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. His music of the late 1930s and early 1940s probably had as much impact on all of jazz (not only on saxophonists) as Bird and Trane did later—including his impact on young Bird and Trane themselves! But
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.
I concur with your opinions in this article. I Had the pleasure of getting to know Rodney Richardson in his later years when he was part of a trio in California
As a twelve year old 🥁 I was naturally under the spell of Jo Jones. I Played a bit for him. His reaction? You're playing too loudly he kindly said. A lesson I took to heart. Now at 59 years I am so happy I did. Thanks again Lewis
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!
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 ......
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.
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.
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.
I concur with your opinions in this article. I Had the pleasure of getting to know Rodney Richardson in his later years when he was part of a trio in California
As a twelve year old 🥁 I was naturally under the spell of Jo Jones. I Played a bit for him. His reaction? You're playing too loudly he kindly said. A lesson I took to heart. Now at 59 years I am so happy I did. Thanks again Lewis
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!
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.
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 ......
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.
Is the full version of “Destination Moon” nearly 9 minutes long?
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’re welcome, Lewis. Right—“Baby Girl.”