{"id":8730,"date":"2021-04-20T15:00:54","date_gmt":"2021-04-20T19:00:54","guid":{"rendered":"https:\/\/www.mosaicrecords.com\/?p=8730"},"modified":"2023-02-22T09:48:16","modified_gmt":"2023-02-22T14:48:16","slug":"lester-young-and-billie-holiday","status":"publish","type":"post","link":"https:\/\/www.mosaicrecords.com\/lester-young-and-billie-holiday\/","title":{"rendered":"Lester Young & Billie Holiday"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”90px” equal_height=”yes” content_placement=”middle” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” 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=”padding-2-percent” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”top-bottom” 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” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_row_inner 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=”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” enable_animation=”true” animation=”fade-in-from-bottom”][image_with_animation image_url=”8731″ animation=”Fade In” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][vc_column_text]\n
\u00a9\u00a0<\/strong>William P. Gottlieb Library of Congress<\/h5>\n[\/vc_column_text][\/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

Lester Young & Billie Holiday<\/b><\/h2>\n

By Scott Yanow<\/strong><\/p>\n

“Billie Holiday loved the way that Lester Young played fills and harmonies behind her when she sang.”<\/p>\n

<\/h5>\n
<\/h5>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner 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=”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\/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”][vc_column_text]Billie Holiday and Lester Young first met in 1934 and while they never had a romantic relationship, they were close friends, brother and sister, from the start and shared similar musical viewpoints.<\/p>\n

Holiday had a small voice but she made every note count, expressing her emotions quite effectively in subtle ways and phrasing behind the beat. Young had a light floating tone, particularly compared to the pacesetter of the tenor Coleman Hawkins<\/span><\/a> and, while he could play fast, he preferred to create pretty melodies. They also had complementary viewpoints on life, particularly in the early days.<\/p>\n

Billie Holiday was born April 7, 1915 as Eleanora Fagan in Philadelphia and had a rough childhood. Her parents were never married and her father guitarist Clarence Holiday abandoned his family. Billie dropped out of school at 11, suffered through some harrowing episodes, but discovered jazz in the late 1920s through the recordings of Louis Armstrong<\/span><\/a> and Bessie Smith.<\/p>\n

She began to perform as a singer in nightclubs in 1929 when she was just 14, developing her own style. Producer John Hammond discovered her in 1933 and arranged for her to record two songs later that year with a pickup group led by Benny Goodman. While those records did not sell well, in 1935 Hammond signed her to the Brunswick label where she recorded with all-star groups led by Teddy Wilson. She also started recording in a similar format but as a leader starting later in 1936.<\/p>\n

Lester Young<\/span><\/a> was born Aug. 27, 1909 in Woodville, Mississippi. He freelanced for a few years, was with Walter Page\u2019s Blue Devils in Kansas City in 1932 and joined Count Basie the following year. He played with Andy Kirk\u2019s orchestra for six months but his very individual style was looked down upon and he was soon back with Basie\u2019s band back in Kansas City. Lester Young was the band\u2019s star soloist for the next five years. His tone and style fit in perfectly with the light but always-swinging Basie rhythm section.<\/p>\n

Soon after Young and Holiday met, the tenor named her \u201cLady Day.\u201d In return Holiday, who greatly admired President Franklin D. Roosevelt, named Young \u201cPresident\u201d which was soon shortened to Pres or Prez.<\/p>\n

They had some opportunities to perform together in Harlem clubs, but the first time their musical partnership was documented was on her recording date with Teddy Wilson on Jan. 25, 1937. During the next 4 \u00bd years, they appeared together on 12 sessions, recording 45 songs (along with 26 alternate takes) that made musical history.<\/p>\n

Five of the sessions were in 1937. It all began on Jan. 25 with the ironically titled \u201cHe Ain\u2019t Got Rhythm,\u201d a lightweight pop tune that they uplifted. However this session is best remembered for \u201cThis Year\u2019s Kisses,\u201d \u201cWhy Was I Born,\u201d and particularly \u201cI Must Have That Man.\u201d Young\u2019s very warm playing on the latter perfectly fit Lady Day\u2019s singing which is full of yearning and optimism.[\/vc_column_text][vc_zigzag el_width=”60″][vc_column_text]\n

Teddy Wilson and his Orchestra
\n<\/em>\u201cI Must Have That Man\u201d
\n<\/em>January 25, 1937<\/em><\/h3>\n

Buck Clayton (tp), Benny Goodman (cl), Lester Young (ts), Teddy Wilson (p), Freddie Green (g), Walter Page (b), Jo Jones (d), Billie Holiday (vcl).<\/em><\/p>\n[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=ddvSBEws7ak” el_width=”60″ align=”center”][\/vc_column_inner][\/vc_row_inner][vc_zigzag el_width=”60″][vc_column_text]While the inclusion of Benny Goodman on that first date was a rarity (he was a rather busy bandleader during the era), having trumpeter Buck Clayton plus the Basie rhythm section (with Teddy Wilson on piano) was an inspiration. Clayton would be a bright spot on nine of the first ten Holiday-Young sessions. His understated power and sensitive playing were always strong assets.<\/p>\n

The May 11, 1937 set is highlighted by two gems: \u201cI\u2019ll Get By\u201d (a hit for Dick Haymes with Harry James several years later) and \u201cMean To Me\u201d (a standard since the late 1920s). While those two songs would have long histories and other memorable recordings, the interplay between the singer and the tenor on this session is particularly memorable, although altoist Johnny Hodges\u2019 beautiful solo on the former practically steals the show.<\/p>\n

The music from June 1, 1937 (with clarinetist Buster Bailey) is particularly joyful, especially \u201cEasy Living\u201d and \u201cFoolin\u2019 Myself.\u201d The mood carries over to the June 18, 1937 set which includes \u201cA Sailboat In The Moonlight,\u201d \u201cWithout Your Love,\u201d and the somewhat exuberant \u201cMe, Myself And I.\u201d These two sessions are a reminder of how happy Billie Holiday often sounded during the era.<\/p>\n

This was a period when Lady Day and Pres were performing together on a nightly basis as members of the Count Basie Orchestra. Unfortunately, Holiday\u2019s recording contract was with Vocalion\/Brunswick while Basie was with Decca so they could not record together. All that exists of her period with Basie are two vocals from radio broadcasts (\u201cThey Can\u2019t Take That Away From Me\u201d and Swing, Brother, Swing\u201d), neither of which feature Young.<\/p>\n

Holiday, Young, Clayton, Bailey and the Basie rhythm section (with pianist Claude Thornhill) met up again on Sept. 13, 1937 with \u201cHe\u2019s Funny That Way\u201d and \u201cGetting Some Fun Out Of Life\u201d taking honors.<\/p>\n

However the Jan. 6, 1938 session, with trombonist Benny Morton in Bailey\u2019s place and Teddy Wilson back on piano, was difficult to beat. \u201cMy First Impression Of You\u201d is somewhat forgettable but a medium-slow \u201cI Can\u2019t Believe That You\u2019re In Love With Me,\u201d \u201cIf Dreams Come True,\u201d and particularly \u201cWhen You\u2019re Smiling\u201d are gems. The latter, which has a wonderful tenor solo, could have gone on far past the three-minutes of the 78. Young\u2019s chorus is a classic and one could imagine Lady Day returning for more.[\/vc_column_text][vc_zigzag el_width=”60″][vc_column_text]\n

Teddy Wilson and his Orchestra
\n<\/em>\u201cWhen You\u2019re Smiling\u201d
\n<\/em>January 6, 1938<\/em><\/h3>\n

Buck Clayton (tp), Benny Morton (tb), Lester Young (ts), Teddy Wilson (p), Freddie Green (g), Walter Page (b), Jo Jones (d), Billie Holiday (vcl).<\/em><\/p>\n[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=u-KJM1MwWp8″ el_width=”60″ align=”center”][vc_zigzag el_width=”60″][vc_column_text]The same lineup returned on Jan. 27, 1938 for pleasing renditions of \u201cNow They Call It Swing,\u201d \u201cBack In Your Own Backyard,\u201d \u201cOn The Sentimental Side,\u201d and \u201cWhen A Woman Loves A Man.\u201d Here, as on the other sessions, the Holiday-Young combination results in some magical moments.<\/p>\n

Billie Holiday spent much of 1938 singing with Artie Shaw\u2019s<\/span><\/a> increasingly popular orchestra. Once again she and the bandleader were signed to different labels so only one title, \u201cAny Old Time\u201d which was quickly withdrawn, resulted from their collaboration.<\/p>\n

On Sept. 16, 1938 Holiday was ready to sing with Young and the other Basie sidemen again (including trombonist Dickie Wells) and, while no classic resulted (\u201cThe Very Thought Of You\u201d with Young on clarinet is best), one can imagine that she enjoyed the reunion. The two titles from Oct. 31 with a larger group that included six horns counting Young, is less eventful.<\/p>\n

Surprisingly at this point in time, although Billie Holiday continued recording regularly and Lester Young<\/span><\/a> stayed busy with Basie, there were only three more joint recording sessions; one apiece in 1939, 1940 and 1941. Lady Day was becoming a star and her newer records, while still jazz-oriented, often had little solo space for her sidemen.<\/p>\n

For her Dec. 13, 1939 session, she uses a nonet from the Basie band (other than pianist Joe Sullivan) and Young was a minor figure on such numbers as \u201cNight And Day\u201d and \u201cThe Man I Love.\u201d The June 7, 1940 date with Roy Eldridge and four saxophonists including Young was better, particularly \u201cLaughing At Life.\u201d But the Mar. 21, 1941 set in which Young is part of a septet led by pianist Eddie Heywood is best.<\/p>\n

On \u201cAll Of Me,\u201d Lady Day and Pres bring back their old musical magic and create their final classic recording.[\/vc_column_text][vc_zigzag el_width=”60″][vc_column_text]\n

Billie Holiday with Eddie Heywood Orchestra
\n<\/em>\u201cAll Of Me\u201d
\n<\/em>March 21, 1941<\/em><\/h3>\n

Shad Collins (tp), Leslie Johnakins, Eddie Barefield (as), Lester Young (ts), Eddie Heywood (p), John Collins (g), Ted Sturgis (b), Kenny Clarke (d), Billie Holiday (vcl).<\/em><\/p>\n[\/vc_column_text][vc_video link=”https:\/\/www.youtube.com\/watch?v=ysJ2OQ9Ngmo” el_width=”60″ align=”center”][vc_zigzag el_width=”60″][vc_column_text]Billie Holiday and Lester Young soon drifted apart. When Young left the Basie band in 1941, he was featured with a septet that he co-led with his brother drummer Lee Young. Billie Holiday was a guest on their radio broadcast of June 1, 1942, but that band was never a success.<\/p>\n

Young had a mostly happy second period with the Basie band during 1943-44 before being drafted and having a horrifying experience in the Army. After his discharge in 1945, he often played quite well but his state of mind was not the best and he became an alcoholic.<\/p>\n

While Billie Holiday\u2019s singing on her Decca recordings of the 1940s was some of the best of her career, her personal life was challenging and she spent a year in jail due to her drug problems. Pres did not care for the type of men who Holiday was choosing as her boyfriends and he was disturbed by her drug use and heroin addiction. While few details are known about their disagreements, their friendship was strained and they did not even see each other at all for three years in the early 1950s.<\/p>\n

They did gradually overcome their differences. Young sat in with Lady Day at the 1954 Newport Jazz Festival and on May 6, 1955 they appeared together at a Basie reunion concert at Carnegie Hall.<\/p>\n

At the time of the famous Sound Of Jazz telecast of Dec. 8, 1957, Lester Young was in bad physical shape, barely able to stand up. He was supposed to be featured on several of the numbers during the show but was only able to solo on one, not wanting to pass up playing \u201cFine And Mellow\u201d with Billie Holiday.<\/p>\n

While there were solos by the likes of Coleman Hawkins<\/span><\/a>, Ben Webster, Gerry Mulligan, Vic Dickenson and Roy Eldridge and heartfelt singing by Lady Day, Young\u2019s single chorus provided the most touching moments as Holiday looked on and seemed to be thinking about the mutual love they felt and their many shared experiences.[\/vc_column_text][\/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” 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”][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\/1″ 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_zigzag el_width=”60″][nectar_post_grid post_type=”post” blog_category=”lester-young” order=”DESC” orderby=”date” pagination=”none” columns=”3″ grid_item_spacing=”10px” grid_item_height=”40vh” image_size=”large” image_loading=”default” animation=”none” heading_tag=”default” grid_style=”content_overlaid” text_content_layout=”all_bottom_left” color_overlay_opacity=”0.1″ color_overlay_hover_opacity=”0.1″ text_color=”light” text_color_hover=”light” hover_effect=”zoom” border_radius=”none”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

Need writeup<\/p>\n","protected":false},"author":6,"featured_media":8731,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[96,103,66,78,109,77,65,76,105],"tags":[],"yoast_head":"\nLester Young & Billie Holiday - Insightful analysis by Scott Yanow<\/title>\n<meta name=\"description\" content=\"Billie Holiday loved the way that Lester Young played fills and harmonies behind her when she sang. - Mosaic Records\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.mosaicrecords.com\/lester-young-and-billie-holiday\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Lester Young & Billie Holiday - Insightful analysis by Scott Yanow\" \/>\n<meta property=\"og:description\" content=\"Billie Holiday loved the way that Lester Young played fills and harmonies behind her when she sang. - 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