Lester Young With Count Basie
Classic Columbia, Okeh and Vocalion (1936-1940)
Mosaic Records
By George W. Harris

In all honesty, this limited edition 4 cd set does not need any type of review; it simply requires an explanation why this music is absolutely essential for every living person’s collection. The fact of the matter is that tenorist Lester Young, with apologies to John Coltrane fanatics, is simply the most influential sax player, and after Louis Armstrong, the most influential musician, in the history of jazz. Now, I am not saying he was the most technically accomplished; that argument could go on ad infinitum. However, with these recordings (which have been painstakingly remastered by Scott Wenzel and Michael Cuscuna) Lester Young created a style of playing his horn that influenced, to just name a few, musicians like Charlie Parker, Stan Getz, Dexter Gordon, John Coltrane and Frank Sinatra, and started a musical style that evolved into cool and bebop. Without a scintilla of doubt, these recordings testify to the fact that without Lester Young, there would be no jazz as we know it today.

These discs capture Young at his brilliant beginning, starting with his startling debut session that produced four classic songs. Supported by Count Basie’s classic rhythm section, and augmented by trumpeter Carl Smith and singer Jimmy Rushing, Young simply changed the course of music with his solos and obbligatos during “Shoe Shine Boy”, “Evenin’” “Boogie Woogie” and “Lady Be Good.” It is the latter that is still considered one of the perfect solos in jazz, and on a sonoric level, equal to the Mona Lisa. The bulk of the 4 discs comprise his wonderful and perfectly crafted solos in a big band setting on such tunes as “Tickle Toe”, “Broadway” “Taxi War Dance” and “Pound Cake.” All of these solos are essential for memorizing, singing along with, and for allowing to be absorbed into your musical psyche. The small group recordings with Basie, featuring the iconic “Lester Leaps In” and “Dickie’s Dream”, are the marrow of small group swing.

The extra bonuses to this release are the rarely released 1939 session pieces with organist Glenn Hardman, who leads his band through some foot stomping and bluesy KC swingsters like “Upright Organ Blues” and “Who?” . Hearing Young in this divergent environment, particularly on the Chicago jazz milieu, is a joy to behold. Even more rewarding is the 1940 Septet recordings lead by Benny Goodman, who put together Basie’s best with himself and future leaning electric guitarist Charlie Christian for some of the most freewheeling small group swing ever put to acetate. Loose and lively, this band sets the highest standard for small group interplay that has only rarely been equaled by any artist since. If you don’t fall in love with this set, then I suggest you take up some other interest like macramé or horse shoes, because music is simply not for you. Find it at www.mosaicrecords.com, and thank me when we meet someday.