Lady Be Good (1936) Lester Young -

Producer had intentionally scheduled the session then, believing jazz players were at their most inspired before they went to sleep. Because Count Basie was already signed to a restrictive contract with Decca, the group recorded under the alias "Jones-Smith Incorporated" to avoid legal trouble. The Sound: A Revolution in One Solo

When "Lady Be Good" began, Young unleashed a solo that sounded like it was from another planet. Instead of the usual heavy vibrato, his tone was light, airy, and "cool". He didn't just play the notes; he using a new vocabulary of relaxed phrasing and sophisticated horizontal lines that would eventually pave the way for bebop . The Legacy: Freezing a Masterpiece “Lady, Be Good” (1936) Lester Young and Count Basie Lady Be Good (1936) Lester Young

The story of 1936 recording of " Lady Be Good " is a legendary moment in jazz history, often described as the "Big Bang" of the modern tenor saxophone. The Setting: A Sleepy Monday Morning in Chicago Instead of the usual heavy vibrato, his tone

On , five musicians gathered in a cramped 12-by-15-foot studio at the American Record Corporation in Chicago. It was 10:00 a.m. —an ungodly hour for jazzmen who had just finished a grueling set at the Grand Terrace Ballroom followed by an all-night jam session. The Setting: A Sleepy Monday Morning in Chicago

At the time, the dominant saxophone sound was the heavy, aggressive "growl" of Coleman Hawkins. Then Lester Young stepped up to the microphone.