A Little Night Music

Lester Young improvises here with Charlie Christian, the All-American Rhythm Section, and some other dudes.

They could basically do this at will. Basie, Green, Jones, and Page would get something simple going. Then, whoever else was there could solo. If they didn't have a soloist around, maybe Basie would stretch out a little, as he does here for a San Francisco tv audience (the host is the estimable Ralph Gleason).

Young grew up in that Basie format, then went out on his own. He had his highs and lows, but some of his small combo work is just perfect. Here he is strolling through "Tea for Two" with Nat King Cole on piano. (Cole played piano on one album with Young under the name "A. Guy".)

In 1957 at Newport they got the Old Testament (Jo Jones, Lester Young, Jimmy Rushing, head arrangements) and New Testament Basie bands (Joe Williams, Quincy Jones arrangements) together in one place. Swinging at Newport starts off with the small group formula - the Rhythm Section sets it up, Basie makes an opening statement, then, after some call-and-response by the band, Young takes over (2:48).



Young defies the band's shouting dynamics with an opening whisper, then goes into a conversational but lyrical small group solo that becomes bigger and more explicitly rhythmic as it progresses, until he is in a full volume dialogue with the other horns. He raises hell, kicks ass, takes names, squawks, honks, decorates, and powers on to some high arpeggios. And, just like, that he's done, and the other soloists can step in and do their stuff. It's a team sport, after all.

I can't find the exact quote now, but shortly before his death (1959) Young sat down with someone and listened to those Newport sessions. Hearing the dynamic, reaching solos again he shook his head and said "I always played like a motherfucker for those guys."

These orchestral jazz performances are awesome, and reason enough to listen - but for me it's still just a performance, not the real Lester Young. The real Lester Young played late at night, in those small jam sessions, in that soft, cool, tone, talking (and singing a little) with the horn.