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| The Complete Savoy Recordings [ ÉLŐ ] |
| Lester Young |
első megjelenés éve: 1950
154 perc |
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| (2002)
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2 x CD |
| 7.401 Ft
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| 1. CD tartalma: |
| 1. | These Foolish Things Remind Me Of You -- Take 1 master
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| 2. | Exercise In Swing -- Take 1 master
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| 3. | Exercise In Swing -- Take 2
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| 4. | Exercise In Swing -- Take 3
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| 5. | Exercise In Swing -- Take 4
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| 6. | Salute To Fats -- Take 1
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| 7. | Salute To Fats -- Take 2
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| 8. | Salute To Fats -- Take 3
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| 9. | Salute To Fats -- Take 4
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| 10. | Salute To Fats -- Take 5 master
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| 11. | Basie English -- Take 1
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| 12. | Basie English -- Take 2 master
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| 13. | Empty Hearted -- Take 1 master
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| 14. | Circus In Rhythm -- Take 1 master
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| 15. | Circus In Rhythm -- Take 2
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| 16. | Circus In Rhythm -- Take 3
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| 17. | Poor Little Plaything -- Take 1 master
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| 18. | Poor Little Plaything -- Take 2
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| 19. | Tush -- Take 1
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| 20. | Tush -- Take 2 master
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| 21. | Blue Lester [Lester's Blues / Say Bartell] -- Take 1 master
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| 22. | Ghost Of A Chance -- Take 1
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| 23. | Ghost Of A Chance -- Take 2 master
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| 24. | Indiana -- Take 1
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| 25. | Indiana -- Take 2 master
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| 26. | Jump, Lester, Jump
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| 2. CD tartalma: |
| 1. | Crazy Over J--Z Take 1
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| 2. | Crazy Over J--Z Take 2
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| 3. | Crazy Over J--Z Take 3 master
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| 4. | Ding Dong -- Take 1
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| 5. | Ding Dong -- Take 2
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| 6. | Ding Dong -- Take 3 master
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| 7. | Blues 'N' Bells -- Take 1
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| 8. | Blues 'N' Bells -- Take 2
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| 9. | Blues 'N' Bells -- Take 3 master
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| 10. | June Bug -- Take 1 master
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| 11. | Neenah [Lester's Blues No.1 -- MG 12155]
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| 12. | Body And Soul
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| 13. | Up And Adam [Lester Warms Up -- MG 12155]
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| 14. | Big Eyes Blues [Lester's Blues No.2 -- MG 12155]
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| 15. | One O'Clock Blues
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| 16. | Lester's Mop Mop Blues [Up And Atom -- MG 12155]
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| 17. | Pennies From Heaven
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| 18. | I Can't Get Started
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| 19. | How High The Moon
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| 20. | Jumpin' With Symphony Sid
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Jazz / Bop, Swing
Recorded: 1944-1950, WOR, Chicago, Illinois
Lester Young, tenor saxophone All
Billy Butterfield, trumpet 1-12 (1)
Hank D'Amico, clarinet 1-12 (1)
Johnny Guarnieri, piano 1-12 (1)
Dexter Hall, guitar 1-12 (1)
Billy Taylor, bass 1-12 (1)
Cozy Cole, drums 1-12 (1)
Joe Newman, trumpets 13-20 (1)
Ed Lewis, trumpets 13-20 (1)
Al Killian, trumpets 13-20 (1)
Harry Edison, trumpets 13-20 (1)
Eli Robinson, trombone 13-20 (1)
Dicky Wells, trombone 13-20 (1)
Ted Donnelly, trombone 13-20 (1)
Lou Taylor, trombone 13-20 (1)
Earl Warren, alto saxes 13-20 (1)
Jimmy Powell, alto saxes 13-20 (1)
Buddy Tate, tenor saxophone 13-20 (1)
Rudy Rutherford, baritone saxophone 13-20 (1)
Clyde Hart, piano 13-20 (1)
Freddie Green, guitar 13-26 (1)
Rodney Richardson, bass 13-26 (1)
Jo Jones, drums 13-20 (1), 11-20 (2)
Earl Warren, vocals 13, 17, 18 (1)
Count Basie, piano 21-26 (1)
Shadow Wilson, drums 21-26 (1)
Jessie Drakes, trumpet 1-20 (2)
Jerry Elliott, trombone 1-10 (2)
Junior Mance, piano 1-10 (2)
Leroy Jackson, bass 1-10 (2)
Roy Haynes, drums 1-10 (2)
Kenny Drew, piano 11-19 (2)
Joe Shulman, bass 11-19 (2)
2002's The Complete Savoy Recordings contains all 46 recordings Lester Young recorded for Savoy, including numerous alternate takes. This set is nicely assembled, boasting 20-Bit remastering, with good notes and logical sequencing (even if the successions of alternate takes do skew it a bit toward the historian, not the casual listener), making this the best set to date of Young's pivotal Savoy recordings. ~ Stephen Thomas Erlewine, All Music Guide
Includes liner notes by Loren Schoenberg.
Lester Young
Active Decades: '30s, '40s and '50s
Born: Aug 27, 1909 in Woodville, MS
Died: Mar 15, 1959 in New York, NY
Genre: Jazz
Styles: Bop, Cool, Mainstream Jazz, Swing
Lester Young was one of the true jazz giants, a tenor saxophonist who came up with a completely different conception in which to play his horn, floating over bar lines with a light tone rather than adopting Coleman Hawkins' then-dominant forceful approach. A non-conformist, Young (nicknamed "Pres" by Billie Holiday) had the ironic experience in the 1950s of hearing many young tenors try to sound exactly like him.
Although he spent his earliest days near New Orleans, Lester Young lived in Minneapolis by 1920, playing in a legendary family band. He studied violin, trumpet, and drums, starting on alto at age 13. Because he refused to tour in the South, Young left home in 1927 and instead toured with Art Bronson's Bostonians, switching to tenor. He was back with the family band in 1929 and then freelanced for a few years, playing with Walter Page's Blue Devils (1930), Eddie Barefield in 1931, back with the Blue Devils during 1932-1933, and Bennie Moten and King Oliver (both 1933). He was with Count Basie for the first time in 1934 but left to replace Coleman Hawkins with Fletcher Henderson. Unfortunately, it was expected that Young would try to emulate Hawk, and his laid-back sound angered Henderson's sidemen, resulting in Pres not lasting long. After a tour with Andy Kirk and a few brief jobs, Lester Young was back with Basie in 1936, just in time to star with the band as they headed East. Young made history during his years with Basie, not only participating on Count's record dates but starring with Billie Holiday and Teddy Wilson on a series of classic small-group sessions. In addition, on his rare recordings on clarinet with Basie and the Kansas City Six, Young displayed a very original cool sound that almost sounded like altoist Paul Desmond in the 1950s. After leaving Count in 1940, Young's career became a bit aimless, not capitalizing on his fame in the jazz world. He co-led a low-profile band with his brother, drummer Lee Young, in Los Angeles until re-joining Basie in December 1943. Young had a happy nine months back with the band, recorded a memorable quartet session with bassist Slam Stewart, and starred in the short film Jammin' the Blues before he was drafted. His experiences dealing with racism in the military were horrifying, affecting his mental state of mind for the remainder of his life.
Although many critics have written that Lester Young never sounded as good after getting out of the military, despite erratic health he actually was at his prime in the mid- to late-'40s. He toured (and was well paid by Norman Granz) with Jazz at the Philharmonic on and off through the '40s and '50s, made a wonderful series of recordings for Aladdin, and worked steadily as a single. Young also adopted his style well to bebop (which he had helped pave the way for in the 1930s). But mentally he was suffering, building a wall between himself and the outside world, and inventing his own colorful vocabulary. Although many of his recordings in the 1950s were excellent (showing a greater emotional depth than in his earlier days), Young was bothered by the fact that some of his white imitators were making much more money than he was. He drank huge amounts of liquor and nearly stopped eating, with predictable results. 1956's Jazz Giants album found him in peak form as did a well documented engagement in Washington, D.C., with a quartet and a last reunion with Count Basie at the 1957 Newport Jazz Festival. But, for the 1957 telecast The Sound of Jazz, Young mostly played sitting down (although he stole the show with an emotional one-chorus blues solo played to Billie Holiday). After becoming ill in Paris in early 1959, Lester Young came home and essentially drank himself to death. Many decades after his death, Pres is still considered (along with Coleman Hawkins and John Coltrane) one of the three most important tenor saxophonists of all time.
---Scott Yanow, All Music Guide |
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