Jammin’ The Blues catches Lester Young at a creative peak, and also on the brink of his personal abyss. Just before the shoot he had received his call-up papers. This was not the first communication the Draft Board had sent him, but he had taken no notice. A touring musician was a moving target and, as Buddy Tate explained: ‘A lot of musicians beat the Draft by saying, “Well, I didn’t get it – I was on the road.” We were all trying to stay out because we were making too much money, and there were so many lonely ladies.’1 This time, however, the Draft Board really meant business.