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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.
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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.
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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. |