(1909 – 1959) Lester Wills Young know as “Pres” (short for President) was born on 27 August 1909 in Woodeville, Mississippi; he grew up in New Orleans. His first instrument was drums, but he gave them up them for the alto saxophone, before his final choice of tenor sax. He played in the bands of King Oliver, Count Basie, Fletcher Henderson and Andy Kirk, before returning to Basie’s band in 1936, the date of his fateful meeting with singer Billie Holiday, whom he influenced considerably over time. From the early forties on he recorded under his own name. Coleman Hawkins’ style was all the rage at the time, but he broke away from it, creating a style that embraced elements from both bop and the cool. Several details in his playing herald the arrival of real bop, e.g. the introduction of passing chords and his unusual rhythms, a complete break with the traditional manner of putting the accent on the strong beat, as well as his unrestrained use of all the chords he wanted (another innovation!), rather than the traditional method of working round a chosen theme. His swing was relaxed and easy, fluid, free-flowing and light, whilst his subdued sound inspired more than one musician of the cool era. Over the years Lester’s style became more and more impressionistic, for he was a poet at heart, finding new inspiration at every moment. Where he was sometimes extrovert and relaxed with a gossamer light touch and a sound to match, at other times he could be introvert, with everything coming from deep inside; again, sometimes his notes spilled out prolifically, and sometimes his economy of means was remarkable. He never stopped experimenting and opening up new horizons, creating music that carried the whole range of human emotions in its bars. He died in New York on 15 March 1959, shortly after returning from a European tour. His influence on the cool style is clear-cut but certain saxophone players, especially Dexter Gordon and Wardell Gray, were inspired by the rich diversity of his playing. Charlie Mingus paid him a strong and fitting tribute with his now famous composition “Goodbye Pork Pie Hat”, subtitled “Theme For Lester Young”.