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1. Tea for Two 4:46 7. Afternoon of a Basie-ite 3:14 13. Indiana 2:56 15. (I Don’t Stand A) Ghost of a Chance 3:20 (Vincent Youmans–Irving Caesar) (Lester Young) (James Hanley–Ballard MacDonald) (Young-Crosby–Washington) Lester Young Trio Lester Young Quartet Lester Young Quintet Lester Young Quintet Philo P 1001, mx Van 1002 Keynote 604, mx HL 3-2 Savoy 581, mx 5456-2 Savoy 535, mx 5455-2 Recorded 15 July 1942, Los Angeles Recorded 28 December 1943, New York Recorded 1 May 1944, New York Recorded 1 May 1944, New York 2. I Can’t Get Started 4:54 8. Sometimes I’m Happy 3:12 14. Blue Lester 3:22 16. Lester’s Savoy Jump 3:17 (Vernon Duke–Ira Gershwin) (Vincent Youmans–Irving Caesar) (Lester Young) (Lester Young) Lester Young Trio Lester Young Quartet Lester Young Quintet Lester Young Quintet Philo P 1001, mx Van 1001 Keynote 604, mx HL 4-2 Savoy 581, mx 5454-1 Savoy 535, mx 5457-1 Recorded 15 July 1942, Los Angeles Recorded 28 December 1943, New York Recorded 1 May 1944, New York Recorded 1 May 1944, New York 3. Body and Soul 5:13 9. After Theatre Jump 4:50 Transfers & Production: David Lennick. Digital Restoration: Graham Newton ((Johnny Green–Edward Heyman–Robert (Dickie Wells) Discographical information courtesy of The Jazz Discography by Tom Lord (www.lordisco.com) Sour–Frank Eyton) Kansas City Seven Original monochrome photo of Lester Young from the Tully Potter Collection Lester Young Trio Keynote 1302, mx HL 21-2 Philo P 1000, mx Van 1003 Recorded 22 March 1944, New York Recorded 15 July 1942, Los Angeles 10. Six Cats and a Prince 4:16 Also available in the Naxos Jazz Legends series ... 4. Indiana 4:54 (Buck Clayton) (James Hanley–Ballard MacDonald) Kansas City Seven Lester Young Trio Keynote 1303, mx HL 22-3 Philo P 1000, mx Van 1000 Recorded 22 March 1944, New York Recorded 15 July 1942, Los Angeles 11. Lester Leaps Again 4:31 5. Just You, Just Me 3:16 (Buck Clayton) (Raymond Klages–Jesse Greer) Kansas City Five Featuring Lester Young Lester Young Quartet Keynote 1302, mx HL 23-1 Keynote 603, mx HL 1-2 Recorded 22 March 1944, New York Recorded 28 December 1943, New York 12. Destination K.C. 4:57 6. I Never Knew 3:14 (Buck Clayton) (Gus Kahn–Ted FioRito) Kansas City Seven 8.120727 8.120736 8.120744 Lester Young Quartet Keynote 1303, mx HL 24-2 These titles are not available in the USA Keynote 603, mx HL 2-2 Recorded 22 March 1944 Recorded 28 December 1943, New York NAXOS RADIO Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120764 6 8.120764 120764bk Lester 16/3/05 8:41 PM Page 1
LESTER YOUNG 15 July 1942 in a trio with the up-and-coming chameleon, mostly sticks to Count Basie and after he was featured in the Academy Award- highpoints during the 1950s, Lester Young’s Nat King Cole (who was better known at the Teddy Wilson in his solos. The classic of the winning film short Jammin’ The Blues. But the former zest for life was gone. After too little ‘Lester Leaps Again’ Original Recordings 1942-1944 time as a pianist than as a singer) and bassist date, Sometimes I’m Happy, is one of those rare draft board caught up with him in October and eating and too much drinking, he passed away Red Callender. A special aspect of these four performances where every note is perfect, the next year would be a horrible one for Young. on 15 March 1959 when he was only 49. Lester Young was a true individualist, in his and he played one or two notes where other explorations of standards is that, because the whether it be Stewart’s charming solo or the way The quiet noncomformist could not adjust to However some of Lester Young’s happiest tenor-saxophone playing, his lifestyle and his saxophonists might play ten. He was technically music was originally released on 12-inch rather Young ends the performance with a quote from Army life or the institutionalized racism of the moments on record are contained in this vocabulary. Among the words he reportedly skilled and could read music easily, but his than 10-inch 78s, the performances are longer “My Sweetie Went Away.” period and he spent part of the time in a definitive collection, taken from a musical introduced were bread (meaning money), cool sound was considered so revolutionary that the than the usual three-minute limit, with Body The other two sessions on this collection military prison. When he was discharged in golden age when Young was truly the President (not pertaining to the temperature) and groovy. other musicians felt that it did not fit in the And Soul exceeding five minutes. Young sounds team Pres with key members of the Count Basie late-1945, Young returned to his earlier playing of the tenor-sax. When Young was developing his playing style, Henderson big band; Young only lasted three relaxed on the two ballads (I Can’t Get Started Orchestra in combos. The three spirited form but he was torn apart on the inside, both the dominant voice on tenor was Coleman months. He worked with Andy Kirk and Earl and Body And Soul) while coming up with a originals, After Theatre Jump, Six Cats And A emotionally and mentally. Over time both Scott Yanow Hawkins. Hawkins had a large sound with a Hines before rejoining Basie in 1936. constant flow of appealing ideas on the medium- Prince and an exuberant Destination K.C, have depression and excessive drinking would ruin his Author of 8 jazz books including Jazz On Film, Swing, hard tone, and a style that was harmonically Lester Young’s style was perfectly at home tempo versions of Tea For Two and Indiana. Young joined in the frontline by trumpeter Buck health and, although there were many musical Bebop, Trumpet Kings and Jazz On Record 1917-76 advanced, full of notes and powerful. Nearly with the Count Basie Orchestra, contrasting with And throughout, Nat Cole shows that he really Clayton and trombonist Dickie Wells, two every other tenor-saxophonist sounded like a the more Hawkins-oriented sound of his fellow was one of the top swing pianists of the era. distinctive players who like Pres were part of close relative, except Young. tenor Herschel Evans and inspiring Basie’s light In October 1943, Lester Young rejoined the Basie’s early successes. One can hear in Young’s Personnel Born in Woodville, Mississippi on 27 August but hard-swinging rhythm section. Young was a Count Basie Orchestra after being absent nearly solo on After Theatre Jump where Illinois Tracks 1–4: Lester Young, tenor sax; Nat King Track 11: Lester Young, tenor sax; Count Basie 1909, Lester Young grew up playing music in his large part of Basie’s success when the band three years. Because of the recording strike of Jacquet came from and, through Jacquet, a full Cole, piano; Red Callender, bass (as ‘Prince Charming’), piano; Freddie Green, father’s family band. He spent time playing headed East later in 1936, and he was its key 1942-44, he was not able to record with the full generation of R & B tenors. Lester Leaps Again Tracks 5–8: Lester Young, tenor sax; Johnny guitar; Rodney Richardson, bass; Jo Jones, trumpet, alto, violin and drums before settling soloist for the next four years. Not only did he Basie band (other than one date in which Count is particularly special for it features Young as the drums on alto by 1920, around the time that his family star on classic records with Basie but he was a was absent). But because he was signed to a only horn, interacting at length with Basie and Guarnieri, piano; Slam Stewart, bass; Sid had moved to Minnesota. In 1927 when he was co-star on many of Billie Holiday’s recordings different label than Basie and one that settled the classic rhythm section in a blues groove Catlett, drums Tracks 13–16: Lester Young, tenor sax; Count eighteen he left the band because he did not where his cool-toned sound echoed hers. He fairly early with the musicians union, by late- similar to One O’Clock Jump. Tracks 9, 10 & 12: Buck Clayton, trumpet; Basie, piano; Freddie Green, guitar; Rodney want to travel in the South. While with Art dubbed her “Lady Day” and she in turn called 1943 he was able to record as a leader. On 28 Forty days later, Young was back in the Dickie Wells, trombone; Lester Young, tenor Richardson, bass; Shadow Wilson, drums Bronson’s Bostonians, Young switched him “Pres,” short for president. December 1943 Pres had one of his greatest studio with the Basie rhythm section for four sax; Count Basie (as ‘Prince Charming’), piano; permanently to the tenor-sax. After a few years In December 1940 Young left Basie’s band record dates. Joined by a top-notch rhythm more numbers. Drummer Shadow Wilson had Freddie Green, guitar; Rodney Richardson, of freelancing, he joined the Original Blue Devils under mysterious circumstances, possibly section comprised of pianist Johnny Guarnieri, taken Jo Jones’ place when Jones was drafted bass; Jo Jones, drums in 1932, settled in Kansas City and worked because he did not want to record on Friday the bassist Slam Stewart and drummer Sid Catlett, but the magic is still there as the quintet locally with Bennie Moten, Clarence Love, King 13th. Surprisingly Pres did not have a major Young is heard in peak form on Just You, Just performs two of Pres’ originals, Ghost Of A Producer’s Note Oliver and Count Basie (1934). He was hired as solo career during the next few years, instead co- Me, I Never Knew and his uptempo blues Chance and Indiana. A highpoint is Young’s The first four tracks were issued on twelve-inch 78s well after they were originally recorded, and the the first replacement for the recently departed leading a mostly undocumented group with his Afternoon Of a Basie-ite, playing with joy and lyrical Blue Lester although each of these original lacquers had suffered wear and damage before being dubbed for commercial issue. Coleman Hawkins with Fletcher Henderson’s brother drummer Lee Young and working in Al constant creativity. Stewart’s bowed solos (to selections has its memorable moments. orchestra. Unlike Hawkins, Young had a lighter- Sears’ big band. Among the few recording dates which he hums along an octave higher) are witty 1944 looked as if it were turning out to be than-air tone, he tended to float over bar lines he made during the period are four titles on while Guarnieri, who could be a real musical one of Lester Young’s greatest years, particularly
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LESTER YOUNG 15 July 1942 in a trio with the up-and-coming chameleon, mostly sticks to Count Basie and after he was featured in the Academy Award- highpoints during the 1950s, Lester Young’s Nat King Cole (who was better known at the Teddy Wilson in his solos. The classic of the winning film short Jammin’ The Blues. But the former zest for life was gone. After too little ‘Lester Leaps Again’ Original Recordings 1942-1944 time as a pianist than as a singer) and bassist date, Sometimes I’m Happy, is one of those rare draft board caught up with him in October and eating and too much drinking, he passed away Red Callender. A special aspect of these four performances where every note is perfect, the next year would be a horrible one for Young. on 15 March 1959 when he was only 49. Lester Young was a true individualist, in his and he played one or two notes where other explorations of standards is that, because the whether it be Stewart’s charming solo or the way The quiet noncomformist could not adjust to However some of Lester Young’s happiest tenor-saxophone playing, his lifestyle and his saxophonists might play ten. He was technically music was originally released on 12-inch rather Young ends the performance with a quote from Army life or the institutionalized racism of the moments on record are contained in this vocabulary. Among the words he reportedly skilled and could read music easily, but his than 10-inch 78s, the performances are longer “My Sweetie Went Away.” period and he spent part of the time in a definitive collection, taken from a musical introduced were bread (meaning money), cool sound was considered so revolutionary that the than the usual three-minute limit, with Body The other two sessions on this collection military prison. When he was discharged in golden age when Young was truly the President (not pertaining to the temperature) and groovy. other musicians felt that it did not fit in the And Soul exceeding five minutes. Young sounds team Pres with key members of the Count Basie late-1945, Young returned to his earlier playing of the tenor-sax. When Young was developing his playing style, Henderson big band; Young only lasted three relaxed on the two ballads (I Can’t Get Started Orchestra in combos. The three spirited form but he was torn apart on the inside, both the dominant voice on tenor was Coleman months. He worked with Andy Kirk and Earl and Body And Soul) while coming up with a originals, After Theatre Jump, Six Cats And A emotionally and mentally. Over time both Scott Yanow Hawkins. Hawkins had a large sound with a Hines before rejoining Basie in 1936. constant flow of appealing ideas on the medium- Prince and an exuberant Destination K.C, have depression and excessive drinking would ruin his Author of 8 jazz books including Jazz On Film, Swing, hard tone, and a style that was harmonically Lester Young’s style was perfectly at home tempo versions of Tea For Two and Indiana. Young joined in the frontline by trumpeter Buck health and, although there were many musical Bebop, Trumpet Kings and Jazz On Record 1917-76 advanced, full of notes and powerful. Nearly with the Count Basie Orchestra, contrasting with And throughout, Nat Cole shows that he really Clayton and trombonist Dickie Wells, two every other tenor-saxophonist sounded like a the more Hawkins-oriented sound of his fellow was one of the top swing pianists of the era. distinctive players who like Pres were part of close relative, except Young. tenor Herschel Evans and inspiring Basie’s light In October 1943, Lester Young rejoined the Basie’s early successes. One can hear in Young’s Personnel Born in Woodville, Mississippi on 27 August but hard-swinging rhythm section. Young was a Count Basie Orchestra after being absent nearly solo on After Theatre Jump where Illinois Tracks 1–4: Lester Young, tenor sax; Nat King Track 11: Lester Young, tenor sax; Count Basie 1909, Lester Young grew up playing music in his large part of Basie’s success when the band three years. Because of the recording strike of Jacquet came from and, through Jacquet, a full Cole, piano; Red Callender, bass (as ‘Prince Charming’), piano; Freddie Green, father’s family band. He spent time playing headed East later in 1936, and he was its key 1942-44, he was not able to record with the full generation of R & B tenors. Lester Leaps Again Tracks 5–8: Lester Young, tenor sax; Johnny guitar; Rodney Richardson, bass; Jo Jones, trumpet, alto, violin and drums before settling soloist for the next four years. Not only did he Basie band (other than one date in which Count is particularly special for it features Young as the drums on alto by 1920, around the time that his family star on classic records with Basie but he was a was absent). But because he was signed to a only horn, interacting at length with Basie and Guarnieri, piano; Slam Stewart, bass; Sid had moved to Minnesota. In 1927 when he was co-star on many of Billie Holiday’s recordings different label than Basie and one that settled the classic rhythm section in a blues groove Catlett, drums Tracks 13–16: Lester Young, tenor sax; Count eighteen he left the band because he did not where his cool-toned sound echoed hers. He fairly early with the musicians union, by late- similar to One O’Clock Jump. Tracks 9, 10 & 12: Buck Clayton, trumpet; Basie, piano; Freddie Green, guitar; Rodney want to travel in the South. While with Art dubbed her “Lady Day” and she in turn called 1943 he was able to record as a leader. On 28 Forty days later, Young was back in the Dickie Wells, trombone; Lester Young, tenor Richardson, bass; Shadow Wilson, drums Bronson’s Bostonians, Young switched him “Pres,” short for president. December 1943 Pres had one of his greatest studio with the Basie rhythm section for four sax; Count Basie (as ‘Prince Charming’), piano; permanently to the tenor-sax. After a few years In December 1940 Young left Basie’s band record dates. Joined by a top-notch rhythm more numbers. Drummer Shadow Wilson had Freddie Green, guitar; Rodney Richardson, of freelancing, he joined the Original Blue Devils under mysterious circumstances, possibly section comprised of pianist Johnny Guarnieri, taken Jo Jones’ place when Jones was drafted bass; Jo Jones, drums in 1932, settled in Kansas City and worked because he did not want to record on Friday the bassist Slam Stewart and drummer Sid Catlett, but the magic is still there as the quintet locally with Bennie Moten, Clarence Love, King 13th. Surprisingly Pres did not have a major Young is heard in peak form on Just You, Just performs two of Pres’ originals, Ghost Of A Producer’s Note Oliver and Count Basie (1934). He was hired as solo career during the next few years, instead co- Me, I Never Knew and his uptempo blues Chance and Indiana. A highpoint is Young’s The first four tracks were issued on twelve-inch 78s well after they were originally recorded, and the the first replacement for the recently departed leading a mostly undocumented group with his Afternoon Of a Basie-ite, playing with joy and lyrical Blue Lester although each of these original lacquers had suffered wear and damage before being dubbed for commercial issue. Coleman Hawkins with Fletcher Henderson’s brother drummer Lee Young and working in Al constant creativity. Stewart’s bowed solos (to selections has its memorable moments. orchestra. Unlike Hawkins, Young had a lighter- Sears’ big band. Among the few recording dates which he hums along an octave higher) are witty 1944 looked as if it were turning out to be than-air tone, he tended to float over bar lines he made during the period are four titles on while Guarnieri, who could be a real musical one of Lester Young’s greatest years, particularly
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LESTER YOUNG 15 July 1942 in a trio with the up-and-coming chameleon, mostly sticks to Count Basie and after he was featured in the Academy Award- highpoints during the 1950s, Lester Young’s Nat King Cole (who was better known at the Teddy Wilson in his solos. The classic of the winning film short Jammin’ The Blues. But the former zest for life was gone. After too little ‘Lester Leaps Again’ Original Recordings 1942-1944 time as a pianist than as a singer) and bassist date, Sometimes I’m Happy, is one of those rare draft board caught up with him in October and eating and too much drinking, he passed away Red Callender. A special aspect of these four performances where every note is perfect, the next year would be a horrible one for Young. on 15 March 1959 when he was only 49. Lester Young was a true individualist, in his and he played one or two notes where other explorations of standards is that, because the whether it be Stewart’s charming solo or the way The quiet noncomformist could not adjust to However some of Lester Young’s happiest tenor-saxophone playing, his lifestyle and his saxophonists might play ten. He was technically music was originally released on 12-inch rather Young ends the performance with a quote from Army life or the institutionalized racism of the moments on record are contained in this vocabulary. Among the words he reportedly skilled and could read music easily, but his than 10-inch 78s, the performances are longer “My Sweetie Went Away.” period and he spent part of the time in a definitive collection, taken from a musical introduced were bread (meaning money), cool sound was considered so revolutionary that the than the usual three-minute limit, with Body The other two sessions on this collection military prison. When he was discharged in golden age when Young was truly the President (not pertaining to the temperature) and groovy. other musicians felt that it did not fit in the And Soul exceeding five minutes. Young sounds team Pres with key members of the Count Basie late-1945, Young returned to his earlier playing of the tenor-sax. When Young was developing his playing style, Henderson big band; Young only lasted three relaxed on the two ballads (I Can’t Get Started Orchestra in combos. The three spirited form but he was torn apart on the inside, both the dominant voice on tenor was Coleman months. He worked with Andy Kirk and Earl and Body And Soul) while coming up with a originals, After Theatre Jump, Six Cats And A emotionally and mentally. Over time both Scott Yanow Hawkins. Hawkins had a large sound with a Hines before rejoining Basie in 1936. constant flow of appealing ideas on the medium- Prince and an exuberant Destination K.C, have depression and excessive drinking would ruin his Author of 8 jazz books including Jazz On Film, Swing, hard tone, and a style that was harmonically Lester Young’s style was perfectly at home tempo versions of Tea For Two and Indiana. Young joined in the frontline by trumpeter Buck health and, although there were many musical Bebop, Trumpet Kings and Jazz On Record 1917-76 advanced, full of notes and powerful. Nearly with the Count Basie Orchestra, contrasting with And throughout, Nat Cole shows that he really Clayton and trombonist Dickie Wells, two every other tenor-saxophonist sounded like a the more Hawkins-oriented sound of his fellow was one of the top swing pianists of the era. distinctive players who like Pres were part of close relative, except Young. tenor Herschel Evans and inspiring Basie’s light In October 1943, Lester Young rejoined the Basie’s early successes. One can hear in Young’s Personnel Born in Woodville, Mississippi on 27 August but hard-swinging rhythm section. Young was a Count Basie Orchestra after being absent nearly solo on After Theatre Jump where Illinois Tracks 1–4: Lester Young, tenor sax; Nat King Track 11: Lester Young, tenor sax; Count Basie 1909, Lester Young grew up playing music in his large part of Basie’s success when the band three years. Because of the recording strike of Jacquet came from and, through Jacquet, a full Cole, piano; Red Callender, bass (as ‘Prince Charming’), piano; Freddie Green, father’s family band. He spent time playing headed East later in 1936, and he was its key 1942-44, he was not able to record with the full generation of R & B tenors. Lester Leaps Again Tracks 5–8: Lester Young, tenor sax; Johnny guitar; Rodney Richardson, bass; Jo Jones, trumpet, alto, violin and drums before settling soloist for the next four years. Not only did he Basie band (other than one date in which Count is particularly special for it features Young as the drums on alto by 1920, around the time that his family star on classic records with Basie but he was a was absent). But because he was signed to a only horn, interacting at length with Basie and Guarnieri, piano; Slam Stewart, bass; Sid had moved to Minnesota. In 1927 when he was co-star on many of Billie Holiday’s recordings different label than Basie and one that settled the classic rhythm section in a blues groove Catlett, drums Tracks 13–16: Lester Young, tenor sax; Count eighteen he left the band because he did not where his cool-toned sound echoed hers. He fairly early with the musicians union, by late- similar to One O’Clock Jump. Tracks 9, 10 & 12: Buck Clayton, trumpet; Basie, piano; Freddie Green, guitar; Rodney want to travel in the South. While with Art dubbed her “Lady Day” and she in turn called 1943 he was able to record as a leader. On 28 Forty days later, Young was back in the Dickie Wells, trombone; Lester Young, tenor Richardson, bass; Shadow Wilson, drums Bronson’s Bostonians, Young switched him “Pres,” short for president. December 1943 Pres had one of his greatest studio with the Basie rhythm section for four sax; Count Basie (as ‘Prince Charming’), piano; permanently to the tenor-sax. After a few years In December 1940 Young left Basie’s band record dates. Joined by a top-notch rhythm more numbers. Drummer Shadow Wilson had Freddie Green, guitar; Rodney Richardson, of freelancing, he joined the Original Blue Devils under mysterious circumstances, possibly section comprised of pianist Johnny Guarnieri, taken Jo Jones’ place when Jones was drafted bass; Jo Jones, drums in 1932, settled in Kansas City and worked because he did not want to record on Friday the bassist Slam Stewart and drummer Sid Catlett, but the magic is still there as the quintet locally with Bennie Moten, Clarence Love, King 13th. Surprisingly Pres did not have a major Young is heard in peak form on Just You, Just performs two of Pres’ originals, Ghost Of A Producer’s Note Oliver and Count Basie (1934). He was hired as solo career during the next few years, instead co- Me, I Never Knew and his uptempo blues Chance and Indiana. A highpoint is Young’s The first four tracks were issued on twelve-inch 78s well after they were originally recorded, and the the first replacement for the recently departed leading a mostly undocumented group with his Afternoon Of a Basie-ite, playing with joy and lyrical Blue Lester although each of these original lacquers had suffered wear and damage before being dubbed for commercial issue. Coleman Hawkins with Fletcher Henderson’s brother drummer Lee Young and working in Al constant creativity. Stewart’s bowed solos (to selections has its memorable moments. orchestra. Unlike Hawkins, Young had a lighter- Sears’ big band. Among the few recording dates which he hums along an octave higher) are witty 1944 looked as if it were turning out to be than-air tone, he tended to float over bar lines he made during the period are four titles on while Guarnieri, who could be a real musical one of Lester Young’s greatest years, particularly
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1. Tea for Two 4:46 7. Afternoon of a Basie-ite 3:14 13. Indiana 2:56 15. (I Don’t Stand A) Ghost of a Chance 3:20 (Vincent Youmans–Irving Caesar) (Lester Young) (James Hanley–Ballard MacDonald) (Young-Crosby–Washington) Lester Young Trio Lester Young Quartet Lester Young Quintet Lester Young Quintet Philo P 1001, mx Van 1002 Keynote 604, mx HL 3-2 Savoy 581, mx 5456-2 Savoy 535, mx 5455-2 Recorded 15 July 1942, Los Angeles Recorded 28 December 1943, New York Recorded 1 May 1944, New York Recorded 1 May 1944, New York 2. I Can’t Get Started 4:54 8. Sometimes I’m Happy 3:12 14. Blue Lester 3:22 16. Lester’s Savoy Jump 3:17 (Vernon Duke–Ira Gershwin) (Vincent Youmans–Irving Caesar) (Lester Young) (Lester Young) Lester Young Trio Lester Young Quartet Lester Young Quintet Lester Young Quintet Philo P 1001, mx Van 1001 Keynote 604, mx HL 4-2 Savoy 581, mx 5454-1 Savoy 535, mx 5457-1 Recorded 15 July 1942, Los Angeles Recorded 28 December 1943, New York Recorded 1 May 1944, New York Recorded 1 May 1944, New York 3. Body and Soul 5:13 9. After Theatre Jump 4:50 Transfers & Production: David Lennick. Digital Restoration: Graham Newton ((Johnny Green–Edward Heyman–Robert (Dickie Wells) Discographical information courtesy of The Jazz Discography by Tom Lord (www.lordisco.com) Sour–Frank Eyton) Kansas City Seven Original monochrome photo of Lester Young from the Tully Potter Collection Lester Young Trio Keynote 1302, mx HL 21-2 Philo P 1000, mx Van 1003 Recorded 22 March 1944, New York Recorded 15 July 1942, Los Angeles 10. Six Cats and a Prince 4:16 Also available in the Naxos Jazz Legends series ... 4. Indiana 4:54 (Buck Clayton) (James Hanley–Ballard MacDonald) Kansas City Seven Lester Young Trio Keynote 1303, mx HL 22-3 Philo P 1000, mx Van 1000 Recorded 22 March 1944, New York Recorded 15 July 1942, Los Angeles 11. Lester Leaps Again 4:31 5. Just You, Just Me 3:16 (Buck Clayton) (Raymond Klages–Jesse Greer) Kansas City Five Featuring Lester Young Lester Young Quartet Keynote 1302, mx HL 23-1 Keynote 603, mx HL 1-2 Recorded 22 March 1944, New York Recorded 28 December 1943, New York 12. Destination K.C. 4:57 6. I Never Knew 3:14 (Buck Clayton) (Gus Kahn–Ted FioRito) Kansas City Seven 8.120727 8.120736 8.120744 Lester Young Quartet Keynote 1303, mx HL 24-2 These titles are not available in the USA Keynote 603, mx HL 2-2 Recorded 22 March 1944 Recorded 28 December 1943, New York NAXOS RADIO Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120764 6 8.120764 120764bk Lester 16/3/05 8:41 PM Page 2
1. Tea for Two 4:46 7. Afternoon of a Basie-ite 3:14 13. Indiana 2:56 15. (I Don’t Stand A) Ghost of a Chance 3:20 (Vincent Youmans–Irving Caesar) (Lester Young) (James Hanley–Ballard MacDonald) (Young-Crosby–Washington) Lester Young Trio Lester Young Quartet Lester Young Quintet Lester Young Quintet Philo P 1001, mx Van 1002 Keynote 604, mx HL 3-2 Savoy 581, mx 5456-2 Savoy 535, mx 5455-2 Recorded 15 July 1942, Los Angeles Recorded 28 December 1943, New York Recorded 1 May 1944, New York Recorded 1 May 1944, New York 2. I Can’t Get Started 4:54 8. Sometimes I’m Happy 3:12 14. Blue Lester 3:22 16. Lester’s Savoy Jump 3:17 (Vernon Duke–Ira Gershwin) (Vincent Youmans–Irving Caesar) (Lester Young) (Lester Young) Lester Young Trio Lester Young Quartet Lester Young Quintet Lester Young Quintet Philo P 1001, mx Van 1001 Keynote 604, mx HL 4-2 Savoy 581, mx 5454-1 Savoy 535, mx 5457-1 Recorded 15 July 1942, Los Angeles Recorded 28 December 1943, New York Recorded 1 May 1944, New York Recorded 1 May 1944, New York 3. Body and Soul 5:13 9. After Theatre Jump 4:50 Transfers & Production: David Lennick. Digital Restoration: Graham Newton ((Johnny Green–Edward Heyman–Robert (Dickie Wells) Discographical information courtesy of The Jazz Discography by Tom Lord (www.lordisco.com) Sour–Frank Eyton) Kansas City Seven Original monochrome photo of Lester Young from the Tully Potter Collection Lester Young Trio Keynote 1302, mx HL 21-2 Philo P 1000, mx Van 1003 Recorded 22 March 1944, New York Recorded 15 July 1942, Los Angeles 10. Six Cats and a Prince 4:16 Also available in the Naxos Jazz Legends series ... 4. Indiana 4:54 (Buck Clayton) (James Hanley–Ballard MacDonald) Kansas City Seven Lester Young Trio Keynote 1303, mx HL 22-3 Philo P 1000, mx Van 1000 Recorded 22 March 1944, New York Recorded 15 July 1942, Los Angeles 11. Lester Leaps Again 4:31 5. Just You, Just Me 3:16 (Buck Clayton) (Raymond Klages–Jesse Greer) Kansas City Five Featuring Lester Young Lester Young Quartet Keynote 1302, mx HL 23-1 Keynote 603, mx HL 1-2 Recorded 22 March 1944, New York Recorded 28 December 1943, New York 12. Destination K.C. 4:57 6. I Never Knew 3:14 (Buck Clayton) (Gus Kahn–Ted FioRito) Kansas City Seven 8.120727 8.120736 8.120744 Lester Young Quartet Keynote 1303, mx HL 24-2 These titles are not available in the USA Keynote 603, mx HL 2-2 Recorded 22 March 1944 Recorded 28 December 1943, New York NAXOS RADIO Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120764 6 8.120764 LESTER YOUNG Lester Leaps Again 8.120764 NAXOS RADIO Lse ep again” leaps “Lester YOUNG LESTER www. NOTES ANDFULLRECORDING DETAILS INCLUDED Newton byGraham Restoration Digital Transfers andProductionbyDavid Lennick h www.naxosradio.com 6 Lester’sSavoy Jump 16. A)GhostOfAChance (IDon’tStand 15. BlueLester 14. Indiana 13. DestinationK.C. 12. SixCatsAndAPrince 10. 1 LesterLeaps Again 11. 9. After TheatreJump After 9. SometimesI’mHappy 8. OfABasie-ite Afternoon 7. INever Knew 6. JustYou, JustMe 5. Indiana 4. BodyAnd Soul 3. ICan’t Get Started 2. .Tea ForTwo 1. & g 05NxsRgt nentoa t Design:RonHoares 2005 NaxosRightsInternationalLtd naxos.com 2:56 4:54 3:22 Accessible Anywhere, Anytime•Near-CD Quality Over 70ChannelsofClassical Music•Jazz,Folk/World, Nostalgia 4:46 3:14 5:13 4:57 3:16 4:31 4:54 4:50 3:17 4:16 3:12 3:14 Made intheEU Original 1942-1944Original Recordings 3:20 64:11 Total Time ADD
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