.com With his airy, vibratoless tone and sophisticated harmonic imagination, Lester Young (1909-59) was arguably the most influential tenor saxophonist after Coleman Hawkins. As the star in Count Basie's big band and Billie Holiday's favorite soloist, Young's breezy solos, along with his patented porkpie hat and unique hipster jargon, affected legions of musicians. This 8-CD compilation marks the 90th anniversary of Young's birth and contains all of the recordings he made for producer Norman Granz from 1946 to 1959, the last 13 years of Young's life. This collection aurally illustrates his supernatural ability to enliven the most familiar pop tunes and rise above his own pharmaceutically challenged physical state to create magic. The keys to Young's music making is his emphasis on knowing the lyrics to songs and on telling a story, delivering a melodic solo that communicates as it innovates. Composed primarily of small combos, these tracks' themes are set by the piano players. Nat King Cole's walking bass lines and drummer Buddy Rich's pepperings cushion Young's Icarusian flights on "I Cover the Waterfront," "The Man I Love," and "Polka Dots and Moonbeams." On "I Found a New Baby" Young's delivery previews the bebop of Charlie Parker and on "Too Marvelous for Words" Young's subtones echo the long, tall sounds of Dexter Gordon. A quartet with pianist John Lewis, drummer and Basie bandmate Jo Jones, and bassist Gene Ramey offers similar results with Young's poetic versions of the riff tune "Neenah" and "Three Little Words," with Lewis's telepathic comping. Oscar Peterson's supersonic style, Barney Kessel's guitar, bassist Ray Brown, and percussionist J.C. Heard light a fire under Young on the down-home "Ad Lib Blues" and "It Takes Two to Tango"--with Young's hilarious vocal. With another quintet featuring Gildo Mahones at the keys and Connie Kay at the traps, Young revisits his days with Count Basie on the festive "Jumpin' at the Woodside." Another Basie bandmate, Harry "Sweets" Edison, lends his territory-toned chops to the hit "One O'Clock Jump." On "You Can Depend on Me" and "Gigantic Blues" Roy Eldridge's hot trumpet and Vic Dickenson's muscular trombone provide the perfect counterpoint to Young's ethereal excursions. The two takes of "St. Tropez" are the only recordings with Young on clarinet, and the leader delves into Latin jazz on "Frenesi," "In a Little Spanish Town," and "Another Mambo." By the time he made his last sessions in Paris in 1959 with drummer Kenny Clarke and pianist Rene Urtreger, Young had lost his technical luster, but he gained a deep spiritual presence, as evidenced by the haunting takes on "I Cover the Waterfront" and "Oh, Lady, Be Good." The noted jazz author John Chilton's biographical essay, along with Harry "Sweets" Edison's loving memoir, Dave Gelly's musicological analysis, and two recorded interviews with Young are detailed, profane, and informative. But Bryan Koniarz's "Hipster's Dictionary" of Young's slang steals the show. From the Lestorian lexicon we get words like "Far Out" for guitarist Slim Gaillard, "little claps" for applause, and "Lady Day" for Billie Holiday, who in turn named the great saxophonist "Prez," for he was the commander in chief of jazz. --Eugene Holley Jr. Review Some claim Lester Young was as great a soloist at 48 as he was at 28. Don't buy it. Prez's best work was done when he was between 27 and 32 (1936 to '41). During these years, he played with unsurpassed grace and youthfulness. He made a number of fine records after that, but gradually declined until his death in 1959.After leaving Count Basie in December, 1940, Young began to record more slow-tempoed selections and blues. His tone thickened, he used the lower register more, and swung less buoyantly. From the mid '40s on, he employed odd intervals, which gave his work an eccentric quality. In his last years, Young used a breathy vibrato, which, on ballads, made him sound like Ben Webster.This eight-CD set contains the bulk of the recordings Young cut from 1949 to 1959 plus a 1946 trio session with Nat Cole and Buddy Rich, which is nice, but not in a class with the stuff he recorded with Rich and bassist Red Callendar in 1941. He also appears in quartets, quintets, and sextets with musicians including Hank Jones, John Lewis, Teddy Wilson, Oscar Peterson, Roy Eldridge, Harry Edison, and Kenny Clarke.Given Young's physical condition, which was deteriorating due to heavy drinking and severe depression, it's almost surprising that he plays as well as he does here. But generally, his early '50s playing is laudable. He turns in fine solos on ballads (1953's "Can't We Be Friends"), blues (1951's "Undercover Girl Blues"), and uptempo numbers (1951's "In a Little Spanish Town").Around 1955, though, his work became more repetitive, economical, and less inventive. At times, it's downright listless. He displays far less energy than his contemporaries, Wilson, Eldridge, and Edison. However, his last recorded solos are strangely moving, giving us an aural portrait of a dying man.Also contained on this set are two recorded interviews with Young. These are sometimes humorous, full of Young's patented slang, but ultimately extremely bitter.--- Harvy Pekar, JAZZIZ Magazine Copyright © 2000, Milor Entertainment, Inc. -- From Jazziz
G**Z
Harvy Pekar knows very little about Lester Young
To say that Lester Young's best work was complete by the early 40's is ridiculous. This is a statement made by a person who clearly knows the subject very little. Mr. Pekar seems to have read a few reviews and then decided to write his own - without examining the body of work. Not research, just parroting.Now, is this the best Lester Young available? Absolutely not. But what you're getting here is STUDIO SESSIONS. Lester made several very fine studio sessions in the 50's but his best work from the 50's - and, some of Lester's BEST WORK - are the live performances that we're so fortunate to have record of.In this set you get the Studio Sessions - many of them being very fine sets. Listen to the Lester Young TRIO set and you'll hear something marvelous. Some of these studio sessions, however, are lackluster. Lester was known in the 50's to have his "set list" of songs. Having no permanent backing group, Lester played with mostly pickup groups and so we have countless versions of "Polka Dots and Moonbeams", "Indiana", etc. Don't you imagine that Lester was tired of these same old songs played in the studio each time that he was to record? Of course he was. Thus we hear boredom, then depression and finally hopelessness as his body began to rapidly deteriorate (and quite possibly his mind as well).If one chooses to listen to the Lester Young in Washington CD's (1956) or some of the later (admittedly, selected) live performances then one will hear that Lester still had vitality, inventiveness and swing in his playing until darned near the end of his life. So for Harvy Pekar to say that Lester was "done" after the early 40's is a load of bull-butter. Pekar knows not of what he speaks.This set is for those who want to hear the STUDIO work of Lester - which is somewhat depressing towards the end. Lester had given up on STUDIO work - and in the later period ('57 and on) he pretty much gave up on life. The latter studio sessions show this. However, there is beauty in the economy and unfortunately, beauty in hearing Lester pour his grief into these sessions. It is written that many tears from his fellow musicians were generated from working these sessions and listening to the hopelessness and loneliness that Lester experienced, put through his instrument on these sides.So yes - this set is what it is. We're better for it (as Lester fans) and yes, there is a lot of depression on the last studio sides. But what we have to do in addressing Harvy Pekar's misgivings is to understand that Lester was capable and DID produce many good to very good live performances during this time.Lester's possible apex was the Aladdin Sessions. For anyone with ears, it's simple to hear that Lester was vital and original until the end. Listen to the body of work before making such general judgements, "Harv". This is Lester Young - not Ace Cannon.4 Star rating for the Lester Young Fan2 Star rating for those looking for an introduction to Lester Young-1 Star rating for Pekar's reviewFor those who are interested, pick up a used copy of:You Just Fight for Your Life: The Story of Lester Young by Frank Buchmann-MollerThis is THE definitive Lester Young reader and I've read them all.
B**L
Sax Lover's Delight
Great album for Lester Young fans.
B**Z
Lester's last 10 years: a must-have set
An 8-CD box set is a major investment for most people, but without a doubt this set is worth every penny. After recording for mainly Savoy and Aladdin for a few years after the war, Lester signed on with Norman Granz's Verve label (Clef/Norgran/Verve) and remained with the label for the last ten years of his life. Lester's entire recording career going back to the Basie days spanned only about 23 years, so this box set gathers almost half (time-wise) of Pres's recorded output.It's an exhilarating compilation of music, and captures some of Lester's finest post-war performances on the earlier discs, while tracing his gradual at first, and then very sudden, decline in power as his health became poor. The first 3 discs are virtually flawless, with one gem after another flowing from Young's tenor. Beginning with the famous trio date with Nat Cole and Buddy Rich that produced the masterpieces BACK TO THE LAND and I WANT TO BE HAPPY (though the sound here and on every CD issue of this date I've listened to isn't as good as the LP re-issue from the 1970s) and continuing with lengthy sessions with Hank Jones, John Lewis, and Oscar Peterson, the music remains at a very high level. THREE LITTLE WORDS, IT ALL DEPENDS ON YOU, NEENAH,, JEEPERS CREEPERS, AD LIB BLUES, a gorgeous STAR DUST, among many others all capture Pres laying down unforgettable jazz performances.In the early '50s he established a working band that included Jesse Drakes on trumpet, and quite a few sessions feature this group. And as the decade continued he also recorded with Sweets Edison and Roy Eldridge. By 1956, however, Lester's health began to suffer, and so did his recordings. Some of his last albums (GOING FOR MYSELF, IN PARIS) are painful to listen to (only because earlier efforts were so outstanding), but even here Pres can at times rise to the occasion (the tune PRES RETURNS is brilliant).Lester Young was one of the giants in jazz and anyone interested in the music must hear the wonderful things this man created. A ridiculous argument has gone on for years in jazz circles that all of Lester's worthwhile recordings were made with Basie prior to the war and that his army experience ruined him with nothing of musical value coming after that - ridiculous, as I said. This box set will hopefully put that argument to rest. There are many, many brilliant recordings here, and these 8-CDs go far in providing us with an honest picture of a genius, in good times and bad. The packaging is very handsome and there's a 100-page booklet, informative and interesting, included. I have very BIG EYES for this set. A must-have CD set in my book.
J**N
Yummy expressive soloing
Young's soloing is so much more interesting on these mainly 50's studio recordings compared to his earlier pre-war stuff - more ambitious, like a musical explorer: especially on discs 6 and 7 he really gets radical soloing over the extremely corny sounding rhythm section, playing in ballad mode over the vanilla chika-boom beat.Sweets Edison at times also gets a little expressive and radical with the beat (and his tone) - inspired I suspect by The Master.Just don't expect sophisticated group interplay - concentrate on Young (and Sweets).You will then be rewarded by a feast of beauty that I predict will give you comfort and restoreth your soul.P.S. I bought mine recently on eBay for $100 used with discs in mint condition.
S**A
Well woth the price
I've always been more of a Miles fan, but since hearing a few tracks of 'The Prez', I took the plunge and bought this set.I'm happy to say that I have it on a good deal. It's fantastic background music, and I'm glad I didn't just buy one or two of his disks.There's also a huge book with it (84 pages maybe?) That has a complete biography, as well as a list of Jazz terms he has been credited with coining. (Though crediting him with some of them might be a little far fetched) As Mose Allison tells us...."Sold all my Basie with LesterI ain't got nothing but the Blues"You won't be sorry.
J**P
Authentic Lester Young Box / Amazon BARGAIN!
THE COMPLETE LESTER YOUNG STUDIO SESSIONS ON VERVE (Verve) 8 CD Box setThis is the current re-issued budget box set edition of this title.It is packaged in a sturdy cardboard box with a hinged lid. The 8 CDs are all housed in separate numbered cardboard sleeves. They all have the same front image as that on the front of the box with basic track listing on the back sleeve. There is also a 28 page booklet with notes by Dave Gelly plus all studio session information.All discs were mastered by Kevin Reeves.I have enjoyed listening to all the sessions, and appreciate that they are presented here in the order they were originally recorded. All these recordings are well worth having. As a bonus there are two (unedited) interviews with Lester tagged on to the end of CD8.It should be much welcomed that all these sessions have been made available again, and in budget format at an attractive price. I would strongly recommend this box to anyone missing out on any of these Verve studio sessions. Prior to purchase I had a few Lester Young Verve CDs but I am extra pleased in hindsight that having them did not prevent me from buying this wonderful COMPLETE CRUCIAL box set.*The cardboard box itself is very compact and looks really cool. I was glad when I found out it was not one of those unattractive and very clunky fat boy budget box sets.Get yourself a copy of this 8 CD set while it is still in print!
C**H
Old Before His Time
Lester Young's last decade is often dismissed, but there is none the less much to enjoy here; and the essay by Dave Gelly is informative.
S**D
Simple, efficient, utilitarian box and sleeves, brilliant transfers.
The compilation credits refer to the specific non use of noise reduction techniques! Thank you music lovers!
G**O
Indispensabile anche per le rarissime interviste rilasciate da Pres.
CD bellissimo, consigliato a tutti i fans del Presidente...
D**O
Prez, la poesia è qui
Tutti dobbiamo moltissimo a Lester Young.La musica deve tuttora saldare il debito con uno dei più intensi poeti del Novecento. Le parole valgono poco: l’emozione è sentirlo suonare, nell’’anticipazione percepita, lieve, commossa e alta del termine dei giorni terreni. Meraviglioso
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