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LESTER YOUNG tenor saxophone
LIFELINE
1909-1959

1909
Lester Young is born in Woodville, MS, but moves several times as a child. A multi-instrumentalist, he settles on the tenor saxophone and plays with the family band until 1927; thereafter he tours with several bands, including those of Walter Page and his Blue Devils, Bennie Moten, Andy Kirk, and briefly replaces Coleman Hawkins in the Fletcher Henderson band.

1944-45
In September 1944 he is drafted in to the army, a traumatic time when he experiences racism. He is confined to a disciplinary centre for drug offences and is not released until late-1945 with a dishonourable discharge, mentally scarred. He remains unwell and introverted for the rest of his life.

1956-59
His health declines further, and he suffers nervous breakdowns and receives hospital treatment. He dies on his return to the States, having spent time playing in Paris.

 

1934-43
Now settled in Kansas City, he joins the Count Basie band. Billie Holiday, with whom he records and befriends, bestows upon him the nickname 'Pres'. Having been criticised for his light and relaxed tone whilst with Henderson, Basie allows him to play as he wishes. He leaves the Basie band in 1940 when work slows down, and leads various small groups until 1943, when he rejoins Basie and enjoys a following with the both critics and fans.

1946-56
During his time in prison, the jazz world is changed: bebop has arrived. Although many of the new players have stolen his thunder, he remains an iconic figure. He tours with Jazz At The Philharmonic, makes guest appearances with Basie, and records with his own small groups. Throughout the 1950s, poor health, a poor diet and alcoholism, affect his peformances, although at times he plays as well as ever.

STYLE
Lester Young was the first tenor saxophonist to move away from the preeminent sound of Coleman Hawkins. His own early idol was Frankie Trumbauer, from whom he learnt both a light dry sound and a sense of form. He held fast to his own way of playing, even after failing an audition for Earl Hines and the criticism he endured when with Henderson. His phrasing was less syncopated than that of Hawkins, he made a greater use of triplets which added a vitality to his solos, and his tone had a pellucid coolness that became highly fashionable only after the 1930s. Lester Young was the musical bridge that connected Hawkins and Charlie Parker, and although he was firmly rooted in the swing era, he was to have a telling influence on the saxophonists who came of age in the 1950s, Dexter Gordon, Sonny Rollins and John Coltrane.

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