Despite the broad recognition of Wayne Shorter's importance, the influence of his work on others, and the unwavering popularity of his compositions, the oeuvre of one of jazz's key figures remains largely under-researched. Although (academic) interest has begun to emerge, the paucity of in-depth analyses of individual compositions is striking, given their sheer number and continued widespread performance. Mainstream jazz analysis tends to stop at labelling form and chords, which provides little to no insight beyond the immediately obvious. Academic music theory, by contrast, tends to focus on specific parameters within repertoire or pieces, often using analytical approaches such as, more recently, neo-Riemannian theories. Such approaches may highlight certain aspects in-depth, while leaving others unaddressed. 

In this paper, I present an integral analysis of “Lester Left Town” (Art Blakey & the Jazz Messengers, The Big Beat, 1960), a tribute to Lester Young written shortly after his death. In the analysis, I use multiple angles to approach this composition. The analysis unfolds along two lines. On the one hand, it traces how the material presented in the opening measures determines the design of the entire composition. Specific elements introduced in the opening measures systematically return in various guises and parameters throughout the piece. 

The second line of inquiry concerns how Shorter uses references to the work of Lester Young in the composition. These references do not merely show up as ‘quotes', but have become integrated into the material itself. In addition to comparing “Lester Left Town” to specific recordings by Lester Young, these references can be substantiated by comparing the recorded version of “Lester Left Town” with the copyright deposit (held in the Library of Congress). In “Lester Left Town,” Shorter's use of this material creates both a sophisticated network of intertextuality and a strong original composition in its own right. 

The purpose of this analysis is two-fold. First and foremost, it seeks to further the understanding of the compositional methods of one of jazz's outstanding figures and the sources and practices that feed them. Secondly, it aims to demonstrate that a combination of different analytical methods and approaches is a fruitful way to address this repertoire, and by extension, jazz composition practice in general.