This is the most delightful album to have come my way in an age. Usefully uniting all of Young's 1949-51 quartet recordings for producer Norman Granz, which, Verve's big boxed set treatment aside, have never really received the exposure they deserve, it tells a story which counters much of the legend that has built up around ‘later’ Lester.

Taped at the height of the ‘bebop-to-cool’ transition, which was making stars of disciples like Stan Getz, Zoot Sims and Gene Ammons, it reveals a very far from spent Prez. Indeed, over its generous playing time we get to hear him not only prove he was the originator of so much contemporary tenor but also highly capable of playing the younger men at their own game. Listen to ‘Frenesi’, for example, to encounter him on Getz' turf, or ‘In A Little Spanish Town’ which nods to Sonny Stitt and, more prototypically, Sonny Rollins.

Even the R&B of Ammons and co. gets done the Young way on such things as ‘Up n’ Adam' and ‘Neenah.’ The rhythm sections, centred on Jones and Lewis, are there not as stars in their own right but to offer discreet support. Occasionally, it's a little too discreet (‘Jeepers Creepers’ is close to lethargic) but both pianist's are urbanity itself. Lewis' little introductions are gems in themselves (try ‘Let's Fall In Love’) while Jones’ perkiness is able to lift the odd plummet into tired, spit-on-the-reed Prez that occurs on ‘Polka-dots and Moonbeams’. The bonus cuts (lifted, one wonders with what legitimacy, from Verve's ‘complete’ Lester collection) feature a magnificent triptych in ‘Pete's Cafe’, ‘Lester Swings’ and the aptly-titled ‘Slow Motion Blues’, which is indispensable listening. One final revisionist thought; these were sides made largely for the three-minute jukebox market and as such they distil wisdom in a manner many a later player would struggle to achieve. That in itself is a gift, just one of the many Young offers on this gorgeous set. Very highly recommended – and in fabulous sound too.