Liverpool Sound and Vision Rating 8.5/10
It has always been as such that legends of yesteryear become myths in the end, or if the worst-case scenario be realised, they become phantoms, beings of skill and devotion who are forgotten by later generations, ignored as time’s sweeping hand saves but a few for permanent recognition.
The modern music fan may be consumed with striking their own clear path, lauding some, denigrating others, discounting the immensity of those that went before them, perhaps even declaring that noting that came before has any relevance to their life today; this is not only disingenuous, but also a dangerous belief to uphold.
To counter this one only needs to think back to some of the great Jazz haunts of the 20th Century, whether in Europe or across the wide expanse of water to the United States, and in particular New York’s Birdland and a period of time when the freedom afforded by the end of World War Two saw men and musicians such as Lester Young take their rightful place amongst the elite and produce sounds and songs that not only captured the imagination, but endorsed the new styles and fascinations that would soon see the country take on its war against segregation and discrimination.
Emboldened by history’s return, the never heard before release of the tenor saxophonist’s live sets at the famous venue, the eight track release, taken from four different nights across 1951 and 1952 reintroduces class, a symphony of brass and human ability to caress the smooth tones to an audience that included the late, great Billie Holiday.
To be influential is not just a honour, in many ways it is a right, to stimulate even one person’s mind is to have lived to the full potential of being human, and in music, in art, that is a necessity of authority, and with a backing band that included John Lewis, Cyril Haynes, Earl Knight, “Papa” Jo Jones, Lee Abrams, Gene Ramey, Jesse Drakes what transpires in Lester Leaps In: Live At Birdland 1951-52 of jumping carousal and deep meaning affection all in one sax led chorus of beauty.
Across tracks such as Ghost Of A Chance, Up And Atom, Neenah, Indiana, and How High The Moon, the spirit of the age is once more exposed to the light of day, that musicians such as Lester Young may have been looked over as time has moved on is placed back in the hands of those who care and can, as this album clearly demonstrates, evoke genius with sentiment and pride in the performance.
An exceedingly bountiful release of a true legend, never to be misplaced again.
Ian D. Hall