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D.B. Blues - Lester Young - In Washington, D.C. 1956

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Sample this album. Title by Artist. Three Little Words. Pennies from Heaven. Oh Lady! Be Good. Up -n- Adam. Jumpin' with Symphony Sid. Lullaby of Birdland. He left home permanently in when he became a member of the Blue Devils led by Walter Page.

In Young settled in Kansas City , where after playing briefly in several bands, he rose to prominence with Count Basie. His playing in the Basie band was characterized by a relaxed style which contrasted sharply with the more forceful approach of Coleman Hawkins , the dominant tenor sax player of the day. Young left the Basie band to replace Hawkins in Fletcher Henderson 's orchestra.

Young played clarinet as well as tenor in these sessions. Young is described as playing the clarinet in a "liquid, nervous style. Billie and Lester met at a Harlem jam session in the early 30s and worked together in the Count Basie band and in nightclubs on New York's 52nd St. At one point Lester moved into the apartment Billie shared with her mother, Sadie Fagan. Holiday always insisted their relationship was strictly platonic.

After Young's clarinet was stolen in , he abandoned the instrument until about That year Norman Granz gave him one and urged him to play it with far different results at that stage in Young's lifeā€”see below. Young left the Basie band in late He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons spurring his dismissal, [9] although Young and drummer Jo Jones would later state that his departure had been in the works for months.

He subsequently led a number of small groups that often included his brother, drummer Lee Young , for the next couple of years; live and broadcast recordings from this period exist. During this period Young accompanied the singer Billie Holiday in a couple of studio sessions during - period and also made a small set of recordings with Nat "King" Cole their first of several collaborations in June His studio recordings are relatively sparse during the to period, largely due to the recording ban by the American Federation of Musicians.

Small record labels not bound by union contracts continued to record and he recorded some sessions for Harry Lim's Keynote label in In December Young returned to the Basie fold for a month stint, cut short by his being drafted into the army during World War II see below. Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed, which tended to give his playing a somewhat heavier, breathier tone although still quite smooth compared to that of many other players.

While he never abandoned the cane reed, he used the plastic reed a significant share of the time from until the end of his life. Another cause for the thickening of his tone around this time was a change in saxophone mouthpiece from a metal Otto Link to an ebonite Brilhart.

Unlike many white musicians, who were placed in band outfits such as the ones led by Glenn Miller and Artie Shaw , Young was assigned to the regular army where he was not allowed to play his saxophone. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Features Interviews Lists. Streams Videos All Posts. Main Album In Washington, D. His playing under those conditions led some observers to proclaim that one of the most inventive of all jazz musicians was now an empty shell.

So sad, they said. When his accompanists-particularly his drummers-gave him what he liked, he was capable of magnificence. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip.

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7 thoughts on “D.B. Blues - Lester Young - In Washington, D.C. 1956 ”

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