{"id":10941,"date":"2019-02-24T17:54:45","date_gmt":"2019-02-25T01:54:45","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=10941"},"modified":"2019-03-24T20:38:36","modified_gmt":"2019-03-25T03:38:36","slug":"weekend-extra-a-lester-young-story","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2019\/02\/weekend-extra-a-lester-young-story\/","title":{"rendered":"Weekend Extra: A Lester Young Story"},"content":{"rendered":"<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/10\/Lester-Young-facing-right.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft  wp-image-6128\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/10\/Lester-Young-facing-right.jpg\" alt=\"\" width=\"246\" height=\"246\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/10\/Lester-Young-facing-right.jpg 200w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/10\/Lester-Young-facing-right-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/10\/Lester-Young-facing-right-100x100.jpg 100w\" sizes=\"auto, (max-width: 246px) 100vw, 246px\" \/><\/a>Long ago, Billie Holiday dubbed Lester Young the President of The Tenor Saxophone. The title long since morphed into \u00e2\u20ac\u0153Prez.\u00e2\u20ac\u009d Young was beloved among his fellow musicians for his influential playing. He also won admirers for the subtlety and understatement of his way of expressing himself when he was away from his horn. Many of his turns of spoken phrase are alive in the language sixty years following his death.<\/p>\n<p>Mosaic Records\u00e2\u20ac\u2122 Sunday website feature today includes a <em>youtube<\/em> clip of Monica (Mrs. Stan) Getz recalling a bus ride with Young and the hyperkinetic alto saxophonist Sonny Stitt. It includes her memory of a classic instance of Prezidential rhetoric.<\/p>\n<div align=\"&quot;center\">\n<p>&#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0&#8221;\u00a0<iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/MMkCMK7V_eQ\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>To see all of Mosaic\u00e2\u20ac\u2122s Sunday Gazette, <a href=\"http:\/\/www.mosaicrecords.com\/?utm_source=ExactTarget&amp;utm_medium=email&amp;utm_content=http%3a%2f%2fwww.mosaicrecords.com&amp;utm_campaign=22384822&amp;utm_umg_et=86750833\">go here<\/a>.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Long ago, Billie Holiday dubbed Lester Young the President of The Tenor Saxophone. The title long since morphed into \u00e2\u20ac\u0153Prez.\u00e2\u20ac\u009d Young was beloved among his fellow musicians for his influential playing. He also won admirers for the subtlety and understatement of his way of expressing himself when he was away from his horn. Many of [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":6128,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-10941","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/10941","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=10941"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/10941\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/6128"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=10941"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=10941"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=10941"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}