Did you think about contacting Lester's son, Dr. Lester W. Young, Jr., Chancellor of the New York State Board of Regents, regarding your thoughts on Lester's personal problems in the 1940s? Although he had not reached age 5 when his father died, perhaps some older relatives provided insight about the saxophonist to Dr. Young when he was in high school or college.
Thank you for your scholarship and perspective. Your concern for getting it right is borne out by your research and musical examples.
So much attention is paid to the Prez/Bean dichotomy, and for good reason, but when it comes to the evolution of Prez's playing, might we also consider the potential influence of the other great pre-Bird tenor Ben Webster? While he may not have embraced or incorporated much of Bird into his own playing, Ben was the sub-tonal muscular master of his day. If Prez proceeded through the 40's with, in your lovely phrase, "less moonlight" in his playing, might it be said that the moonlight became reflected off the lake and the reeds, the sandy bank and the trees? That Lester's moonlight came down to earth and touched something in common with Ben's longstanding earthiness?
Might I also ask you to weigh in on Prez's These Foolish Things from the Aladdin sessions? Isn't that 50's recording a master making moonlight permeate our own thoughts and memories?
Thank you very much indeed for writing. I posted a series of essays on the subject of Ben Webster's influence on Bird, but I never thought for a minute about Webster's influence on Lester. Believe you me, I will be pondering THAT going forward. Meanwhile, here are the links to the five Webster essays. I would be interested to hear your thoughts.
Since you've thought about the timeline and looked at photos (for mouthpieces etc.): have you thought about the change in his posture -- or rather the sax's posture -- across this period. I too think of Lester's comment about alto to tenor to bass, but does it make sense to think of the change as also FLUTE to tenor to... bassoon maybe? (But seriously: surely changing the angle of his own neck and the saxophone's neck must have contributed to changes in breath control and embouchure?)
This is pure gold. Thank you for this detailed and insightful research. The observations and recordings with Bird are particularly touching.
A great piece, thank you! (from a retired oboist now student of sax)
Thank YOU, Colin, for reading!
Did you think about contacting Lester's son, Dr. Lester W. Young, Jr., Chancellor of the New York State Board of Regents, regarding your thoughts on Lester's personal problems in the 1940s? Although he had not reached age 5 when his father died, perhaps some older relatives provided insight about the saxophonist to Dr. Young when he was in high school or college.
Deep dive!! Thank You!!
Thank you for your scholarship and perspective. Your concern for getting it right is borne out by your research and musical examples.
So much attention is paid to the Prez/Bean dichotomy, and for good reason, but when it comes to the evolution of Prez's playing, might we also consider the potential influence of the other great pre-Bird tenor Ben Webster? While he may not have embraced or incorporated much of Bird into his own playing, Ben was the sub-tonal muscular master of his day. If Prez proceeded through the 40's with, in your lovely phrase, "less moonlight" in his playing, might it be said that the moonlight became reflected off the lake and the reeds, the sandy bank and the trees? That Lester's moonlight came down to earth and touched something in common with Ben's longstanding earthiness?
Might I also ask you to weigh in on Prez's These Foolish Things from the Aladdin sessions? Isn't that 50's recording a master making moonlight permeate our own thoughts and memories?
Thank you very much indeed for writing. I posted a series of essays on the subject of Ben Webster's influence on Bird, but I never thought for a minute about Webster's influence on Lester. Believe you me, I will be pondering THAT going forward. Meanwhile, here are the links to the five Webster essays. I would be interested to hear your thoughts.
https://charlieparkercentennial.com/2024/09/19/parkeology-018-brute-force/
https://charlieparkercentennial.com/2024/09/25/parkeology-019-native-son/
https://charlieparkercentennial.com/2024/10/04/parkeology-020-one-guesses/
https://charlieparkercentennial.com/2024/10/17/parkeology-021-por-favor/
https://charlieparkercentennial.com/2024/11/04/parkeology-022-third-degree/
Since you've thought about the timeline and looked at photos (for mouthpieces etc.): have you thought about the change in his posture -- or rather the sax's posture -- across this period. I too think of Lester's comment about alto to tenor to bass, but does it make sense to think of the change as also FLUTE to tenor to... bassoon maybe? (But seriously: surely changing the angle of his own neck and the saxophone's neck must have contributed to changes in breath control and embouchure?)
Wow! Great reading. A lifetime of listening to Pres.