The Young Lions (Remastered 2026) The Young Lions

• 1 Seeds Of Sin (Remastered 2026) 05:43
• 2 Peaches And Cream (Remastered 2026) 05:56
• 3 Fat Lady (Remastered 2026) 05:02
• 4 Scourn' (Remastered 2026) 06:52
• 5 That's Right (Remastered 2026) 11:37
• Total Runtime 35:10

Info zu The Young Lions (Remastered 2026)

„The Young Lions“ wurde 1960 in den Bell Sound Studios in New York City aufgenommen und 1961 bei Vee-Jay Records veröffentlicht. Es enthält vier von Wayne Shorter komponierte Stücke und eines von Lee Morgan. Der Albumtitel bezieht sich auf Irwin Shaws beliebten gleichnamigen Roman aus dem Jahr 1948. In den Liner Notes des Albums nutzt der Saxophonist Cannonball Adderley Shaws Roman, um eine These über den Jazz aufzustellen, und behauptet, dass im modernen Jazz eine Spannung zwischen Tradition und Avantgarde bestehe. Er legt nahe, dass die Anpassung an entweder den Traditionalismus oder die Avantgarde das „wahre Genie“ ersticke.

In den Liner Notes des Albums nutzt der Saxophonist Cannonball Adderley Shaws Roman, um eine These über den Jazz aufzustellen. Adderley schreibt, dass im modernen Jazz eine Spannung zwischen Tradition (vertreten durch Charlie Parker, Dizzy Gillespie und Thelonious Monk) und Avantgarde (zu der damals Ornette Coleman, Cecil Taylor und Jimmy Giuffre gehörten) bestehe, und deutet an, dass die Anpassung an den Traditionalismus oder die Avantgarde das „wahre Genie“ ersticke:

Wir leben in einer Zeit, in der Mittelmäßigkeit verherrlicht wird. Es sind Zeiten, in denen Teenager reich werden können, indem sie mittelmäßige Songs schreiben und aufführen. In denen ein kaum des Lesens und Schreibens fähiger Hinterwäldler mit zweifelhaftem Talent zum Star mit einem Millionenverdienst werden kann, oder in denen ein „All American Boy“ Platten auflegt, zu denen Teenager tanzen, und so zu einer großen Fernsehpersönlichkeit wird. Viele von uns glauben, dass solche Situationen existieren, weil wir uns darauf eingelassen haben, uns dem Massendenken und dessen Richtung anzupassen. Der großartige Roman von Irwin Shaw, „The Young Lions“, vermittelt mehrere Botschaften; darunter die Parallele der Konformität, die aus unterschiedlichen Quellen entspringt. Ein junger Mann ist ein Eiferer in einer Gemeinschaft konformistischer Patrioten, die blind einem Mann folgen, der darauf aus ist, eine Situation zu korrigieren, die nur in seinem egozentrischen Geist falsch ist. Der andere junge Mann ist ein wenig begeisterter Patriot im Militärdienst, der am „großen amerikanischen Ideal“ festhält, das selbst Konformität ist. Der moderne Jazz steht heute an der Schwelle zur Zerstörung durch jene, die ihm Gutes tun wollen. Die Fronten sind gezogen und klar abgesteckt. Die Traditionalisten sind diejenigen, die insgeheim das Gefühl haben, dass die Musik, die uns Parker, Gillespie und Monk vorgestellt haben, noch nicht vollständig entwickelt ist. Die Avantgarde ist der Ansicht, dass Musik reaktionär ist, wenn nicht stilistisch etwas „Anderes“ angedeutet oder produziert wird. Glücklicherweise ist das Jazzmachen höchst persönlich geprägt, und wahres Genie passt sich keiner Richtung an. „The Young Lions“, die die Musik auf diesem Album gemacht haben, haben unterschiedliche musikalische Philosophien und vielfältige Jazz-Hintergründe.

Der Begriff „Young Lions“ wurde in den 1980er Jahren im Jazz wiederbelebt, als es – wie schon 1960 – Spannungen zwischen den Traditionalisten des Modern Jazz und der Avantgarde gab. Eine Gruppe junger Musiker, darunter Wynton Marsalis, die Neo-Bop-Jazz spielten, wurde in der Jazzpresse häufig als „Young Lions“ bezeichnet.

Lee Morgan, Trompete
Wayne Shorter, Tenorsaxophon
Frank Strozier, Altsaxophon
Bobby Timmons, Klavier
Bob Cranshaw, Bass
Louis Hayes, Schlagzeug (Tracks 1, 2, 6, 7)
Albert „Tootie“ Heath, Schlagzeug (Tracks 3–5, 8)

Aufgenommen am 25. April 1960 in den Bell Sound Studios, New York City
Produziert von Sid McCoy

Digital remastered

The Young Lions
“We are living in the era of the glorification of mediocrity. These are the times when teenagers may become wealthy by writing and performing mediocre songs. When a scarcely literate hillbilly with dubious talent may become a star with a million dollar income, or when an "All American Boy" type can spin records to which teenagers dance and become a major television personality. Many of us believe that such situations exist because we have allowed ourselves to conform to mass thinking and direction.

The great novel by Irwin Shaw, "The Young Lions," delivers several messages; among them, the parallel of conformity emanating from separate sources. One young man is a zealot in a community of conformist patriots who blindly follow a man bent upon righting a situation that is wrong only in his ego-maniacal mind. The other young man is an unenthusiastic patriot in military service, who adheres to the "Great American Ideal," which is itself conformity.

Modern jazz today is standing on the threshold of destruction by those who would do it good. The lines are drawn and clearly marked. The traditionalists are those who unofficially feel that music introduced to us by Parker, Gillespie and Monk has not been fully developed. The avant-garde [Cannonball is referring to Third Stream movement - an amalgamation of Jazz and Classical music - that was current in the late 1950’s and early 1960’s] are those others who subscribe to the "something new" philosophy. The avant-garde feel that music is reactionary unless something "different" is either suggested or produced stylistically. Fortunately jazz making is highly personalized and true genius will not conform to direction. "The Young Lions" who made the music in this album have varied musical philosophies and sundry jazz backgrounds.

The gifted young trumpeter, Lee Morgan, has been penalized with "too much, too soon." He received international acclaim after breaking into big league jazz as an eighteen year old prodigy. However, by the time he reached twenty, he was already being dismissed by some as just another Clifford Brown imitator. Most of this criticism is invalid, for he is one of the most easily recognized trumpet stylists. Lee has taken pains to develop his obvious stylistic identification marks. His favourite trumpeters include the aforementioned Clifford Brown, Dizzy Gillespie (The Champion), Miles Davis (A Great Mind) and Fats Navarro. Morgan says, "I do not consciously emulate anyone." He is a fine performer in the great Philadelphia tradition.

Frank Strozier is a Memphis lad and a contemporary of George Coleman and Booker Little. He was taught in high school at one time by Andy Goodrich. Goodrich is a sort of legendary alto player and teacher who was a member of the famed Tennessee State Collegians (which at one time or another numbered among its members, Jimmy Cleveland, Phineas Newborn, Louis Smith and Paul Quinichette). Frank has an original style which is very deliberate and, yet, sometimes quixotic. He is shy and taciturn, but not introverted. John Coltrane says, "he has very big ears." Frank does most of the writing for the "MJT + 3," the group with which he came to national prominence.

Bob Cranshaw is also a member of the "MJT + 3." He studied string bass in the school orchestra at Evanston Township High School (his home town). Cranshaw is already recognized by many as one of the finest young rhythm bass players around. He has a rock-hard, but flexible beat; and is a modified "Ray Brown to Sam Jones" type. His favourites include Ray and Sam along with Paul Chambers, Israel Crosby, and Oscar Pettiford.

Pianist Bobby Timmons shares with Lee Morgan the veteran status in this group. He has worked with Kenny Dorham's Jazz Prophets, the Chet Baker Quintet, the Donald Byrd-Pepper Adams group, the Maynard Ferguson Band, the Cannonball Adderley Quintet, and is currently a member of Art Blakey's Jazz Messengers. Bobby plays in today's popular accepted groove. He is a funky hard swinger, and on up tempos, his right hand suggests the Bud Powell style. Timmons has become an important composer ("'Dis Here" and "Moanin"') as well as player.

Wayne Shorter is the surprise of the year. Since returning from military service his work has been outstanding as both tenor saxophonist and composer. Shorter is a true non-conformist player who is completely independent stylistically. His compositions have caused considerable comment regarding their stark realism and freshness. He views with admiration the work of Sonny Rollins, John Coltrane and fellow Newark, New Jerseyite, Hank Mobley.

Two years ago I asked the great "Philly" Joe Jones to name some of the young men whom he felt were potential giant drummers. Joe unhesitatingly named Louis Hayes, then drummer with the Horace Silver Quintet; Donald "Duck" Bailey, drummer with Jimmy Smith's organ trio, and Albert "Tootie" Heath, drummer with the J.J.Johnson sextet. Two of these young men have been utilized as participants of this "Young Lions" set. Louis Hayes, a Detroiter, has developed an enviable reputation. He plays a relaxed loose swinging style reminiscent of Kenny Clarke on medium and slow tempos, but is like a lion and more toward Max, "Philly" Joe, or Blakey on fast tempos. Hayes is also a fine soloist and has a popular following. (He is currently a member of the "Cannonball Adderley Quintet.")

Sharing the drum role with Louis is Albert Heath. Heath is the youngest member of one of the leading families in jazz. His brothers, saxophonist Jimmy and MJQ bassist Percy, have been established major league jazz musicians for some time. Al, who is a fine soloist, plays a style that is largely original but with overtones of "Philly" Joe and Max. He is a Philadelphian and has come to the attention of Vee Jay through his fine work on their first jazz album, "The Swingin'est."

Modern jazz obviously cannot and will not stand still. Modern jazz traditionalists must realize that the music of Bird is only a logical stepwise development of that which had gone before. Conversely, the avant-garde cannot expect basic stylistic changes to develop among mature players through artificial stimuli; for the hysterical cry for change tends to give sanctuary to charlatans.” (Julian "Cannonball" Adderley)

Dieses Album enthält kein Booklet