The tenor saxophonist Lester “Prez” Young grew up in the New Orleans area, where his father led a family band that toured the country with tent shows. Young initially played violin, trumpet, drums, and alto saxophone in the band before switching to tenor saxophone in the late 1920s. He began his professional career in the Midwest, performing with bands such as Walter Page’s Blue Devils in 1930 and Bennie Moten‘s band in 1933, which also featured the young pianist, Bill Basie. In 1934, Young briefly joined the Fletcher Henderson Orchestra as a replacement for the renowned saxophonist Coleman Hawkins. However, his distinctive tone was not well received by the other musicians, leading him to leave the band after a few months and return to Kansas City. There, he played with Andy Kirk and made his first recordings in 1936 with a small group around Count Basie. Young continued to be associated with Basie’s band, with occasional breaks, until 1944.
Young’s solos on Shoeshine boy and Lady be good quickly became classics, influencing many fellow instrumentalists. In the late 1930s, he also collaborated on numerous studio recordings with singer Billie Holiday. In 1944, Young was drafted into the army, where he was court-martialed for drug possession and served several months in prison. After his discharge, he was signed in 1946 by impresario Norman Granz, who featured him prominently on his Jazz at the Philharmonic tours. During this period, Young led his own bands, typically composed of younger musicians influenced by bebop, and recorded extensively, including notable sessions with pianist Teddy Wilson.
Unfortunately, alcohol and depression, worsened by his military experiences, led to frequent hospitalizations starting in 1955. In January 1959, Young accepted a gig at the Blue Note Club in Paris but returned to New York soon after due to health issues. He died in New York, ultimately succumbing to the effects of alcoholism.
Lester Young significantly influenced cool jazz saxophonists such as Stan Getz, Zoot Sims, and Al Cohn, who drew inspiration from his introspective vocal style and improvisations grounded in motivic details. Even bebop musicians like Charlie Parker were notably influenced by Young’s melodic lines, particularly during the early stages of his career. In one of his recording sessions, Young said, “I don’t like a whole lot of noise . . . trumpets and trombones. I’m looking for something soft. It’s got to be sweetness, man, you dig?”
Find the entry on Lester Young in MGG Online. The photo at the beginning of the post is of Lester Young at the Famous Door in New York City, September 1946.
Listen to Lester Young perform at Birdland in New York City here Live at Birdland | Lester Young (bandcamp.com)
