Jazz Masters: Lester Young

Album Title: With Oscar Peterson Trio
Artist(s): Lester Young, with Oscar Peterson, Ray Brown, Barney Kessel, JC Heard
Original Release Date: 1952
Remastered 1997
Label: Polygram

In any discussion about strong influences in jazz, if you know anything at all about jazz and its rich history, probably one of the first names to pop into your head would be that of tenor saxophone great, Willis Lester 'Prez' Young. It's a good bet that there is not a single jazz reed player alive today whose playing has not been, at least in some small way, touched by the great Lester Young. Stan Getz, Al Cohn, Paul Desmond, Lee Konitz, Gerry Mulligan, Zoot Sims, Dexter Gordon, Sonny Stitt - all at one time or another, paid the Prez this ultimate of tributes. Brew Moore, the 'Fifth Brother' in that fantastic Woody Herman 'Thundering Herd' reed section of the late forties and early fifties, once said, 'If you don't play like Lester Young, you're wrong!'

In Young's later performing and recording years (he died in 1959) his lush, breathy style had become particularly notable in his ballad work, and none of his recordings illustrate the poignancy and rich elegance of this style more eloquently than does this album. With the backing of a solid rhythm section led by Oscar Peterson, and featuring bassist Ray Brown, the drumbeats of JC Heard and Barney Kessel's superb virtuoso guitar playing, With Oscar Peterson Trio is, arguably, the signature album of this phase of the Prez's recording career.

Young's innovative style can be traced as far back as the thirties, while, as a member of Count Basie's big band, he introduced and began to develop this hipper, more cerebral 'cool' groove, overtaking the honkers of the Coleman Hawkins' school of hard-driving, dissonant, raucous, even at times, undisciplined style of tenor playing, which was epitomized, perhaps, by the Illinois Jacquets, Jack McVeas and the aforementioned Coleman Hawkinses of the JATP set. This more coherent and subdued - but no less beat driven - brand of jazz, which in later years evolved into what we now call the 'west coast' sound, was especially prominent in Young's work with Billie Holliday. Holliday, it was said, was responsible for the soubriquet 'The Prez' and he, in return, so goes the legend, dubbed her 'Lady Day'. It was by Billie Holliday that Lester Young was nominated, elected and inaugurated 'The President of the Tenor Saxophone'. (Actually, this story is probably more myth than fact. Other sources tell us that the 'President' moniker was the brainchild of some of the members of the Oklahoma City Blue Devils, a band with whom he played in the early thirties.)

But, as this album so vividly demonstrates, Prez was about much more than an innovative tone. The 'breath heavy' ballad technique in earlier times, had been used with great effect by Ben Webster, (another JATP alumnus) but good as he was, Webster couldn't shake the gravelly quality that was always present in his playing, especially in upbeat numbers, and while his overall technique was absolutely first-rate, it just couldn't compare with the full package of musicianship exemplified by the great Lester Young. Playing ever-so-subtlely just behind the beat, Young's impeccable timing, phrasing and his exquisite sense of harmony were unmatched by any of his contemporaries.

After he was dishonorably dischaged from the Army in 1945 (he had been court-martialed for marijuana and barbiturate possession) following a miserable (for him) fourteen months of military service, many feared that the lasting effects of his unhappy Army experiences would diminish his skills as a musician. This album, cut seven years later, is a resounding refutation of those fears.

On this album, 'Prez' is joined by a young Oscar Peterson and the other three members of his group, drummer JC Heard, bassist Ray Brown and guitarist Barney Kessel, who in my opinion, was one of the finest jazz guitarists who has ever lived.

(Photo: Barney Kessel)

Starting with Ad Lib Blues, Young's own composition, and continuing through all twelve tracks, the straight-forwardness and the nostalgic sounds on this album will take old-time jazzers (like me) back to the early days of modern jazz. Back to the 'pre bop' era.

No fooling around - no experimentation or innovation with clever lines or goofy time signatures - no 'new age' or 'free jazz' - no 'fusion' or 'smooth' jazz - It's all just pure, straight-ahead  classic 4/4 jazz in every sense, but always with Young's unmistakeable trademark rhythmic surprises.

It's hard to imagine a ballad like There Will Never Be Another You, the old Harry Warren/Mack Gordon chestnut, being delivered with the same delicate intensity and as masterfully as it is by these five players, from whatever era one cares to name.

This album is loaded with tasty standards, and there's even a bit of tom-foolery at the end as listeners get to sit in on a couple of rehearsals. It's an album that will provide many hours of happy listening and it definitely belongs in any serious jazz collection
L.A.

From the original liner notes:

Saxophonists come and saxopnonists go but Lester Young swings on forever. There may be other tenor men with more technique, some of them even with as much swing, but for what Lester does, no one has ever matched it.

There is hardly a tenor saxophone player today who can play an entire chorus without playing some Lester Young.

[:::]

He is not called 'The Pres' for nothing: He is!

When he first made the jazz world conscious of his horn, sliding gently out of the Basie sax section and swinging and swinging and swinging in front of the band, he set the definitive style for tenors. He was 'cool' before the word ever entered the jazz dictionary. In fact, he probably put it there, as he has made more than his share of contributions to jazz slang.

One of the things that makes Lester Young's music so valid is the fact that his playing experience goes all the way back to King Oliver, and his musical sources therefore, include the whole range of jazz. Lester Young is closing his second decade as a major influence in jazz. You can tell, when you hear the sides in this LP, why he has remained on top for so long.

On these sides, The Pres is backed by the Oscar Peterson Trio [actually, it's a quartet] Barney Kessel, guitar; Ray Brown, bass and the drums of JC Heard. With musicians of this stature to complement his playing, he is allowed full rein for his creative talents.

Track Listing:
1) Ad Lib Blues (Young) 5:50
2) I Can't Get Started (Duke/Gershwin) 3:39
3) Just You, Just me (Greer/Klages) 7:37
4) Almost Like Being In Love (Lerner/Lowe) 3:31
5) Tea For Two ( Youmans/Caesar) 7:42
6) There Will Never Be Another You (Warren/Gordon) 3:25
7) Indiana (Hanley/MacDonald) 7:01
8) On the Sunny Side of the Street (McHugh/Fields) 3:24
9) Star Dust (Carmichael) 3:31
10) I'm Confessin' (Daugherty/Reynolds/Neiburg) 3:39
11) I Can't Give You Anything But Love (McHugh/Fields) 3:19
12) These Foolish Things (Link/Stracey/Maxwell/Maschwitz) 3:24
13) Rehearsal

Click on album cover image in side-bar for album detail, then click on 'listen' to hear mp3 sample.

Next week's Jazz Legend: Chet Baker

Comments

[Volkher Hofmann]

Very interesting review.

For me it is the rock-steady backing of Kessel and Brown that makes this the essential recording it is.

I'm looking forward to the Chet Baker post.

You've got a good thing going here (there really aren't many jazz blogs around that are worthwhile) ... keep it up. I just wish you would write a bit more often. ;)