Frank Morgan

Although all eight selections on this CD have been played many times before (the only song not a boppish warhorse is John Lewis' "Milano"), altoist Frank Morgan makes each of the pieces sound fresh. As producer John Snyder is quoted in the liner notes, this is bop without cliches. Morgan, who is assisted by pianist Rodney Kendrick, drummer Leroy Williams and either Curtis Lundy or Ray Drummond on bass, digs into such songs as "Well You Needn't," "A Night In Tunisia" and an 11 ½ minute version of "Half Nelson," coming up with some surprising twists and plenty of viable ideas. A fine effort.

After nearly 30 years off the scene, altoist Frank Morgan made a remarkable comeback. Despite his years in prison and obscurity, he had not lost anything in his playing; in fact, he had grown as an individual. Teamed with pianist Cedar Walton, bassist Tony Dumas and drummer Billy Higgins, Morgan (still just 51) digs into songs by Walton, McCoy Tyner, Wayne Shorter and Antonio Carlos Jobim that had not been written when he had last recorded; in addition, he plays versions of three standards that recall his main inspiration, Charlie Parker.

If you want to hear how Frank Morgan sounded during his youth, the first album to purchase is the 1955 gem Introducing Frank Morgan. After that, look for Bird Calls, Vol. 2, a reissue spotlighting Morgan in 1954 and fellow alto saxophonist Gigi Gryce in 1955. The main things that the two bop sessions have in common are the presence of drummer Kenny Clarke and the influence of Charlie Parker - Morgan and Gryce were both greatly influenced by Bird's playing yet had attractive tones of their own. Morgan was only 21 when the 1954 session was recorded, and the altoist forms a sextet with tenor saxman Walter Benton and pianist Gerald Wiggins as well as three-fourths of the Modern Jazz Quartet's original pre-Connie Kay lineup: Clarke, vibist Milt Jackson, and bassist Percy Heath…

Both John Hicks and Frank Morgan passed away shortly after making the recordings gathered here: pianist Hicks in May 2006 and alto saxophonist Morgan in December 2007. They had both spent the preceding decades living very different lives: Morgan, as is well known within the jazz community, was a heroin addict to whom incarceration was no stranger. He disappeared from the scene for an interminably long 30 years before finding his way back from his problems and into the music world in 1985. Hicks, meanwhile, was prolific throughout his multi-decade career, recording many albums as a leader and working alongside many of the genre's greats as a sideman. This set of seven tracks does not consist entirely of duets: Morgan appears on only four of them and Hicks plays solo piano on the others (there are no other musicians involved)…

Frank Morgan moved from Antilles to Telarc with Love, Lost and Found, which emphasizes the altoist's romantic side and boasts Cedar Walton on piano, Ray Brown on bass, and Billy Higgins on drums. Those who had been following Morgan's career knew that he was a magnificent ballad player, and ballads are a very high priority on this CD. Most of the standards that he embraces had been recorded time and time again over the years, including "Skylark," "I Can't Get Started," "My One and Only Love," and "Don't Blame Me." But Morgan's playing is so personal and so darn soulful that one doesn't mind hearing yet another version of "What Is This Thing Called Love" or "All The Things You Are." It's best for musicians to stay away from such warhorses unless they have something really personal to bring to them, and thankfully, Morgan does…

Frank Morgan - Gene Norman Presents Frank Morgan (1955) {Fresh Sound Records ‎FSR-CD71 rel 1989}
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© 1955, 1989 Gene Norman Presents / Fresh Sound Records | ‎FSR-CD 71
Jazz / Bop / Saxophone

When altoist Frank Morgan recorded his debut as a leader in 1955, he was being hyped as "the new Bird." Unfortunately, he followed in Charlie Parker's footsteps mostly by becoming an irresponsible drug addict. After 30 years passed, he cut his second album and seriously began his successful comeback. This GNP album features Morgan back at the beginning, performing four numbers with Machito's rhythm section and six other songs with a septet that also includes tenor saxophonist Wardell Gray (heard on his final recordings). Trumpeter Conte Candoli is a major asset on both of these boppish dates, while Morgan shows why he was rated so highly at this point in his career.

Frank Morgan - City Nights (2004) {HighNote HCD7129}
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© 2004 HighNote Records | HCD 7129
Jazz / Bop / Bebop / Saxophone

Captured live over three evenings in late November 2003 at New York's Jazz Standard, saxophonist Frank Morgan continues to illuminate the Charlie Parker style of bebop he's been playing since the mid-'50s. Morgan is one of the survivors who grew up in that era and has been plagued by drug abuse and stretches in prison for the majority of his life. Fortunately, Morgan's playing in 2003 remains untouched by his personal habits.

Frank Morgan - Reflections (1988) {Contemporary CCD-14052-2 rel 1989}
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© 1989 Contemporary Records / Fantasy | CCD-14052-2
Jazz / Bop / Hard Bop / Saxophone

Altoist Frank Morgan leads an all-star group on this excellent hard bop set. With tenor saxophonist Joe Henderson, vibraphonist Bobby Hutcherson, pianist Mulgrew Miller, bassist Ron Carter and drummer Al Foster also in the sextet, it is not surprising that Morgan sounds a bit inspired. The musicians all play up to their usual level, performing "Caravan" (which was added to the CD version) and Sonny Rollins' "Sonnymoon for Two," plus a song apiece by Thelonious Monk ("Reflections"), Miller, Hutcherson, Henderson and Carter. Recommended.

Frank Morgan - Listen To The Dawn (1994) {Antilles–Verve 314 518 979-2}
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© 1994 Antilles / Verve / PolyGram | 314 518 979-2
Jazz / Bop / Post Bop / Saxophone

Listen to the Dawn is a rare example of Frank Morgan recording an entire album without a pianist. The veteran alto saxophonist, who was only two weeks away from his 60th birthday when this post-bop/be bop CD was recorded, evidently wanted to try something a bit different – and it was a move that paid off creatively. Whether he's forming an intimate duo with guitarist Kenny Burrell or forming a quartet with Burrell, bassist Ron Carter, and drummer Grady Tate, Morgan fares quite well without a pianist. This isn't an album of fast tempos and high-speed aggression – from Burrell offerings like "Listen to the Dawn" and "Remembering" to highly personal interpretations of Gordon Jenkins' "Goodbye," Duke Ellington's "I Didn't Know About You" (which becomes a sexy bossa nova), and the standard "It Might as Well Be Spring," Morgan is especially introspective and really takes time to reflect. This compelling CD should not be missed.