An upper room to gather and share facts and music; to contemplate and find stimulation in the heritage bestowed upon us by the Masters of Jazz, of Beauty.

Members: 13
Latest Activity: Sep 15, 2017

Welcome To JazzMasters

01 All of Me
02 Prisoner of Love
03 Louise
04 Love Me or Leave Me
05 Taking a Chance on Love
06 Love Is Here to Stay
07 Pres Returns
In the 1950s, producer Norman Granz brought many of the previous decade's biggest jazz stars into the studio in order to capture their immense talent, and hopefully revive some careers in the process. The names now read like a who's who of the jazz hall of fame -- Ben Webster, Coleman Hawkins, Lionel Hampton, Art Tatum (for a different label however), Teddy Wilson and Lester Young. "Pres" as he was also known, was famous for his smooth, singing tenor saxophone voice, and it has never been better showcased than on his collaboration with pianist Teddy Wilson. The quartet, which is rounded out by Gene Ramey on bass and Jo Jones on drums, glides through six standards, and one Young original (the CD bonus track "Pres Returns"). "Pres and Teddy" has to rank right up there with any and all Verve recordings from the 50s -- which is pretty impressive considering the competition is classic albums like "Ben Webster Meets Oscar Peterson," not to mention all those great Bird recordings. "Pres and Teddy" is truly a summit meeting of presidential powers.
Pres and Teddy


Lester Young was one of the true jazz giants, a tenor saxophonist who came up with a completely different conception in which to play his horn, floating over bar lines with a light tone rather than adopting Coleman Hawkins' then-dominant forceful approach. A non-conformist, Young (nicknamed "Pres" by Billie Holiday) had the ironic experience in the 1950s of hearing many young tenors try to sound exactly like him.

Although he spent his earliest days near New Orleans, Lester Young lived in Minneapolis by 1920, playing in a legendary family band. He studied violin, trumpet, and drums, starting on alto at age 13. Because he refused to tour in the South, Young left home in 1927 and instead toured with Art Bronson's Bostonians, switching to tenor. He was back with the family band in 1929 and then freelanced for a few years, playing with Walter Page's Blue Devils (1930), Eddie Barefield in 1931, back with the Blue Devils during 1932-1933, and Bennie Moten and King Oliver (both 1933). He was with Count Basie for the first time in 1934 but left to replace Coleman Hawkins with Fletcher Henderson. Unfortunately, it was expected that Young would try to emulate Hawk, and his laid-back sound angered Henderson's sidemen, resulting in Pres not lasting long. After a tour with Andy Kirk and a few brief jobs, Lester Young was back with Basie in 1936, just in time to star with the band as they headed East. Young made history during his years with Basie, not only participating on Count's record dates but starring with Billie Holiday and Teddy Wilson on a series of classic small-group sessions. In addition, on his rare recordings on clarinet with Basie and the Kansas City Six, Young displayed a very original cool sound that almost sounded like altoist Paul Desmond in the 1950s. After leaving Count in 1940, Young's career became a bit aimless, not capitalizing on his fame in the jazz world. He co-led a low-profile band with his brother, drummer Lee Young, in Los Angeles until re-joining Basie in December 1943. Young had a happy nine months back with the band, recorded a memorable quartet session with bassist Slam Stewart, and starred in the short film Jammin' the Blues before he was drafted. His experiences dealing with racism in the military were horrifying, affecting his mental state of mind for the remainder of his life.

Although many critics have written that Lester Young never sounded as good after getting out of the military, despite erratic health he actually was at his prime in the mid- to late-'40s. He toured (and was well paid by Norman Granz) with Jazz at the Philharmonic on and off through the '40s and '50s, made a wonderful series of recordings for Aladdin, and worked steadily as a single. Young also adopted his style well to bebop (which he had helped pave the way for in the 1930s). But mentally he was suffering, building a wall between himself and the outside world, and inventing his own colorful vocabulary. Although many of his recordings in the 1950s were excellent (showing a greater emotional depth than in his earlier days), Young was bothered by the fact that some of his white imitators were making much more money than he was. He drank huge amounts of liquor and nearly stopped eating, with predictable results. 1956's Jazz Giants album found him in peak form as did a well documented engagement in Washington, D.C., with a quartet and a last reunion with Count Basie at the 1957 Newport Jazz Festival. But, for the 1957 telecast The Sound of Jazz, Young mostly played sitting down (although he stole the show with an emotional one-chorus blues solo played to Billie Holiday). After becoming ill in Paris in early 1959, Lester Young came home and essentially drank himself to death. Many decades after his death, Pres is still considered (along with Coleman Hawkins and John Coltrane) one of the three most important tenor saxophonists of all time. ~ Scott Yanow, All Music Guide

The Best of Teddy Wilson & His Orchestra

Teddy Wilson was the definitive swing pianist, a solid and impeccable soloist whose smooth and steady style was more accessible to the general public than Earl Hines or Art Tatum. He picked up early experience playing with Speed Webb in 1929 and appearing on some Louis Armstrong recordings in 1933. Discovered by John Hammond, Willie joined Benny Carter's band and recorded with the Chocolate Dandies later that year. In 1935, he began leading a series of classic small-group recordings with swing all-stars which on many occasions featured Billie Holiday. That was also the year that an informal jam session with Benny Goodman and Gene Krupa resulted in the formation of the Benny Goodman Trio (Lionel Hampton made the group a quartet the following year). Although he was a special added attraction rather than a regular member of the orchestra, Wilson's public appearances with Goodman broke important ground in the long struggle against segregation. Between his own dates, many recordings with Benny Goodman's small groups and a series of piano solos, Teddy Wilson recorded a large number of gems during the second half of the 1930s. He left B.G. in 1939 to form his own big band but, despite some fine records, it folded in 1940. Wilson led a sextet at Cafe Society during 1940-1944, taught music at Juilliard during the summers of 1945-1952, appeared on radio shows, and recorded regularly with a trio, as a soloist and with pick-up groups in addition to having occasional reunions with Goodman. Teddy Wilson's style never changed, and he played very similar in 1985 to how he sounded in 1935; no matter, the enthusiasm and solid sense of swing were present up until the end. ~ Scott Yanow, All Music Guide

Discussion Forum

The Mellow Moods Of Edie2k2

Started by Edie2k2. Last reply by Edie2k2 Aug 6, 2010. 1 Reply


Started by Edie2k2. Last reply by Edie2k2 Dec 30, 2009. 2 Replies


Started by Edie2k2. Last reply by Tonya Anderson Jun 18, 2009. 5 Replies

My Grandfather, The Cotton Club, and Billy Eckstine

Started by Shelley "SoleMann" King. Last reply by Tonya Anderson Jun 18, 2009. 7 Replies

Billy Eckstine

Started by Edie2k2. Last reply by Shelley "SoleMann" King Mar 20, 2009. 5 Replies

Jazz Dance

Started by Saint. Last reply by Edie2k2 Mar 16, 2009. 1 Reply


Started by Edie2k2 Dec 26, 2008. 0 Replies

Jazz Sleeves -The Series

Started by The Chillounge. Last reply by Edie2k2 Dec 25, 2008. 1 Reply

Chuck Mangione

Started by Shelley "SoleMann" King. Last reply by Edie2k2 Apr 26, 2008. 3 Replies


Started by E ♪♫♪ Mar 5, 2008. 0 Replies

Jazz Gems

Started by Edie2k2 Feb 29, 2008. 0 Replies


Started by Edie2k2 Feb 29, 2008. 0 Replies

Comment Wall


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Comment by The Chillounge on September 2, 2009 at 5:11pm
Welcome Home Noetz!
Comment by Edie2k2 on April 20, 2009 at 5:04pm
It's easy to do..OOTP is a virtual wonderland of music and goodies..♥

Thanks Saint..
Comment by Saint on April 20, 2009 at 1:35pm
Don't know how I missed this one....well done...
Comment by Edie2k2 on January 26, 2009 at 7:52pm
How is everybody???
Comment by Edie2k2 on January 26, 2009 at 7:51pm
You are such a skilled artist Saint! That is ...beautiful!
Comment by Saint on January 7, 2009 at 10:27pm
Let's give Dizzy a little praise. Peace, Saint

Comment by Tonya Anderson on January 7, 2009 at 3:36pm

Comment by Edie2k2 on January 3, 2009 at 12:13pm
Wow...great idea indeed! I love Shirley Horn like I knew her, although we never met. She touched me with every note of her singing.

You know, that always aggravates me when I see one of my ideas mysteriously appear somewhere else. It boils my but I can't be like that..I'm working on it. I used to have a member of another site copy each and EVERY thing that I did. It was maddening!

Hey, wait a doggone minute! I came to WELCOME you and I done went all off on a tangent of my own...ha ha ha haaaa!!!!! Really though, I'm delighted that you're here...I really am.
Comment by Saint on January 3, 2009 at 11:23am
I will have to read what you said about Shirley Horn.. She is a DC icon. A tidbit FYI. Several years ago I produced a program for DCTV called Jazz Party. I invited several friends over to my home and asked them to bring three of their favorite Jazz LP.s. We filmed the party and it ran on the air for a couple of years. About a year later Shirley came out with her LP...Jazz Party...Hummm. Great minds do work alike.....LOL.....this is a format for parties I have used many times and I suggest that it is a good one for members of the group to use for their own parties...Peace, Saint
Comment by TJ on December 30, 2008 at 8:03pm
Edie, great job on Shirley Horn. I love her voice.

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