LESTER YOUNG QUINTET FEATURING KENNY DREW & JO JONES - Complete live at the Argyle 1950
Solar Records 4569968
Lester Young ( tnr ) Jesse Drakes ( tpt ) Kenny Drew ( pno ) Joe Shulman ( bass ) Jo Jones ( drs )
Recorded live at the Argyle Club, Chicago, 2 April 1950
The view widely held by most jazz pundits that Lester Young was never the same tenor player after his experiences in the United States Army which is true up to a point, he lost that light tone which he employed so successfully in the Count Basie Orchestra. It was correct that his tone darkened but his improvisational skills remained intact and he continued to record prolifically right up to the Washington recordings with the Bill Pott’s Trio.
He is in good form on this 1950 live date and although the recording is not of the highest quality his tenor is to the fore and it is the rhythm section which suffers. These recordings were initially issued by the Savoy label in their entirety but are long unavailable.
Pianist Kenny Drew has to wrestle with a pretty dodgy piano he is well back in the mix and we are unable hear the best of his playing. Drummer Jo Jones fares much better and he spurs the group along with some very sympathetic accompaniment.
The trumpet player on the date, Jesse Drakes is a long time associate of Lesters at intervals during the period 1948 to 1956 but despite having a strong background in jazz during the 1960s he worked with Motown artistsand in 1959 he played dance music and sang in New York.His period with Lester was probably the highlight of his jazz career and he made an ideal partner for him.
The album opens with Lester’s own composition “Lester’s Mop Mop Blues” and Lester’s solo is full of twists and turns while at the same time keeping the flow of invention interesting.
Lester’s long languid lines are much in evidence on “I Can’t Get Started” which is taken at a nice gentle pace which shows off Lester’s style at its best.
Lester’s roots in the blues is fully demonstrated in his solo on “Big Eyes Blues” and Jesse Drakes turns in a beautifully paced solo.
On Lester’s nod to his old boss Count Basie on “One O’Clock Jump” it sounds like he never left the band and his solo flows much like the old days and he spurred on by Jo Jones hard swinging drums.
Basie’s “Blue and Sentimental” was made for Lester’s style and gives full rein to his creative abilities his solo is followed by some creative trumpet from Jesse Drakes.
I am sure Kenny Drew’s piano contribution could have been better appreciated if he had a better instrument to work with. The sound quality on the recording had a tendency to drift in and out and the audience was a touch noisy but that is one of the draw backs of club recordings but this does not distract from the quality of the playing.
It is always a bonus to have more of Lester Young’s work available.
Reviewed by Roy Booth
Solar Records 4569968
Lester Young ( tnr ) Jesse Drakes ( tpt ) Kenny Drew ( pno ) Joe Shulman ( bass ) Jo Jones ( drs )
Recorded live at the Argyle Club, Chicago, 2 April 1950
The view widely held by most jazz pundits that Lester Young was never the same tenor player after his experiences in the United States Army which is true up to a point, he lost that light tone which he employed so successfully in the Count Basie Orchestra. It was correct that his tone darkened but his improvisational skills remained intact and he continued to record prolifically right up to the Washington recordings with the Bill Pott’s Trio.
He is in good form on this 1950 live date and although the recording is not of the highest quality his tenor is to the fore and it is the rhythm section which suffers. These recordings were initially issued by the Savoy label in their entirety but are long unavailable.
Pianist Kenny Drew has to wrestle with a pretty dodgy piano he is well back in the mix and we are unable hear the best of his playing. Drummer Jo Jones fares much better and he spurs the group along with some very sympathetic accompaniment.
The trumpet player on the date, Jesse Drakes is a long time associate of Lesters at intervals during the period 1948 to 1956 but despite having a strong background in jazz during the 1960s he worked with Motown artistsand in 1959 he played dance music and sang in New York.His period with Lester was probably the highlight of his jazz career and he made an ideal partner for him.
The album opens with Lester’s own composition “Lester’s Mop Mop Blues” and Lester’s solo is full of twists and turns while at the same time keeping the flow of invention interesting.
Lester’s long languid lines are much in evidence on “I Can’t Get Started” which is taken at a nice gentle pace which shows off Lester’s style at its best.
Lester’s roots in the blues is fully demonstrated in his solo on “Big Eyes Blues” and Jesse Drakes turns in a beautifully paced solo.
On Lester’s nod to his old boss Count Basie on “One O’Clock Jump” it sounds like he never left the band and his solo flows much like the old days and he spurred on by Jo Jones hard swinging drums.
Basie’s “Blue and Sentimental” was made for Lester’s style and gives full rein to his creative abilities his solo is followed by some creative trumpet from Jesse Drakes.
I am sure Kenny Drew’s piano contribution could have been better appreciated if he had a better instrument to work with. The sound quality on the recording had a tendency to drift in and out and the audience was a touch noisy but that is one of the draw backs of club recordings but this does not distract from the quality of the playing.
It is always a bonus to have more of Lester Young’s work available.
Reviewed by Roy Booth
