I’ve said it before: Of the people who had the biggest impact on jazz, Lester “Pres” Young (1909-1959) is, sadly, the one whose music is the least known.
About bassist Rodney Richardson--his family reached out to me about wanting somebody to conduct an oral history interview with him. I told them I had a graduate student in mind to do this, but they never followed through. Too bad. That's very cool that you knew him.
That's amazing that you met Jo Jones too. What a great musician. I saw hhim three times and will tell those stories another time. THANK YOU JAY!
You've confused me now. You previously wrote this about Jo Jones: "I Played a bit for him. His reaction? You're playing too loudly he kindly said." Did you mean somebody else?? Maybe Rodney?
Thanks for the info re your Dad's music shop, AFRS discs, meeting RIchardson, etc. That's great that you're playing better than ever! What instrument? THANK YOU JAY
I've got a lot of Pres from all periods, including the small groups from the Basie band and the Savoy things, but I don't see anything from that Dec '45 session. No question that that "Foolish Things" is a masterpiece. Can you please share where it's been released commercially? And those two live things are new to me, and quite revealing.
I too was put off by some of the later stuff like "Rompin'" when he wasn't in great shape. Sometime in the late '70s or early '80s, I had a chance (and brief) meeting by an escalator during an AES Engineering Convention with Val Valentin, who recorded a lot of stuff for Verve, including both Billie and Pres (although not together, of course). When I told him how much I appreciated his work on it, he volunteered without my having said anything about this issue, that there was a lot of material from some of her sessions that he made sure would never see the light of day. Sadly, not everyone working in that industry had that sensitivity, and the will to do something about it. We can all think of examples. One that comes to mind is the second LP from Desmond's last session with Chet; the track released on the first LP was lovely, although I still can't listen to it without bawling. But the other track, properly rejected for that LP, showed up on the second. One of my very favorite albums by Billie is her last, released on MGM, recorded with three different, and very nice, bands. It doesn't have the gloss of "Lady In Satin." but every track really grabs me, whereas "Lady In Satin" does not so much.
Thanks Jim. As Ted noted, "These Foolish Things" is part of most resissues of Young's Aladdin sides. (Also, some older releases had a wrong date in 1946, I believe.) Thanks for appreciating that masterful performance. That's interesting that you met Valentin and that he said that. Yes, there are different philosophies about that, but certainly for the person who just wants to hear good music, it makes no sense to include tracks of the artist at his or her worst! For someone like me, of course, it's different, since my method is to hear literally everything by the artist whenever possible. (Thanks for mentioning Billie's last album, released on MGM, which many confuse with Lady in Satin. I will be posting about late Billie). THANK YOU JIM!
Thanks Ted and Lewis. I had the Aladdin sessions on LP, found the Blue Note CD reissue years ago, and have loved it. It took this essay to connect that particular session with his release from the Army, and to make me listen again to "Foolish Things."
Thank you for the article. It's interesting that you say he became less consistent in the 1950s. I guess that is true as a generalization, but it's worth mentioning the major exceptions, namely "Pres and Teddy" and "Jazz Giants" in 1956, in which he seems to be back in form. Also, the recordings from Olivia's Patio Lounge in Washington, DC, which I think were some of his best ever work - and that's saying something! His rendition of "It's Almost Like Being in Love" is sublime.
To me, one of the fascinations of listening to his music is that his solos always flowed in a way that they were so obviously correct - the way they should have been played. Listen to the opening of his solo in the 1944 version of "Ain't it the Truth". Also, unlike most jazz musicians, he never played a "wrong' note or made a mistake - OK, just once in his solo in "Broadway" in 1941. Nor did he ever get lost in a rendition. Quite amazing!
I have that Dec '56 set on a Schlitten-produced High Note release. Dan Morgenstern, who wrote the liner notes, called it "some of the best late Lester Young you'll hear." I discovered it by accident poking around on ebay. It is, indeed, quite wonderful. As are those Washington recordings. Long before they were issued on CD, I transferred some of the LPs to CDs.
Thanks Jim and BEN--at first I didn't notice this was two different people posting--yes, the Schlitten LP with Dan's notes was the original release of the Pres in Europe. As for Pres and Teddy, and Olivia's etc--PLEASE be patient. As I said, there is a part two of this essay!! BEN--As for Broadway in 41, you must mean the 1940 version which is included in today's post--did you notice it? I'd say that's one of Pres's most perfect--and most copied--creations. So I'm not sure what wrong note you mean??
Great work, Lewis, with fascinating and thought provoking insights. I’m so glad that you agree that Pres’s solo on “Broadway” is among his very greatest. I long ago memorized it and can sing it still. I also think his solo on the alternate take—the one in which he enters too soon—is terrific. My hero —from the time I first heard his horn, on “Doggin’ Around,” when I was 20.
Yes, in fact I had to listen to both takes a few times to decide which to post, and then decided it made more sense, in this context, to go with the original Master take. THANK YOU JIM!
Wow. That 1956 recording in Frankurt rewrites the history books on Pres. Fabulous! So many rabbit holes in this article, Lewis. Still working my way through all the links! Thanks. A million stars for you and Pres.
Are there Savoy recordings that have never been released? Should they be or are they truly inferior? Some of the best early Lester is in the Savory collection but because Benny Goodman is on them and his estate won't allow them to be released ......
Hi Joe, I don't know of any Savoy that is unreleased. As for Bill Savory, the situation with Goodman is too bad, I agree. I can tell you that the version of I Know.. with Pres and Eldridge that WAS released years ago is from the same broadcast as the After You've Gone that I posted. Some of the Savory items are like that, things that exist in other copies--but of course some are unique! Fingers crossed!
I identified with your comment about asking for recommendations from knowledgeable people because when i first started listening to Prez I was confused and disappointed at the inconsistency of his performances on various recordings. Someone,(I think it was John Mosca) said that Al Porcino was a big Prez fan and could recommend which records to check out. Al was already a good friend and I played in the band he formed in NY in 1971 but i had no idea that he was an expert on Prez. Al recommended the Aladdin Sessions which had recently come out as a 2LP set on Blue Note.
I had the great fortune of meeting Jo Jones several times. The first was when a drummer friend, the late Randy Kaye and I attended a Max Roach concert in the Jazz IN The Garden series at MOMA. This was ca. 63-64. I was a warm summer night and people were hanging out on the street afterward and among them was Jo Jones. We began talking to him and he asked what we played and then asked us about how our sight reading was and If I was working on my doubles etc. It was all geared toward giving us advice to help us become working pros. Later on we asked Mr. Jones and Mr.Roach who they thought was the best drummer on the then current scene and they both said the same name; Frank Butler. Years later I would see Jo in Jim and Andy's. I'd say "Hello Mr.Jones" and he'd ask me if I would like a drink and he would shout to the bartender " Rocky!. A bourbon and Clorox for my young friend". Priceless experiences and you can't make this stuff up.
Thanks for these great stories Kenny! That's cool Al Porcino steered you to the Aladdin sessions. I played one gig with Randy Kaye but never met Jo Jones, although I did see him play three times. One was at that MOMA series around 1966. That's amazing that they both said Frank Butler--he has been pretty much forgotten! As for the "Bourbon and Clorox"--Oh my God--you truly cannot make this up. THANK YOU KENNY!!
About bassist Rodney Richardson--his family reached out to me about wanting somebody to conduct an oral history interview with him. I told them I had a graduate student in mind to do this, but they never followed through. Too bad. That's very cool that you knew him.
That's amazing that you met Jo Jones too. What a great musician. I saw hhim three times and will tell those stories another time. THANK YOU JAY!
You've confused me now. You previously wrote this about Jo Jones: "I Played a bit for him. His reaction? You're playing too loudly he kindly said." Did you mean somebody else?? Maybe Rodney?
Thanks for the info re your Dad's music shop, AFRS discs, meeting RIchardson, etc. That's great that you're playing better than ever! What instrument? THANK YOU JAY
Thanks much. I hope you heard the four-part panel discussion between drummers. Don't forget to use my Index:
https://lewisporter.substack.com/p/index
THANK YOU JAY!
I've got a lot of Pres from all periods, including the small groups from the Basie band and the Savoy things, but I don't see anything from that Dec '45 session. No question that that "Foolish Things" is a masterpiece. Can you please share where it's been released commercially? And those two live things are new to me, and quite revealing.
I too was put off by some of the later stuff like "Rompin'" when he wasn't in great shape. Sometime in the late '70s or early '80s, I had a chance (and brief) meeting by an escalator during an AES Engineering Convention with Val Valentin, who recorded a lot of stuff for Verve, including both Billie and Pres (although not together, of course). When I told him how much I appreciated his work on it, he volunteered without my having said anything about this issue, that there was a lot of material from some of her sessions that he made sure would never see the light of day. Sadly, not everyone working in that industry had that sensitivity, and the will to do something about it. We can all think of examples. One that comes to mind is the second LP from Desmond's last session with Chet; the track released on the first LP was lovely, although I still can't listen to it without bawling. But the other track, properly rejected for that LP, showed up on the second. One of my very favorite albums by Billie is her last, released on MGM, recorded with three different, and very nice, bands. It doesn't have the gloss of "Lady In Satin." but every track really grabs me, whereas "Lady In Satin" does not so much.
The December '45 sides were done for Aladdin. Vic Dickenson's on the other 3 sides, too. Lots of reissues of the material.
Thanks Jim. As Ted noted, "These Foolish Things" is part of most resissues of Young's Aladdin sides. (Also, some older releases had a wrong date in 1946, I believe.) Thanks for appreciating that masterful performance. That's interesting that you met Valentin and that he said that. Yes, there are different philosophies about that, but certainly for the person who just wants to hear good music, it makes no sense to include tracks of the artist at his or her worst! For someone like me, of course, it's different, since my method is to hear literally everything by the artist whenever possible. (Thanks for mentioning Billie's last album, released on MGM, which many confuse with Lady in Satin. I will be posting about late Billie). THANK YOU JIM!
Thanks Ted and Lewis. I had the Aladdin sessions on LP, found the Blue Note CD reissue years ago, and have loved it. It took this essay to connect that particular session with his release from the Army, and to make me listen again to "Foolish Things."
I figured you had it somewhere. THANK YOU JIM!
This post is so good that it compelled me to pull the Classic 1936-1947 Count Basie and Lester Young Sessions Mosaic box set off the shelf. Great job.
Jim, the December '45 sides were done for Aladdin, with Vic Dickenson on all but "These Foolish Things". Lots of reissues available.
Thank you for the article. It's interesting that you say he became less consistent in the 1950s. I guess that is true as a generalization, but it's worth mentioning the major exceptions, namely "Pres and Teddy" and "Jazz Giants" in 1956, in which he seems to be back in form. Also, the recordings from Olivia's Patio Lounge in Washington, DC, which I think were some of his best ever work - and that's saying something! His rendition of "It's Almost Like Being in Love" is sublime.
To me, one of the fascinations of listening to his music is that his solos always flowed in a way that they were so obviously correct - the way they should have been played. Listen to the opening of his solo in the 1944 version of "Ain't it the Truth". Also, unlike most jazz musicians, he never played a "wrong' note or made a mistake - OK, just once in his solo in "Broadway" in 1941. Nor did he ever get lost in a rendition. Quite amazing!
I have that Dec '56 set on a Schlitten-produced High Note release. Dan Morgenstern, who wrote the liner notes, called it "some of the best late Lester Young you'll hear." I discovered it by accident poking around on ebay. It is, indeed, quite wonderful. As are those Washington recordings. Long before they were issued on CD, I transferred some of the LPs to CDs.
Thanks Jim and BEN--at first I didn't notice this was two different people posting--yes, the Schlitten LP with Dan's notes was the original release of the Pres in Europe. As for Pres and Teddy, and Olivia's etc--PLEASE be patient. As I said, there is a part two of this essay!! BEN--As for Broadway in 41, you must mean the 1940 version which is included in today's post--did you notice it? I'd say that's one of Pres's most perfect--and most copied--creations. So I'm not sure what wrong note you mean??
Great work, Lewis, with fascinating and thought provoking insights. I’m so glad that you agree that Pres’s solo on “Broadway” is among his very greatest. I long ago memorized it and can sing it still. I also think his solo on the alternate take—the one in which he enters too soon—is terrific. My hero —from the time I first heard his horn, on “Doggin’ Around,” when I was 20.
Yes, in fact I had to listen to both takes a few times to decide which to post, and then decided it made more sense, in this context, to go with the original Master take. THANK YOU JIM!
Thanks Ben! See below please.
Wow. That 1956 recording in Frankurt rewrites the history books on Pres. Fabulous! So many rabbit holes in this article, Lewis. Still working my way through all the links! Thanks. A million stars for you and Pres.
Yes, there is so much that people don't know about Pres. Glad you like it. THANKS JEFF!
Here's a version that shows up on Amazon Canada. Must be equally on Amazon USA if that's where you are...
https://www.amazon.ca/Complete-Aladdin-Recordings-Lester-Young/dp/B000005H09/ref=sr_1_1?crid=1GGK51MRMA1AL&dib=eyJ2IjoiMSJ9.8wJf9cckll6NREoxsulRD3v2vlrGJNCz0k1yL4AtNVju8oRcZMZ5XXmi_dn0cr2x24rbXI_N9O8OjCscpmH1lw.AI2-m5BwX82ceDSkU6JMqeUK51eJMB-HYM2fb58FCms&dib_tag=se&keywords=Lester+Young+aladdin+records&qid=1708386437&s=music&sprefix=lester+young+aladdin+records%2Cpopular%2C79&sr=1-1
Are there Savoy recordings that have never been released? Should they be or are they truly inferior? Some of the best early Lester is in the Savory collection but because Benny Goodman is on them and his estate won't allow them to be released ......
Hi Joe, I don't know of any Savoy that is unreleased. As for Bill Savory, the situation with Goodman is too bad, I agree. I can tell you that the version of I Know.. with Pres and Eldridge that WAS released years ago is from the same broadcast as the After You've Gone that I posted. Some of the Savory items are like that, things that exist in other copies--but of course some are unique! Fingers crossed!
I identified with your comment about asking for recommendations from knowledgeable people because when i first started listening to Prez I was confused and disappointed at the inconsistency of his performances on various recordings. Someone,(I think it was John Mosca) said that Al Porcino was a big Prez fan and could recommend which records to check out. Al was already a good friend and I played in the band he formed in NY in 1971 but i had no idea that he was an expert on Prez. Al recommended the Aladdin Sessions which had recently come out as a 2LP set on Blue Note.
I had the great fortune of meeting Jo Jones several times. The first was when a drummer friend, the late Randy Kaye and I attended a Max Roach concert in the Jazz IN The Garden series at MOMA. This was ca. 63-64. I was a warm summer night and people were hanging out on the street afterward and among them was Jo Jones. We began talking to him and he asked what we played and then asked us about how our sight reading was and If I was working on my doubles etc. It was all geared toward giving us advice to help us become working pros. Later on we asked Mr. Jones and Mr.Roach who they thought was the best drummer on the then current scene and they both said the same name; Frank Butler. Years later I would see Jo in Jim and Andy's. I'd say "Hello Mr.Jones" and he'd ask me if I would like a drink and he would shout to the bartender " Rocky!. A bourbon and Clorox for my young friend". Priceless experiences and you can't make this stuff up.
Thanks for these great stories Kenny! That's cool Al Porcino steered you to the Aladdin sessions. I played one gig with Randy Kaye but never met Jo Jones, although I did see him play three times. One was at that MOMA series around 1966. That's amazing that they both said Frank Butler--he has been pretty much forgotten! As for the "Bourbon and Clorox"--Oh my God--you truly cannot make this up. THANK YOU KENNY!!
Is the full version of “Destination Moon” nearly 9 minutes long?
Yes, that sounds right, because it includes solos by the other members of the group.
Forgot a question: Didn’t Eddie Jefferson put lyrics to Pres’s magnificent solo on “These Foolish Things”? I hear him singing it in my mind’s ear.
You are exactly right! I forgot about that--he called it "Baby Girl." I will add it to the article right now--THANK YOU JIM
You’re welcome, Lewis. Right—“Baby Girl.”