Problem: Travis are a Scottish rock band formed in Glasgow in 1990, composed of Fran Healy (lead vocals, rhythm guitar), Dougie Payne (bass guitar, backing vocals), Andy Dunlop (lead guitar, banjo, backing vocals) and Neil Primrose (drums, percussion). The band's name comes from the Harry Dean Stanton character Travis Henderson from the film Paris, Texas. The band is widely claimed by the media as having paved the way for other bands such as Keane and Coldplay to go onto achieve worldwide success throughout the 2000s, particularly through the band's The Man Who (1999) album. The band released their debut album, Good Feeling (1997) to moderate success where it debuted at number nine on the UK Albums Chart and went onto achieve a silver certification from the BPI in January 2000.

The band that would become Travis was formed by brothers Chris Martyn (bass) and Geoff Martyn (keyboards) along with Simon Jarvis (drums). Andy Dunlop, a school friend at Lenzie Academy, was drafted in on guitar. The line-up was completed by a female vocalist, Catherine Maxwell, and the band's name became "Glass Onion", after the Beatles song of the same name. Neil Primrose joined to replace Jarvis. Parting company with their singer in the spring of 1991, they auditioned for a new vocalist. Having met each other through Primrose pouring him a pint, an untrained art student, Fran Healy, then joined after being invited to audition by Primrose. Healy joined the band on the day he enrolled at The Glasgow School of Art, in the autumn of 1991. Two years later, with the option of music holding more appeal, Healy dropped out of art school, and inspired by songwriters such as Joni Mitchell, assumed songwriting responsibilities. With brothers Chris and Geoff Martyn on bass and keyboards, in 1993, the fivesome released a privately made CD, The Glass Onion EP, featuring the tracks "Dream On", "The Day Before", "Free Soul" and "Whenever She Comes Round". 500 copies of the EP were made and were recently valued at PS1000 each. Other songs they recorded but were left off are "She's So Strange" and "Not About to Change". The band won a talent contest organised by the Music in Scotland Trust, who promised PS2,000 so that Travis could deal-hunt at a new music seminar in New York. Two weeks before they were due to leave, however, the prize was instead given to the Music in Scotland Trust Directory. When sent a copy of the directory, the band noticed that it seemed to feature every single band in Scotland--except for them. The band showed promise but had yet to evolve into a decent line-up capable of fulfilling it and spent several years treading water. According to their publisher Charlie Pinder: "They were a band that everyone in the A&R community knew about and would go and see every now and then. But they weren't very good. They had quite good songs; Fran always did write good songs." While on a visit to Scotland, American engineer and producer Niko Bolas, a long-time Neil Young and Rolling Stones associate, tuned into a Travis session on Radio Scotland, and heard something in the band's music which instantly made him travel to Perth to see them. Healy: "He told us we were shit, took us in the studio for four days, and taught us how to play properly, like a band. He was ballsy, rude, and New York pushy. He didn't believe my lyrics and told me to write what I believed in and not tell lies. He was Mary Poppins, he sorted us out." The band recorded a five-song demo, which included the song "All I Want to Do Is Rock".

Where did they meet Simon?

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Problem: Lester Willis Young (August 27, 1909 - March 15, 1959), nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using what one critic called "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike". Known for his hip, introverted style, he invented or popularized much of the hipster jargon which came to be associated with the music.

In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie. His playing in the Basie band was characterized by a relaxed style which contrasted sharply with the more forceful approach of Coleman Hawkins, the dominant tenor sax player of the day. One of Young's key influences was Frank Trumbauer, who came to prominence in the 1920s with Paul Whiteman and played the C-melody saxophone (between the alto and tenor in pitch). Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra. He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie. While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions. Although they were recorded in New York (in 1938, with a reunion in 1944), they are named after the group, the Kansas City Seven, and comprised Buck Clayton, Dicky Wells, Basie, Young, Freddie Green, Rodney Richardson, and Jo Jones. Young played clarinet as well as tenor in these sessions. Young is described as playing the clarinet in a "liquid, nervous style." As well as the Kansas City Sessions, his clarinet work from 1938-39 is documented on recordings with Basie, Billie Holiday, Basie small groups, and the organist Glenn Hardman. Billie and Lester met at a Harlem jam session in the early 30s and worked together in the Count Basie band and in nightclubs on New York's 52nd St. At one point Lester moved into the apartment Billie shared with her mother, Sadie Fagan. Holiday always insisted their relationship was strictly platonic. She gave Lester the nickname "Prez" after President Franklin Roosevelt, the "greatest man around" in Billie's mind. Playing on her name, he would call her "Lady Day." Their famously empathetic classic recordings with Teddy Wilson date from this era. After Young's clarinet was stolen in 1939, he abandoned the instrument until about 1957. That year Norman Granz gave him one and urged him to play it (with far different results at that stage in Young's life--see below).

Other than Billie Holiday what luminaries he played with?

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Billie and Lester met at a Harlem jam session in