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Orema · 04-06-2016, 07:43 AM

Tracklist:
1- Back To The Land
2- I Cover The Waterfront (Take 1)
3- I Cover The Waterfront (Take 2)
4- Somebody Loves Me
5- I've Found a New Baby
6- The Man I Love
7- Peg o' My heart
8- I want To Be Happy
9- Mean to Me
10- Back to the Land
11- I've Found a New Baby
12- Rosetta
13- Sweet Lorraine
14- Blowed and Gone

Tracks 1 - 10: Lester Young: ts // Nat King Cole: Piano // Buddy Rich: Drums//

Tracks 11-14: Harry Edison: tp // Dexter Gordon: Ts // Nat Cole: Piano // Red Callender or Johnny Miller: b // Buddy Rich: Drums //

From www.allmusic.com
One of Lester Young's most memorable post-World War II dates came in 1946, when he entered a Los Angeles studio and formed a trio that employed Nat King Cole on piano and Buddy Rich on drums. In 1994, the results of that classic encounter, which Norman Granz produced for his Clef label, were reissued on the CD Lester Young Trio. Unfortunately, the sound is pretty scratchy, and one wishes that Verve had used digital remastering to reduce the noise. But the performances themselves are outstanding. From the blues "Back to the Land" to the soulful ballad statements of "The Man I Love" and "I Cover the Waterfront," Lester Young Trio explodes the absurd myth that Young's postwar output is of little or no value -- a myth that many jazz critics have been all too happy to promote. The CD's four bonus tracks (which include "Sweet Lorraine," "Rosetta" and "I've Found a New Baby") come from a 1943 or 1944 session that didn't employ Young at all, but rather, was led by tenor saxophonist Dexter Gordon and features trumpeter Harry "Sweets" Edison and Cole, among others. Listeners might ask what that session, which was Gordon's first as a leader, has to do with Young, and the answer is that it illustrates Young's tremendous influence on Gordon. At that point, Gordon still sounded a lot like Young, was still playing swing rather than bebop and had yet to develop a recognizable sound of his own, although by 1945, Gordon would become quite distinctive and influential himself. Highly recommended.

04-06-2016, 07:43 AM	#68363
Orema Superlative Soul Sister How Do You Identify?: Lesbian stone femme Preferred Pronoun?: She, her Relationship Status: Moving in a single file Join Date: Dec 2013 Location: Cottage of Content Posts: 13,643 My Photo Gallery Thanks: 41,460 Thanked 34,715 Times in 8,948 Posts Rep Power: 21474861	Lester Young - Lester Young Trio, full album Tracklist: 1- Back To The Land 2- I Cover The Waterfront (Take 1) 3- I Cover The Waterfront (Take 2) 4- Somebody Loves Me 5- I've Found a New Baby 6- The Man I Love 7- Peg o' My heart 8- I want To Be Happy 9- Mean to Me 10- Back to the Land 11- I've Found a New Baby 12- Rosetta 13- Sweet Lorraine 14- Blowed and Gone Tracks 1 - 10: Lester Young: ts // Nat King Cole: Piano // Buddy Rich: Drums// Tracks 11-14: Harry Edison: tp // Dexter Gordon: Ts // Nat Cole: Piano // Red Callender or Johnny Miller: b // Buddy Rich: Drums // From www.allmusic.com One of Lester Young's most memorable post-World War II dates came in 1946, when he entered a Los Angeles studio and formed a trio that employed Nat King Cole on piano and Buddy Rich on drums. In 1994, the results of that classic encounter, which Norman Granz produced for his Clef label, were reissued on the CD Lester Young Trio. Unfortunately, the sound is pretty scratchy, and one wishes that Verve had used digital remastering to reduce the noise. But the performances themselves are outstanding. From the blues "Back to the Land" to the soulful ballad statements of "The Man I Love" and "I Cover the Waterfront," Lester Young Trio explodes the absurd myth that Young's postwar output is of little or no value -- a myth that many jazz critics have been all too happy to promote. The CD's four bonus tracks (which include "Sweet Lorraine," "Rosetta" and "I've Found a New Baby") come from a 1943 or 1944 session that didn't employ Young at all, but rather, was led by tenor saxophonist Dexter Gordon and features trumpeter Harry "Sweets" Edison and Cole, among others. Listeners might ask what that session, which was Gordon's first as a leader, has to do with Young, and the answer is that it illustrates Young's tremendous influence on Gordon. At that point, Gordon still sounded a lot like Young, was still playing swing rather than bebop and had yet to develop a recognizable sound of his own, although by 1945, Gordon would become quite distinctive and influential himself. Highly recommended.