our set, we have added the two aforementioned new tunes, and three of the existing alternates. http://www.freshsoundrecords.com/going_for_myself-cd-5358.html

Featuring: Lester young (ts & cl), Harry Edison (tp), Oscar Peterson, Lou Stein (p), Herb Ellis (g), Ray Brown (b), Louie Bellson, Mickey Sheen (d)

Going For Myself

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Lester Young - Lester Young With The Oscar Peterson Trio

Bitrate: MP3@320K/s
Time: 62:56
Size: 144.1 MB
Styles: Piano/Saxophone jazz, Mainstream jazz
Year: 1952/1997
Art: Front

[5:50] 1. Ad Lib Blues
[3:38] 2. I Can't Get Started
[7:36] 3. Just You, Just Me
[3:30] 4. Almost Like Being In Love
[7:42] 5. Tea For Two
[3:24] 6. There Will Never Be Another You
[7:01] 7. (Back Home Again In) Indiana
[3:23] 8. On The Sunny Side Of The Street
[3:31] 9. Stardust
[3:38] 10. I'm Confessin' (That I Love You)
[3:19] 11. I Can't Give You Anything But Love
[3:23] 12. These Foolish Things
[6:03] 13. (It Takes) Two To Tango Rehearsal, False Start And Chatter, ..
[0:52] 14. I Can't Get Started

Defying what has become conventional wisdom, tenor saxophonist Lester Young cut some of his greatest recordings in the 1950s -- that is, when he was reasonably healthy. On this wonderful effort with pianist Oscar Peterson, guitarist Barney Kessel, bassist Ray Brown, and drummer J.C. Heard, Prez performs definitive versions of "Just You, Just Me" and "Tea for Two," and plays a string of concise but memorable ballad renditions: "On the Sunny Side of the Street," "Almost Like Being in Love," "I Can't Give You Anything But Love," "There Will Never Be Another You," and "I'm Confessin'." This is essential music from a jazz legend. [Some reissues augment the original dozen songs with a version of the good-humored "It Takes Two to Tango," which features Young's only recorded vocals, plus a rather unnecessary false start (on "I Can't Get Started," ironically), along with some studio chatter.] ~Scott Yanow

Lester Young With The Oscar Peterson Trio

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Lester Young - Laughin' To Keep From Cryin'

Bitrate: MP3@320K/s
Time: 49:42
Size: 113.8 MB
Styles: Mainstream jazz, Saxophone jazz
Year: 2000
Art: Front

[ 8:28] 1. Salute To Benny
[ 5:56] 2. They Can't Take That Away From Me
[11:38] 3. Romping
[ 4:10] 4. Gypsy In My Soul
[ 5:57] 5. Please Don't Talk About Me When I'm Gone
[ 6:33] 6. Ballad Medley: The Very Thought Of You/I Want A Little Girl/Blue ..
[ 6:57] 7. Mean To Me

One of tenor-saxophonist Lester Young's final studio sessions (he died a year later), this date apparently had a lot of difficulties but the recorded results are excellent. Prez was joined by two great swing trumpeters (Roy Eldridge and Harry "Sweets" Edison) and a fine rhythm section for two standards, two originals and the ballad "Gypsy in My Soul." Young takes rare clarinet solos on two of the selections with his emotional statement on "They Can't Take That Away from Me" being one of the highpoints of his career. ~Scott Yanow

Laughin' To Keep From Cryin'

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Lester Young - Too Marvellous For Words

Bitrate: MP3@320K/s
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

Too Marvellous For Words

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