{"id":8726,"date":"2021-04-20T14:28:13","date_gmt":"2021-04-20T14:28:13","guid":{"rendered":"https:\/\/www.mosaicrecords.com\/?page_id=8726"},"modified":"2021-10-21T17:31:30","modified_gmt":"2021-10-21T21:31:30","slug":"lester-young","status":"publish","type":"page","link":"https:\/\/www.mosaicrecords.com\/the-great-jazz-artists\/lester-young\/","title":{"rendered":"Lester Young"},"content":{"rendered":"[vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”none” equal_height=”yes” content_placement=”middle” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”light” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”padding-1-percent” column_padding_tablet=”padding-2-percent” column_padding_phone=”inherit” column_padding_position=”all” background_color=”#000000″ background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_custom_heading text=”Lester Young” font_container=”tag:h1|text_align:center” use_theme_fonts=”yes”][vc_custom_heading text=”“Lester\u2019s style was light, and as I said, it took him maybe five choruses to warm up. But then he would really blow; then you couldn\u2019t handle him in a cutting session.“ -Mary Lou Williams” font_container=”tag:p|font_size:18|text_align:left” use_theme_fonts=”yes”][divider line_type=”No Line” custom_height=”200″][vc_column_text]\n
\u00a9\u00a0<\/strong>William P. Gottlieb Library of Congress<\/h6>\n[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ background_image=”7159″ background_image_position=”center center” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”shadow-image-column col-height-600″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color=”#000000″ background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”2%” constrain_group_1=”yes” bottom_padding=”2%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”3\/4″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Lester Young<\/h1>\n

\u201cIt was like the horn only became a transmitter through which the soul of Lester Young was expressed\u2026When he’d still be up to play I would look around, and people would slow down so they could listen, because everybody realized then, even the people who didn’t really pay that close attention to details as far as the music was concerned, everybody seemed to sense that they were witnessing one of the greatest musicians of all time.<\/strong><\/em><\/p>\n

It was like he was a minister and we were his congregation out there. He was speaking words of wisdom to us, and very prophetic, because, his style, what he was doing then, changed the whole concept of tenor playing\u2026it was like listening to a saxophone with the sound of a flute with that clear just mellow, rich, round sound.\u201d<\/strong> <\/em>\u2013 Thad Jones[\/vc_column_text][vc_zigzag el_width=”60″][vc_column_text]By Loren Schoenberg<\/strong>
\nIn the rarified precincts of the jazz pantheon, Lester Young is unique in that the true essence of his genius remains obscure. Louis Armstrong<\/span><\/a>, Thelonious Monk, Art Tatum, John Coltrane and the others recorded prolifically in the studio and out of it, etching a relatively complete picture of their abilities. To be sure, there were extraordinary moments that vanished the moment they were created, lingering only in the memories of those lucky enough to have witnessed them.<\/p>\n

But with Lester Young, the overwhelming consensus of those who heard him when he was young is that he could and frequently did play extended solos, and that it was only in that form that he could express his unique and large range of musical architecture. So we are left to parse, ever so minutely, the shards of that vision as they are to be found on the studio recordings.<\/p>\n

“All jazz soloists up through the advent of long-playing records in the \u201850s had to learn to express themselves succinctly and no one did it any better than Lester Young at his best.”<\/em><\/p>\n[\/vc_column_text][vc_zigzag el_width=”60″][vc_column_text]\n

Lester Young Joins Count Basie<\/b><\/h3>\n

When Count Basie landed an engagement at Sam Baker\u2019s hotel in Little Rock, Arkansas early in 1934, Herschel Evans switched places with Lester Young so he could stay in Kansas City. And it was during that engagement that Lester Young received the legendary offer from Henderson to take Hawkins\u2019 chair.<\/p>\n

Lester Young played an active role in this. He gave a friend, George Dixon, from Earl Hines\u2019s New York bound band, a letter for Henderson, stating his willingness to come to New York immediately if needed. Young\u2019s replacement in Little Rock was Buddy Tate, who was to inherit Evans\u2019 spot in the later Basie band. Most significantly, it was during this period that Lester Young began playing with Count Basie, Walter Page and Jo Jones.<\/p>\n

The result of all those nights and the millions of quarter notes that passed between them would bear fruit when they finally recorded together on the legendary Jones-Smith recordings of November 1936.[\/vc_column_text][vc_zigzag el_width=”60″][vc_column_text]\n

The Legendary Lester Young & Count Basie Session
\nNovember 9, 1936<\/h3>\n

Lester Young\u2019s first recordings took place when he was 27 years old, with a long and varied career already behind him. The great majority of his peers began recording in their early twenties and some in their teens, which makes tracing their stylistic evolution much easier:<\/p>\n

Louis Armstrong with King Oliver<\/em>
\nColeman Hawkins with Fletcher Henderson<\/em>
\nCount Basie with Bennie Moten<\/em>
\nTeddy Wilson with Louis Armstrong<\/em><\/p>\n

What for us is the very beginning of his oeuvre are at the same time several steps into his own mature evolution. To fully appreciate the specifics of Lester Young\u2019s contribution to this now classic recording session, we must set it within the larger context of the entire quintet, hence the following broad analysis.<\/p>\n

The first thing to keep in mind as you listen to the selection is that nothing like them had ever been heard before. The rhythm section communicated in a unified fashion and presented a synergistic beat that is without precedent. And in the young Lester Young there can be heard the reinvention of the tenor saxophone as well the first recorded examples of a new vocabulary for jazz.<\/p>\n

Count Basie was a master of stride piano, which demanded equal command of the left and right hands and the ability to summon from the piano the same propelling beat associated with larger ensembles. It was during his years with the Bennie Moten band that Basie first glimpsed the possibility of a spare approach to the instrument.<\/p>\n

Moten himself was an accomplished pianist and the two venues, with just one piano, Moten would play the bass part, leaving the treble to Basie. Some of his fellow band mates later identified this as the beginning of the famously sparse Basie style, which came to fruition with his own band a few years later.[\/vc_column_text][vc_zigzag el_width=”60″][vc_column_text]\n

Shoe Shine Boy<\/h3>\n

Carl \u201cTatti\u201d Smith (tp), Lester Young (ts), Count Basie (p), <\/em>Walter Page (b), Jo Jones (d)<\/em><\/p>\n[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=gzsBQTFGm3w” el_width=”60″ align=”center”][vc_column_text]Count Basie starts the issued version of Shoe Shine Boy with a brilliant opening gambit that contains more than a dollop of rhythmic, harmonic and formal ambiguity. The idiom is distinctly Walleresque. What seems to be a statement of the melody turns out to be a 16-bar introduction and, as Walter Page (with walking bass lines) and then Jo Jones (with shimmering hi-hat work) settle in, Basie gradually jettisons the striding left hand figures for a far leaner accompaniment. Here is the genesis of the contemporary jazz piano style.<\/p>\n

Over the years, Basie’s tinkling style eclipsed the strongly linear and melodic playing heard here. Jo Jones frequently talked about this rhythm section’s penchant for rehearsing, and there are many subtle touches throughout these recordings that provide the sort of convergences of phrase that only happen in truly unified ensembles. The sprung rhythms in Basie’s left hand during the bridge lead to the descending whole-tone run that later became a trademark of one his greatest disciples, Thelonious Monk.<\/p>\n

This is immediately followed by the very first recorded Lester Young solo (if this was indeed the first of the two versions made that day), one of his most tightly constructed compositions. Building around a three-note cell of E-Eb-D (all notes referred to are in Bb tenor saxophone key), Young unleashes two 32-bar choruses of untrammeled cohesion.<\/p>\n

He telegraphs a feeling of restraint and rhythmic repose, but places himself squarely on top of the beat. Lester Young uses repetition to good advantage to air out his more complex phrases, and there are echoes of his early days as a drummer, especially in the second eight bars of his second chorus.<\/p>\n

\u201cLester\u2026 had this remarkable ability to transmit beauty from within him to the rhythm section\u2026 He would play some lines that were so relaxed that, even at a swift tempo, the rhythm section would relax.\u201d.<\/em>\u00a0 – Oscar Peterson<\/p>\n

A subtle touch is the way the rhythm section catches his accents during his bridges, all of which revolve around anticipated beats. The first one finds Jones landing flatly on the downbeat, and on the beat accent he repeats two measures later, which misses Young\u2019s phrase by an eighth note. Jones then catches up, and on the second bridge, he waits for Lester Young to signal the accents. Basie is also a co-conspirator in this rhythmic intrigue.<\/p>\n

As Carl Smith starts his trumpet solo, Basie switches to a totally different background. All this provides a clear picture of Walter Page\u2019s concept of a rhythm section creating contrast to keep a performance interesting. Not content to maintain one pattern throughout an entire performance, Page taught Basie and Jones to think orchestrally and in terms of counterpoint.<\/p>\n

Lester Young also weighs in with a never-ending set of riff variations, creating a tapestry not unlike the New Orleans jazz he had grown up with during the previous decade. Smith proves to be an exemplary player who responds to everything going on around him. The next episode finds Smith, Lester Young and Basie seamlessly trading two-bar phrases for sixteen measures. Jones, echoing his original entrance, lays out for the first eight, and with that small gesture creates a symmetry that presages the end of the performance.<\/p>\n

His eight-bar solo is played exclusively on the snare drum. He plays the whole session on snare and hi-hat only — anticipating by several decades Leon Parker’s minimalist experiments of the 1990s. The band jams out in true New Orleans fashion, before a short reprise of the trading and the coda.[\/vc_column_text][vc_zigzag el_width=”60″][vc_column_text]\n

Explore More Music<\/span><\/h2>\n[\/vc_column_text][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Swing Jazz<\/h3>\n[\/vc_column_text][image_with_animation image_url=”11246″ animation=”Fade In” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” img_link=”https:\/\/www.mosaicrecords.com\/swing-music\/”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Big Band<\/h3>\n[\/vc_column_text][image_with_animation image_url=”7613″ animation=”Fade In” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” img_link=”https:\/\/www.mosaicrecords.com\/big-band\/”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Flying Home<\/h3>\n[\/vc_column_text][image_with_animation image_url=”10595″ animation=”Fade In” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” img_link=”https:\/\/www.mosaicrecords.com\/lionel-hampton-flying-home\/”][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Duke Ellington<\/h3>\n[\/vc_column_text][image_with_animation image_url=”11289″ animation=”Fade In” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” img_link=”https:\/\/www.mosaicrecords.com\/the-great-jazz-artists\/duke-ellington\/”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Coleman Hawkins<\/h3>\n[\/vc_column_text][image_with_animation image_url=”10151″ animation=”Fade In” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” img_link=”https:\/\/www.mosaicrecords.com\/the-great-jazz-artists\/coleman-hawkins\/”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Django Reinhardt<\/h3>\n[\/vc_column_text][image_with_animation image_url=”12200″ animation=”Fade In” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” img_link=”https:\/\/www.mosaicrecords.com\/the-great-jazz-artists\/django-reinhardt\/”][\/vc_column_inner][\/vc_row_inner][vc_zigzag el_width=”60″][vc_column_text]\n

Lester Young Biography<\/h2>\n[\/vc_column_text][vc_row_inner equal_height=”yes” content_placement=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” top_padding=”20″ text_align=”left”][vc_column_inner column_padding=”padding-2-percent” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” enable_animation=”true” animation=”fade-in-from-bottom”][image_with_animation image_url=”9059″ animation=”Fade In” hover_animation=”none” alignment=”center” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][vc_column_text]Lester Young came from a musical family led by the patriarch, William \u201cBilly\u201d Young, who played all the instruments and made a living first as a teacher and then as a touring bandleader. Although born at his mother\u2019s family home in Woodville, Mississippi on August 27, 1909, Lester Young was raised in and around New Orleans, and was entranced by music from an early age.<\/p>\n

Rhythm was vital to his music and it comes as no surprise that he started on the drums before switching to the saxophone. After the trials and tribulations that came from a sensitive nature married to an indefatigable need to assert his musical prowess, the teenaged Lester Young emerged as a demon on the soprano, alto, and baritone saxophones.<\/p>\n

One misconception is that contrary to the legend, Lester Young was never really a Kansas City jazz musician<\/span><\/a>. It\u2019s true that he was playing there with Count Basie in 1936 when they got the call to come to New York, but he had spent the great majority of his time in the preceding years based in Minneapolis. Billy Young had established the family there in the late \u201820s and Lester found the atmosphere convivial enough to make it his home base.<\/p>\n

It was in and around Kansas City that the best big bands<\/span><\/a> in the region were located, so Lester Young began to gravitate there more and more frequently. There were stints with the famed Blue Devils, during and after Walter Page’s tenure as leader, and six months with King Oliver in 1933.<\/p>\n

Indeed, this collaboration between Lester Young and Louis Armstrong’s<\/span><\/a> mentor facilitates many fascinating connections in the jazz lineage. Many musicians have shared the bandstand for a night or two in bands put together for special occasions, but to play in a band for an extended period led by a major player cannot help but be a significant influence.<\/p>\n

The enormity of the linkage becomes apparent when you consider that Lester shared musical ideas with both King Oliver, who was Armstrong\u2019s mentor, and with drummer Roy Haynes, a favorite of Charlie Parker, John Coltrane and Chick Corea.
\n– Loren Schoenberg; liner note excerpt from Mosaic Records: The Lester Young Count Basie Sessions 1936-1940 and Classic Columbia, OKeh and Vocalion Lester Young Lester Young with Count Basie 1936-1940<\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_zigzag el_width=”60″][vc_column_text]\n

Sonny Rollins Speaks of His Admiration of Lester Young<\/h3>\n[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=_dKOhyf_X-I&t=68s” el_width=”60″ align=”center”][vc_zigzag el_width=”60″][vc_column_text]\n

Lester Young<\/h2>\n

Selected Jazz Albums<\/span><\/h2>\n

By Scott Yanow<\/p>\n

Musically and personally, Lester Young (1909-59) stood apart from the crowd. Back in the 1930s, during an era when nearly all tenor players sounded like a relative of Coleman Hawkins<\/span><\/a> who with his large sound and harmonically complex style made the tenor-sax into a major instrument, Young emerged with a light tone and a subtle floating style that swung just as hard but at a quieter volume.[\/vc_column_text][vc_column_text]\n

Classic Columbia, OKeh, and Vocalion Lester Young with Count Basie 1936-1940<\/h3>\n[\/vc_column_text][image_with_animation image_url=”9655″ animation=”Fade In” hover_animation=”none” alignment=”center” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][tabbed_section style=”default” alignment=”left” spacing=”default” tab_color=”Accent-Color”][tab icon_family=”none” title=”Description” id=”1633713189681-7″ tab_id=”1633713189683-0″][vc_column_text]By Alan Goodman <\/em><\/p>\n

Young briefly worked with Basie in 1934 before moving to New York to replace Hawkins in the Henderson band. His fellow band members tormented Young through some tough months, which were eased a bit by his new friendship with Billie Holiday and the beginning of their musical relationship. Unable to take the abuse on the bandstand, Young left and began drifting again in bands between Kansas City and Minneapolis. Then, one night, he heard Basie on the radio. Young went to the telegraph office to send a message to his old boss, asking for his job back.<\/p>\n

You hear it on this collection from the opening notes of \u201cShoe Shine Boy,\u201d the tune that contains Lester Young\u2019s first recorded solo. While schooled in the stride style, Basie largely eschews what would typically be played by the left hand in favor of something sparser, while running tip-toe through the keys with his right. He could concentrate on higher, lighter tones because of the support Walter Page provides, fleetly walking through the bass strings.<\/p>\n

Jo Jones also concentrates on the top tones, putting rhythm into the cymbals that beforehand had been played on the bass drum. Add to all this lightness the solos of Lester Young, who plays in stark contrast to the commanding honk of a Hawkins and who seems always at ease, even when working his way through the hardest driving tunes.<\/p>\n

Basie, who always seems to be measuring out his notes with witty reserve, gives Young license and context for his own coy inventions. He could blow chorus after chorus (producer John Hammond recounted a jam session when Young played 83 straight), and his solos will disappoint a listener\u2019s efforts to find cliches.<\/p>\n

Just as a figure sounds familiar, he\u2019ll hang from a note until the moment he decides to casually release his fingertips. He\u2019ll add a little swivel to the middle of a run, like a dancer who suddenly finds her hips swinging \u2013 a delightful, private reverie. He\u2019ll saw off a succession of notes and tie them with a string, just as an after-thought. Everything he plays is unimaginable, until he plays it. And he\u2019ll do it endlessly, while still appearing to be holding something in reserve.<\/p>\n

Young was fully capable of achieving a section sound on ensemble pieces, but as a soloist he chose to stand apart from his fellow musicians. It was a stance that helped make him hard to cut. His solos introduced concepts that were revolutionary for their melodic content, their rhythmic complexities, and the very way he articulated the notes, often creating sounds no one had heard before.<\/p>\n

Classic Recordings And New Discoveries<\/strong>
\nOur 4-CD set includes 84 tracks, beginning with Basie\u2019s and Young\u2019s first session together under the the name \u201cJones-Smith Inc.\u201d The collection is notable as well for including along with all previously-known gems on the Columbia labels, the results of our research in the vaults: almost a dozen of alternate tracks never heard before. Also included is the legendary session from the Benny Goodman Septet with Count Basie.<\/p>\n

Sidemen in addition to Page and Jones include Buck Clayton, Charlie Christian, Freddie Green, Jimmy Rushing, Harry Edison, Vic Dickenson, and Tab Smith.<\/p>\n

You\u2019ll hear many tunes from the Basie book now considered classics, such as \u201cOh, Lady Be Good \u201cLonesome Miss Pretty,\u201d \u201cDickie\u2019s Dream,\u201d Young\u2019s signature tune \u201cLester Leaps In,\u201d \u201cEasy Does It,\u201d and more. These are the definitive versions and the very tunes emulated by generations of saxophonists who followed Lester Young\u2019<\/a>s lead.[\/vc_column_text][\/tab][tab icon_family=”none” title=”Discography” id=”1633713189936-6″ tab_id=”1633713189937-4″][vc_column_text]For the purposes of this discography, only the first issue number of each matrix is listed. All are American releases unless noted (Sd) for Sweden. To the best of our knowledge, the discography is in the order in which the tunes were recorded. However, the CDs contained in this box set are presented with the master take first and then any alternates at the conclusion of the disc.<\/p>\n

The following arrangers are abbreviated for this set: Count Basie (CB), Buck Clayton (BC), Andy Gibson (AG), Elton Hill (EH), Skippy Martin (SM), Jimmy Mundy (JM), Don Redman (DR), Tab Smith (TS), Henri Woode (HW).
\n________________________________________________________________________
\n(A) JONES-SMITH INC
\nCarl \u201cTatti\u201d Smith (tp), Lester Young (ts), Count Basie (p), Walter Page (b), Jo Jones (d), Jimmy Rushing (vcl).
\nChicago, November 9, 1936
\nC 1657-2 Shoe Shine Boy Tax (Sd) m-8000 (LP)
\nC 1657-1 Shoe Shine Boy Voc 3441
\nC 1658-1 Evenin\u2019 (JR-vcl) \u2013
\nC 1659-1 Boogie Woogie (JR-vcl) Voc 3459
\nC 1660-1 Oh, Lady Be Good \u2013<\/p>\n

Note: Although the Vocalion ledgers and cards state the session above took place on October 9, 1936, this seems to be a clerical error. All accounts from the musicians, John Hammond and adjacent matrix numbers, confirm that November 9th is the correct date.<\/p>\n

The initial artist credit listed in the ledgers for this session was \u201cJones-Smith Inc. of Kansas City\u201d.
\n________________________________________________________________________
\n(B) BASIE\u2019S BAD BOYS
\nBuck Clayton, Shad Collins (tp), Dan Minor (tb) -1, Lester Young (cl, ts), Count Basie (p, org), Freddie Green (g), Walter Page (b), Jo Jones (d), Jimmy Rushing (vcl).
\nChicago, February 13, 1939
\n24510-1 I Ain\u2019t Got Nobody Col G 31224 (LP)
\n24511-1 Goin\u2019 To Chicago (JR-vcl) -1 \u2013
\n24512-1 Live And Love Tonight \u2013
\n24513-1 Love Me Or Leave Me \u2013<\/p>\n

Note: The CD reissuecount basie \u2013 america\u2019s #1 band incorrectly lists this session as being first issued on CBS 66101 as a 10\u2033 LP in 1952. CBS 66101 is actually a set of 10 LPs.<\/p>\n

Some discographies list Dicky Wells as the trombonist on Goin\u2019 To Chicago. However, the Vocalion ledgers show his name was erased (but still somewhat visable) and Dan Minor\u2019s name penciled in. ________________________________________________________________________
\n(C) COUNT BASIE AND HIS ORCHESTRA: Buck Clayton, Shad Collins, Harry Edison, Ed Lewis (tp), Dan Minor, Benny Morton, Dicky Wells (tb), Earle Warren (as), Buddy Tate, Lester Young (ts), Jack Washington (as, bari), Count Basie (p), Freddie Green (g), Walter Page (b), Jo Jones (d), Helen Humes, Jimmy Rushing (vcl).
\nNYC, March 19, 1939
\nW24238-2 What Goes Up Must Come Down (JR-vcl) Col JG 34840 (LP)
\nW24238-1 What Goes Up Must Come Down (JR-vcl) Voc 4734
\nW24242-2 Taxi War Dance Col JG 34840 (LP)
\nW24242-1 Taxi War Dance Voc 4748
\n________________________________________________________________________
\n(D) COUNT BASIE AND HIS ORCHESTRA: Same as (C).
\nNYC, March 20, 1939
\nW24243-2 Don\u2019t Worry \u2018Bout Me (HH-vcl) (AG-arr) Col JG 34840 (LP)
\nW24243-1 Don\u2019t Worry \u2018Bout Me (HH-vcl) (AG-arr) Voc 4734
\n________________________________________________________________________
\n(E) COUNT BASIE AND HIS ORCHESTRA: Same as (C).
\nNYC, April 5, 1939
\nW24337-A And The Angels Sing (HH-vcl) Voc 4784
\nW24338-A If I Didn\u2019t Care (HH-vcl) \u2013
\nW24339-A Twelfth Street Rag Voc 4886
\nW24340-A Miss Thing (Pt.1) (SM-arr) Voc 4860
\nW24341-A Miss Thing (Pt.2) (SM-arr) \u2013<\/p>\n

Note: The Vocalion ledgers state that miss thing (both parts) were \u201cto be rerecorded \u2013 con\u2019t 4-17-39\u201d. The metal parts also show the April 5th date as being crossed out and 4\/17\/39 entered instead. However, the Basie band was at the Royal Theater in Baltimore during April 14th through the 20th. Some discographies list Jimmy Mundy as the arranger for miss thing.
\n________________________________________________________________________
\n(F) COUNT BASIE AND HIS ORCHESTRA: Same as (C).
\nChicago, May 19, 1939
\nWC 2594-A Lonesome Miss Pretty (BC-arr) Col CL 6079 (LP)
\nWC 2595-A Bolero At The Savoy (HH-vcl) (JM-arr) Tax (Sd) m-8000 (LP)
\nWC 2597-A Pound Cake (CB-arr) Voc 5085<\/p>\n

Note: Each of the titles from this session were initially issued (and frequently re-issued) using the \u201cC\u201d takes, which are dubs of the \u201cA\u201d takes. For this set we used the \u201cA\u201d takes. ________________________________________________________________________
\n(G) COUNT BASIE AND HIS ORCHESTRA: Same as (C).
\nChicago, June 24, 1939
\nWC 2632-B You Can Count On Me (HH-vcl) Col JG 34840 (LP)
\nWC 2632-A You Can Count On Me (HH-vcl) Voc 4967
\n________________________________________________________________________
\n(H) GLENN HARDMAN AND HIS HAMMOND FIVE: Lee Castle (tp), Lester Young (cl, ts), Glenn Hardman (org), Freddie Green (g), Jo Jones (d).
\nChicago, June 26, 1939
\nWC 2636-A China Boy Col 35341
\nWC 2637-B Exactly Like You Col JG 34840 (LP)
\nWC 2637-A Exactly Like You Voc 4971
\nWC 2638-A On The Sunny Side Of The Street Col 35341
\nWC 2639-A Upright Organ Blues Col 35263
\nWC 2640-A Who ? Voc 4971
\nWC 2641-A Jazz Me Blues Col 35263<\/p>\n

Note: This session can be found on Disc IV of this set.
\n________________________________________________________________________
\n(I) COUNT BASIE AND HIS ORCHESTRA: Same as (C).
\nNYC, August 4, 1939
\nW 24979-A Song Of The Islands (poss. BC-arr) Voc 5169
\nW 24981-A Clap Hands, Here Comes Charlie (SM-arr) Voc 5085
\n________________________________________________________________________
\n(J) COUNT BASIE KANSAS CITY SEVEN: Buck Clayton (tp), Dicky Wells (tb), Lester Young (ts), Count Basie (p), Freddie Green (g), Walter Page (b), Jo Jones (d).
\nNYC, September 5, 1939
\nW 25296-3 Dickie\u2019s Dream Tax (Sd) m-8000 (LP)
\nW 25296-2 (BD) Dickie\u2019s Dream \u2013
\nW 25296-1 Dickie\u2019s Dream Voc 5118
\nW 25297-2 Lester Leaps In Col D-77 (LP)
\nW 25297-1 Lester Leaps In Voc 5118<\/p>\n

Note: The original title of Dickie\u2019s Dream, according to the Vocalion ledgers, was to be conversation piece. Some LP issues list -4 for Dickie\u2019s Dream, however, this is not a different take but a copy of the master take (-1). Some discographies also list -4 as the 78 master take.
\n________________________________________________________________________
\n(K) COUNT BASIE AND HIS ORCHESTRA: Same as (C).
\nL.A., November 6, 1939
\nWCO 26276-A (-2) The Apple Jump (AG-arr) OK 5862
\n(WCO 26277) -2 I Left My Baby (JR-vcl) (AG-arr) previously unissued
\n(WCO 26277) -6 (BD) I Left My Baby (JR-vcl) (AG-arr) \u2013
\nWCO 26277-A (-7) I Left My Baby (JR-vcl) (AG-arr) Col 35321
\n(WCO 26278) -1 Riff Interlude (CB-arr) previously unissued
\n(WCO 26278) -2 Riff Interlude (CB-arr) \u2013
\n(WCO 26278) -3 (BD) Riff Interlude (CB-arr) \u2013
\n(WCO 26278) -4 Riff Interlude (CB-arr) \u2013
\nWCO 26278-A (-5) Riff Interlude (CB-arr) Col 35321<\/p>\n

Note: This session and the next were transferred from newly found lacquer discs which bear the prefix HH in addition to an individual disc number (HH 2406, HH 2407, etc.). No mention is made of the regular WCO matrix number on these lacquers and each individual take is listed numerically rather than alphabetically as is found on the issued 78.<\/p>\n

The first attempts (-1) of the Apple Jump and I Left My Baby are both short breakdowns and are not included here. The sixth take of I Left My Baby is another breakdown and can be heard right after the alternate take -2 at the end of Disc II. The lacquer disc or discs that have takes -3, -4 and -5 of I Left My Baby are no longer in the physical possession of Sony and are feared lost or were destroyed.<\/p>\n

The ledgers claim that this and the next session were \u201cto be rerecorded \u2013 11-20-39\u2033 and even some of the dates on the metal parts (stating 11\/7) are crossed out as well. However, November 7th is the correct date as the Basie band were traveling on one-nighters at this time and on the 20th were in Monroe, La.<\/p>\n

Epic LN 3168 (LP), Let\u2019s Go To Prez, states that an unreleased take was used for riff interlude. However, -A is the take that is used.
\n________________________________________________________________________
\n(L) COUNT BASIE AND HIS ORCHESTRA: Same as (C).
\nL.A., November 7, 1939
\n(WCO 26280) -1 (BD) Between The Devil And The
\nDeep Blue Sea (HH-vcl) (AG-arr) previously unissued
\n(WCO 26280) -2 (BD) Between The Devil
\nAnd The Deep Blue Sea (AG-arr) \u2013
\n(WCO 26280) -3 Between The Devil And The
\nDeep Blue Sea (HH-vcl) (AG-arr) \u2013
\nWCO 26280-A (-4) Between The Devil And The
\nDeep Blue Sea (HH-vcl) (AG-arr) Col 35357
\n(WCO 26280) -5 Between The Devil And The
\nDeep Blue Sea (HH-vcl) (AG-arr) previously unissued
\n(WCO 26281) -5 (BD) Ham \u2018N\u2019 Eggs (CB-arr) \u2013
\n(WCO 26281) -6 Ham \u2018N\u2019 Eggs (CB-arr) \u2013
\nWCO 26281-A (-7) Ham \u2018N\u2019 Eggs (CB-arr) Col 35357
\n(WCO 26282) -1 Hollywood Jump (AG-arr) previously unissued
\nWCO 26282-A (-2) Hollywood Jump (AG-arr) Col 35338<\/p>\n

Note: See above for details on the matrix system for this session. The two breakdowns on Between The Devil and The Deep Blue Sea can be heard together on track 11 of Disc III.<\/p>\n

The disc or discs that have takes -1 through -4 of Ham \u2018n\u2019 Eggs are no longer in the physical possession of Sony and are feared lost or were destroyed. Epic LN 3168 (LP), Let\u2019s Go To Prez, states that an unreleased take was used for Ham \u2018n\u2019 Eggs. However, -A (-2) is the take that is used.
\n________________________________________________________________________
\n(M) COUNT BASIE AND HIS ORCHESTRA: Buck Clayton, Harry Edison, Al Killian, Ed Lewis (tp), Vic Dickenson, Dan Minor, Dicky Wells (tb), Earle Warren (as), Buddy Tate, Lester Young (ts), Jack Washington (as, bari), Count Basie (p), Freddie Green (g), Walter Page (b), Jo Jones (d), Helen Humes, Jimmy Rushing (vcl).
\nNYC, March 19, 1940
\nWCO 26655-A I Never Knew (AG-arr) Col 35521
\nWCO 26656-A Tickle-Toe (AG-arr) \u2013
\nWCO 26657-B Let\u2019s Make Hay While
\nThe Moon Shines (EH-arr) Col G 31224 (LP)
\nWCO 26657-A Let\u2019s Make Hay While
\nThe Moon Shines (EH-arr) Col 35500
\nWCO 26658-B Louisiana (AG-arr) Epic LN 3168 (LP)
\nWCO 26658-A Louisiana (AG-arr) Col 35448<\/p>\n

Note: Epic LN 3168 (LP), Let\u2019s Go To Prez, states that an unreleased take was used for Tickle Toe. However, -A is the take that is used. The same Epic LP does not list louisiana as an unreleased alternate. Some discographies claim Tadd Dameron as the arranger on Louisiana.
\n________________________________________________________________________
\n(N) COUNT BASIE AND HIS ORCHESTRA: Same as (M).
\nNYC, March 20, 1940
\nCO 26659-A Easy Does It (JM-arr) Col 35448
\nCO 26660-B Let Me See (AG-arr) Col C2 34849 (LP)
\nCO 26660-A Let Me See (AG-arr) OK 6330<\/p>\n

Note: According to the metal part, easy does it was originally titled music easy.
\n________________________________________________________________________
\n(O) COUNT BASIE AND HIS ORCHESTRA: Same as (M) except add Tab Smith (as, arr).
\nNYC, May 31, 1940
\nW 26870-B Blow Top (TS-arr) OK 5629
\nW 26870-A Blow Top (TS-arr) Epic LN 3168 (LP)<\/p>\n

Note: Epic LN 3168 (LP), let\u2019s go to prez, does not list blow top as an unreleased alternate.
\n________________________________________________________________________
\n(P) COUNT BASIE AND HIS ORCHESTRA: Same as (M).
\nChicago, August 8, 1940
\nWC 3254-A Evenin\u2019 (JR-vcl) OK 5732
\nWC 3255-A The World Is Mad (Pt.1) (AG-arr) OK 5816
\nWC 3256-A The World Is Mad (Pt.2) (AG-arr) \u2013
\n________________________________________________________________________
\n(Q) BENNY GOODMAN SEPTET: Buck Clayton (tp), Lester Young (ts), Benny Goodman (cl), Count Basie (p), Charlie Christian (el-g), Freddie Green (g), Walter Page (b), Jo Jones (d).
\nNYC, October 28, 1940
\n-0- Ad Lib Blues Jazz Archives 6 (LP)
\n-0- Wholly Cats \u2013
\n-0- Charlie\u2019s Dream \u2013
\n-0- I Never Knew \u2013
\n-0- Lester\u2019s Dream \u2013
\n________________________________________________________________________
\n(R) COUNT BASIE AND HIS ORCHESTRA: Same as (M).
\nNYC, October 30, 1940
\nCO 29008-3 What\u2019s Your Number? (BC-arr) Col C2 34849 (LP)
\nCO 29008-2 What\u2019s Your Number? (BC-arr) Tax (Sd) m-8027 (LP)
\nCO 29008-1 What\u2019s Your Number? (BC-arr) OK 5897<\/p>\n

Note: According to the OKeh ledgers this was originally titled Swing Low, Sweet Rhythm.<\/p>\n

Columbia C2 34849 (LP) incorrectly lists -2 as -3 and -3 as -2.
\n________________________________________________________________________
\n(S) COUNT BASIE AND HIS ORCHESTRA: Same as (M).
\nNYC, November 19, 1940
\nCO 29087-2 Five O\u2019Clock Whistle (DR-arr) Col C2 34849 (LP)
\nCO 29087-BD Five O\u2019Clock Whistle (DR-arr) \u2013
\nCO 29087-1 Five O\u2019Clock Whistle (DR-arr) OK 5922
\nCO 29090-2 Broadway (HW-arr) Col C2 34849 (LP)
\nCO 29090-1 Broadway (HW-arr) OK 6095<\/p>\n

Note: Some discographies and LP reissues (including Columbia C2 34849) incorrectly list the master take of Five O\u2019Clock Whistle as -3 on OKeh 5922 and the alternate as -1. Columbia C2 34849 also lists -2 as -1.
\n________________________________________________________________________
\nALBUM INDEX:<\/p>\n

10\u2033 LPs:
\nColumbia CL 6079 Count Basie \u2013 Count Basie Dance Parade<\/p>\n

12\u201d LPs:
\nColumbia Record Club D-77 Various Artists \u2013 The Sound Of Jazz Genius
\nColumbia G 31224 Count Basie \u2013 Super Chief
\nColumbia JG 34840 The Lester Young Story, Vol.3 \u2013 Enter The Count
\nColumbia C2 34849 The Lester Young Story, Vol.5 \u2013 Evening Of A
\nBasie-ite
\nEpic LN 3168 Lester Young \/ Count Basie \u2013 Let\u2019s Go To Prez
\nJazz Archives 6 Charlie Christian & Lester Young \u2013 Together 1940
\nTax (Sweden) m-8000 Lester Young \u2013 The Alternative Lester
\nTax (Sweden) m-8027 Count Basie \u2013 The Jitters<\/p>\n

Original sessions supervised by: John Hammond
\nProduced for release by: Scott Wenzel
\nExecutive Producer: Michael Cuscuna<\/p>\n

Disc transfers: Michael Brooks, Matt Cavaluzzo, Andreas Meyer, Mark Wilder
\nMastered using 24-bit technology by Malcolm Addey<\/p>\n

Vault research: Michael Brooks, Anthony Fountain, Scott Wenzel<\/p>\n

Special thanks: Michael Brooks, Tom Doerr, The Institute of Jazz Studies, Robin Manning, Dan Morgenstern, Michael Panico, Phil Schaap and Tom Tierney.<\/p>\n

The master take of What Goes Up Must Come Down provided by Scott Wenzel. The remainder of the sources came from either metal parts or lacquer discs. The unissued material came from lacquers that were recently located by Michael Brooks at Sony Studios.<\/p>\n

This compilation (p) 2008 SONY BMG MUSIC ENTERTAINMENT \/Manufactured by SONY BMG MUSIC ENTERTAINMENT, 550 Madison Avenue, New York, NY 10022-3211\/WARNING All Rights Reserved. Unauthorized duplication is a violation of applicable laws.
\n\u00a9 2008 Mosaic Records L.L.C., 35 Melrose Place, Stamford, CT 06902. All rights reserved.
\nPhone: 203-327-7111\/Fax 203-323-3526\/ Website: www.mosaicrecords.com.<\/p>\n

PRODUCER\u2019S NOTE:
\nThe focus of this set was to present all of Lester Young\u2019s solo efforts under Count Basie\u2019s leadership for the Columbia family of labels. In addition, we have included the Glenn Hardman and his Hammond Five date plus a Benny Goodman small group session that went unreleased until 1973.<\/p>\n

In addition to the original file cards and ledgers, the following sources were used for this discography: Lestorian Notes \u2013 A Discography & Biography of Lester Young by Piet Koster and Harm Moback (Micrography Pub.), The Jazz Discography by Tom Lord (Cadence Jazz Books), Jazz Records 1897-1942 Sixth Edition by Brian Rust (Storyville) and Count Basie: A Bio-Discography by Chris Sheridan (Greenwood Press).<\/p>\n

Scott Wenzel[\/vc_column_text][\/tab][\/tabbed_section][vc_column_text]\n

Classic 1936-1947 Count Basie And Lester Young Studio Sessions<\/h3>\n[\/vc_column_text][image_with_animation image_url=”7171″ animation=”Fade In” hover_animation=”none” alignment=”center” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][tabbed_section style=”default” alignment=”left” spacing=”default” tab_color=”Accent-Color”][tab icon_family=”none” title=”Description” id=”1633713190194-7″ tab_id=”1633713190196-1″][vc_column_text]Together “Pres” & Basie Began To Completely Reinvent Jazz<\/strong><\/p>\n

It was an era when the music was in transition; a time when musicians were achieving new milestones of personal expression; a point in his career when Basie, with Young and others beside him, was establishing his credentials as one of the leading band leaders of the swing era; and the moment when Lester Young was creating a completely new approach to the tenor saxophone. Without reservation, we can assure you these are masterpieces.<\/p>\n

The suppleness of the Basie, Jones and Page rhythm section and how conducive it was for electrifying soloists has been well-documented. But you can’t overstate the effect on Lester Young. Other musicians – great ones – would build solos that seemed utterly brilliant for their organization and improvised cleverness. Young’s seemed brilliant for arriving places utterly unexpected. For decades, saxophonists have sought to match his level of carefree, confident command.<\/p>\n

Our 4 CD set includes 84 tracks, beginning with Basie’s and Young’s first session together under the the name “Jones-Smith Inc.” The collection is notable as well for including along with all previously-known gems on the Columbia labels, the results of our research in the vaults: almost a dozen of alternate tracks never heard before. Also included is the legendary session from the Benny Goodman Septet with Count Basie. Sidemen in addition to Page and Jones include Buck Clayton, Charlie Christian, Freddie Green, Jimmy Rushing, Harry Edison, Vic Dickenson, and Tab Smith.<\/p>\n

You’ll hear many tunes from the Basie book now considered classics, such as “Oh, Lady Be Good “Lonesome Miss Pretty,” “Dickie’s Dream,” Young’s signature tune “Lester Leaps In,” “Easy Does It,” and more. These are the definitive versions and the very tunes emulated by generations of saxophonists who followed Lester Young’s lead.[\/vc_column_text][\/tab][tab icon_family=”none” title=”Discography” id=”1633713190476-0″ tab_id=”1633713190477-4″][vc_column_text]For the purposes of this discography, only the first release of each matrix is listed. All titles in this discography were released initially on 78 except where noted. Non-U.S. releases are abbreviated (Aus) for Australia, (F) for France (It) for Italy and (Sd) for Sweden. Abbreviations to the matrix numbers include BD for breakdown and INC for incomplete.<\/p>\n

To the best of our knowledge, this discography is presented in the order in which each take was recorded. However, the CDs contained in this set are sequenced with the master take first and then any alternates at the conclusion of the disc. Any sides that have been shown in discographies but are missing from the vaults or possibly in private collections are listed as\u00a0unissued, master no longer exists.\u00a0<\/span><\/i><\/p>\n

The following reference materials used for this discography were\u00a0The Aladdin\/Imperial Labels: A Discography\u00a0<\/i>by Michel Ruppli (Greenwood Press),\u00a0Both Sides Now Publications: Philo\/Aladdin Singles Discography\u00a0<\/i>(www.bsnpubs.com\/index.html),\u00a0The Complete Commodore Jazz Recordings: A Discography<\/i>\u00a0by Vincent Pelote and the three discographies that accompanied our Mosaic-Commodore LP sets compiled by Michael Cuscuna (via research from Milt Gabler\u2019s original session notes),\u00a0Count Basie: A Bio-Discography<\/i>\u00a0by Chris Sheridan (Greenwood Press) and\u00a0The Jazz Discography<\/i>\u00a0by Tom Lord (Cadence Jazz Books).\u00a0<\/span><\/p>\n

Label Abbreviations: Alad for Aladdin, BB for Bluebird, Br for Brunswick, Dec for Decca, Com for Commodore, EmA for EmArcy, JS for Jazz Selection, Key for Keynote, Merc for Mercury, QD for Queen Disc, Sig for Signature, Vic for Victor and Voc for Vocalion.
\n________________________________________________________________________<\/p>\n

(A) JONES-SMITH INC: Carl \u201cTatti\u201d Smith (tp), Lester Young (ts), Count Basie (p), Walter Page (b), Jo Jones (d), Jimmy Rushing (vcl).\u00a0<\/span><\/p>\n

Chicago, November 9, 1936<\/p>\n

Supervised by John Hammond<\/p>\n

C 1657-2 Shoe Shine Boy Tax (Sd) m-8000 (LP)
\nC 1657-1 Shoe Shine Boy Voc 3441
\nC 1658-2 Evenin\u2019 (JR-vcl) previously unissued
\nC 1658-1 Evenin\u2019 (JR-vcl) Voc 3441
\nC 1659-2 Boogie Woogie (JR-vcl) previously unissued
\nC 1659-1 Boogie Woogie (JR-vcl) Voc 3459
\nC 1660-2 Oh, Lady Be Good previously unissued
\nC 1660-1 Oh, Lady Be Good Voc 3459<\/p>\n

Note: Although the Vocalion ledgers and cards state the session above took place on October 9, 1936, this seems to be a clerical error. All accounts from the musicians, John Hammond and adjacent matrix numbers, confirm that November 9th<\/sup>\u00a0is the correct date.\u00a0<\/span><\/p>\n

The initial artist credit listed in the ledgers for this session was \u201cJones-Smith Inc. of Kansas City\u201d.
\n________________________________________________________________________<\/p>\n

(B) COUNT BASIE AND HIS ORCHESTRA: Joe Keyes, Buck Clayton, Carl Smith (tp), George Hunt, Dan Minor (tb), Caughey Roberts, Jack Washington (as), Lester Young, Herschel Evans (ts), Count Basie (p, arr), Claude Williams (g), Walter Page (b), Jo Jones (d), Jimmy Rushing (vcl), Fletcher Henderson, Don Redman, Buster Smith (arr).\u00a0<\/span><\/p>\n

NYC, January 21, 1937<\/p>\n

61542-B Honeysuckle Rose (FH-arr) previously unissued
\n61542-A Honeysuckle Rose (FH-arr) Dec 1141
\n61543-A Pennies From Heaven (JR-vcl) (DR-arr) Dec 1121
\n61544-A Swinging At The Daisy Chain (BS or CB-arr)\u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\n61545-A Roseland Shuffle (FH-arr) Dec 1141
\n________________________________________________________________________
\n(C) COUNT BASIE AND HIS ORCHESTRA: Ed Lewis, Buck Clayton, Bobby Moore (tp), George Hunt, Dan Minor (tb), Caughey Roberts (as), Lester Young, Herschel Evans (ts), Jack Washington (as, bari), Count Basie (p), Freddie Green (g), Walter Page (b), Jo Jones (d), Jimmy Rushing (vcl), Fletcher Henderson, Don Redman (arr).\u00a0<\/span><\/p>\n

NYC, March 26, 1937<\/p>\n

62078-A Exactly Like You (JR-vcl) (poss. DR-arr) Dec 1252
\n62079-A Boo-Hoo (JR-vcl) (poss. FH-arr) Dec 1228
\n62080-A The Glory Of Love (poss. FH-arr)\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\n62081-A Boogie Woogie (I May Be Wrong) (head arr) (JR-vcl) Dec 1252
\n________________________________________________________________________
\n(D) TEDDY WILSON AND HIS ORCHESTRA: Buck Clayton (tp), Buster Bailey (cl), Lester Young (ts), Teddy Wilson (p), Freddie Green (g), Walter Page (b), Jo Jones (d).\u00a0<\/span><\/p>\n

NYC, June 1, 1937<\/p>\n

Supervised by John Hammond<\/p>\n

B-21220-3 I\u2019ve Found A New Baby Tax (Sd) m-8000 (LP)
\nB-21220-1 I\u2019ve Found A New Baby Br 7926
\n________________________________________________________________________ (E) COUNT BASIE AND HIS ORCHESTRA: Ed Lewis, Buck Clayton, Bobby Moore (tp), George Hunt, Dan Minor (tb), Earle Warren (as), Lester Young, Herschel Evans (ts), Jack Washington (as, bari), Count Basie (p), Freddie Green (g), Walter Page (b), Jo Jones (d), Jimmy Rushing (vcl), Eddie Durham, Skippy Martin, Buster Smith (arr).<\/p>\n

NYC, July 7, 1937<\/p>\n

62331-B (You Know It All) Smarty (SM-arr) Dec 1379
\n62332-A One O\u2019Clock Jump (ED, BS-arr) Dec 1363
\n62333-A Listen My Children And
\nYou Shall Hear (JR-vcl) (ED-arr)Dec 1379
\n62334-A John\u2019s Idea (ED-arr) Dec 1363
\n________________________________________________________________________
\n(F) COUNT BASIE AND HIS ORCHESTRA: Ed Lewis, Buck Clayton, Bobby Moore (tp), George Hunt (tb), Eddie Durham (tb, el-g, arr), Dan Minor (tb), Earle Warren (as, vcl), Lester Young, Herschel Evans (ts), Jack Washington (as, bari), Count Basie (p), Freddie Green (g), Walter Page (b), Jo Jones (d), Jimmy Rushing (vcl), Skippy Martin (arr).<\/p>\n

NYC, August 9, 1937<\/p>\n

62511-A Good Morning Blues (JR-vcl) (ED-arr) Dec 1446
\n62511-B Good Morning Blues (JR-vcl) (ED-arr)\u00a0\u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\n62512-A Our Love Was Meant To Be (EW-vcl) (SM-arr)\u00a0\u00a0 \u00a0\u00a0<\/span>\u2013
\n62513-A Time Out (ED-arr) Dec 1538
\n62514-A Topsy (ED-arr) Dec 1770
\n________________________________________________________________________
\n(G) COUNT BASIE AND HIS ORCHESTRA: Same as (F) except Bennie Morton (tb) replaces Hunt.\u00a0<\/span><\/p>\n

NYC, October 13, 1937<\/p>\n

62682-A I Keep Remembering (Someone I
\nShould Forget) (JR-vcl) (ED-arr) Dec 1581
\n62683-A Out The Window (ED-arr)\u00a0\u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\n62684-A Don\u2019t You Miss Your Baby? (JR-vcl) (ED-arr) Dec 1770
\n62685-A Let Me Dream (EW-vcl) (ED-arr) Dec 1538<\/p>\n

Note: Although many recordings list Bennie Morton\u2019s name as \u201cBenny\u201d we have opted for the spelling Morton preferred.
\n________________________________________________________________________
\n(H) COUNT BASIE AND HIS ORCHESTRA: Ed Lewis (tp), Buck Clayton (tp, arr), Karl George or Bobby Hicks (tp), Bennie Morton (tb), Eddie Durham (tb, el-g, arr), Dan Minor (tb), Earle Warren (as), Lester Young, Herschel Evans (ts), Jack Washington (as, bari),\u00a0Count Basie (p), Freddie Green (g), Walter Page (b), Jo Jones (d), Jimmy Rushing (vcl).<\/p>\n

NYC, January 3, 1938<\/p>\n

63122-A Georgiana (JR-vcl) (ED-arr) Dec 1682
\n63123-A Blues In The Dark (JR-vcl) (BC-arr)\u00a0\u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013<\/p>\n

Note: Buck Clayton and Bennie Morton had confirmed that trumpeter Karl George was with the band at this point, while Earle Warren claimed it was Bobby Hicks.
\n________________________________________________________________________
\n(I) COUNT BASIE AND HIS ORCHESTRA: Ed Lewis (tp), Buck Clayton (tp, arr), Harry Edison (tp), Bennie Morton (tb), Eddie Durham (tb, el-g, arr), Dan Minor (tb), Earle Warren, Jack Washington (as, bari), Lester Young, Herschel Evans (ts), Count Basie (p), Freddie Green (g), Walter Page (b), Jo Jones (d), Jimmy Rushing (vcl).<\/p>\n

NYC, February 16, 1938<\/p>\n

63286-A Sent For You Yesterday And Here
\nYou Come Today (JR-vcl) (poss. ED-arr) Dec 1880
\n63287-A Every Tub (ED-arr) Dec 1728
\n63288-A Now Will You Be Good? (JR-vcl) (ED-arr)\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\n63289-A Swinging The Blues (ED-arr) Dec 1880
\n________________________________________________________________________
\n(J) BENNY GOODMAN AND HIS ORCHESTRA: Harry James, Ziggy Elman, Chris Griffin (tp), Red Ballard, Vernon Brown (tb), Benny Goodman (cl), Hymie Schertzer, Dave Matthews (as), Lester Young, Babe Russin (ts), Jess Stacy (p), Freddie Green (g), Walter Page (b), Lionel Hampton<\/a> (d), Edgar Sampson (arr).\u00a0<\/span><\/b><\/p>\n

NYC, March 9, 1938<\/p>\n

BS-021128-1 Ti-Pi-Tin (ES-arr) Vic 25814<\/p>\n

Note: There is an unissued alternate take (-2) of this title, however, it is not included here because the tenor solo is by Babe Russin and not Lester Young.\u00a0<\/span><\/p>\n

________________________________________________________________________\u00a0<\/span><\/p>\n

(K) COUNT BASIE AND HIS ORCHESTRA: Ed Lewis, Buck Clayton, Harry Edison (tp), Bennie Morton (tb), Eddie Durham (tb, el-g, arr), Dan Minor (tb), Earle Warren (as), Lester Young (cl, ts), Herschel Evans (cl, ts, arr), Jack Washington (as, bari), Count Basie (p), Freddie Green (g), Walter Page (b), Jo Jones (d), Jimmy Rushing (vcl), Edgar Battle, Don Kirkpatrick (arr).<\/p>\n

NYC, June 6, 1938<\/p>\n

63918-A Mama Don\u2019t Want No Peas An\u2019
\nRice An\u2019 Cocoanut Oil (JR-vcl) (DK-arr) Dec 2030
\n63919-A Blue And Sentimental (ED-arr) Dec 1965
\n63920-A Doggin\u2019 Around (HE, EB-arr \/ or ED-arr)\u00a0\u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\n________________________________________________________________________
\n(L) COUNT BASIE AND HIS ORCHESTRA: Ed Lewis, Buck Clayton, Harry Edison (tp), Bennie Morton, Dicky Wells, Dan Minor (tb), Earle Warren, Jack Washington (as), Lester Young (cl, ts), Herschel Evans (cl, ts, arr), Count Basie (p), Freddie Green (g), Walter Page (b), Jo Jones (d), Jimmy Rushing (vcl), Don Redman (arr).<\/p>\n

NYC, August 22, 1938<\/p>\n

64471-B Stop Beatin\u2019 \u2018Round\u00a0<\/span><\/p>\n

The Mulberry Bush (JR, ens.-vcl) (DR-arr) Dec 2004<\/p>\n

64471-A Stop Beatin\u2019 \u2018Round
\nThe Mulberry Bush (JR, ens.-vcl) (DR-arr)\u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\n64472-A London Bridge Is Falling Down (JR-vcl) (DR-arr)\u00a0\u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\n64473-A Texas Shuffle (HE-arr) Dec 2030
\n64474-A Jumpin\u2019 At The Woodside (head arr) Dec 2212
\n________________________________________________________________________<\/p>\n

(M) KANSAS CITY SIX: Buck Clayton (tp), Eddie Durham (tb, el-g, arr), Lester Young (cl, ts), Freddie Green (g, vcl), Walter Page (b), Jo Jones (d).\u00a0<\/span><\/p>\n

Brunswick Studio, NYC, September 27, 1938<\/p>\n

Supervised by Milt Gabler<\/p>\n

P-23421-1 Way Down Yonder In New Orleans (#2) Tax (Sd) m-8000 (LP)
\nP-23421-2 Way Down Yonder In New Orleans Com 512
\nP-23422-1 Countless Blues (Ad Lib Jump Blues) Com 509
\nP-23422-2 Countless Blues (Ad Lib Jump Blues) (#2) Tax (Sd) m-8000 (LP)
\nP-23423-1 Them There Eyes (#2) (FG-vcl)\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\nP-23423-2 Them There Eyes (FG-vcl) Com 511
\nP-23424-1 I Want A Little Girl Com 509
\nP-23424-2 I Want A Little Girl (#2) Tax (Sd) m-8000 (LP)
\nP-23425-1 Pagin\u2019 The Devil Com 512
\nP-23425-2 Pagin\u2019 The Devil (#2) Tax (Sd) m-8000 (LP)
\n________________________________________________________________________
\n(N) COUNT BASIE At The Piano: Count Basie (p), Freddie Green (g), Walter Page (b), Jo Jones (d).\u00a0<\/span><\/p>\n

NYC, November 9, 1938<\/p>\n

64731-A How Long How Long Blues Dec 2355
\n64731-B How Long How Long Blues unissued, master no longer exists\u00a0\u00a0<\/span><\/i>
\n64732-A The Dirty Dozens Dec 2498
\n64733-A Hey Lawdy Mama Dec 2722
\n64734-A The Fives\u00a0\u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\n64735-A Boogie Woogie Dec 2355<\/p>\n

Note: Matrix 64731-B has been rumored to exist on Decca 2355, however, a copy of this has yet to be confirmed.
\n________________________________________________________________________
\n(O) COUNT BASIE AND HIS ORCHESTRA: Ed Lewis, Shad Collins, Buck Clayton, Harry Edison (tp), Bennie Morton, Dicky Wells, Dan Minor (tb), Earle Warren (as), Lester Young, Herschel Evans (ts), Jack Washington (as, bari), Count Basie (p), Freddie Green (g), Walter Page (b), Jo Jones (d), Helen Humes, Jimmy Rushing (vcl), Andy Gibson, Jimmy Mundy, Don Redman, Buster Smith (arr).<\/p>\n

NYC, November 16, 1938<\/p>\n

64746-A Dark Rapture (HH-vcl) (DR or JM-arr) Dec 2212
\n64747-A Shorty George (AG-arr) Dec 2325
\n64748-A The Blues I Like To Hear (JR-vcl) (BS-arr) Dec 2284
\n64749-A Do You Wanna Jump Children? (JR-vcl) (AG-arr) Dec 2224
\n64750-A Panassie Stomp (head arr)\u00a0\u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\n________________________________________________________________________
\n(P) COUNT BASIE AND HIS ORCHESTRA: Ed Lewis, Shad Collins, Buck Clayton, Harry Edison (tp), Bennie Morton, Dicky Wells, Dan Minor (tb), Earle Warren, Jack Washington (as), Lester Young, Herschel Evans (ts), Count Basie (p), Freddie Green (g), Walter Page (b), Jo Jones (d), Helen Humes (vcl), Jimmy Mundy (arr).<\/p>\n

NYC, January 5, 1939<\/p>\n

64851-A My Heart Belongs To Daddy (HH-vcl) (JM-arr) Dec 2249
\n64852-A Sing For Your Supper (HH-vcl) (JM-arr)\u00a0\u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\nNote: As \u201cHelen Hume\u201d on label.
\n________________________________________________________________________
\n(Q) COUNT BASIE At The Piano: Count Basie (p), Freddie Green (g), Walter Page (b), Jo Jones (d).\u00a0<\/span><\/p>\n

NYC, January 26, 1939<\/p>\n

64954-A Oh! Red Dec 2780
\n64955-A Fare Thee Honey Fare Thee Well\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\n64955-B Fare Thee Honey Fare Thee Well\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\n64956-B Dupree Blues Dec 3071
\n64957-A When The Sun Goes Down\u00a0\u00a0<\/span>Dec (Aus) Y-5422
\n64957-B When The Sun Goes Down\u00a0\u00a0<\/span>Dec 2498
\n64958-B Red Wagon Dec 3071
\n________________________________________________________________________
\n(R) COUNT BASIE AND HIS ORCHESTRA: Shad Collins (tp), Lester Young (ts), Count Basie (p), Freddie Green (g), Walter Page (b), Jo Jones (d), Jimmy Rushing (vcl).<\/p>\n

NYC, February 2, 1939<\/p>\n

64978-A You Can Depend On Me (JR-vcl) Dec 2631
\n________________________________________________________________________
\n(S) COUNT BASIE AND HIS ORCHESTRA: Ed Lewis, Shad Collins, Buck Clayton, Harry Edison (tp), Bennie Morton, Dicky Wells, Dan Minor (tb), Earle Warren, Jack Washington (as), Lester Young, Chu Berry (ts), Count Basie (p), Freddie Green (g), Walter Page (b), Jo Jones (d), Helen Humes (vcl), Jimmy Mundy (arr).\u00a0<\/span><\/p>\n

NYC, February 3, 1939<\/p>\n

64979-A Cherokee (Pt. 1) (JM-arr) Dec 2406
\n64980-A Cherokee (Pt. 2) (JM-arr)\u00a0\u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\n64981-B Blame It On My Last Affair (HH-vcl) (JM-arr) Dec 2284
\n64981-A Blame It On My Last Affair (HH-vcl) (JM-arr)\u00a0\u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\n________________________________________________________________________<\/p>\n

(T) COUNT BASIE AND HIS ORCHESTRA: Shad Collins, Buck Clayton (tp), Harry Edison (tp, arr), Dicky Wells (tb), Lester Young (ts), Jack Washington (bari), Count Basie (p), Freddie Green (g), Walter Page (b), Jo Jones (trap case).\u00a0<\/span><\/p>\n

NYC, February 4, 1939<\/p>\n

64982-A Jive At Five (HE-arr) Dec 2922<\/p>\n

Ed Lewis, Shad Collins (tp), Buck Clayton (tp, arr), Harry Edison (tp), Bennie Morton, Dicky Wells, Dan Minor (tb), Earle Warren (as), Lester Young, Chu Berry (ts), Jack Washington (as, bari), Count Basie (p), Freddie Green (g), Walter Page (b), Jo Jones (d), Helen Humes, Jimmy Rushing (vcl).\u00a0<\/span><\/p>\n

Same session<\/p>\n

64983-A Thursday (HH-vcl) (BC-arr) Dec 2325
\n64984-A Evil Blues (JR-vcl) Dec 2922
\n64985-A Oh Lady Be Good (head arr) Dec 2631
\n________________________________________________________________________<\/p>\n

(U) UNA MAE CARLISLE with Orchestra: Shad Collins (tp), Lester Young (ts), Clyde Hart (p), John Collins (g), Nick Fenton (b), Doc West (d), Una Mae Carlisle (vcl).\u00a0<\/span><\/p>\n

NYC, March 10, 1941<\/p>\n

062747-1 Blitzkrieg Baby (You Can\u2019t Bomb Me) (UMC-vcl) BB 11120
\n062748-1 Beautiful Eyes (UMC-vcl) BB 11096
\n062749-1 There\u2019ll Be Some Changes Made (UMC-vcl)\u00a0\u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\n062750-1 It\u2019s Sad, But True (UMC-vcl) BB 11120<\/p>\n

(V) SAM PRICE AND HIS TEXAS BLUSICIANS: Shad Collins, William Johnson (tp), Don Stovall (as), Lester Young (ts), Sammy Price (p), Duke Jones (b), Doc West (d), Yack Taylor (vcl).\u00a0<\/span><\/p>\n

NYC, April 3, 1941
\nposs. supervised by J. Mayo Williams<\/p>\n

68920-A The Goon Drag (Gone Wid De Goon) Dec 8547
\n68921-A Things \u2018Bout Coming My Way (YT-vcl) Dec 8557
\n68923-A Just Jivin\u2019 Around Dec 8557
\n________________________________________________________________________<\/p>\n

(W) LESTER YOUNG TRIO: Lester Young (ts), Nat Cole (p), Red Callender (b).\u00a0<\/span><\/p>\n

Wallichs Music City, Hollywood, July 15, 1942<\/p>\n

Supervised by Norman Granz<\/p>\n

Van 1000 Indiana Philo P1000 (12\u201d)
\nVan 1001 I Can\u2019t Get Started Philo P1001 (12\u201d)
\nVan 1002 Tea For Two\u00a0\u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\nVan 1003 Body And Soul Philo P1000 (12\u201d)<\/p>\n

Note: The original issue of this session on Philo are dubs of the glass masters and were not commercially released until 1945.
\n________________________________________________________________________
\n(X) DICKIE WELLS & ORCHESTRA: Bill Coleman (tp), Dicky Wells (tb), Lester Young (ts), Ellis Larkins (p), Freddie Green (g), Al Hall (b), Jo Jones (d).\u00a0<\/span><\/p>\n

NYC, December 21, 1943<\/p>\n

Supervised by Bob Thiele<\/p>\n

T19003-4A I Got Rhythm Sig 90002 (12\u201d)
\nT19004-2 I\u2019m Fer It Too Vogue (F) EPL 7001 (EP)
\nT19004-4A I\u2019m Fer It Too Sig 90002 (12\u201d)
\nT1919-1 Hello Babe Vogue (F) EPL 7001 (EP)
\nT1919-2 Hello Babe Sig 28115
\nT1920 Linger Awhile\u00a0\u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013<\/p>\n

Note: Discographies show -1 as the take for the 78 issues of I Got Rhythm, I\u2019m Fer It Too and Hello Babe. However the 78s list the takes as shown above.
\n________________________________________________________________________ (Y) LESTER YOUNG QUARTET: Lester Young (ts), Johnny Guarnieri (p), Slam Stewart (b), Sid Catlett (d).\u00a0<\/span><\/p>\n

NYC, December 28, 1943<\/p>\n

Supervised by Harry Lim<\/p>\n

HL1-1 Just You, Just Me EmA MGE 26010 (LP)
\nHL1-2 Just You, Just Me Key 603
\nHL2-1 (BD) I Never Knew EmA MGE 26010 (LP)
\nHL2-2 I Never Knew Key 603
\nHL3-1 Afternoon Of A Basie-ite EmA MGE 26010 (LP)
\nHL3-2 Afternoon Of A Basie-ite Key 604
\nHL4-1 Sometimes I\u2019m Happy Key 830 121-1 (LP)
\nHL4-2 Sometimes I\u2019m Happy Key 604<\/p>\n

Note: Although the issued 78s carry an album designation number (K-117) these were issued as singles and not part of any album.
\n________________________________________________________________________ (Z) KANSAS CITY SEVEN: Buck Clayton (tp, arr), Dicky Wells (tb), Lester Young (ts), Count Basie (p), Freddie Green (g), Rodney Richardson (b), Jo Jones (d).\u00a0<\/span><\/p>\n

NYC, March 22, 1944<\/p>\n

Supervised by Harry Lim<\/p>\n

HL21-1 After Theatre Jump (BC-arr) Key 830 121-1 (LP)
\nHL21-2 After Theatre Jump (BC-arr) Key 1302 (12\u201d)
\nHL22-1 Six Cats And A Prince (BC-arr) Key 830 121-1 (LP)
\nHL22-2 (INC) Six Cats And A Prince (BC-arr) Met (Sd) B517
\nHL22-3 Six Cats And A Prince (BC-arr) Key 1303 (12\u201d)
\nHL23-1 Lester Leaps Again (BC-arr) Key 1302 (12\u201d)
\nHL24-1 Destination K.C. (BC-arr) Key 1303 (12\u201d)
\nHL24-2 Destination K.C. (BC-arr) EmA MGE 26010 (LP)<\/p>\n

Note: As 6 Cats And A Prince on Keynote 1303.
\n________________________________________________________________________<\/p>\n

(AA) KANSAS CITY SIX WITH LESTER YOUNG: Bill Coleman (tp), Dicky Wells (tb), Lester Young (ts), Joe Bushkin (p), John Simmons (b), Jo Jones (d).\u00a0<\/span><\/p>\n

NYC, March 28, 1944<\/p>\n

Supervised by Milt Gabler<\/p>\n

A-4746-1 Three Little Words (#3) Com XFL-15352 (LP)
\nA-4746-? Three Little Words (#2)\u00a0\u00a0 \u00a0\u00a0<\/span>\u2013
\nA-4746-2 Three Little Words (#4)\u00a0\u00a0 \u00a0\u00a0<\/span>\u2013
\nA-4746-3 Three Little Words Com 573
\nA-4747-4 Jo Jo (#4) Com XFL-15352 (LP)
\nA-4747-3 Jo Jo (#2) Mosaic MR23-128 (LP)
\nA-4747-2 Jo Jo (#3) Com XFL-15352 (LP)
\nA-4747-1 Jo Jo Com 555
\nA-4748-? I Got Rhythm (#3) Com XFL-15352 (LP)
\nA-4748-2 I Got Rhythm (#2)\u00a0\u00a0 \u00a0\u00a0<\/span>\u2013
\nA-4748-1 I Got Rhythm Com 555
\nA-4749-2 Four O\u2019Clock Drag Com 573
\nA-4749-1 Four O\u2019Clock Drag (#3) Com XFL-15352 (LP)<\/p>\n

Note: Jo Jo and Four O\u2019Clock Drag have \u201ctakes\u201d that were originally issued on Commodore XFL-15352 (LP) but they are not included here since they are composites of other issued takes.
\n________________________________________________________________________
\n(BB) LESTER YOUNG AND HIS BAND: Vic Dickenson (tb), Lester Young (ts), Dodo Marmorosa (p), Red Callender (b), Henry Tucker (d).\u00a0<\/span><\/p>\n

LA, December 1945<\/p>\n

Supervised by Norman Granz<\/p>\n

M-123-A-1 D.B. Blues Philo P123 \/ Alad A123
\nM-123-B-2 Lester Blows Again\u00a0\u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013\u00a0\u00a0 \u00a0\u00a0<\/span>\u2013
\nP-124-A-2 These Foolish Things -1 Philo P124 \/ Alad A124
\nP-124-B-2 Jumpin\u2019 At Mesners\u2019\u00a0\u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013\u00a0\u00a0 \u00a0\u00a0<\/span>\u2013<\/p>\n

-1 omit Dickenson.
\n________________________________________________________________________
\n(CC) HELEN HUMES AND HER ALL STARS: Snooky Young (tp), Willie Smith (as), Maxwell Davis, Lester Young (ts), Jimmy Bunn (p), Dave Barbour (el-g), Jimmy Rudd (b), Henry Tucker (d), Helen Humes (vcl).\u00a0<\/span><\/p>\n

LA, December 22, 1945<\/p>\n

Supervised by Norman Granz<\/p>\n

M-125A-2 He Don\u2019t Love Me Anymore (HH-vcl) Philo P125 \/ Alad A125\u00a0<\/span>
\nM-125B-3 Pleasing Man Blues (HH-vcl)\u00a0\u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013\u00a0\u00a0 \u00a0\u00a0<\/span>\u2013
\nM-126B Riffin\u2019 Without Helen Philo P126 \/ Alad A126<\/p>\n

Note: Other titles from this session do not feature Young.\u00a0<\/span><\/p>\n

The Aladdin files list the original title of Pleasing Man Blues as Stop Jivin\u2019 Around (Go On & Let Your Mama Be).
\nSome initial pressings of Aladdin 126 contain an un-named instrumental\u00a0<\/b>instead of It\u2019s Better To Give Than To Receive which has a vocal by Helen Humes. When this instrumental was released on the Blue Note CD\u00a0The Complete Aladdin Recordings Of Lester Young<\/i>\u00a0it was re-titled Riffin\u2019 Without Helen.
\n________________________________________________________________________
\n(DD) LESTER YOUNG AND HIS BAND: Howard McGhee (tp), Vic Dickenson (tb), Willie Smith (as), Lester Young (ts), Wesley Jones (p), Curtis Counce (b), Johnny Otis (d).\u00a0<\/span><\/p>\n

LA, January 1946<\/p>\n

Supervised by Norman Granz<\/p>\n

M-127-A It\u2019s Only A Paper Moon Philo P127 \/ Alad A127
\nM-127-B After You\u2019ve Gone -1\u00a0\u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013\u00a0\u00a0 \u00a0\u00a0<\/span>\u2013
\nM-128-A Lover Come Back To Me Philo P128 \/ Alad P128
\nM-128-B Jammin\u2019 With Lester\u00a0\u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013\u00a0\u00a0 \u00a0\u00a0<\/span>\u2013<\/p>\n

-1 omit McGhee and Dickenson.
\n________________________________________________________________________
\n(EE) THE LESTER YOUNG TRIO: Lester Young (ts), Nat Cole (p), Buddy Rich (d).\u00a0<\/span><\/p>\n

LA, c. late March\/early April 1946<\/p>\n

Supervised by Norman Granz<\/p>\n

YB-C-348-2 Back To The Land Merc 11048 (12\u201d)
\nYB-C-349-1 I Cover The Waterfront Merc MGC-104 (LP)
\nYB-C-349-2 I Cover The Waterfront Merc 11049 (12\u201d)
\nYB-C-350-2 Somebody Loves Me\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\nYB-C-351-2 I\u2019ve Found A New Baby Merc 11048 (12\u201d)
\nYB-C-352-1 The Man I Love Merc MGC-135 (LP)
\nYB-C-353-1 Peg O\u2019 My Heart -1\u00a0\u00a0\u00a0<\/span>\u2013
\nYB-C-354-1 I Want To Be Happy Merc (no #) (12\u201d)
\nYB-C-355-1 Mean To Me Merc MGC-135 (LP)<\/p>\n

-1 omit Rich.\u00a0<\/span><\/p>\n

Note: Cole is listed as \u201cAye Guy\u201d on the labels and liner notes of the above.\u00a0<\/span><\/p>\n

The version of Back To The Land that is on Clef MGC-104 (LP) is an edited version and might be the reason that some discographies have incorrectly listed this as an alternate take.\u00a0<\/span>
\nI Want To Be Happy was originally released in the 78 album\u00a0The Jazz Scene\u00a0<\/i>and was never assigned a catalog number although the number 2198 appears on the label and 2198-1 appears in the run-off groove.
\n________________________________________________________________________<\/p>\n

(FF) LESTER YOUNG AND HIS BAND: Lester Young (ts), Joe Albany (p), Irving Ashby (el-g), Red Callender (b), Chico Hamilton (as Forest Hamilton) (d).\u00a0<\/span><\/p>\n

LA, c. August 1946<\/p>\n

Supervised by Norman Granz<\/p>\n

AL-137-A-2 You\u2019re Driving Me Crazy Alad 137
\nAL-137-B-2 New Lester Leaps In\u00a0\u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\nAL-138-B-3\u00a0\u00a0<\/span>Lester\u2019s Be-Bop Boogie Alad 138
\nAL-138-A-2 She\u2019s Funny That Way\u00a0\u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013<\/p>\n

Note: Discographies list the date as above, however sometime in August, Norman Granz left for France and returned in September.
\nMatrices 137-A and 137-B were also assigned to recordings made by Illinois Jacquet and his Orchestra on 4\/1\/47.
\n________________________________________________________________________
\n(GG) LESTER YOUNG AND HIS SEXTET: Shorty McConnell (tp), Lester Young (ts), Argonne Thornton [Sadik Hakim] (p), Fred Lacey (g), Rodney Richardson (b), Lyndell Marshall (d).\u00a0<\/span><\/p>\n

Chicago, October 1946<\/p>\n

Possibly supervised by Norman Granz<\/p>\n

46 Sunday Alad 162
\n47 S.M. Blues\u00a0\u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\n48 Jumping With Symphony Sid -1 Alad 163
\n49 No Eyes Blues -1\u00a0\u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\n50 Sax-o-Be-Bop Alad 164
\n51 On The Sunny Side Of The Street -1\u00a0\u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013<\/p>\n

-1 omit McConnell.<\/p>\n

Note: The date for this session has been always listed as February 18, 1947. However, the above date is a more likely candidate considering the Aladdin master sequence.
\n________________________________________________________________________
\n(HH) LESTER YOUNG AND HIS SEXTET -1 \/ LESTER YOUNG AND BAND -2: Lester Young (ts), Argonne Thornton [Sadik Hakim] (p), Fred Lacey (g), Rodney Richardson (b), Lyndell Marshall (d).\u00a0<\/span><\/p>\n

Radio Recorders, LA, February 18, 1947<\/p>\n

Possibly supervised by Norman Granz<\/p>\n

121-1 Easy Does It -1 Alad 212
\n121-2 Easy Does It -1 QD (It) Q-051 (LP)
\nadd Shorty McConnell (tp).
\n122-1 Movin\u2019 With Lester -2 Alad 3257
\n123-5 One O\u2019Clock Jump -1 Alad 200
\nomit McConnell.
\n124-3 Jumping At The Woodside -2\u00a0\u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\n________________________________________________________________________
\n(II) LESTER YOUNG AND HIS SEXTET -1 \/ LESTER YOUNG AND HIS BAND -2: Lester Young (ts), Argonne Thornton [Sadik Hakim] (p), Nasir Barakaat (g), Rodney Richardson (b), Lyndell Marshall (d).\u00a0<\/span><\/p>\n

NYC, April 2, 1947<\/p>\n

Possibly supervised by Norman Granz<\/p>\n

140-2 Avalon unissued, master no longer exists<\/i>
\n141-1 Confessin\u2019 -1 Alad 212
\nadd Shorty McConnell (tp).
\n142-1 Lester Smooths It Out -2 Alad 3257
\n143-1 Just Cooling -2 Alad 3057
\nNote: The original 78 label refers to Hakim as \u201cDense Thornton\u201d on Just Cooling.
\n_______________________________________________________________________
\n(JJ) LESTER YOUNG AND HIS QUARTET: Lester Young (ts), Gene DiNovi (p), Chuck Wayne (el-g), Curly Russell (b), Tiny Kahn (d).\u00a0<\/span><\/p>\n

WOR Studios, NYC, December 29, 1947<\/p>\n

Supervised by Leonard Feather<\/p>\n

25-1020 Tea For Two\u00a0\u00a0 \u00a0\u00a0<\/span>JS (F) LDM 30.006
\n25-1021 East Of The Sun \u2013 West Of The Moon\u00a0 \u00a0\u00a0<\/span>Alad 3016
\n25-1022 Sheik Of Araby\u00a0\u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span>\u2013
\n25-1023 Something To Remember You By\u00a0 \u00a0 \u00a0\u00a0<\/span>Alad 3057
\n________________________________________________________________________
\nAlbum Index: 78<\/b><\/p>\n

Mercury (no number) Various Artists \u2013 The Jazz Scene
\nMercury C-104 (11048, 11049) Lester Young Trio
\nPhilo P-1 (1000, 1001) King Cole, Lester Young, Red Callender Trio<\/p>\n

EP<\/b>
\nVogue (F) EPL 7001 Lester Young And His Kansas City Six<\/p>\n

10\u201d LP<\/b>
\nMercury MGC-135 Lester Young Trio No.2
\nMercury MGC-104 Lester Young Trio<\/p>\n

12\u201d LP<\/b>
\nCommodore XFL-15352 Lester Young \u2013 Classics In Jazz
\nEmArcy MGE 26010 Lester Young \u2013 Pres At His Very Best
\nJazz S\u00e9lection (F) LDM 30.006 Lester Young \u2013\u00a0\u00a0<\/span>Les Chefs-D\u2019oeuvre de Lester Young
\nKeynote (Jap) 830 121-1 Various Artists \u2013 The Complete Keynote Collection
\nMosaic MR23-128 Various Artists \u2013 The Complete Commodore Recordings Jazz Recordings Vol. 2
\nQueen Disc (It) Q-051 Various Artists \u2013 Tenor Triumvirate
\nTax (Sd) m-8000 Lester Young \u2013 The Alternative Lester
\n_______________________________________________________________________________________<\/p>\n

Produced for release by Scott Wenzel\u00a0<\/span>
\nExecutive Producer: Michael Cuscuna
\nOriginal supervisors (producers): Bob Stephens (Basie Decca sessions), others listed within the discography\u00a0<\/span><\/p>\n

78 transfers: Steven Lasker and Andreas Meyer<\/p>\n

Sound restoration and mastering by Andreas Meyer (www.meyer-media.com)<\/p>\n

24 bit technology was utilized at all stages of the production of this Mosaic release.<\/p>\n

Special thanks: All those at Sony Music and Universal Music, Michael Brooks, Ryan Chroninger, Bryan Cornell, Tad Hershorn and those at The Institute of Jazz Studies.<\/p>\n

78s provided by Leon Dierckx, The Institute of Jazz Studies, Steven Lasker, Lloyd Rauch, Russ Shor and Scott Wenzel.<\/p>\n

Design Production: InkWell, Inc.<\/p>\n

This compilation \u00a92016 Mosaic Records L.L.C., 425 Fairfield Ave, Suite 421, Stamford, CT 06902. All rights reserved. Phone: 203-327-7111\/Fax 203-323-3526\/e-mail: info@mosaicrecords.com. Web site:\u00a0www.mosaicrecords.com<\/a>.<\/p>\n

This compilation (P) 2016 Sony Music Entertainment \/ Manufactured for Mosaic Records L.L.C. by Sony Music Entertainment \/ 25 Madison Avenue, New York, NY 10010 \/ \u201cColumbia\u201d and [walking eye logo bug] Reg. U.S. Pat. & Tm. Off. Marca Registrada \/ WARNING: All rights reserved. \/ Unauthorized duplication is a violation of applicable laws. \/ 88875112072<\/p>\n

This compilation (p) \u00a92016 Geffen Records. Manufactured by Universal Music Enterprises, a Division of UMG Recordings, Inc. 2220 Colorado Avenue, Santa Monica, CA 90404. Warning: All rights reserved. Unauthorized duplication is a violation of applicable laws. \/ B0022311-02\u00a0 \u00a0 \u00a0\u00a0<\/span>00602547097484<\/p>\n

Printed in the U.S.A.<\/p>\n

Producer\u2019s Note:<\/b>
\nThe vision of this set centers around all of the Decca recordings by Count Basie from 1937 to 1939 as well as recordings by Lester Young on labels that are currently owned by Universal Music. These recordings are housed on Discs I through VII. We have also obtained the rights to include here further recordings by Lester Young <\/a>that are currently under the ownership of Sony Music and are heard on Disc VIII. Because of contractual reasons we were not able to present them chronologically.\u00a0<\/span>
\nAlthough the sound quality of these sessions will differ from track to track, we have made every effort to obtain the best possible source material, whether it be the original metal parts, test pressings or commercially released 78s. Therefore, the CDs in this package include a variety of sources.\u00a0<\/span>[\/vc_column_text][\/tab][\/tabbed_section][vc_video link=”https:\/\/www.youtube.com\/watch?v=ouUA-uWnTzQ” el_width=”60″ align=”center”][vc_column_text]\n

The \u201cKansas City\u201d Sessions (Commodore)<\/h3>\n

This Commodore CD features Lester Young<\/span><\/a> as a sideman with two versions of the Kansas City Six. The earlier group date from 1938 is included on this single-CD in full. Also on this disc are four songs\u00a0 by a harder-driving Kansas City Six group from 1944, with trumpeter Bill Coleman and trombonist Dickie Wells, that has Wells in particular playing at the peak of his powers, and four songs from a Kansas City Five group that precedes the earlier date.<\/p>\n

Recorded Mar. 16, 1938, this historic session is most notable for the early electric guitar playing of Eddie Durham which precedes Charlie Christian\u2019s recorded debut by a year.[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=8l5fk9ArCZ0″ el_width=”60″ align=”center”][vc_column_text]\n

The Complete Lester Young On Keynote<\/h3>\n

Lester Young left the Basie band in late-1940 but, despite his fame in the jazz world, his solo career got off to a slow start. His working combo made no commercial recordings and his only studio date of 1941-42 was a trio session with jazz artist<\/span><\/a> Nat King Cole. He rejoined the Basie orchestra in 1943 for a year and then ironically while still with Basie, began to record as a leader.
\nThis CD includes two sessions from 1943-44. The first one has Lester Young joined by pianist Johnny Guarnieri, bassist Slam Stewart, and drummer Sid Catlett for four numbers: swinging versions of \u201cJust You, Just Me,\u201d \u201cAfternoon Of A Basie-ite,\u201d and \u201cI Never Knew\u201d plus an absolutely charming version of \u201cSometimes I\u2019m Happy.\u201d The latter (with Stewart singing along with his bowed bass) is one of those rare recordings where every note is perfect. The ending of Lester Young\u2019s solo has been quoted by many other artists through the years.<\/p>\n

Also on this release is a set by the 1944 version of the Kansas City Seven. Lester Young is teamed with the Count Basie rhythm section (including Basie who used the pseudonym of \u201cPrince Charming\u201d in an attempt to hide his identity), Buck Clayton and Dickie Wells. \u201cLester Leaps Again,\u201d a remake of the tenor\u2019s earlier \u201cLester Leaps In,\u201d is a notable showcase for Pres.[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=bLb10LnpJo0″ el_width=”60″ align=”center”][vc_column_text]\n

The Complete Aladdin Recordings of Lester Young<\/h3>\n

Lester Young reluctantly left the Basie band in 1944 when he was drafted, and he had a horrific year in the Army where he was subject to racism and mental cruelty. The stereotyped legend is that after he was discharged in 1945, he never played at the level of his earlier triumphs. While his state of mind was affected to an extent, Lester Young actually made some of his finest recordings after getting out of the military, and his playing grew in emotional intensity while he still retained his classic sound.<\/p>\n

The two-CD Aladdin set has some of Pres\u2019 most rewarding recordings. His 1942 trio set with Nat King Cole and bassist Red Callender is included along with a little-known sideman date with singer Helen Humes from 1945.<\/p>\n

Otherwise, the performances feature Lester Young at the head of combos that range from five to seven pieces. While trumpeter Shorty McConnell is on some of the sessions, one of the best dates, teams Lester Young with trombonist Vic Dickenson, and there is a set with Dickenson, altoist Willie Smith and trumpeter Howard McGhee, Pres is the main star throughout.<\/p>\n

Lester Young adapts himself well to the boppish rhythm sections (which include Argonne Thornton, Dodo Marmarosa, or Joe Albany on piano) and makes memorable statements on such numbers as \u201cD.B. Blues,\u201d \u201cSunday,\u201d \u201cJumpin\u2019 With Symphony Sid\u201d (his best-known original), \u201cEasy Does It.\u201d and even a song called \u201cLester\u2019s Be Bop Boogie.\u201d[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=hS5aykpA1ZA” el_width=”60″ align=”center”][vc_column_text]\n

The Lester Young-Buddy Rich Trio (Verve)<\/h3>\n

In 1946, producer Norman Granz teamed together Lester Young<\/span><\/a>, pianist Nat King Cole, and drummer Buddy Rich as a trio on eight numbers.<\/p>\n

Since Cole was signed to the Capitol label, his identity was disguised, and he was listed as \u201cAye Guy.\u201d On seven standards (including \u201cI Cover The Waterfront,\u201d \u201cI\u2019ve Found A New Baby\u201d and \u201cMean To Me\u201d) plus Lester Young\u2019s \u201cBack To The Land,\u201d the trio plays beautifully.<\/p>\n

With the absence of a string bass, Cole gamely fills in with his left hand, altering his swing style a little. Rich plays with subtlety, allowing the interplay between Lester\u00a0Young and Cole to be in the spotlight.[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=jeHkeoYNGgI” el_width=”60″ align=”center”][vc_column_text]\n

Lester Young With The Oscar Peterson Trio (Verve)<\/h3>\n

While Lester Young\u2019s health gradually declined in the 1950s and he had his off days, when he was inspired and reasonably healthy, he was capable of playing at the peak of his powers.<\/p>\n

Serious jazz collectors will want to search for the 8-CD set The Complete Lester Young Studio Sessions on Verve. That box has the earlier 1946 Nat Cole trio session and all of Lester Young\u2019s Norman Granz-produced sets for Mercury and Norgran (later owned by Verve) plus alternate takes, false starts, and a fascinating interview from late in his life. Not all of the recordings are classic due to the tenor\u2019s health but this package gives one a full picture.<\/p>\n

However those listeners who want to simply hear Lester Young at his best will probably prefer to get his Verve CD with the Oscar Peterson Trio; pianist Oscar Peterson, guitarist Barney Kessel, bassist Ray Brown plus drummer J.C. Heard.<\/p>\n

Along with his \u201cAd-Lib Blues,\u201d Pres is featured caressing some of his favorite melodies and, pushed by Peterson, he consistently comes up with many wonderful choruses full of fresh variations. Lester Young\u2019s phrasing and note placements on the themes of such songs as \u201cJust You, Just Me,\u201d \u201cAlmost Like Being In Love,\u201d \u201cThere Will Never Be Another You\u201d (taken at a medium-slow pace), \u201cOn The Sunny Side Of The Street,\u201d and \u201cI Can\u2019t Give You Anything But Love\u201d is on the level of Louis Armstrong\u2019s<\/span><\/a> in the 1930s. He alters the melodies just slightly, making them sound new and very personal.[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=FsSrKtD_0Ts” el_width=”60″ align=”center”][vc_column_text]\n

Pres and Sweets (Verve)<\/h3>\n

In Nov. 1955, Lester Young teamed up with his old friend trumpeter Harry \u201cSweets\u201d Edison from the Basie band plus the Oscar Peterson Trio (with Herb Ellis on guitar) and Buddy Rich for the Pres and Sweets album.<\/p>\n

\u201cMean To Me,\u201d \u201cPennies From Heaven\u201d and \u201cOne O\u2019 Clock Jump\u201d are among the songs uplifted on this swinging set during which Young seems in a particularly happy mood. The atmosphere of this set is a bit surprising considering that, later that month, Lester Young had a nervous breakdown.[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=yJb-03xp2ZU” el_width=”60″ align=”center”][vc_column_text]\n

The Jazz Giants \u201956 (Verve)
\nPres and Teddy (Verve)<\/h3>\n

Lester Young<\/span> <\/a>was hospitalized in Nov. 1955 with his breakdown being partly caused by excessive drinking and a general state of depression. But after a relatively brief hospital stay, he emerged in better health and spirits than he had enjoyed in some time. 1956 ended up being his last great year, a development that can be heard on his recordings, most notably The Jazz Giants \u201956 (from Jan. 12) and the following day\u2019s Pres and Teddy.<\/p>\n

The Jazz Giants \u201956 lives up to its name by having Lester Young joined by trumpeter Roy Eldridge, trombonist Vic Dickenson, pianist Teddy Wilson, guitarist Freddie Green, bassist Gene Ramey, and drummer Jo Jones.<\/p>\n

They perform three ballads, an excellent rendition of \u201cYou Can Depend On Me,\u201d and an explosive version of \u201cGigantic Blues.\u201d While Lester Young at this point was not playing up-tempo material very often, he not only holds his own with the fiery Eldridge on \u201cGigantic Blues\u201d but excels in this very friendly setting with his fellow swing greats.<\/p>\n

Pres and Teddy finds Lester Young returning to the studio along with Wilson, Ramey and Jones for a relaxed session. Pres puts plenty of feeling into the set of standards, plus his own \u201cPres Returns\u201d, with \u201cPrisoner Of Love\u201d and \u201cAll Of Me\u201d being among the highpoints.<\/p>\n

At this point in time, a large number of top tenor-saxophonists were not shy to display the influence of Lester Young, including Stan Getz, Zoot Sims, Al Cohn and Paul Quinichette. One of his great musical admirers, Brew Moore was quoted as saying \u201cAnyone who doesn\u2019t play like Lester Young is wrong.\u201d[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=MK5YRgACRCs” el_width=”60″ align=”center”][vc_column_text]\n

Laughin\u2019 to Keep From Cryin\u2019 (Verve)<\/h3>\n

Lester Young\u2019s health resumed its decline in 1957 and he became weaker due to the excessive alcohol and his rather sparse diet. While his appearance on \u201cFine And Mellow\u201d with Billie Holiday during the television special The Sound Of Jazz stole the show, in reality it was only a one-chorus solo and his planned participation during the show was shortened due to his health. Lester Young passed away on Mar. 15, 1959 when he was still just 49.<\/p>\n

Pres\u2019 next to last studio album is worth a listen. He is joined by both Roy Eldridge and Harry \u201cSweets\u201d Edison on trumpets, pianist Hank Jones, guitarist Herb Ellis, bassist George Duvivier, and drummer Mickey Sheen. While Lester Young was clearly in failing health, \u201cPlease Don\u2019t Talk About Me When I\u2019m Gone\u201d is a given a happy treatment and he takes an inventive solo on \u201cGypsy In My Soul.\u201d
\nA special aspect of this set is that, for the first time since the late 1930s, Lester Young is heard on clarinet. While \u201cSalute To Benny\u201d is fine, his heartfelt, tentative, and emotional statement on \u201cThey Can\u2019t Take That Away From Me\u201d is arguably his last great recorded solo. While it is full of regret and quiet sadness, Lester Young makes every note and every breath count, showing why even during his last days, he was still the Pres.[\/vc_column_text][vc_zigzag el_width=”70″][vc_row_inner column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Billie Holiday & Lester Young<\/h3>\n[\/vc_column_text][image_with_animation image_url=”8731″ animation=”Fade In” hover_animation=”none” alignment=”center” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” img_link=”https:\/\/www.mosaicrecords.com\/lester-young-and-billie-holiday\/”][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Count Basie & Lester Young Famous Solo<\/h3>\n[\/vc_column_text][image_with_animation image_url=”9066″ animation=”Fade In” hover_animation=”none” alignment=”center” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” img_link=”https:\/\/www.mosaicrecords.com\/lester-young-and-billie-holiday\/”][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/4″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_widget_sidebar enable_sticky=”true” sidebar_id=”blog-sidebar”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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